This work was painted using various skills of brustrokes to depicted the crooked pine tree and its dense leaves. The top half of the painting was carefully painted while broad brushstroke was used for the rocks under the pine, the majestic waterfall. The painting was composed emphasizing the top half of the painting. Various light brushstrokes were meticulously depicted to represent rocks and river in summer time. Pu once mentioned in his manifesto, “River next to the rocks should be depicted with saturated ink, the further the river, the lighter the ink. Waterfall should be depicted in between rocks, greenery should be lush. Even the shadow of waterfall should be depicted, should it be nearer to the viewer. Those farther away should disappear into the mist.” He continued, “crooked branches should be depicted with brushstrokes. Stems would be cut by intertwined leaves and branches. Brushstrokes should be different accordingly.” As for pines, he wrote, “pines are associated with aged people. They are crooked yet they flourish. Leaves are thin yet strong and sharp. Two or three strokes should be used branching outwards. Specific brushstrokes should be used to resemble ancient ink masters. Liu Guosong once mentioned that Pu Hsinyu loves pine and ancient trees. Pu once said, “Pine symbolizes a noble character and its painting requires one.” Pu’s work carries an austere elegant touch of ink, representing his unique literati character.