Although modem scholars have been engaged in reconstructing the history of Chinese painting for over half a century, efforts to trace the development of painting during the early period continue to face a variety of evidential problems. While stylistic analysis has clarified the date of many early works, it has failed to soundly resolve questions of authorship. From as early as the T'ang dynasty Li-tai ming-hua chi of Chang Yan-y?an, traditional scholars of Chinese painting not only engaged in discussions of form, but also emphasized the importance of hua-i (variously translated as "expressive intention" or "thematic content"). The Northern Sung T'u-hua chian-wen chih of Kuo Juo-hs? utilized hua-i as one of the organizing criteria for the history of painting. Although the examination of hua-i alone cannot fully resolve questions of chronology and authorship, it can serve as a useful tool in conjunction with stylistic analysis. This paper intends to analyze both the style and hua-i of Riverbank, a work attributed to the Southern T'ang artist Tung Y?an that is now in the collection of The Metropolitan Museum of Art. By combining the insights garnered from these two analytical approaches, it will attempt to locate Tung Y?an's place in the early history of landscape painting. The stylistic features of Riverbank---the absence of textural detail and distinct texture strokes, the emphasis placed on the three-dimensional structural relationships of the tree trunks, and the spacial arrangement of the trees, mountains, and other physical elements---all point to a work that predates the Northern Sung. From the standpoint of hua-i, the image of the scholar as a hermit, surrounded by mountains and a river, is closely related to the ideal of chiang-shan kao-yin (lofty reclusion amid rivers and mountains) that was popular in the 10th century Southern T'ang court. Furthermore, the paper also draws evidence from written records and authenticate the painting as the work of Tung Y?an in effort to clarify the historical development of chiang-shan kao-yin as a specific landscape theme.