inanycase,thepaierfinishinghispaintingusuallyesaverseatthetopin

uandiheartofsublition,suggestion

onlybefoundountainges,f,afterthepreviousnightsrainfall,

toev

tosetitoffagainsttheobjethedistanlouds,ades,hilltopsandthe

ingproper.butthisaffinityisresponsibleforanotherpointin

ofurse,itrequiresalittleefforttoigine”springsoops”he

andthefasoverse.

indefinablefeelingbehind,hereaderssedoesnotsatisfyhis

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thepictureteiquehereisperfect:thehilltopsappearingasseveral”dots”overthe

fround,thereadergainsaclearperspectiveotherpossible.ashthe

thehills.inthissense,an

thosevaorelateronwhen

uandliliatic

lkyhenpaintiogetheronafiatsurface.thusliuyuhsi772842

foranautuse:severaldotsofhillsoverthewall.

firstthehillsinthepainting,

e:

ilarityofteilarityofthes,

pressionisticteique.itisateiquehgivesa

thisaffinitybetorenaturalandapparentwhen

thepoetseyeisthepainterseye,andpaintingarybeeone.

aseriesofetreesinthe

andartisticrestraint.thepoetdoesnottrytosayallhehastosay.hisbusinessisbut

andabovethetreesahundredsprings.

works:

thenthepaintinginthehills.

forrexalefroipo,theartliesintheseleofainthefround

seriesofiressions,vividandunfettable,andleavesrelyaflavour,an

exactheinal;butexaausesutiveissorareand