By the 1980s, Chiang Chao-shen reached his mature stage of blending classical and modern innovation in ink art. The classical approach was often used to represent the Taiwanese landscape. The depiction of hills from Song and ink application of Qing were mixed with a modern twist, which became his unique artistic style. This work was made after his relocation to his cottage Lingou. The landscape smothered in the heat of summer. Classical structure was used in the depiction of Taiwanese landscape, which was considered as the modern approach of the period. The composition of subjects created visual impact under a meticulous treatment of ink and colour. Calligraphic strokes were used spontaneously in the painting without initial drafts. An excellent control of brush reflects the variations of strokes. This work is divided into two parts: The upper half were composed with swift brushstrokes and the outline of Jian Jiang to depict the layers and outlines of the mountainous landscape. As the landscape extends from right to left, rugged knolls were painted in gradations of grey and ochre, derived from the Xinan style. A waterfall at the center enlivens the painting, balancing the peacefulness of the whole scene. In the lower panel, the structure took reference of the Wu School. Rocks, forest and huts were painted with light colours, heightening the contrast with the crooked pines. Through the application of colour and ink, the upper and lower parts of distant hills and the foreground echo with one other, forming a majestic landscape. The inscription is an extract of the poem by Lin He-jing from the Northern Song dynasty, showing the inspiration of Chiang from literati poems. The poem echoes with the lone scholar and his secluded lifestyle, creating an exquisite work of art.