Chiang Chao-Shen was considered as one of the greatest artists in the modern Taiwan ink art scene. He had a rich scholar background with relentless passion towards ink art. His first solo exhibition was held in 1965 at the Zhongshan Hall in Taipei. Since then, he received recommendations from Yeh Gong-Chao and Chen Hsueh-Ping to work as a researcher at the National Palace Museum of Taiwan. He was promoted as the Head of Chinese Paintings Department in 1972 and Vice President of the National Palace Museum in 1978. Chiang Chao-Shen retired in 1990 after a heart injury and resided in Jieshe Yuan in the countryside of Puli, Nantou in 1991.

This work spreads up to 151cm in height and was composed in the style of Nin Yuan-Zhen with two shores separated by a river. Light and fine brush was used on the outline of the landscape, depicting steep hills on the left and a solid sturdy mountain in the middle. Splashed ink with slanted cun brushwork was used to depict the texture and layers of the hills, contrasting with the dry cun ink on the cliff on the right. Simple and saturated ink was used to depict distant hills, leaving blank spaces as mists, echoing with the style of Mi Fei. Lofty mountain ranges are juxtaposed with the depth of valleys. A few cottages emerge from the dense forest and knolls. A bridge in bright red connects the hills and valleys, providing a centerpiece for the humble landscape. Blank space at the center represents a still lake and acts as a connecting point with the landscape below. In contrast with the high and far perspective at the top, dense forest is depicted at the foreground.