thenthepaintinginthehills.

e:

indefinablefeelingbehind,hereaderssedoesnotsatisfyhis

foranautuse:severaldotsofhillsoverthewall.

andthefasoverse.

inanycase,thepaierfinishinghispaintingusuallyesaverseatthetopin

thisaffinitybetorenaturalandapparentwhen

works:

ofurse,itrequiresalittleefforttoigine”springsoops”he

lkyhenpaintiogetheronafiatsurface.thusliuyuhsi772842

aseriesofetreesinthe

andabovethetreesahundredsprings.

pressionisticteique.itisateiquehgivesa

onlybefoundountainges,f,afterthepreviousnightsrainfall,

thosevaorelateronwhen

ingproper.butthisaffinityisresponsibleforanotherpointin

seriesofiressions,vividandunfettable,andleavesrelyaflavour,an

ilarityofteilarityofthes,

firstthehillsinthepainting,

thehills.inthissense,an

thepictureteiquehereisperfect:thehilltopsappearingasseveral”dots”overthe

forrexalefroipo,theartliesintheseleofainthefround

thepoetseyeisthepainterseye,andpaintingarybeeone.

uandiheartofsublition,suggestion

fround,thereadergainsaclearperspectiveotherpossible.ashthe

tosetitoffagainsttheobjethedistanlouds,ades,hilltopsandthe

uandliliatic

andartisticrestraint.thepoetdoesnottrytosayallhehastosay.hisbusinessisbut

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toev

exactheinal;butexaausesutiveissorareand