toev

thehills.inthissense,an

thepictureteiquehereisperfect:thehilltopsappearingasseveral”dots”overthe

ofurse,itrequiresalittleefforttoigine”springsoops”he

pressionisticteique.itisateiquehgivesa

ingproper.butthisaffinityisresponsibleforanotherpointin

uandiheartofsublition,suggestion

andabovethetreesahundredsprings.

ilarityofteilarityofthes,

lkyhenpaintiogetheronafiatsurface.thusliuyuhsi772842

tosetitoffagainsttheobjethedistanlouds,ades,hilltopsandthe

andartisticrestraint.thepoetdoesnottrytosayallhehastosay.hisbusinessisbut

indefinablefeelingbehind,hereaderssedoesnotsatisfyhis

uandliliatic

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thosevaorelateronwhen

works:

onlybefoundountainges,f,afterthepreviousnightsrainfall,

thisaffinitybetorenaturalandapparentwhen

seriesofiressions,vividandunfettable,andleavesrelyaflavour,an

firstthehillsinthepainting,

inanycase,thepaierfinishinghispaintingusuallyesaverseatthetopin

thenthepaintinginthehills.

thepoetseyeisthepainterseye,andpaintingarybeeone.

foranautuse:severaldotsofhillsoverthewall.

andthefasoverse.

fround,thereadergainsaclearperspectiveotherpossible.ashthe

e:

forrexalefroipo,theartliesintheseleofainthefround

aseriesofetreesinthe

exactheinal;butexaausesutiveissorareand