tosetitoffagainsttheobjethedistanlouds,ades,hilltopsandthe

thehills.inthissense,an

toev

ofurse,itrequiresalittleefforttoigine”springsoops”he

andabovethetreesahundredsprings.

thisaffinitybetorenaturalandapparentwhen

works:

forrexalefroipo,theartliesintheseleofainthefround

andartisticrestraint.thepoetdoesnottrytosayallhehastosay.hisbusinessisbut

inanycase,thepaierfinishinghispaintingusuallyesaverseatthetopin

uandiheartofsublition,suggestion

seriesofiressions,vividandunfettable,andleavesrelyaflavour,an

foranautuse:severaldotsofhillsoverthewall.

thenthepaintinginthehills.

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firstthehillsinthepainting,

ilarityofteilarityofthes,

thosevaorelateronwhen

thepictureteiquehereisperfect:thehilltopsappearingasseveral”dots”overthe

aseriesofetreesinthe

andthefasoverse.

lkyhenpaintiogetheronafiatsurface.thusliuyuhsi772842

onlybefoundountainges,f,afterthepreviousnightsrainfall,

fround,thereadergainsaclearperspectiveotherpossible.ashthe

indefinablefeelingbehind,hereaderssedoesnotsatisfyhis

e:

ingproper.butthisaffinityisresponsibleforanotherpointin

exactheinal;butexaausesutiveissorareand

thepoetseyeisthepainterseye,andpaintingarybeeone.

pressionisticteique.itisateiquehgivesa

uandliliatic