This work was painted in the autumn of 1992, after his retirement. Painted on high quality Jingdu paper from Japan, the composition is innovative with a huge mountain in the middle of the painting, forming a triangular composition. This balances the work, and highlights the height of the mountain in the background. Outlines were used to highlight the landscape, while thick ink and dots creates a sturdy character of the mountain, taking reference to Huang Bin-hong and the Xin'an School. This also focuses the viewer's attention to the center, where brushwork is vividly portrayed. Such style is common in the late career of Chiang, as he applied layers of ink forming a luscious landscape. High fluidity of ink was used to create the misty environment in the hills. Dense and light ink was used intermittently to depict a dense forest. Dried cun and light ochre were used for the edge of the mountain, to highlight the light and shadows and the colours of autumn. Skills of both the Southern and Northern schools were used in the painting, with hints of the School of Wu and Ma Xia. Guo Xi once mentioned theories on the spatial distance of horizontal, vertical and depth. With the soaring mountain extending beyond the frames (vertical distance), blank spaces on both sides (horizontal distance), and overlapping mountains (depth), Chiang perfectly demonstrated the theory. An inscription is adopted from the poem of Huang Hua-yu highlighting the scholarly character of the painting.