• (The)Study of the Eastern Classic
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• no.50
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• pp.233-259
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• 2013

This study aims to identify the concept of "You(游)" as the aesthetic attitude in the Traditional Chinese Painting Theory. Traditional painting has a purpose to spread painting spirits and have consistently pursued "Xin(神, spiritual being)" as the truth of a thing. However, the contents of "spiritual being", "form" and "qi" that "describe the spiritual being" have been changed. Therefore, although the theory of form and spirit can be a way to explain chinese paintings, there is a limitation to actively explain the changes in description of spiritual being. In order to find out the basis to explain the changes of spiritual being as the truth of a thing, this study investigated the concept of "You(游)" as the attitude of the artist focusing on "experiences in painting". "Tuhua Jianwenzhi" and "Linquan Gaozhi" in the Song Dynasty adopted the attitude of "You" to explain the painting theory and proceeded exploration on things with the attitude to pursue the "truth" of a thing described in "Eye of Painting" and "KuguahuoshangHuayulu". The aesthetic values generated in the attitude of "You" refer to "qing si(情思)" and "yi si(意思)" in Song Dynasty; "gao yin zhi si (高隱之思)" in the Meng Dynasty; and the law of "one stroke(一?)" in Qing Dynasty.

• The Journal of Korean Philosophical History
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• no.32
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• pp.161-183
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• 2011

Lee Ik(李瀷) had put emphasis on the achievements by self-regulated academic learning through doubts, and at the same time that it was all-embracing. His academic attitude had set an example among the members of Seongho school(星湖學派), and his disciples had strived to emulate his style. The greatness of Seongho(星湖)'s study had been revealed by development of Seongho school(星湖學派) right after his death. He had argued that the six strokes of I-Ching should be read having it divided into inward and outward divine signs. He had stated his view clearly that the divine signs ranging from one stroke to six strokes were not connected, same as Shao yong(邵雍)'s method, but, the three strokes of inward divine sign as well as the three strokes of outward divine signs were independent from each other. Seongho(星湖) also had raised many questions about Shifa(筮法), and Bianyao(變爻) and Zhuzi(朱子)'s Shifa(筮法), or Yixueqimeng("易學啓蒙") "Kaobianzhan("考變占")". In view of the Shifa(筮法), Seongho(星湖) had helped Dasan(茶山) to present 'Shiguafa(蓍卦法)' by proposing different divination rule from Zhuzi(朱子)'s Method of Divination by Shiyi("筮儀"). Seongho(星湖) had not professed something significantly different from Zhuzi(朱子) in his I-xue. His study on I-xue had been accomplished under his goal of achievements by self-regulated academic learning through doubts. "Shiguakao("蓍卦攷")" is also same. I-xue of Seongho(星湖) had made a great contribution to form Dasan(茶山)'s I-xue in the later years.