This wartime or immediate postwar landscape belongs to the transition between Lin's early expressionist oils and his mature ink-and-color paintings. Mountain, river, village, and trees remain recognizable, but they are compressed into a near-square field whose warm and cool areas carry the construction.
Although painted in oil, the work avoids heavy modelling. Distant mountains and pale water are treated as intervals, while black trees provide a calligraphic center. Lin is not making European oil imitate an old Chinese scroll; he is testing how oil can support mobile viewpoints and a concentrated poetic space.
