toev

exactheinal;butexaausesutiveissorareand

e:

onlybefoundountainges,f,afterthepreviousnightsrainfall,

ilarityofteilarityofthes,

thepoetseyeisthepainterseye,andpaintingarybeeone.

foranautuse:severaldotsofhillsoverthewall.

forrexalefroipo,theartliesintheseleofainthefround

thisaffinitybetorenaturalandapparentwhen

ofurse,itrequiresalittleefforttoigine”springsoops”he

firstthehillsinthepainting,

aseriesofetreesinthe

seriesofiressions,vividandunfettable,andleavesrelyaflavour,an

andabovethetreesahundredsprings.

inanycase,thepaierfinishinghispaintingusuallyesaverseatthetopin

uandliliatic

pressionisticteique.itisateiquehgivesa

indefinablefeelingbehind,hereaderssedoesnotsatisfyhis

uandiheartofsublition,suggestion

fround,thereadergainsaclearperspectiveotherpossible.ashthe

ingproper.butthisaffinityisresponsibleforanotherpointin

thepictureteiquehereisperfect:thehilltopsappearingasseveral”dots”overthe

works:

andartisticrestraint.thepoetdoesnottrytosayallhehastosay.hisbusinessisbut

thosevaorelateronwhen

thenthepaintinginthehills.

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tosetitoffagainsttheobjethedistanlouds,ades,hilltopsandthe

andthefasoverse.

lkyhenpaintiogetheronafiatsurface.thusliuyuhsi772842

thehills.inthissense,an