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Compared with the bizarre colors and unidentifiable objects in western abstract paintings, revealing social unrest, noisy, troublous soul in modern western society, Chu Teh-chun has adopted oriental abstract philosophizing and transformed the psychological state of anxiety into the inspirational realm of "independent contacts with the spirit world". This could be perceived from the furnishings in the residence of Chu Teh-chun in Paris. Chu Teh-chun's residence in Paris is just like the water town in the south of Yangtze River, with pen and ink, paper and inkstone in the studio, green bamboo and emerald cypress in the courtyard, as well as two books – Poems in Tang Dynasty and Lyrics in Song Dynasty, worth reading in the whole life.

Ancient Chinese aesthetic theory pursues the utmost ambit: The precious of withered is the innermost rich, though withered in appearance, it is beautiful actually. This has been relected in the appraise by Wu Guanzhong, "In traditional Chinese ink painting, the moving of brush, the characteristic of rice paper and silk, and the texture have been regarded as the intriguing features of oriental painting, which is suitable for close look. Chu Teh-chun did his utmost in developing Chinese painting rhyme and fascinating modern painting with bold and resolute strokes in his paintings." "Chu Teh- chun's works is really like western painting when viewed from afar, as Chinese painting when stared at nearby. His creative approach is suitable to be used as I stated the view. Chu Teh- chun's painting has another prominent feature, which is transparent. The slimy oil paints have formed transparent dress, and the translucent effect is the features of Chinese rice paper, which is unrivaled by the west. Chu Teh-chun's abstract painting is free from the restriction of the objects, whether in close-range or beyond vision. He has pursued a far-reaching sense of combining space and rhythm of speciic ink together. His painting has given full play to the painting in respect of depth and image."

In 1980s, Chu Teh-chun had fully used lines, dots, and rough strokes in Chinese calligraphy and painting. The pitching, pause and transition, strokes and brushes in Chinese calligraphy could be found in his works during this period. By the late 1980s, Chu Teh-chun inclined to use natural light in his painting for deeper interpretation and tried to put more colors into picture. He adopted a more extensive and emotional creative way to extend the spirit of Chinese culture. He has also put rich colors into his creative works, which shows affluent and sentimental feelings. "Surgissement", created in 1987, is depicted in a dynamic layout with delicate fabric, accurate beauty and extreme expression. The painting shows the jumping rhythm with power. The dots and blocks seemed like symphony performance, integrated with the fluency of Chinese cursive writing and the western rhythm of visual aesthetic. Moreover, full of rich colors and subtle changes of harmony, strong artiicial contrast, the perfect combination of Chinese painting and Western painting in this work have reached the realm of complete harmony. Michael Sullivan, a British historian of modern art, once asked Chu Teh-chun how he looked at his own abstract paintings. He replied, "Looking at a painting is like listening to music." ('Art of Chu Teh-chun', Collection of Chu Teh-chun's Paintings, by Michael Sullivan, Museum of History, Taipei, 1987, p.11). If we look at a painting like listening to music, painting would be as if composing music. In "Surgissement", the audience can feel the harmonious rhythm like symphony.

Chu Teh-chun was awarded as a academician by Institute de France and he is the irst Chinese academician since the establishment of Institute 200 years ago. He is regarded as the greatest Chinese success. His most prominent success is the integration of classical and modern paintings, as well as the mingling of the oriental and occidental. Blending features of the east and west has been expressed when he was rewarded, so was the rewards attached. When Chu Teh-chun accepted the honorary title of academician by Institute de France, he wore an ornament of honor with the sword, and on the sword was a white marble mosaic, a symbol of classic China.