Pu Hsin-yu once complimented Chiang Chao-shen's immense depth of scholarly background in literature and ink. This comes as no surprise, as Chiang came from a scholarly family and specialised in literature, painting, ink and seal carvings. He was admitted to Hanyu Tang with outstanding talents and was appointed to senior positions in the National Palace Museum. Chiang immersed himself in Chinese classical paintings and painted with steadfast dedication. In a conversation with Chiang, Ba Dong mentioned Su Dongpo's outstanding talents that Su's poems were eloquent with minimal effort. In the modern era, it seems that only Chiang could live up to Su's standard. According to his students, Chiang painted swiftly with outstanding control, allowing his work to appear light and natural, achieving the style of Hanyu Tang.

The four panels are synchronized yet could be viewed separately. Four panels showing the changes in seasons with simplistic figures reliving stories of the past. The spring panel depicted a tranquil scene recovering from the harshness of winter chills, carrying a symbol of renaissance of life. Rugged rocks were carved by ice at sharp angles. Forests are lushly covered with green leaves; while red flowers merged from the canopies waking up the sleepy mountains. A fisherman sails slowly across the river, forming a tranquil and refreshing scene. The summer scene smothers in scorching heat and dampened moist. Splashed ink was used to depict heaviness in the rugged cliffs. Mists cut through the mountains and forests. Trees were aligned and painted in rich ink, echoing with the humidity. A scholar resting under a kiosk, appreciating nature. The autumn scene is refreshing as light ink brushes across the hills and rocks. Mists at the center balance the humidity of autumn, while red leaves ornate the scene. Two scholars are chatting and making poems in a hut as a river drifts slowly under the bridge nearby, forming a perfect backdrop. The winter chills creep from the winter panel as light ink brushes across the sky with drops of snow. Mountains gather under the chill as trees are left with bare branches. A scholar huddles up in a hut looking afar towards a blossoming plum tree and a path leading to the river, as if expecting a friend's visit. With the connotation of plum trees, this also echoes with the perseverance of a Chinese noble scholar. These four panels possess the elegance of Hanyu Tang, the light and liveliness of Jinshi with hints of sturdiness and tenderness. Such a combination of classic and modern styles makes Chiang's paintings a prominent milestone in art history.