In the triptych Jade Inlaid Vermillion Sky, Peng Kanglong uses the xuejing or “snowy landscape” method to paint a fantastic, imaginary garden scene in which peonies float like white clouds in a vermillion sky and intertwine with spindly, black garden rocks jutting from the blue-green ground. Just as in a snow landscape where empty sky is painted gray and the solid ground is left untouched, Peng renders the solid forms of the peonies and its branches in liubai or “untouched white” while painting the sky a soft vermillion hue. Furthermore, through the play of light and shadow on the thick, fibrous texture of his bespoke paper, Peng’s conjures substance and dimensionality to the peony’s booms and twisting branches reserved in untouched white.

在《彤天栽玉》三联屏中，彭康隆用描绘雪景的方法绘制了一个想象中的梦幻园林场景。其中，牡丹犹如白云漂浮在彤红色的天空，与青色地面上纤细镂空的黑色太湖石交织在一起。与雪景画相似，空旷的天空施以灰色，而地面及其他物体的表面则以留白表现积雪，彭康隆也用留白表现出牡丹及其枝干的形态，同时将天空施以柔和的彤红色调。此外，通过在布满粗糙纤维的特制宣纸上调整光影不同变化，彭康隆为留白牡丹花朵及其弯曲的枝条赋予了实体感与立体感。