death of the prince, power passed to the conservative Andong Gim clan and Gim was reduced in rank while his adoptive father was exiled for several years, until 1834. In 1835, after the accession of King Heonjong, the family's fortunes turned and Gim Jeong-hui rose to ministerial rank. In the same year he visited the Ven. Cho-ui at Daedun-sa temple (大芚寺), now called Daeheung-sa). Exile Following the death of King Sunjo of Joseon (r. 1800–1834) late in 1834, Queen Sunwon, the wife of Sunjo and a member of the Gim clan of Andong, held immense power after her grandson, Heonjong (憲宗, 1827–1849 ), still only a child, was made king. Queen Gim acted as his regent. Factional in-fighting increased and in 1840, when he was due to be a member of the Chinese embassy, Gim Jeong-hui was instead condemned to exile in Jeju Island. Late in 1842 his wife died. He was finally allowed to return home early in 1849. It was during those years in exile that he developed the calligraphic style known as the “Chusa style,” based on his studies of models dating back to the earliest periods of Korean and Chinese history. On his way into exile and on his way back home afterward, he visited the Venerable Cho-ui in his Ilchi-am hermitage at what is now known as Daeheung-sa temple. Cho-ui consecrated several of his building projects in the temple to helping sustain Gim during his exile and visited him in Jeju-do 5-6 times, bringing him gifts of tea. . In 1844, during his exile in Jeju Island, he produced his most celebrated ink painting, usually known as “Sehando” or “Wandang Sehando” (阮堂歲寒圖, ‘Wandang’ was one of Gim's most frequently used ‘Ho’ names; ‘Sehan’ means ‘the bitter cold around the lunar new year,’ ‘do’ means ‘painting’), which he gave to his disciple Yi Sang-jeok (李尙迪, 1804–1865) in gratitude for his friendship, which included bringing him precious books from China. The painting shows a simple house, barely outlined, framed by two gnarled pine trees. Beside it there are texts expressing gratitude to Yi Sang-jeok. Yi was an outstanding figure, a poet and calligrapher who went 12 times to China and was greatly admired by the scholars he met there. In 1845, Yi returned to China with the painting, which he showed to the scholars he met. Sixteen of them composed appreciatiative colophons which were attached to the