Ink and colors.  Two tall pines rise from the right foreground, gnarled and hoary, towering over two shorter trees beneath.  Two men stand on the rocky promontory awaiting the ferry approaching from the left.  In the middleground a gurgling stream gushes forth from among watery rocks.  Large trees soar upward on the side of the stream, and behind them a monastic compound can be gleamed with trees and bamboo, and in the distance a flowery islet with a pavilion.  The use of ink is sparse, with much shading done is dry ink.  This well brings out the atmosphere of thin mist and veiling fog typical of dawn in autumn.  Aside from the florid islet the rest is granite cliffs, here half-hidden by enveloping mists, leaving only half the precipice visible.  Beneath this is a long bridge which links the other shore and provides direct access to the monastery gate.  Two men cross the bridge on horseback, holding the whip and pointing, with one servant between them, as two walk on ahead carrying picnic boxes.  Behind the party a boy attendant carries the chin zither in its carrying bag.  The theme as well as the painting style would indicate a provenance somewhere toward the end of the Northern Sung dynasty.