This painting of mine exemplifies the "small blue-green" style. I first used ink to outline the texture of the rocks and trees, then layered malachite and azurite over a warm, cream-colored ground, allowing the underlying tones to illuminate the cooler pigments from within. The composition unfolds in a series of ascending rocky forms. These distinctive formations dominate the middle ground, their blue-green masses anchored by darker pine trees that cling to their slopes and summits. To create a sense of recession, I applied increasingly pale washes in the background, where distant peaks dissolve into the paper's natural tone. By using water to transcend boundaries, I established an atmospheric perspective that diverges from Western conventions of linear perspective.

Among the vast landscapes appear some small pavilions with upturned roofs. A solitary figure, rendered in a few brushstrokes, traverses a winding path that threads through the lower portion of the composition. Through this careful choice of position, I aimed to establish the concept of the classical Chinese ideal, which posits mankind's humble place within the natural world. This tiny presence, though unattractive at first glance, proves my aim to transform the landscape from mere scenery into a space for deeper contemplation, as emphasized in Taoism, which has long advocated for a simple life close to nature.