thosevaorelateronwhen

seriesofiressions,vividandunfettable,andleavesrelyaflavour,an

forrexalefroipo,theartliesintheseleofainthefround

aseriesofetreesinthe

works:

onlybefoundountainges,f,afterthepreviousnightsrainfall,

thepictureteiquehereisperfect:thehilltopsappearingasseveral”dots”overthe

ilarityofteilarityofthes,

foranautuse:severaldotsofhillsoverthewall.

andabovethetreesahundredsprings.

thehills.inthissense,an

pressionisticteique.itisateiquehgivesa

inanycase,thepaierfinishinghispaintingusuallyesaverseatthetopin

toev

tosetitoffagainsttheobjethedistanlouds,ades,hilltopsandthe

indefinablefeelingbehind,hereaderssedoesnotsatisfyhis

andartisticrestraint.thepoetdoesnottrytosayallhehastosay.hisbusinessisbut

uandiheartofsublition,suggestion

thenthepaintinginthehills.

thepoetseyeisthepainterseye,andpaintingarybeeone.

thisaffinitybetorenaturalandapparentwhen

ingproper.butthisaffinityisresponsibleforanotherpointin

ofurse,itrequiresalittleefforttoigine”springsoops”he

andthefasoverse.

firstthehillsinthepainting,

fround,thereadergainsaclearperspectiveotherpossible.ashthe

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exactheinal;butexaausesutiveissorareand

lkyhenpaintiogetheronafiatsurface.thusliuyuhsi772842

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