Lee Kyung-son is recognized as "one of the early film directors in the Korean film industry" and was a significant figure who formed the Shanghai Film Group with Jung Gi-tak, Jeon Chang-geun, Han Chang-seop, and others in Shanghai during the 1930s. Having entered Shanghai in early 1929, Lee spent three years there, until he escaped to Thailand following the outbreak of the Shanghai Incident in 1932. While Lee Kyung-son's achievements in his domestic life, films, and playwriting have been extensively researched and acknowledged in academia, his career during the three years he spent in Shanghai has received relatively little attention. His activities in China are only briefly mentioned in collective studies on the Shanghai Film Group by some scholars, and there has been no comprehensive exploration or research on this period. In particular, there is a notable lack of investigation into the Chinese literary movement during that time, his interactions with notable figures in the Chinese theatre and cultural circles, and his Chinese play "Taiwan," for which bibliographic information has yet to be uncovered. This study aims to organize and analyze Lee Kyung-son's essays related to the Chinese literary movement published in the Korean press during his time in Shanghai, translations of his works, and his Chinese play "Taiwan," which has never been publicly acknowledged. Additionally, it will examine his activities in Shanghai along with his ideological and cultural exchanges with prominent figures in the Chinese theatre and cultural fields. Through this research, I intend to explore Lee Kyung-son's understanding of Chinese literature, how his perspectives differ from those of contemporary Korean writers, his insights into the literary theories of Lu Xun and Zhang Ziping, and how these influences are reflected in his translations. Furthermore, I will conduct a detailed analysis of the creation intent, plot, characters, language, and ideological content of his play "Taiwan."

During the Five-Mountain Period, the center of Sino-Japanese communication shifted from Chang 'an to Lin 'an. The Five-Mountain poets who entered China during the Song Dynasty imagined Lin 'an as the "capital of Buddhism" based on paintings, artifacts and systems; After the collapse of Song Dynasty, through the legacy literature transmission, the Five-Mountain poets read Lin 'an as the "Unorthodox Capital". Lin'an had a wide-ranging impact on Sino-Japanese communication, nevertheless, Lin 'an is absent from Japanese Five-Mountain Literature, replaced by the revival of Chang 'an, forming the "Misplaced" capital writing. This dislocation corresponded to the trend in Medieval Japan of replacing the Confucian view of China as the center of the world with a Buddhist "Three Kingdoms" worldview, reflecting Japan's political intention to reconstruct the "world" order with itself at the center.

In ancient China, the notes' primary purpose was to document facts. Its primary goal at first was to document and preserve experiences and occurrences. Argumentation, emotional expression, and other ways of expressing one's own goals are just a few of the more varied roles that this genre has progressively taken on over time. Since the Song Dynasty, literati have been constructing study rooms more frequently, which has resulted in the growth of study room records, which are now a significant window into literati thought and life. Study Notes served as a conduit for owners' emotional expression and ideological exchange at this time, in addition to being a chronicle of life.

With strong Chinese cultural impact, Japan has also seen a lot of Study Notes in Gozan Bungaku. The majority of these pieces were made at the request of others, indicating a certain social and cultural backdrop, even though they also portray the life of a study room. Gozan Bungaku's Study Notes are especially adept at fusing narrative and reasoning, since the Zen monks not only delve into the deep depths of Zen Buddhism but also share their own insights and grasp of Confucian and Taoist ideas. The complexity of the two nations' cultural integration and interchange is reflected in this form of creation, which differs from the Study Notes of the same era in China in terms of creative style and depth of thinking.

The myth of Tan Jun（壇君） is the founding myth of Korea, and since the 13th century, Tan Jun（檀君） has been the standard writing style. But in reality, this standard writing is incorrect and must be corrected as Tan Jun. There are two reasons for this: first, the earliest version recorded Tan Jun, and second, there is no sandalwood tree in the living world, so the Tan Jun myth should be a record of the Korean living world, so it cannot be Tan Jun. Tan Jun and Tan Jun present two different worlds of life, one is Buddhist mythology and the other is altar mythology.

The acceptance and dissemination of Wenxin Diaolong overseas is an important proof of the international influence of Chinese culture. As early as in the Tang Dynasty, Wenxin Diaolong had already spread eastward to Japan. The long history of the dissemination of Wenxin Diaolong was started with the History of Chinese Literature in Japan in 1897, when it was published in the Meiji period by Kojyou Sadakichi. Subsequently, there emerged some great scholars of the studies of Wenxin Diaolong like Suzuki Torao and Toda Hiroshiakatuki. Modern Japanese scholars have studied Wenxin Diaolong in many ways, both macroscopically and at micro level. In particular, the characterization of the work’s genre and its historical status is an important reference for Chinese scholars: Japanese scholars first identified Wenxin Diaolong as “Six Dynasties prose” and “critical literature”, and later praised it as “a masterpiece of the thinking of rhetoric”, and finally called it “the culmination of early Chinese literary criticism”.