This work was painted in 1990 in Chiang's mature period after in-depth studies of classical landscape masterpieces. This work demonstrates a classical character with a traditional tone. Mountains stand aloft creating a valley at the center. Ancient pine trees perch from the cliff on the left. Its dense ink echoes with the red autumn leaves on the right. Amidst the autumnal dense forest, two scholars sit in a cottage chatting.

Cun strokes throughout the work show hints from Jian Jiang. Delicate outlines were used to depict the relief. Multiple planes were used to highlight the volume of the mountains. Dense ink was used in the foreground and a giant rock was placed in the middle to add individuality to the painting. Distant hills were coloured lightly, with reference to Wen Zheng-ming and Tang Yin from the Ming dynasty. The composition of landscape and brushwork could be referred to the Northern school of Ma Xia. Blank space was located on the right to highlight the layers of the painting. Intermittent light and dark colours of turquoise, green and ochre were used on overlapping hills and forest to create contrast and enhance the balance of freshness in the painting. Brushwork demonstrates the skillfulness of Chiang Chao-shen. An inscription adopted from Huang Geng of the Song dynasty is steeped in an ancient character, highlighted through the clerical scripts. The calligraphy of the inscription creates an animated character in this tranquil autumnal scene, thus making this a painting for aesthetic appreciation.