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Choui’s another name was Jungbu. As evidenced by this, Choui’s theory of two kinds of Buddhist Zen reflected the spirit of the times, and he discussed Buddhist Zen and Buddha’s teaching on the same level. The main point was the practice of Vipassana, and it meant the same as the thought of accordance of poetry, calligraphy, paintings and Zen, which realized aesthetics of calligraphy and paintings. The foundation of Choui’s Zen thought and his calligraphic aesthetics were derived from the fact that he sat at Dasan’s feet, had a friendship with Chusa, and associated with the school of northern studies who lived near Seoul. Dasan’s teaching method of practical action for governing was passed to Choui and it led him to create various collaborations, calligraphy and paintings such as 「Baeguncheop」. The greatest mediator was tea in the friendship between Choui and Chusa. As can be seen in Choui’s <Dayeon(茶煙)> or Chusa’s <Jeondasammae(煎茶三昧)>, the expression that brewing tea was a stage of samadhi was the highest stage of making external objects and self as one and the transcendental aesthetic ideal. Since Choui thought that everything was Zen and Way, he had a progressive thought of calligraphy and paintings that calligraphy and paintings were also Zen and Way. Since Choui accepted Confucianism based on Buddhism, his brewing tea samadhi creation of poetry, calligraphy and paintings embodied the aesthetic stage of Buriseon(不二禪). In addition, a beautiful natural environment of Daeheung temple was in harmony with Choui’s calligraphy and paintings emotional aesthetics, and it was reflected as a plain aesthetics of returning to the origin. The unity of Confucianism and Zen Buddhism of Choui’s calligraphy and paintings was embodied by sublimated into the aesthetic boundaries of Buriseon(不二禪) and the ‘one mind the acme’.

Choui’s Calligraphy and Paintings, Brewing Tea Samadhi(煎茶三昧), Same Result in Different Ways(同歸殊塗), Returning to the Origin(返本還源)