The figure painting depicts the deep feelings between two bosom friends Yu Boya and Zhong Ziqi. The story first appeared in Lv Shi Chunqiu, a representative work of the Eclectics at the end of the Warring States period over 2,000 years ago. Five persons are portrayed in this painting: With fine features and long beard, Boya on the left of the painting sits up straight on a rock and has his robe unfastened. He is playing Qin (a seven-stringed plucked instrument). Facing Boya, Ziqi in long robe also sits on a rock. He lowers his head and carefully listens to the music. Behind them stand three servant boys. The outer features and inner worlds of the two main figures are portrayed with vivid and exact strokes so that the absorption of the player and the entrancement of the listener show forth in the painting. In order to set off the two main figures, the painter also arranged two servant boys and used their reactions to express the understanding friendship between Boya and Ziqi transmitted via the sound of Qin. This painting reaches a high level in the description of psychological activities.

In the aspect of painting technique, the painter Wang Zhenpeng inherited the line drawing method of Li Gonglin very well. Forceful and elastic, the continuous lines have various changes: light and heavy, thick and thin, slow and fast, pausing and transitional. Parts of the clothing and headgear are washed with light ink while rocks are slightly textured. These rich and simple techniques of expression make the painting varied, implicit and bright.

The rightmost part of the painting is missing. The seals on the painting reveal that it was once in the collection of Xianggelaji, the Eldest Princess of the Lu Sate and elder sister of the Yuan Emperor Renzong. In the early Qing dynasty, it belonged to Liang Qingbiao, a famous Qing collector. In the Qianlong period, it entered the imperial palace and was recorded in the first edition of Shi Qu Bao Ji.