inanycase,thepaierfinishinghispaintingusuallyesaverseatthetopin

ofurse,itrequiresalittleefforttoigine”springsoops”he

ilarityofteilarityofthes,

thisaffinitybetorenaturalandapparentwhen

tosetitoffagainsttheobjethedistanlouds,ades,hilltopsandthe

uandiheartofsublition,suggestion

exactheinal;butexaausesutiveissorareand

ingproper.butthisaffinityisresponsibleforanotherpointin

forrexalefroipo,theartliesintheseleofainthefround

andartisticrestraint.thepoetdoesnottrytosayallhehastosay.hisbusinessisbut

fround,thereadergainsaclearperspectiveotherpossible.ashthe

pressionisticteique.itisateiquehgivesa

toev

works:

indefinablefeelingbehind,hereaderssedoesnotsatisfyhis

andthefasoverse.

lkyhenpaintiogetheronafiatsurface.thusliuyuhsi772842

thehills.inthissense,an

thosevaorelateronwhen

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onlybefoundountainges,f,afterthepreviousnightsrainfall,

thepictureteiquehereisperfect:thehilltopsappearingasseveral”dots”overthe

thenthepaintinginthehills.

firstthehillsinthepainting,

e:

uandliliatic

seriesofiressions,vividandunfettable,andleavesrelyaflavour,an

aseriesofetreesinthe

thepoetseyeisthepainterseye,andpaintingarybeeone.

andabovethetreesahundredsprings.

foranautuse:severaldotsofhillsoverthewall.