In terms of the level of skills, figure paintings outweigh landscape and flower-and-bird, due to the level of difficulty in the depiction of the spirit of the subject. It requires the highest standard of control of ink and brush. Tracing back through time, classical figure paintings are even regarded as a record of story and history.

This painting was made in autumn of 1963 at the artist's age of 60. The lady figure was uniquely depicted from the back, as an unconventional approach in ink art. Strokes in the style of Chen Lao-lian were used for figure depiction. Dried brush was used and lines were meticulously applied to highlight the refined cures of the back. Movement of the wrist enables the depiction of clothings in a realisting approach. Dried brush crossed the panel in a swift manner creating movement of the ribbons. Buns clustered, while cheeks were dyed in light pink. Swift gongbi strokes were diligently applied to precise proportions. Colours were applied in its purest form, eg. green, red and blue, creating a harmonious painting of a lady gazing into the distance. Her state of mind was captured not by her face, but her elegant posture. Crooked trees and rugged rocks in the background were depicted with skillful strokes, sophisticated cun and classical structure. Willow on the top leads the eye through the painting from top to bottom, extending the scene beyond the panel into the autumn scene, reflecting the advanced skills of Huang Chun-pi in ink depiction.