Since 1960, under the influence of two teachers, Fu Chuan-fu and Chiang Chao-shen, the boundaries of modern ink and literati paintings have been scrutinized. His other interest in photography allowed Lee Yih-hong to extensively evaluate art from its structure, composition, ink, light and shadow and perspectives. His manifesto in 1980 compared observation to following old masters landscape paintings, and highlighted that the actual emotional experience of an artist is more crucial to ink art creations.

This painting demonstrates such philosophy of the artist. A memory of hiking experience and the delight of his encounter with a waterfall of Guanshan were first described in the inscription of the painting. The subjects were then depicted in their majestic forms on paper. Lofty mountains with carved cliffs were depicted with a light outline, followed by intersecting cun and dots. The grandiosity of the waterfall echoes with the description, "A white gleam of water falls through the rocks. Its sound could be heard from afar as a heavy shower of rain in the night." The visual element vividly demonstrated in sync with its sound. Dense forest encroached on the sides hiding a hiking trail on the right. The artist once quoted Xi Gang's theory on composition, that rocks and hills are two subjects intermingling to form a storyline. The hiking trail leads the eye towards the group of hikers, who were astounded by the grandiosity of the waterfall. This echoes with the inscription and lets the viewers explore the feeling of the artist, thereby balancing the emotional feature of an ink landscape painting.