As a descendant of the imperial Qing family, Pu Hsin-yu resides in Xishan temple in Beijing. This work could be seen as a reminiscent work following the aftermath of war. The structure resembles Yuan landscape with a softness of Southern Song and the sturdiness of the Northern school. Contrary to depicting the majestic breadth, the work represents a utopia for hermit scholars. Instead of a broad perspective, Pu created a tranquil homey scene. The focus of the work inclined towards the right, with long hemp-fibre strokes enhancing the steepness of the cliff. Green colour is applied to highlight the nostalgic landscape and carefree strokes to depict a scholarly character. Two pines loom over the cliffs, a typical composition of Pu, with double strokes, scaly nodes and dense crowns accentuating the nostalgic feeling towards his royal past. Classical Song paintings were often practised by Pu, and were highly acclaimed by the meticulous strokes. Such exceptional skills were reflected on the pavilions with light ink highlighting its grandeur. This shows Pu’s unique skills of both carefree and meticulous strokes, highly praised as an old master through the centuries, displaying his individuality, his nostalgia and his noble character as a scholar.