Ding Yan-yong practiced western art prior to Chinese paintings. His landscape paintings blended the scholarly styles of Shi Tao, Zhu Da with the concept of Fauvism, creating a unique work of art. Using a simplistic composition of ink and strokes, his works are unique with a modern composition in the aesthetic context.

This work has an inscription cited from a poem by Bada Shanren. Lines are the mainstay of the work. They outline the shapes of the mountains with carefully planned blank spaces and intermittent dried ink, to enhance fluidity in the work. Multiple viewpoints and linear perspective of Western art are used to enrich the painting. Swift strokes demonstrate the spontaneity of the brush. The style of landscape shows references to Bada Shanren, Dong Qi-chang and Ni Yun?lin. The structure is close to the works of Bada Shanren. The whole structure is vertically divided with mountains in three sections: crooked pine trees and scholars in the foreground, rocks carved by swift cun strokes in the middle ground, and boats at a distance. The rocking boats contrasts with the tranquility of crooked pine trees, scattered rocks and a desolated village. Light ochre enlivens the lonely mountain scene with its density and austerity. This reflects Ding's mentality towards an elderly age and his sophistication in demonstrating his emotions through a brush. Such innovative creation paves a significant step towards Chinese modern ink in the course of history.