 leading to a creative synthesis, which can also be described as “Post-Confucian” as it moves beyond the metaphysical parameters of Ihak (School of Principle) or Sŏngnihak (School of Nature and Principle). It might even be described as a sort of cryptic “Christo-Confucianology”, whereby Christian motifs inform his discourse on morality, which is guided by an anthropomorphic Sangje (discussed in detail in Cawley 2014b).