Pu Hsin-yu excelled in landscape paintings that were innovative at the times with reference to classics. From 1949, his styles had inclined towards a literati style with carefree strokes to incorporate styles of different old masters. This work was completed with Pu's typical composition in refined strokes to define the subjects and light colours to create an amusing scene. The middle of the panel was painted with swift strokes with fluidity and rhythm. Jagged lines were used on the rugged cliff

to create uneasiness and disturbance, which might be derived from the homesickness since his relocation from his hometown. Scenery could only be seen through memories. Such style resembles Wu Bin's eccentric landscape. The foreground shone light on Li's light green landscape. The whole composition is rich in luscious green. Axe short cun carved out the surface of the rocks, accentuated with light ochre. Layers of green and blue were applied to enhance the depth of the rocks. Such gradation of colours were typically used to create dimension and depth. Piles of rocks were placed below a waterfall to create an ideal structure. The lower panel was drawn with pine trees meandering with their crooked trunks, playing covering part of the pavilion, creating a luscious natural scene. Ink is saturated yet intriguing in depicting such a typical scene of residence alongside rivers and mountains. Pu Hsin-yu recreated nature in its tranquil and poetic form.