Among the greatest artists relocated to Taiwan, Pu Hsin-Yu was regarded as the greatest Landscape painter in the Northern Song style. He excelled in the Landscape genre, Flower-and-Bird, Figure and even caricatures for fun. In terms of arts and literature, Pu Hsin-Yu was a strict teacher who excelled in poems and calligraphy. His Regular script was sturdy and elegant, and he was praised as an allround artist. Due to his royalty background, he fled to Taiwan during the war in his middle-age, and lived in Hanyu Tang till his death. Pu Hsin-Yu's works followed techniques of ancient paintings, as he learnt through imitating ancient scrolls during his hermitage at Jietai Temple. He imitated Zhao Bo-Ju, Zhao Zi-Ang, Tang Yin and Chou Ying of the Ming dynasty. Being loyal to traditional styles, his multilayered colouring and gongbi brushwork produce colourful scholarly paintings that differ from traditional literati paintings. Paintings in his later career resemble the Southern Song period, such as Ma Yuan, the carefree strokes of Xia Gui and the fresh composition of Ni Yunlin and Mi Yuanzhang. Colours used were always light and elegant with a melancholic tone, which resembles a typical literati painting.

This work was a classical work of Pu Hsin-Yu with a diagonal composition of Southern Song. Subjects were inclined to the left. A gigantic rock stood upright on the top, and resembled the style of Li Cheng and Fan Kuan. The cliff is sharp-edged drawn with dry brush and a short axe cun. Colours concentrated on the top with a gradient to the lower part where a simple structure was made to enhance the smooth and elegant brushwork. A lofty mountain perks above the clouds of blank space, highlighting its grandeur and the discreet surroundings. Refined brushwork was used at the lower part with light ink, axe and hemp-strokes to form an autumn scene with two pine trees standing upright. Such composition shows Pu Hsin- Yu's cautious depiction of pine rough trunk and clustered leaves. A hiking scholar rests under the pine looking afar into the distance. An inscription in cursive script was written on the left with hints of the formality of regular script. Forces were shown juxtaposed with the loose structure. This forms a poetic composition and a harmonic comparison with the melancholic painting.