By 1984, Chiang Chao-shen had already moved to his cottage in Nangang. During this period, Chiang gathered his experience from old masters paintings to his individual experience, hence his artistic career had reached its peak.

This painting has a full frame structure depicting a stretch of overlapping mountains into the distance. A giant mountain structure sketched with dried axe-cun and dense ink, occupying half of the panel in the foreground. Centered brush with a mix of cun strokes were applied to accentuate the texture of rocks, echoing with the Southern School. Light ochre was used for the shadows and dark ink for the dense forest. Intersecting strokes leads through the meandering hills into the distance. A scholar and his cottage were added with a gentle brush at the center, balancing with the heaviness of the dark forest. The techniques of trees were adopted from Wang Yuan-qi. An array of trees in dense ink form a luscious forest. Amidst the lusciousness, an autumnal tree of red leaves emerged, creating a visual impact. Bamboo grove was lightly sketched, and blended with the other vegetation by the application of green. Jian Jiang's style of landscape was adopted on the top half of the panel, with a slight hint of Shi Tao. Light ochre and dense dark ink was used to feature the rough texture of rocks. Short and swift strokes enhance the vivid depiction of landscape. Grey green was used to depict distant hills forming a balanced and elegant scene. A Song poem by Lin Bu is inscribed on the top, unifying the whole poetic scene.