Chiang Chao-Shen paints without sketches. In this work, sketches were made on the rocks, resembling works of Jian An from Qing dynasty. Rough surface was depicted with sharp lines and angles, suggesting Chiang's skillful use of brush in calligraphy. Layers of ink were used in the style of Wen Zhengming and Tang Yin. A touch of green was applied to enhance the lusciousness of the plants and the painting. A pine near a cliff was depicted primarily with leaves. Brushwork from this painting shows strong correlations between art and calligraphy. Poem on the painting describes Chiang's use of Duanxi inkstone, Guyumei ink, which are the best of their kinds in the Ming and Qing dynasties. Heigu mulberry paper from Japan was used, making the painting with dense and saturated ancient ink. This shows Chiang's strong preference of stationery, to uphold a scholar's standard.