fround,thereadergainsaclearperspectiveotherpossible.ashthe

andartisticrestraint.thepoetdoesnottrytosayallhehastosay.hisbusinessisbut

inanycase,thepaierfinishinghispaintingusuallyesaverseatthetopin

thepoetseyeisthepainterseye,andpaintingarybeeone.

ilarityofteilarityofthes,

pressionisticteique.itisateiquehgivesa

thosevaorelateronwhen

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andabovethetreesahundredsprings.

lkyhenpaintiogetheronafiatsurface.thusliuyuhsi772842

uandliliatic

foranautuse:severaldotsofhillsoverthewall.

thehills.inthissense,an

e:

thisaffinitybetorenaturalandapparentwhen

toev

works:

ofurse,itrequiresalittleefforttoigine”springsoops”he

tosetitoffagainsttheobjethedistanlouds,ades,hilltopsandthe

andthefasoverse.

seriesofiressions,vividandunfettable,andleavesrelyaflavour,an

ingproper.butthisaffinityisresponsibleforanotherpointin

uandiheartofsublition,suggestion

thenthepaintinginthehills.

indefinablefeelingbehind,hereaderssedoesnotsatisfyhis

exactheinal;butexaausesutiveissorareand

forrexalefroipo,theartliesintheseleofainthefround

thepictureteiquehereisperfect:thehilltopsappearingasseveral”dots”overthe

firstthehillsinthepainting,

onlybefoundountainges,f,afterthepreviousnightsrainfall,

aseriesofetreesinthe