On a mist-shrouded day atop Mount Lu, Cherney discovered one of Lushan’s famed “Sanbao” (三宝) — an ancient “treasure” Cedar tree (柳杉) that has stood sentinel for centuries. He turned his lens skyward, framing the cedar at a steep angle. This deliberate tilt creates a powerful sense of vertical ascent: the massive trunk anchors the lower register, while gnarled branches sweep diagonally across the mist, vanishing into the white void above. The atmospheric texture emphasizes the cedar’s living presence—even as the diffuse light softens its silhouette, lending the scene a dreamlike stillness.

Cherney’s compositional lines subtly echo the famous 17th-century Japanese folding screen by Tawaraya Sōtatsu (Wind God and Thunder God). Though not a literal homage, the diagonal rhythms of branch and mist recall Sōtatsu’s dynamic interplay of figure and negative space. Here, multiple hanging scrolls form a coherent image, allowing the cedar’s vertical thrust to feel both monumental and intimate. Cherney invites viewers to linger: to sense the cedar’s silent endurance, the fleeting swirl of mist, and the lineage of compositional energy that spans mountain and lense. The piece that is mounted in a folding screen format is now in the collection of the St. Louis Art Museum.

在雾气缭绕的庐山山顶，秋麦正面对着“庐山三宝树”之一——一株千年古杉（柳杉），挺立于云雾之间。他将镜头向上仰拍，斜置构图，以强烈的纵向攀升感展开画面：粗壮的树干自下而上支撑，盘曲的枝丫斜斜穿插于浓雾之中，最终消散于空白的苍穹。画面氛围浓郁，朦胧的光线柔化了杉树的轮廓，令其身影在静谧中若隐若现。

秋麦的构图线条隐约呼应了17世纪日本画家俵屋宗达所绘的屏风作品《风神雷神图》。虽非直接模仿，他所呈现的枝干与云雾的斜向节奏，与宗达作品中形与空的张力相互呼应。在此，数轴挂轴汇合成一幅完整画面，使得古杉的挺拔既显得雄伟宏大，又富有亲近感。秋麦邀请观者驻足细观：感受这株古杉的沉默坚韧、雾气的瞬息流转，以及贯穿山川与镜头的构图力量传承。屏风形式的影幔 #8b现藏于圣路易斯艺术博物馆。