pressionisticteique.itisateiquehgivesa

andthefasoverse.

thepoetseyeisthepainterseye,andpaintingarybeeone.

forrexalefroipo,theartliesintheseleofainthefround

thepictureteiquehereisperfect:thehilltopsappearingasseveral”dots”overthe

uandliliatic

thehills.inthissense,an

exactheinal;butexaausesutiveissorareand

foranautuse:severaldotsofhillsoverthewall.

toev

andabovethetreesahundredsprings.

thisaffinitybetorenaturalandapparentwhen

e:

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ofurse,itrequiresalittleefforttoigine”springsoops”he

ilarityofteilarityofthes,

thosevaorelateronwhen

lkyhenpaintiogetheronafiatsurface.thusliuyuhsi772842

aseriesofetreesinthe

tosetitoffagainsttheobjethedistanlouds,ades,hilltopsandthe

uandiheartofsublition,suggestion

seriesofiressions,vividandunfettable,andleavesrelyaflavour,an

indefinablefeelingbehind,hereaderssedoesnotsatisfyhis

onlybefoundountainges,f,afterthepreviousnightsrainfall,

firstthehillsinthepainting,

inanycase,thepaierfinishinghispaintingusuallyesaverseatthetopin

ingproper.butthisaffinityisresponsibleforanotherpointin

fround,thereadergainsaclearperspectiveotherpossible.ashthe

works:

andartisticrestraint.thepoetdoesnottrytosayallhehastosay.hisbusinessisbut

thenthepaintinginthehills.