fround,thereadergainsaclearperspectiveotherpossible.ashthe

ilarityofteilarityofthes,

forrexalefroipo,theartliesintheseleofainthefround

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aseriesofetreesinthe

andthefasoverse.

uandiheartofsublition,suggestion

works:

exactheinal;butexaausesutiveissorareand

thepoetseyeisthepainterseye,andpaintingarybeeone.

inanycase,thepaierfinishinghispaintingusuallyesaverseatthetopin

andartisticrestraint.thepoetdoesnottrytosayallhehastosay.hisbusinessisbut

andabovethetreesahundredsprings.

seriesofiressions,vividandunfettable,andleavesrelyaflavour,an

thosevaorelateronwhen

firstthehillsinthepainting,

ingproper.butthisaffinityisresponsibleforanotherpointin

thepictureteiquehereisperfect:thehilltopsappearingasseveral”dots”overthe

thenthepaintinginthehills.

ofurse,itrequiresalittleefforttoigine”springsoops”he

thehills.inthissense,an

indefinablefeelingbehind,hereaderssedoesnotsatisfyhis

thisaffinitybetorenaturalandapparentwhen

tosetitoffagainsttheobjethedistanlouds,ades,hilltopsandthe

onlybefoundountainges,f,afterthepreviousnightsrainfall,

pressionisticteique.itisateiquehgivesa

lkyhenpaintiogetheronafiatsurface.thusliuyuhsi772842

toev

e:

uandliliatic

foranautuse:severaldotsofhillsoverthewall.