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This paper explores the critiques of the Taiji Tushuo《太極圖說》， one of the most important classics of Shushigaku 朱子學 in the history of Japanese ConfUcianism， that were advanced by Ito Jinsai 伊藤仁齋 and Ito Togai 伊藤東涯. Jinsai and Togai were famous for their anti-Shushigaku thought. Although there are some misunderstandings present in their critiques of the Taiji Tushuo and Zhu Xi 朱熹， it is argued here that their interpretations still have value because they shed light on a different perspective regarding the Yijing and the Taiji Tushuo. [ABSTRACT FROM AUTHOR]

The creation of painting in Taiwan in the early twentieth century was first inspired by Japanese art teachers. The new idea of "realistic painting" introduced at the time allowed the discovery of "local colors." However, the Taiwanese painters who employed the artistic ideal of "painting one's intent" were able to escape the limitation imposed by the concept of "local colors." How did the painters explore the artistic styles offered by the new global contexts through the colonization of Japan is an important issue that requires in-depth investigation. This issue is further complicated by painters who were not only influenced by the Japanese arts but also the traditional Chinese arts, as some of the Taiwanese painters moved to China after their training in Japan in order to search for a new style that conflates the Eastern and the Western arts. Taking several painters, Liu Jintang, Chen Chengpo, and Guo Bochuan as examples, this paper explores issues of identity, cultural impacts, and stylistic developments of the arts in the early twentieth century. [ABSTRACT FROM AUTHOR]