• The Journal of Korean Philosophical History
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• no.23
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• pp.317-347
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• 2008

Huang Gan(1152 - 1220, pen-name Mian-zhai) was a famous scholar of Zhu-zi xue in the Southern Song period. Zhu-zi xue was also called Daoxue(道學), because it was based on the Cheng-Zhu xue(程朱學) and had very severe idea of Daotong(道統). Therefore, Zhu-zi xue emphasized practical movements of spreading Confucianism. The view of the Daotong(道統) developed in two aspects: protection of Confucianism and exclusion of Daoism Buddhism. Zhu Xi completed the idea of Daotong(道統), and his disciples, especially Huang Gan, continued his efforts. Zhu Xi's disciples searched the ultimate teaching of Confucianism through studying Four-books(四書). In due of their effort, Zhu-zi xue played a reading role in those academic fields. Huang Gan look upon himself as the successor to Zhu-zi xue. He expounded and missionized Zhu Xi's philosophical thought. In his later years, he accepted many students and passed the Zhu Xi's thought on to his students. He fostered "Jin-hua school(金華學派)"-He Ji(何基), the representative of this school. There is the relation of thought on the theory of knowledge and learning centering around Daotong between Huang Gan and Jin-hua school(金華學派). Especially, the most schools leading the academic society of Yuan period founded their thought on Huang Gan's. And it explained Huang Gan's historical influence and contributions to the Zhu-zi xue in the Yuan period.

• (The)Study of the Eastern Classic
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• no.36
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• pp.403-432
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• 2009

In this paper, I examined two things. First explore the of the reality(眞) in poems written on paintings and discussion on paintings in men of letters of Pre-chosun dynasty, furthemore, it analyzes the meaning and thought. To explain it, I would like to analyse the discourse surrounding the reality(眞) in poems written on paintings and discussion on paintings, and concept of the borrowing(假) and the unreal(幻). First of all, I examine the ways that the view of nature of Confucians is pertinent to the abiding in reverence and the investigation of principles of confucians, also painting is necessarry condition for their moral and spiritual self-cultivation. In the discourse surrounding the reality, it is to suggest from 'natural reality (天眞)' to escape from the reality(眞), and proceeds to examine the transformation of reality(眞) in mind(人心). Furthermore I examine the meaning of transform and delicate difference between borrowing(假) and the unreal(幻). In this process, concept of the borrowing(假) and the unreal(幻) is divided into the two meaning. False(假) is to become the Borrowing and painting, the unreal(幻) is change into the act of recognition. In conclusion, I examined the significant transformation of the reality(眞) and the unreal(幻). The reality(眞) has been recognized as a important concept, it is diverged into the Nature, outer things and painting mind, and the object of ultimate value in appreciation and painting of Pre-chosun dynasty.