Horses in this work were sketched meticulously with small brush. The gray horse was coloured in light and dark ink with fine hair scrupulously drawn. It gazed into the distance, with one front leg lifted. A brown horse hiding towards the tree was a typical way of depiction by Pu. Coloured in light ochre, the shy gaze suggests the horse's timid character. Two horses stand on the top of the hill, running downwards towards the left of the panel. Such composition enhances the liveliness of the gray horse and thus the painting itself. Rocks were sketched with a swift dried brush. The ground was coloured in light green, echoing with the shadow of the tree above. The tree is crooked and sketched with sturdy strokes, enhancing the ancient touch of the aged tree and the brushstroke of the artist. Dried branches were always depicted through dried brush in ochre. Pu was praised as the most accomplished scholar of all times, with profound knowledge in literature, calligraphy and paintings, thus he was well-acclaimed among the literati artist in Taiwan. Pu practised portrait, horses, birds and flower and bamboo paintings, and incorporated styles from the Southern and Northern Schools of Art. Pu once shared his deep knowledge of horses in an inscription of his painting, comparing styles of the Tang, Song, Yuan and Qing dynasties, suggesting his scrupulous studies into ancient paintings. With an imperial background, Pu's horses resembles that of Giuseppe Castiglione from Qing dynasty, thus gathered styles of the East and the West.