uandliliatic

indefinablefeelingbehind,hereaderssedoesnotsatisfyhis

e:

forrexalefroipo,theartliesintheseleofainthefround

onlybefoundountainges,f,afterthepreviousnightsrainfall,

thehills.inthissense,an

fround,thereadergainsaclearperspectiveotherpossible.ashthe

andabovethetreesahundredsprings.

thepictureteiquehereisperfect:thehilltopsappearingasseveral”dots”overthe

lkyhenpaintiogetheronafiatsurface.thusliuyuhsi772842

firstthehillsinthepainting,

foranautuse:severaldotsofhillsoverthewall.

ingproper.butthisaffinityisresponsibleforanotherpointin

seriesofiressions,vividandunfettable,andleavesrelyaflavour,an

thosevaorelateronwhen

thisaffinitybetorenaturalandapparentwhen

tosetitoffagainsttheobjethedistanlouds,ades,hilltopsandthe

ofurse,itrequiresalittleefforttoigine”springsoops”he

thepoetseyeisthepainterseye,andpaintingarybeeone.

andthefasoverse.

works:

toev

pressionisticteique.itisateiquehgivesa

andartisticrestraint.thepoetdoesnottrytosayallhehastosay.hisbusinessisbut

exactheinal;butexaausesutiveissorareand

ilarityofteilarityofthes,

inanycase,thepaierfinishinghispaintingusuallyesaverseatthetopin

thenthepaintinginthehills.

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uandiheartofsublition,suggestion

aseriesofetreesinthe