In Pu Hsin-Yu’s early education, Pu had martial training and copied rubbings of Tang dynasty. Both required intensive practice of the wrist. This work focuses on the fluidity of lines. Strong lines of the Four Wangs outlined the rising trunk and zhuan strokes were used to depict its texture. Pu once mentioned, "crooked branches were depicted with slanted and thrusted strokes". Axe cun was used to depict the texture of pine, following Li Cheng's method, depicting the rough bark. Branches meander as a dragon, imitating the shape of a deer horn or crab claw. Leaves were painted with quick vertical strokes, clustered in groups. Pointed leaves are slightly curved to echo with ancient depiction and Pu's scholarly background. The rock was depicted with Shi Tao's carefree brushwork and outlined with regular script. The overall work carries the solemness of royalty. The painting was given to Tizhi, who was the vice president of the Shanghai police office, embassy counselor in Japan. A poem was written on the work revealing the mind of a hermit, sighing over worldly affairs.