文 : 李旭 一、審美淵源 在以具象形式為主體的當代藝術大行其道的今天，很多人都已忘記了抽象藝術的歷史意義和現實價值。抽象藝術曾是“為藝術而藝術”的極致，是藝術自身價值最大化的張揚表現。從抽象藝術誕生之日起，藝術就可以不必試圖再現和表現客觀物質世界，轉而營造與現實平行的主觀精神世界，與現實“纏繞”和“交叉”的關係，變成了“平行”關係。回顧現代藝術發展史後，我們可以説，沒有抽象藝術就沒有觀念藝術的獨立性、自足性，抽象藝術的誕生為當代藝術理論奠定了重要的基礎。 從康定斯基的第一張抽象畫算起，西方抽象藝術的誕生已經超過一個世紀，而中國抽象藝術還非常年輕。古代中國沒有抽象藝術，但中國傳統藝術的許多門類裏都有對抽象美的欣賞傳統。那些欣賞抽象美的行為、心理和文字，在書法、戲曲、園林、傢具等文化遺産之中普遍存在。古人所欣賞的書法筆畫、太湖石、大理石等類似“抽象”形式的美感，基本上發源於道家哲學。世界上沒有任何一個國家像中國那樣對林林總總的奇石情有獨鍾，這種審美取向也和道家“天人合一”、“道法自然”的理唸有著千絲萬縷的聯繫。老子《道德經》中“大音希聲”、“大象無形”、“大成若缺”、“大盈若衝”、“唯道集虛”等名言，可以充分證明道家對“空”、“無”、“虛”的推崇，這是一種極其特殊的價值觀，既為後世對非具象美感的欣賞提供了理論基礎，也造就了漢民族文化傳統中崇尚簡約、概括、象徵、隱喻的審美性格。 在唐代書法巔峰時代誕生的狂草，更是中華美學的異數。漢字的雛形甲骨文本來是象形文字，在這種以象形原則為基礎而造就的文字體系中，居然能夠演化出幾乎喪失辨識度的書寫方式，進而成為中國書法史上難以逾越的審美經典，這不能不説是世界文化史上的特例。 在歷代文人所推崇的藝術標準中，對“不似”的議論是令人印象深刻的。在南齊謝赫的“六法”之中，“氣韻生動”排名第一，而“應物象形”排名第三。北宋文豪蘇軾嘗言：“論畫以形似，見與兒童鄰。”元代巨匠倪瓚曾説：“逸筆草草，不求形似。”現代國畫大師齊白石更以“似與不似之間”作為風格自白。由於歷代文人都貶斥過度的形似，於是中國的視覺藝術很早就放棄了對極端化寫實技巧的刻意追求，轉而尋覓表達方式上的“氣”、“韻”和“意”，進而“得意忘象”。 道家哲學和書法美學，是中國當代抽象藝術得以濫觴的心理基礎和視覺根源，更是中國抽象藝術在當代國際藝壇的立身之本。
二、演進歷程 西方抽象藝術對中國早期現代藝術的影響，始於1930年代的民國時期，當時，“決瀾社”中的部分藝術家已經開始了對純粹視覺形式的探索和實驗。但是，抗日戰爭的全面爆發，迫使文藝界立刻投身於救亡的宣傳洪流，寫實主義的藝術形式因其通俗易懂和喜聞樂見，永遠都是政治宣傳和群眾動員的有力工具，而“玩弄形式”、“脫離時代”的抽象藝術顯然是不合時宜的。從那時起，中國歷史上幾乎每10年就會有一次巨大的變動，對思想、學術、文藝的積累和傳承都造成了不少消極影響，抽象藝術在中國內地的學術線索也因此一再中斷，時間長達半個世紀之久。 1970年代末及1980年代初期，隨著思想解放運動的萌生，中國內地的文化藝術界對抽象藝術又開始了重新的認識。但是，由於極“左”思想在意識形態方面的頑固遺存，抽象藝術在相當長的一段歷史時期內被批判為“資産階級的腐朽、反動藝術形式”，而“抽象派”、“自我表現”、“形式主義”這種詞彙則被當時的極“左”勢力當做匕首和投槍拋來擲去，從事形式主義探索，作品中帶有抽象意味的藝術家也屢次遭受不公正的責難與打擊。在“文革”中後期，吳大羽、李青萍等老一代藝術家曾以地下方式持續抽象、半抽象探索，他們所作出的貢獻是不應被忘記的。 “85新潮”席捲大江南北，抽象藝術的實踐也達到了前所未有的高潮，今天，當我們回顧這段歷史時，會發現不少50歲以上的知名前衛藝術家在當時都有過短暫的、耐人尋味的“抽象時期”。由此可知，抽象藝術在當時顯然是被他們當做反叛與顛覆僵化藝術體制的工具了，那時的抽象創作大多數是策略性的，只是手段，不是目的。在眾多抽象、半抽象的藝術探索中，余友涵、李山、王克平、葛鵬仁、周長江、張健君、仇德樹、孟祿丁、尹齊、于振立、丁乙、王易罡、顧黎明、張方白、劉鳴、管策、王毅、江海等藝術家在語言方面的探索為後來者提供了有價值的坐標。1980年代中後期，有三件事從一定程度上説明瞭官方藝術機構對待抽象藝術的態度：其一，是旅法華人抽象藝術家趙無極被浙江美術學院邀請客座執教；其二，是西班牙抽象藝術家塔皮埃斯的個人畫展在中國美術館開幕；其三，是周長江的抽象作品在全國美展上獲得銀獎。 90年代以來的20年間，中國內地的抽象藝術創作呈現出漸趨繁榮的發展態勢，散落在全國各地的藝術家開始介入抽象、半抽象的語言實踐，許多較為獨立的個體風格也在多年來的探索中逐步建立。北方藝術家中，于振立、閆振鐸、譚平、祁海平、白明、張國龍、申偉光、伊靈、閻秉會、張羽、胡又笨、劉旭光、路青、陳光武、徐紅明、周洋明、孫凱、尹戈等人是其中較為突出的代表。南方藝術家中，丁乙、秦一峰、申凡、施慧、傅中望、仇德樹、陳心懋、陳墻、徐虹、李磊、李華生、楊述、王川、劉子建、梁銓、趙葆康、潘微、黃淵青、曲豐國、曹小冬、張浩、王遠、燕飛翔、王燮達等人則形成了比北方藝術家們更為龐大的創作群體，顯示出不可忽視的實力。旅居海外多年的藝術家如江大海、蘇笑柏、朱金石、孟祿丁、沈忱、馬樹青、李向陽、陳若冰等成熟個體紛紛歸國發展，更為這一繁榮景象增添著全新活力。值得一提的是，上海作為一個有著殖民文化傳統的城市，在抽象藝術的發展上異軍突起，在80年代初之後的30年發展歷程中，專門從事抽象創作以及先後介入抽象風格的藝術家已經超過30位，從而不容置疑地在事實上確立了上海“抽象藝術首都”的地位。自1997年“無形的存在——上海抽象藝術展”之後，眾多抽象藝術聯展在上海遍地開花，其中以曾在上海美術館連續舉辦四屆的“形而上”抽象展最為著名。 時至今日，抽象藝術已經在全國各地漸趨活躍，各種名目的展示活動此起彼伏，從北京到深圳，從畫廊到美術館，以抽象為主題的展覽、研討和出版活動方興未艾。
三、當下問題 1. 形式主義的現實困境 抽象藝術不是一個已經完成其歷史使命的流派，抽象其實是人類認識世界和表達思想的一種基礎語言。對視覺形式語言的探索，在理論上是沒有極限的，但我們必須清楚的是，並不是所有的探索和發現都具備藝術價值，獨特的也並不一定就是傑出的。近10年來，儘管抽象藝術家數量有增無減，展示活動層出不窮，但選擇抽象應該是有條件的，堅持抽象道路更需要堅忍不拔的意志。當下的中國抽象藝術探索僅僅是起步，對形式的探索和實驗在深度和廣度方面都還十分有限。其實，抽象世界遠比具象世界寬廣，形式語言的自由度和可能性也更大，但寬廣不等於沒有界限，自由也並不等於沒有難度。形式如果最後成了專利發明和絕技炫耀，其內在思想和觀念的深度必定大打折扣，進而成為在理性和感性層面上都無法打動觀者，無法令人産生共鳴的，僅僅具有裝飾功能的商品。 2. 觀念探索的視覺依據 在視覺藝術領域，任何觀念的存在都需要視覺形式作為佐證。觀念性的抽象藝術在中國的發展尚處於起步階段，創作的視野還不夠開闊，選擇的手段也還比較有限。在這個問題上，需要被一再強調的常識是：觀念的存在，其目的並不是消解形式。觀念性的抽象應當是具有獨特語匯的抽象方式，語匯的絕對重要性是毋庸諱言的。另外，所謂的觀念性抽象並不只是“極簡”或“極繁”，風格上的“單純”也絕不能與“簡單”畫等號，“抽象藝術”的疆域其實非常寬廣，但迄今為止的中國內地抽象藝術所涉及的領域還僅僅局限于繪畫、雕塑和裝置作品的範圍之內，抽象風格的攝影作品僅有少量的零星個案，而抽象的錄影、電影與表演等形式的作品則非常罕見。任何藝術觀念的探索如果失去了充分的視覺依據，其觀念只能成為一具乾癟的空殼。 3. 學術概念的模糊與顛覆 隨著抽象藝術的逐漸興起，當下已有越來越多的批評家和策展人開始介入抽象領域，有關抽象的展覽、研討和出版活動此起彼伏，這是毋庸置疑的好事。但不容忽視的是，有兩種聲音使本來清晰的學術觀念日益模糊甚至顛覆，卻是令人擔憂的。一種聲音源自原本擅長寫實和表現，後來轉向抽象創作的藝術家及其代言人，他們認為只要偏離學院寫實或傳統具象的風格者皆可被定義為廣義上的“抽象”，其實這種類型的作品更確切的定義應該是“表現”、“象徵”或者“意象”。另一種聲音則對中國抽象藝術採取完全否定的態度，其代表性觀點認為抽象發源於西方，中國的抽象藝術只是翻版和拷貝而已，其立論點的致命錯誤在於混淆了“抽象”、“抽象主義”和“抽象藝術”三者之間的深層內涵。 4. 商業化與庸俗化的危險 在抽象藝術逐步進入市場，進而成為中産階級的趣味所在和消費重點以後，抽象藝術將會漸漸面對被市場異化的命運。因為抽象藝術對現代家居環境具備理想的裝飾功能，也因為購藏者對抽象藝術的盲目跟風和不求甚解，藝術市場上就不可避免地會出現魚龍混雜的局面。畫廊、博覽會上已經出現大量粗製濫造的“偽抽象”，不少成名的抽象藝術家們由於訂單不斷，也産生了不求進取、消極守成的趨勢。抽象藝術誕生之初，是驚世駭俗的舉動，是對陳腐藝術觀念的反叛，而杜絕商業化與庸俗化的消極影響，應該是每一位抽象藝術家執著的個人操守，如果藝術家們對這一危險視而不見，“抽象”概念本身在中國內地的未來前途是不容樂觀的。 四、未來之路 儘管抽象藝術並非肇始於中國，儘管中國並沒有抽象藝術的傳統，但由於傳統審美意識中積澱著對抽象美感的欣賞經驗，中國當代藝術家們認識和領悟抽象藝術精髓的能力是非常優秀的。由於書法、園林和戲曲等傳統藝術形式中普遍存在著“準抽象”的視覺遺産，中國藝術家們在象徵符號、意象轉換方面也有著廣泛的選擇餘地，在尋找原創性母題方面，中國博大精深的歷史資源更為當代藝術提供了許多天然的優越感。 在內外環境已趨成熟的今天，建立成熟的“中國抽象”藝術體系已經有必要成為當代藝術家們的話題。“中國抽象”不是符號與口號的機械堆砌，更不是“唐人街文化”的異國賣弄，“中國抽象” 應當滲透著本土文明的內在思辨，表達出華夏民族的審美情懷。以宏大的人文背景為依託，以豐富的視覺樣式為依據，“中國抽象”的發展空間不可限量。以道家哲學為靈魂，以書法美學為法度，以觀念性與形式感並重的方式不斷探尋東方的形而上精神，也應當是“中國抽象”的必由之路。 2012年10月23日
I. Asethetic Origin In a world where prevails the contemporary art with the representational form as its subject, a lot of people have forgotten the historical meaning and realistic value of the abstract art, which used to the ultimate of “art for art’s sake” and the maximized high-profile manifestation of the self value of art. Since the birth of the Abstract Art, art has been set free from attempting to represent and present and objective material world. In turn it tries to create a subjective spiritual world parallel to the reality, resulting in a “parallel” instead of the “intertwining” and “intersecting” relationship with the reality. We can safely say after retrospecting the development of modern art that there is no independence and self-sufficiency of the conceptual art without the abstract art, the birth of which has laid a significant foundation of the theory of contemporary art. Since the first painting of Kandinsky, the western abstract art has enjoyed a history of more than a century while the Chinese counterpart is still learning baby steps. The traditional Chinese art has long enjoyed the appreciation of the abstract beauty in many disciplines despite the lack of “abstract art” in ancient China. The behavior, psychology and words of appreciating the abstract beauty can be easily found in the cultural legacies like calligraphy, traditional Chinese operas, gardens and parks, furnitures, etc. Generally speaking, such appreciation of beauty in “abstract” forms can be traced back to Taoism. There’s not another country in the world that can match China in its obsession with the variety of rare stones, an aesthetic orientation that cannot be separated from the Taoist theories of “unity of heaven and men” and “nature as the ultimate way”. What’s more, the Taoist inclination towards the “void”, the “empty” and “nihility” can be adequately verified by the famous sayings like “the great sounds border on silence”, “the huge forms tend to be intangible”, “the most perfect presents itself as flawed” and “the greatest appears to be the most humble”. This extremely particular value not only provided a theoretical foundation of appreciating the non-representational beauty for the later generations, but also built up the aesthetic characters of simplicity, epitomization, symbol and metaphor in the cultural tradition of the Han Nationality. The extremely wild scribble style that was born at the peak of calligraphy of the Tang Dynasty was indeed a bizarrerie case in the Chinese aesthetics. Oracle as the origin of the Chinese characters belongs to the category of hieroglyphics - a system of characters and words based on pictographs. Therefore it’s a truly remarkable exception in the world cultural history that somehow an almost unrecognizable calligraphic style evolved from this system and in turn became the insurmountable classic in the history of Chinese calligraphy. Among the most esteemed artistic standards of generations of scholars, the most impressive falls in the discussion of “not alike”. According to the “Six Criteria” by Xie He of the South Qi Dynasty, the most important criterion should be the “artistic conception and vividness” while the “likeness to the objects” ranked the third. The great writer Su Shi (of the North Song Dynasty) once remarked: “it’s only in the levels of children that drawings are judged by their likeness to the objects”. The great artist Ni Zan from the Yuan Dynasty advocated a departure from the pursuit of similarity in form or appearance. And the modern master in painting Qi Baishi even made a confession of his style as between “the similarity and dissimilarity”. Since the excessive similarity in forms and appearances was condemned by generations of scholars and artists, the Chinese visual art had long given up on the deliberate pursuit of extreme realistic techniques, instead they turned to find the “qi”, “charm” and “spirit” of the way of expression, resulting in the precedence of the spirit over the image. The Taoist philosophy and the calligraphic aesthetics are the psychological foundation and visual origin for the growth of Chinese contemporary abstract art as well as the root for Chinese abstract art to establish itself on the international stage.
II. Evolution Process The influence of the western abstract art on the early Chinese modern art started in the 1930s when some artists from The Storm Society (Jue Lan She) had already began their exploration and experiments of the pure visual forms. But with the outburst of the Anti-Japanese War necessitating artists participating in the propaganda of the salvation of China, the realistic art forms were considered to be the more powerful tool of political propaganda and mass mobilization due to its simplicity and popularity while the abstract art inappropriate, for its dallying with forms and out of sync with the time. Since then, China has gone through several a social quake every 10 years, imposing quite some negative effect on the build-up and inheritance of ideology, academics and art, breaking off repeatedly the academic clues of abstract art in mainland China for over half a century. With the budding of Ideological Emancipation starting from the end of 1970s and the beginning of 1980s, the culture and art circle of mainland China began anew their cognition of the abstract art. But with the ultra-leftism’s influence on ideology still going strong, the abstract art for rather a long time was condemned to be “the decadence of the bourgeoisie” and “the reactionary art form” while words like “abstractionist”, “self-expression” and “formalism” were used by the leftists for smearing and artists who engaged in the exploration of formalism and whose works came with abstract implication were unfairly accused and attacked time and again. During the latter period of the Cultural Revolution, some artists like Wu Dayu and Li Qingping kept on their abstract and semi-abstract exploration in an underground way, and such contribution shouldn’t be forgotten. The practice of the abstract art reached an unprecedented peak when the “New Wave 85’” was sweeping all over China. In retrospect, quite a lot of famed avant-garde artists who are over 50 had gone through a brief and intriguing “abstract period” during that time. It was obvious that the abstract art was used by them as a tool of rebellion against the stiffed art system while most of the creative works of the abstract art were kind of strategic, serving as a means instead of an end. Among these abstract and semi-abstract artistic exploration, valuable coordinates in the exploration of languages were provided for descendants by artists like Yu Youhan, Li Shan, Wang Keping, Ge Pengren, Zhou Changjiang, Zhang Jianjun, Qiu Deshu, Meng Luding, Yin Qi, Yu Zhenli, Ding Yi, Wang Yigang, Gu Liming, Zhang Fangbai, Liu Ming, Guan Ce, Wang Yi, Jiang Hai, etc. During the late 1980s, the official art institutions’ attitude towards the abstract art was somehow reflected through three events: first being the invitation of Zhao Wuji, a Chinese abstract artist residing in France, by Zhejiang Art Institute to be the guest lecturer, second the opening of the Solo Exhibition of Spanish abstract painter Tapies at the National Art Museum of China, and lastly the silver medal conferred to the abstract work by Zhou Changjiang at the National Art Exhibition. Since the 1990s, the creation of abstract art in mainland China has been ever on the rise, with artists scattered all over the country got involved in the abstract and semi-abstract language practice and quite a lot independent individual styles gradually established through years of exploration. From the north, the distinguished representatives are Yu Zhenli, Yan Zhenduo, Tan Ping, Qi Haiping, Bai Ming, Zhang Guolong, Shen Weiguang, Yi Ling, Yan Binghui, Zhang Yu, Hu Youben, Liu Xuguang, Lu Qing, Chen Guangwu, Xu Hongming, Zhou Yangming, Sun Kai and Yin Ge while among artists from the south, Ding Yi, Qin Yifeng, Shen Fan, Shi Hui, Fu Zhongwang, Qiu Deshu, Chen Xinmao, Chen Qiang, Xu Hong, Li Lei, Li Huasheng, Yang Shu, Wang Chuan, Liu Zijian, Liang Quan, Zhao Baokang, Pan Wei, Huang Yuanqing, Qu Fengguo, Cao Xiaodong, Zhang Hao, Wang Yuan, Yan Feixiang and Wang Xieda had together formed an even bigger creative group than their northern counterparts with a force to be reckoned with. Artists who had been residing overseas for many years, such as Jiang Dahai, Su Xiaobai, Zhu Jinshi, Meng Luding, Shen Chen, Ma Shuqing, Li Xiangyang, Chen Ruobing had come back in succession, infusing the prosper with brand-new energy. What’s worth mentioning is shanghai as a city with colonial culture tradition made a sudden rise in the development of the abstract art, turning out more than 30 artists who specially engaged in the creation of abstract art and dabbled in the abstract style in the 30 years of development since the beginning of the 1980s, thus establishing the unquestionable status of Shanghai as “the capital of abstract art”. Since “The Intangible Existence - The Abstract Art Exhibition of Shanghai” in 1997, a great many group exhibitions flourished all over Shanghai, among which the most famous one was “The Metaphysical” Abstract Exhibition that had been held successively for 4 times at the Shanghai Art Museum. Up till today, the abstract art has become more and more alive all over China, with a variety of exhibitions coming one after another, and the heat still rising over exhibitions, discussions and publications centered on the abstract art from Beijing to Shenzhen and from galleries to museums.
III. Problems of the Moment 1. The reality predicament of the formalism The abstract art is not a genre that has already finished its historical mission, and abstraction is actually a basic language of human beings to know the world and express ideas. Theoretically speaking, there is no limit in the exploration of languages in visual forms, but what we must make clear is that not all explorations and discoveries considered to be artistically valuable - uniqueness doesn’t necessarily mean excellence. For the past 10 years, with the ever rising numbers of abstract artists and exhibitions, the choice of abstraction still should come with conditions, requiring more perseverance and grittiness in the pursuit of this art. Right now the Chinese abstract art is still a toddler in its exploration, quite limited in the depth and width of the exploration and experiment of forms. Actually the abstract world is much more vast and deep than the representational world, the freedom and possibility of form languages much bigger, but extensiveness doesn’t equal limitlessness, and freedom doesn’t come without difficulties. If forms eventually become a patent and technique for boasting, the depth of its inner thoughts and ideas will be greatly reduced, thus failing to touch the viewers from both the perspectives of reason and sensibility, producing only commodities with a decorative function without actually touching people. 2. Visual basis for the exploration of concepts In the field of visual art, the existence of any concept needs to be verified by visual forms. The development of the conceptual abstract art in China is still in the beginning, with less open horizon for creation and limited means for choice. The common sense that needs to be brought up again and again on this issues is the existence of concepts, the aim of which is not to dissolve forms. The conceptual abstraction should be an abstract approach with unique language, the absolute significance of which cannot be stressed more. What’s more, the so-called conceptual abstraction is not just “extreme simplicity” or “extreme complication”, and “simplicity” in style does not equal “simpleness”. The territory of “the abstract art” is vast indeed, whereas up till today the abstract art in China has only covered painting, sculpture and devices with few individual cases of photographic works of abstract style and extremely rare works of abstract video, films and performances. Once the valid visual proof is lost for the exploration of any artistic concept, that concept will only end up to be a shrivelled corpse 3. The obscurity and subversion of the academic concept With the rise of the abstract art, more and more critics and curators started to get involved in the field, and the heat still rising over exhibitions, discussions and publications centered on the abstract art, which are undoubtedly good things to see. But what cannot be ignored is that two voices have obscured and even subverted the once-clear academic concept, which is quite alarming. One of the voices came from artists and representatives who used to be good at realism and expression and then turned to the abstract creation. They thought that anything that takes a departure from the academic realism or the traditional representational style could be generally defined as “the abstract”, whereas the more accurate definition for such genre should be “expression”, “symbol” or “image”. The other voice took on the attitude of total denial towards the Chinese abstract art, condemning it to be a mere copycat since the abstraction originated from the west. The fatal error of the argument is that it confuses the deep connotations of “abstraction”, “abstractionism” and “abstract art”. 4. The danger of commercialization and vulgarization The abstract art will be confronted with the fate of alienation by the market when it makes its entrance into the market and in turn becomes the interest and focus of consumption of the middle class. The ideal decorative function of the abstract art for the modern home environment in addition to collectors’ blind pursuit and superficial understanding of the abstract art, resulted in an inevitable varied jumble in the art market. The shoddy “pseudo-abstraction” is now surging in great quantities in galleries and exhibitions, while the established abstract artists also lost their enterprising spirit and inclined towards conservatism since they’ve got countless orders incoming. The abstract art was a world-astounding event at the beginning of its birth, a rebellion against the stale artistic concepts. The ability to resist the negative effect of commercialization and vulgarization should be the integrity that every single abstract artist sticks to. And if they ignore such threat, the concept of “abstract” won’t be blessed with a bright future here in mainland China.
IV. The Road in the Future Though the abstract art did not originate from China nor does China have the tradition of the abstract art, the contemporary artists of China possess an outstanding capability to understand the essence of the abstract art, thanks to the centuries-old appreciation of the abstract beauty by the traditional aesthetics. Because of the general existence of the “quasi-abstract” visual legacies in calligraphy, gardens and parks and traditional Chinese operas, Chinese artists are granted with a wide variety of choices in symbols and transformation of images, and the profound historical resources of China also provided for the contemporary art a great deal of natural superiority when it comes to searching for original motifs. It has become an essential topic for contemporary artists to build a mature artistic system of the “Chinese abstraction” when the interior and exterior environments have reached maturity. Instead of being a mechanical piling of symbols and slogans or the showing off of the “Chinatown culture”, the “Chinese abstraction” should be saturated with the inner speculation of the native culture to express the Chinese aesthetics. With the vast humanistic background and rich visual forms as the basis, the development of the “Chinese abstraction” shall see no boundary. The inevitable course for the “Chinese abstraction” should be the constant exploration of the oriental metaphysical spirit while focusing both on concepts and forms, with Taoist philosophy as its soul, the aesthetics of calligraphy its standards. Written on Oct. 23, 2012 |
