Pu Hsin-yu excelled in gongbi flower-and-bird paintings with a variety of techniques and styles. After residing in Taiwan, the genre was mostly depicted in expressive strokes in the same style as Bada Shanren. The composition is carefree with a branch on the left and the subject matter depicted with a central brush, thick ink and changes of strokes, in the style of Seal script of Tang. The spring willow was depicted using careful strokes to enhance fluidity and light-weighted leaves. Colours were applied in stages to allow layers to be depicted. The variegated tones of branches form a balance of character. The black bird was coloured with swift strokes for the body and feathers. Fine strokes were outlined by a fine brush. Dry ink was applied to form layers of feathers, while the artist carefully left the neck blank as white feathers. The bird is common in Taiwan and is known as ‘guest bird’, as it sings when guests arrive. Since Pu’s arrival, the bird was used as a subject matter, hinting his wish to reside temporarily in Taiwan.