In 2016, Li Jing created a screen capturing the four seasons in a landscape scene, with each of the depictions serving as four independent paintings or a single, larger scene. The works can be joined or separated, creating the effect of an illusion alternating between continuity and separation. In terms of brushwork and the use of ink and color, the works display subtle changes, with the whole manifesting a unified rhythm in four different moods. The uninhabited mountains and deserted water scenes of this work evoke a profoundly meditative feeling, embodying the serenity and pure emptiness much sought after in traditional literati paintings.

Using the Four Kings of the Qing Dynasty as its stylistic basis, this work emphasizes the structural power of the landscape scenery. The delicate ink rendering of the unit structure, especially where the brush lingers in the overlapping shading, makes the arrangement of hills and ravines and the force of the brushwork all the more lyrical, lending the work the distinctive spatial structure and power of traditional Chinese paintings. The quariptych form of the work expresses the four seasons, while the subtle, elegant colors leave a memorable impression. The landscape in the work Four Seasons Landscape Screen: Spring, Summer, Fall, Winter combines soft tenderness with raw vigor, achieving the classic expressiveness of an ancient landscape ink painting.