Chiang Chao-Shen followed Pu Hsin-Yu since 1950 and took lessons on literature from Hanyu Tang. He was keen to interact with old masters to discuss arts and literature. This makes his art possess the style of Splashed paintings of Zhang Daqian and the humble nature of Tai Jing-Nong. Tai once praised Chiang's calligraphy as being 'one of its kind', showing their keen appreciation towards one another. Chiang was at his peak in the 1970s and travelled to the US to further pursue his studies. Since then, his style of painting carries a carefree style. This work shows hints of brushwork of Shi Tao at his mature stage. Brushwork was carefully chosen to attain an abstract representation. Song's style of depicting natural landscapes was also used to achieve a light and elegant landscape.

Landscape was composed majestically spreading from the left to the right. Swift and short strokes carved out the landscape with layers of intricate details. Light ink creates the mountainous volume of the landscape. Saturated ink dots were used to represent the lusciousness of the landscape, while soggy ink created a misty landscape on the right of the painting. The overall style is soothing and light, as the ink accentuates the brushwork, and echoes with Wang Yuanqi's style of pursuing the depiction of an impression and character of the landscape. Chiang's excellent control of brushwork highlights the dry air of autumn, making this work an exceptional piece.