exactheinal;butexaausesutiveissorareand

forrexalefroipo,theartliesintheseleofainthefround

uandliliatic

inanycase,thepaierfinishinghispaintingusuallyesaverseatthetopin

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foranautuse:severaldotsofhillsoverthewall.

ingproper.butthisaffinityisresponsibleforanotherpointin

aseriesofetreesinthe

pressionisticteique.itisateiquehgivesa

indefinablefeelingbehind,hereaderssedoesnotsatisfyhis

andthefasoverse.

thenthepaintinginthehills.

thehills.inthissense,an

works:

lkyhenpaintiogetheronafiatsurface.thusliuyuhsi772842

e:

uandiheartofsublition,suggestion

seriesofiressions,vividandunfettable,andleavesrelyaflavour,an

andartisticrestraint.thepoetdoesnottrytosayallhehastosay.hisbusinessisbut

tosetitoffagainsttheobjethedistanlouds,ades,hilltopsandthe

thepictureteiquehereisperfect:thehilltopsappearingasseveral”dots”overthe

thisaffinitybetorenaturalandapparentwhen

ofurse,itrequiresalittleefforttoigine”springsoops”he

onlybefoundountainges,f,afterthepreviousnightsrainfall,

fround,thereadergainsaclearperspectiveotherpossible.ashthe

ilarityofteilarityofthes,

andabovethetreesahundredsprings.

thepoetseyeisthepainterseye,andpaintingarybeeone.

firstthehillsinthepainting,

thosevaorelateronwhen

toev