This work is rare with a broad view of landscape, pine and birds. Pines dominated the painting, which could be taken reference from works of Ma Lin of Southern Song. The pine was exaggerated as the subject, whereas hills, rivers, waterfalls and cranes were put as the second layer of subjects. The tone of the paintings was fresh and elegant. In this painting, a river separated two banks. The shores were outlined by long lines, then coloured by layers of green. The relief was accentuated by colours and dots of dry ink, creating layers. The river was sketched with refined brush and coloured lightly. Depiction of surfacing rocks enhanced the movement of water. The right bank and distant mountains were veiled by a thick haze. Balance was achieved by the elusiveness of the right against the left, and gongbi style against the boneless. Old pines stood crooked and twisted at the foreground, extended in many directions. The trunk was depicted with circular strokes and dyed with light ochre. Spiky leaves were drawn with fine brush in the form of a cluster. Five clusters form a greater cluster. A balance of density was achieved, as light ink seeps in between the lines of leaves. This treatment enhances the vividness of the tree. Boneless depiction of pine trees at the back heightens the elusiveness in the mist. Despite his fame in gongbi, Yu Chung-Lin excelled in boneless depiction, which enhanced the natural radiance of the painting. A pair of cranes fly across the river at the center of the painting. They were depicted in detail. Its feathers, tail and neck were painted with layers of light ink, followed by a dab of red on the head. Scales of their claws were finely sketched in balanced tones. The two cranes fly gracefully upwards beyond the ancient pines into the clouds, suggesting an ancient aura. Such depiction demonstrates Ku Kai-Zhi's theory of depicting both the shape and the spirit of animals.