This contemporary piece is also an example of the mixing of new and old, as well as the changes to tiehua brought on by a market economy. While traditional tiehua almost invariably featured nature, it was very uncommon to include frogs. Additionally, due to the emphasis on nature, individual characters were not as dominant and depicted in such a realistic manner, which became popular during CCP’s usage of tiehua to glorify party ideology. Again, there is no political meaning to this depiction; it is rather more decorative than reflective. This piece is also small and less elaborate than CCP-commissioned pieces due to the need to make the pieces affordable to the average person in a market economy. Nonetheless, despite the heavy influences of socialist realism on this piece, some traditional motifs are visible: the man is a more traditional, perhaps a Confucian scholar, and there is an absence of a background, though less focused on nature. Additionally, there is more integration of a linguistic mode, as seen in the calligraphy integrated into this piece, an old practice that has regained popularity.