andartisticrestraint.thepoetdoesnottrytosayallhehastosay.hisbusinessisbut

ofurse,itrequiresalittleefforttoigine”springsoops”he

thepictureteiquehereisperfect:thehilltopsappearingasseveral”dots”overthe

forrexalefroipo,theartliesintheseleofainthefround

fround,thereadergainsaclearperspectiveotherpossible.ashthe

onlybefoundountainges,f,afterthepreviousnightsrainfall,

pressionisticteique.itisateiquehgivesa

thenthepaintinginthehills.

e:

thisaffinitybetorenaturalandapparentwhen

indefinablefeelingbehind,hereaderssedoesnotsatisfyhis

lkyhenpaintiogetheronafiatsurface.thusliuyuhsi772842

andthefasoverse.

tosetitoffagainsttheobjethedistanlouds,ades,hilltopsandthe

aseriesofetreesinthe

uandiheartofsublition,suggestion

foranautuse:severaldotsofhillsoverthewall.

uandliliatic

inanycase,thepaierfinishinghispaintingusuallyesaverseatthetopin

ilarityofteilarityofthes,

andabovethetreesahundredsprings.

thehills.inthissense,an

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firstthehillsinthepainting,

exactheinal;butexaausesutiveissorareand

thepoetseyeisthepainterseye,andpaintingarybeeone.

works:

ingproper.butthisaffinityisresponsibleforanotherpointin

thosevaorelateronwhen

seriesofiressions,vividandunfettable,andleavesrelyaflavour,an

toev