This work was completed in 1983 when Chiang Chao-shen's style reached the turning point from classical to modern art. Song's structure was used to depict the mountain at the center, with strokes of Hong Ren, the Qing monk, blending in calligraphic strokes to form a unique style of Chiang's works.
Chiang drew spontaneously without drafts as the structure was already formed in his mind. Hook and axe strokes were used intermittently with a hint of the Xinan school. Extending from the left to the mountain at the center, the vegetation is rough and intriguing. Light ochre was the primary tone with a combination of wet and dry paints in layers forming gentle gradation of colours. Contrasting colours were used to depict overlapping mountains shrouded in mists of light green. These overlapping structures form balance in the work. Crooked pine and dense vegetation at the lower panel suggest the skills of the Wu school, highlighting serenity through the gradation of tones, contrasting with the rugged mountain at the top. Thus, the rich composition demonstrates the novelty of style, Chiang's noble character and the crispness of Nature. The work is narrated with an extract of a Northern Song poem regarding two scholars chatting in a pavilion, hinting at the noble character of traditional scholars.