Chiang Chao-Shen was born in 1925 in Anhui and arrived in Taiwan in 1949 as a secondary school teacher. He was talented in calligraphy and poems, thus he was accepted to Hanyu Tang as a student. His all-round talent covers literature, calligraphy and seals, and was renowned as a literary star. Chiang himself had outstanding achievements in ink art and was a notable scholar, as he was the deputy researcher at the National Palace Museum in 1965, and later, the Deputy Director and Head of Chinese Paintings in 1978. Chiang studied ancient scrolls at the museum and furthered his research in the US and Japan. This rich experience allowed him to further excel in his art.

This work was drawn in 1985 when Chiang published his research of Tang Yin at the Metropolitan Museum in the US. He started drawing lotus at leisure at the end of the 1970s with a hint of Tang Yin's brushwork that combines broad and refined strokes. He also acquainted Zhang Da-Qian and observed the grandiosity of his lotus paintings, which possesses the carefree style of Xu Wei, further polished with broad splashed ink to refine lotuses' characters. Chiang's lotus paintings were composed with the grandiosity of Zhang Da-Qian, with the humble and elegance of his teacher Pu Hsin-Yu. Chiang Chao-Shen never made any draft. The lotus on this work perks from the right to the center in concentrated ink in a single vertical stroke. Petals were painted in swift strokes. Lotus leaves were coloured with a variation of colours. The foreground was painted with ink-filled slanted strokes, depicting the different textures and the balance of strength in stone rubbing script. The background was moist with light ink, composing a relaxed and serene scene. The inscribed poem was written on the left in running script, to enhance the solemness and elegance of the whole scene.