These four panels were painted in 1993 when Chiang Chao-shen had already relocated to Puli of Nantou. During this time, he would paint the scenery outside his windows. The four panels seem to form a continuous relief with different scenes of the seasons. Each individual work represents a majestic landscape on its own. The artist was trying to use this perspective as a glimpse into the emotional state, thus his own appreciation towards nature. Since his retirement from the National Palace Museum, he visited the mountains of Taiwan. Vertical structure was commonly used during this period. A simplistic composition with blank space and clear outline of the relief, balances the cun strokes of the rocks, creating sturdy and geometric forms of the mountains. Chiang Chao-shen put emphasis on structure in his landscape paintings. The harmony between blank spaces, objects and the lines is the key to one's artistic skills. These four panels thus demonstrate spatial distance in its depth, its horizontal and vertical forms, common in the Yuan dynasty. Despite having a well structured composition, the brushwork used in the painting brings surprises to the viewers.

The Spring panel has a grey tone depicted by light ink. A Z-shaped relief leads the eye to the bridge below. A running stream and spring willow bring freshness to the whole scene. Dense forest in the middle forms unveils a cottage and a lone scholar inside. This echoes the artist's mentality to embrace the grandeur of nature. The Summer panel was painted with a structure common in Xin'an School. Fine outline of the relief leads the eye downwards through the rugged cliff to the soggy forest depicted with wet dense ink. Splashed ink of ochre was used to create layers of the mountain. The richness of the ink enhances the dense smothering state of the forest. The Autumn scene is fresh, depicted with the tip of the brush with reference to past ink masters. Layers and depth was created by overlapping mountains. The Winter panel was created with light ink and dried brush. A thin layer of ink was applied with careful brushwork creating a velvety sky. Amidst the snowy scene, plum blossoms gleam in red, forming a dramatic scene. These four panels were issued with a certificate of authenticity in June 1997 by the Emerald House Art Center, Taipei with a seal of the artist’s wife Ms Chang. They were considered by Ms Chang as the most precious works of the artist’s late career. The four panels are classic in composition, with a broad emotional state of the artist. By taking reference to ancient techniques, such a majestic landscape was created, making him one of the greatest artists in modern history.