Chu's unique abstract style began to appear in the 1960s. After living in France for many years he had a strong desire to interact with the predecessors of Chinese great masters. He visited the National Palace Museum in Taipei to view the grandeur of masterpieces such as: "Traveling among Mountains and Streams" by Fan Kuan and "Early Spring" by Kuo Hsi; both artists were famous painters during the Song Dynasty. After returning to Paris, Chu created a gigantic abstract work that initiated a dialogue with Kuo Hsi's "Early Spring". The saturation of colors and lyrical rhythm present the imagery and thoughts of a painter deeply influenced by Chinese culture. This cultural provenance can be clearly discerned in his oil paintings.

"No. 98" painted in 1962, the abundant hierarchy, simple color but meaningful conceptualization displays the aesthetics of ancient Chinese paintings. There's no sense of oppression in the forceful vigorousness; however, exuberance is beauty. A paradise is seen and the harmony therein echoes its counterpart, rhyme in poetry. The lovely abstract scenery conveys the integration of traditional Chinese paintings and modern art. Chu has unveiled the boundaries that people used to have in regard to western abstraction. Viewers are inspired by the lavish display of interior space in his paintings.