toev

andabovethetreesahundredsprings.

firstthehillsinthepainting,

ofurse,itrequiresalittleefforttoigine”springsoops”he

fround,thereadergainsaclearperspectiveotherpossible.ashthe

onlybefoundountainges,f,afterthepreviousnightsrainfall,

thepictureteiquehereisperfect:thehilltopsappearingasseveral”dots”overthe

thepoetseyeisthepainterseye,andpaintingarybeeone.

seriesofiressions,vividandunfettable,andleavesrelyaflavour,an

andartisticrestraint.thepoetdoesnottrytosayallhehastosay.hisbusinessisbut

indefinablefeelingbehind,hereaderssedoesnotsatisfyhis

andthefasoverse.

thisaffinitybetorenaturalandapparentwhen

lkyhenpaintiogetheronafiatsurface.thusliuyuhsi772842

ingproper.butthisaffinityisresponsibleforanotherpointin

exactheinal;butexaausesutiveissorareand

inanycase,thepaierfinishinghispaintingusuallyesaverseatthetopin

aseriesofetreesinthe

uandiheartofsublition,suggestion

works:

thenthepaintinginthehills.

foranautuse:severaldotsofhillsoverthewall.

ilarityofteilarityofthes,

tosetitoffagainsttheobjethedistanlouds,ades,hilltopsandthe

pressionisticteique.itisateiquehgivesa

thehills.inthissense,an

uandliliatic

forrexalefroipo,theartliesintheseleofainthefround

e:

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