The landscape painting technique of the Northern Song was predominant in Pu Hsin-yu's works, while monotone works are less common, they are majestic as their counterparts. In 1956, Zhang Da-qian wrote in his snowy scene painting, "such genre is excelled by Pu Hsin-yu. If this work is seen by Pu, I would definitely be mocked." Such compliment acknowledges Pu's fame in painting snowy scenes with such grandiosity that even Zhang Da-qian would make his bow.

This work was outlined in ink with few cun strokes. A vertical structure enables the depiction of lofty mountains with rugged cliffs soar upwards. Such style could be traced to the influence of Wu Bin of the Late Ming dynasty. Using the Northern Song landscape as the base, Pu further painted with the style of Zhejiang school and its brushwork. Overlapping hills, allocated on the right, are painted with broad axe cun and hemp-stroke cun. A vertical arrangement was used highlighting their loftiness and adding dynamic movement of lines. Cottages are located in the middle to balance the snowy scene and the overall tone. Light wet ink was used to unify the colour of the sky and the lake. Vegetations meander along the overlapping peaks, leading through the white winter snow. At the bottom of the painting, boats anchored at the pier, and the fishermen are at rest. Silence falls on this snowy night. In a kiosk, scholars looked out from a window appreciating the tranquility with servants. The inscription of this painting echoes with a similar one by Pu Hsin-yu. This shows his appreciation towards scholars in the Song dynasty, which is reflected in the paintings' composition. Yet his individuality shines throughout his works. The serenity and grandiosity of this snowy landscape demonstrates the artist's superb skills, making this a magnificent piece of work.