The painting employs Western-style perspective in its composition, reflecting the fact that, while carrying on the Chinese aesthetic tradition, Shiy De-jinn continued to make use of the skills he had acquired during the period he spent studying in Europe as a young man. Shiy's misty, opaque painting style incorporates the impressionistic brushwork of traditional Chinese ink brush painting, while giving the brushstrokes something of the power and vigor of calligraphy, creating an innovative new way of painting.

The overall feeling that the painting gives the viewer is that the artist tried hard to make full use of the little time remaining to him, depicting the mountain landscape in a reverent, almost worshipful manner. Precisely because Shiy was so deeply engrossed in the work, he seems to have been able to "hear" the sorrowful call of the hills and the low sobbing of the rivers, and to perceive that unique blue tone's presence amidst the mist that lies between the mountain peaks. This is a sad, mournful blue which, unlike the traditional ink tones of Chinese ink brush painting, or the verdant greens of many landscape paintings, reveals the artist's sorrow at saying goodbye to this beautiful mountain scenery.

As Shiy himself put it, "I use Western watercolor technique in my landscape to express the the deep oriental sentiment ,to depict the nature in a brand new way;the color in my paintings are also turned into the Chinese ink painting style,fresh and lively." The ink tones and colors in Shiy's paintings both contrast and fuse with one another, sometimes drawing on aspects of the Chinese literati painting tradition, and sometimes incorporating the rich colors of Chinese folk art. In this way, Shiy succeeds in giving a contemporary feel to his depictions of the sub-tropical colors of Taiwan's landscape.