The fan structure of this work fully exemplifies Pu Hsin-yu’s originality based on classical paintings, with reference to the landscape structure of Northern Song, having a cliff on the left as a primary object of focus. Hemp-fibre strokes depicted the steepness of the cliff, while dry axe strokes, dots and lines represented the loftiness of the mountain. Texture of rock is accentuated by light colours of green and ochre, while the scholarly touch is reflected by the composition. The lower panel features a forest and scattered houses, representing an autumn scene. Double strokes were used on trees while seal strokes depicted the crooked trunk, and dots as leaves. There is a transition of meticulous strokes on the left to swift ones on the right, as wild dots represent leaves of wild woods, implying a noble character. Pu’s profound scholarly background and knowledge are fully depicted through the choice of genre and use of the brush. Light ink in the right contrasts with cun dots on distant hills to the left and the lofty mountain. As a boat sails across the river, the structure of two lands separated by a river has been created, reflecting the noble character of Pu Hsin-yu while paying tribute to old masters' paintings and creating a hermit style.