Part of Chinese Narrative Figure Paintings (the folding screen of eight panels now in the collection of the National Museum of Korea) by Kim Hong-do (1745-after 1806), Watching Flowers after Drink (Chwihu ganhwa-do) has been introduced as relating a classical story in which Chinese poet Lin Bu (967-1028) led a reclusive life in Solitary Mountains of West Lake taking a plum tree and a crane as beloved companions. Re-examination of its title and of the ways in which pictorial motifs are arranged, however, suggests that the painting is a Shao Yong’s Anle-wo that depicts the distinguished thinker Shao Yong (1011-1077) of the Northern Song dynasty (960- 1127) who secluded himself in a residence called Anle-wo (Korean, Allagwa: Nest of Contentment and Pleasure) in Luoyang to practice a Confucian virtue of “being contented in poverty and taking pleasure in the Way.” Watching Flowers features meticulous brushworks and a neat composition. Its title implies a concept of “observation of things” ( guanwu) that Shao promoted in Anle-wo as a way to an integrated understanding of nature and human via principles of things. The hermitage in the composition represents Anle-wo where the Chinese philosopher pursued the life of “being contented in poverty.” Likewise, the plum f lowers allude to his theory of Yijing.