Why does DFO return a bow in the middle of slur?

The following is Mozart's 2nd edited by Sam Franco which is often played.
Attention to bar 145.

The following is the same part of the score edited by DFO which is seldom played.
The bowing by DFO in measure 145 makes the outline of the melody clearer than
the slur indicated by the composer. The first beat is down bow, and the 3rd note, up.
This is the result that the instruction of Piotr Stolyarsky was kept faithfully.
The phrase becomes one, comprising two slurs, and this division of one slur into
two brings persuasive power.

 三連譜のスラーの最後で弓を返す例。DFOの Mozart の楽譜にはこの形が多い。三連譜の最後
は弓先に来ているので、弓を「返し」たことが目立たない。その結果スラーの分け方を変えても
作曲家のアーティキュレーションはなんとか維持される。よほど注意深く弓を返すことが出来る
という、前提の上でのボウイングだ。短い三連譜のフレーズをほぼ全弓で弾いてしまうという
オイストラフならではの特殊なスラーだと思うのだけど、違うかもしれない。
(I am sorry in Japanese. Because it isn't confident of me about the ability of linguistics.)

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