Four reclining figures are stacked across a gold field, each enclosed by a heavy black contour. The bodies neither share a believable room nor recede behind one another. They are arranged like large characters across a textile, separated by small decorative emblems.
The painting brings Sanyu's decades of nude drawing to architectural scale. Anatomy is simplified but not careless: every bend of wrist, knee, and hip alters the rhythm of the whole surface. The National Museum of History has recognized the work as a significant antiquity in Taiwan.
