inanycase,thepaierfinishinghispaintingusuallyesaverseatthetopin

ilarityofteilarityofthes,

toev

firstthehillsinthepainting,

andabovethetreesahundredsprings.

tosetitoffagainsttheobjethedistanlouds,ades,hilltopsandthe

ofurse,itrequiresalittleefforttoigine”springsoops”he

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lkyhenpaintiogetheronafiatsurface.thusliuyuhsi772842

aseriesofetreesinthe

thepictureteiquehereisperfect:thehilltopsappearingasseveral”dots”overthe

pressionisticteique.itisateiquehgivesa

uandliliatic

thehills.inthissense,an

works:

e:

onlybefoundountainges,f,afterthepreviousnightsrainfall,

seriesofiressions,vividandunfettable,andleavesrelyaflavour,an

andthefasoverse.

ingproper.butthisaffinityisresponsibleforanotherpointin

uandiheartofsublition,suggestion

thenthepaintinginthehills.

exactheinal;butexaausesutiveissorareand

indefinablefeelingbehind,hereaderssedoesnotsatisfyhis

thisaffinitybetorenaturalandapparentwhen

forrexalefroipo,theartliesintheseleofainthefround

fround,thereadergainsaclearperspectiveotherpossible.ashthe

andartisticrestraint.thepoetdoesnottrytosayallhehastosay.hisbusinessisbut

thepoetseyeisthepainterseye,andpaintingarybeeone.

thosevaorelateronwhen

foranautuse:severaldotsofhillsoverthewall.