firstthehillsinthepainting,

seriesofiressions,vividandunfettable,andleavesrelyaflavour,an

foranautuse:severaldotsofhillsoverthewall.

onlybefoundountainges,f,afterthepreviousnightsrainfall,

fround,thereadergainsaclearperspectiveotherpossible.ashthe

andthefasoverse.

toev

inanycase,thepaierfinishinghispaintingusuallyesaverseatthetopin

works:

thepoetseyeisthepainterseye,andpaintingarybeeone.

thepictureteiquehereisperfect:thehilltopsappearingasseveral”dots”overthe

indefinablefeelingbehind,hereaderssedoesnotsatisfyhis

pressionisticteique.itisateiquehgivesa

uandiheartofsublition,suggestion

forrexalefroipo,theartliesintheseleofainthefround

andartisticrestraint.thepoetdoesnottrytosayallhehastosay.hisbusinessisbut

thehills.inthissense,an

ilarityofteilarityofthes,

ofurse,itrequiresalittleefforttoigine”springsoops”he

uandliliatic

andabovethetreesahundredsprings.

e:

tosetitoffagainsttheobjethedistanlouds,ades,hilltopsandthe

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aseriesofetreesinthe

lkyhenpaintiogetheronafiatsurface.thusliuyuhsi772842

thisaffinitybetorenaturalandapparentwhen

ingproper.butthisaffinityisresponsibleforanotherpointin

exactheinal;butexaausesutiveissorareand

thosevaorelateronwhen

thenthepaintinginthehills.