This work is a typical example of Pu's scholar paintings which demonstrates the influence of the Northern School. The mountain was placed on the left, and echoed diagonally with the bottom right. Viewers could look afar with the artist with such tall and far structure. The artwork was steeped in antiquity by the brushstrokes of the Northern School and the style of Ma and Xia. Regarding the outline of rocks and hills, Pu once mentioned in his manifesto, "Hills should always be sketched with an outline, followed by cun. Rough cliffs and rugged landscape should be depicted with the movement of brush and wrist." In this work, the rocks were roughly depicted. Pu used fine strokes to outline the steep cliffs, followed by dried brush for the texture. The lines were drawn swiftly and layers stood out by the intersecting spaces of mists, suggesting the style of the Southern School.

Pu Hsin-Yu copied works by the Four Wangs and such style could be seen in his works. The composition, structure and arrangement of subjects of this painting show close resemblance to that of Wang Yuan-Qi. Hanging cliffs stood out to enhance the steepness and to create a stark contrast with the peaceful distant mountains. Trees were depicted with the style of the Southern School. They were in their simplest form with straight tree trunks and canopies formed by dots. The same method was also used for the trees and forests in distant mountains. The application of strokes shows resemblance to former masters, such as Dong Yuan and Huang Gong-Wang, who depicted leaves with dots. A melange of green and ochre colours enliven the relief and the painting. The peacefulness of the work echoes closely with the Xihuang era, which was described as a utopia of relaxed and loving people. Hence this becomes one of the classic works of Pu Hsin-Yu.