Abstract: Liu Yin (1249—1293), a Neo-Confucian scholar in the early Yuan dynasty, had achievements not only in the Neo Confucianism, but also in literature, calligraphy, painting, zither and chess. He proposed  the concept that “arts are fundamental practices”, and for the first time compared literature and arts to the “six arts” in the ancient times, enhancing the status of arts in Neo-Confucianism. In his practice of cultural arts, Liu connected the thought of “observing things” with the spirit of “acquiring knowledge through observations of things”. Furthermore, he expressed a desire for secluded life in the artistic world, showing a relaxed attitude towards art. He thought that painting should unite form and spirit, and calligraphy should follow the example of the ancients. While these embodied Liu Yin's artistic aesthetics, his ultimate purport pointed to “naturalness”. Liu Yin’s consciousness of his identity as a Neo-Confucian scholar and an artist was clearly displayed through his efforts to investigate things and to relax in arts. It can be seen that the Neo-Confucian scholars in the Yuan dynasty were more enthusiastic about literature and art. As a result, a large number of literary and artistic works and theories were reserved. They inculcated the field of literature and art with Neo-Confucian way of thought and value more deeply, influencing the trend of literary and artistic thought in the Yuan dynasty. Therefore, painting and calligraphy should be included in the explorations of the Neo-Confucian phenomenon of “flowing into literature”.

Key words: Liu Yin, relaxing in cultural arts, poems inscribed on paintings, literary and artistic thought, flowing into literature