482:
31:
235:
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351:, a key question for scholars is whether the Śākyamuni depicted is the already enlightened Buddha or simply a man disillusioned with austerities but yet to become the "enlightened one." Among scholars, two opposing schools of thought persist on this issue. However, Zen adherents tend to favor the former view: that Śākyamuni attained enlightenment during his time in the mountains. This would suggest that Śākyamuni is portrayed as a
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107:, a young girl, gave Śākyamuni a quantity of milk rice, which he ate. Once he made this decision to end his fast, the five people practicing asceticism with him were disappointed and left him. So, a solitary Śākyamuni descended the mountain, left the life of extreme austerity behind him, and traveled instead to
355:, forestalling nirvana and descending from the mountain to assist others on the path to enlightenment. In light of this reading, Śākyamuni's subsequent meditation and what is conventionally understood as his enlightenment under the bodhi tree at Gaya then also poses an interpretive challenge to scholars.
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in particular is unique to Zen. Typically, Zen spurned iconographic depictions of
Buddhist deities as seen in the art of other sects. However, early Zen placed great emphasis on the centrality of Śākyamuni Buddha, whose role had become downplayed in recent Mahayana Buddhism. This emphasis was tied to
819:
The artist Mori Sosen was not a Zen monk but rather a professional "town painter" supported by patronage. He is most well known for his realistic paintings of monkeys, which artistic background
Patricia J. Graham suggests allowed him to bring an element of playfulness to the religious subject matter
552:
is the oldest extant ink monochrome rendition of this theme. Although its artist is unknown, the work is based on the style of the painter Li Que. A member of the
Southern Song literati who interacted closely with Chan priests, Li Que had in turn studied Liang Kai's later work, and was known for his
221:
followed one of two styles: the first was the traditional
Chinese style that featured color, thin outlines, and detailed depictions of figure and landscape, while the second was the characteristically Zen style of monochrome painting, thicker lines with a 'spontaneous' quality, and fewer landscape
591:
In
Brinker's view, Chijue Daocheng's poem exhibits an interpretation of this image as a portrait of the Buddha returning to society having already attained enlightenment, or "revelation," in the mountains. However, Carla M. Zainie notes that Chijue Daochong's tone of questioning leaves this point
379:
paintings do not feature a halo, which scholars therefore understand as primarily a
Japanese innovation. Apart from the use of religious symbols, poetic inscriptions also animate discussions on the enlightened status of Śākyamuni in a given painting. For instance, according to Helmut Brinker, the
776:
According to Helmut
Brinker, Huizhi's emphasis on Śākyamuni's state of confusion suggests that the man in the painting has not yet achieved self-realization. Yet, Carla M. Zainie suggests that Huizhi's colophon remains open to interpretation due to the fact that "confused" could alternatively be
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also reflects important beliefs and practices of the Zen religious tradition. For instance, Śākyamuni's weariness as he walks down from the mountain suggests that enlightenment does not come easily. The solitariness of Śākyamuni's descent reflects Zen teaching about the importance of individual
300:
is to demonstrate "Śākyamuni's role as earthly religion founder." For this reason, portrayals of Śākyamuni descending the mountain after asceticism generally call viewers' attention to the human frailty of this important figure, grounding him in the earthly as opposed to deifying him. Śākyamuni
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He enters the mountains and returns from the mountains. In the East it flows rapidly, in the West it disappears. He has the bearing of a
Phoenix and the manner of a Dragon. He is draped in silk, but emaciated to the bone. This is what he achieved in six years of asceticism: He became utterly
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spirituality and solitary meditation. At the same time, his return to society after retreating to the mountains may also suggest that self-realization is fostered by living in community with others. That Śākyamuni's hands are always concealed by the folds of his robe rather than forming a
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is characteristic of Chan painting style in the late-Southern Song and Yuan
Dynasties. While the work overall appears very carefully composed and executed, the fine detail of Sakyamuni's face and body is juxtaposed with the less meticulous character of his robes. The painter of the Freer
313:
resonates with the Zen
Buddhist virtue of wordlessness. Finally, the narrative of the story itself in conjunction with artists' emphasis on earthliness suggests, in accordance with Zen teaching, that enlightenment is not found by completely cutting off oneself from the world.
564:, the Cleveland version includes only the ground and no other landscape elements. There is also much sparser detail on Śākyamuni's face and body. The artist has employed mostly light, washy ink tonalities with some dark details for an effect known as "apparition painting."
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paintings indeed present viewers with the emaciated frame of a distinctly human Śākyamuni, the question of enlightenment is complicated by the presence in some paintings of symbols and iconography indicating holiness. Some artists paint Śākyamuni with a halo, an
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According to the story, Śākyamuni, after leaving his palace, retreated into the mountains to seek enlightenment. Accompanied by five other ascetics, he meditated and fasted to a severe extent, his body becoming thin and emaciated. After six years,
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is distinctive in its emphasis on the humanity of the historical Buddha, who in this and some other East Asian subjects is often given a beard, and a realistic, rather thin and dishevelled appearance, in contrast to traditional depictions of the
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paintings are hung on the walls of Rinzai Zen temples during the holiday celebrating the enlightenment of Śākyamuni Buddha. Seven days of meditation begin on the eighth day of the twelfth month, at the conclusion of which an image of
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Chan Buddhism was transmitted from China to Japan (where it is known as Zen) during the thirteenth century, along with the unique styles and motifs of the Chan painting tradition. For example, in the fourteenth century, the famous
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Liang Kai was not a Zen monk painter, but after he abandoned his position at the Imperial Academy and turned to a lifestyle of heavy drinking, his portraits came to suggest influences of the Chan painting tradition. Since his
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painting in existence today. It is a 13th century Japanese painting based on a 12th century Chinese prototype. In turn, this important painting was used as a model for subsequent versions in Japan. A seal on the Seattle
754:, to which it also bears stylistic similarities. For instance, the monochrome Choraku-ji painting is characterized by variations in ink tonality and dynamically modulated brushstrokes like the Cleveland version.
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the task of establishing an authoritative Zen patriarchal lineage traceable all the way back to the historical Buddha. Hence, according to Helmut Brinker and Hiroshi Kanazawa, the chief function of the motif of
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said before it. This practice suggests that Śākyamuni's years of asceticism and self-denial in the mountains are indeed tied to his enlightenment in the religious understanding of these Zen practitioners.
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Helmut Brinker characterizes the tone of this colophon as "desperate" and "despairing," belying "frustration" and "discontent," presenting to the reader a Śākyamuni who has not yet reached his goal.
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The painting bears an inscription by Xiyan Liaohui (1198–1262), a Chan abbot originally from Sichuan. Xiyan Liaohui's inscription, brushed in the "running script" style and emulating the hand of
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as a portrait of a man still seeking self-realization, or at least to cast doubt on the completeness of his enlightenment. One example is the following colophon by Songyuan Chongyo (1132–1202):
140:
Since different Buddhist traditions have different beliefs about Śākyamuni's journey to enlightenment, there is no universal version of the biography of the historical Buddha. The story of
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in the Chinese orthodox style. There is no inscription on this painting other than the artist's signature, which identifies him as "Painter-in-Attendance" at the Imperial Academy.
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pre-dates this move, however, it bears the mark of his earlier work: a carefully planned and executed "academic" style. According to the analysis of Hiroshi Kanazawa, Liang Kai's
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stresses the humanity and ordinariness of the historical Buddha. In her analysis, Graham suggests that this resonates with the egalitarian quality of Zen beliefs about universal
824:. His portrayal of Śākyamuni in a humble and somewhat whimsical manner suggest the influence of the iconoclastic strain of Zen art. Like its predecessors, Mori Sosen's
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saw renewed popularity in art and worship during the Edo Period (1603–1868), when Zen painting came to exert its influence on broader Japanese art and culture. Hence,
317:
Historically, paintings on this motif had a relatively small audience, circulating among the overlapping networks of literati elites and Chan monks. In ritual use,
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201:(960–1279), the period during which Chan reached its height in China. It became a particularly prevalent feature of paintings produced in the Chan temples of
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painting, but also a significant divergence in composition and style from conventional representations of this motif. It may be inspired by an earlier
278:. In Japan, unlike in China, this Zen painting motif was on rare occasions translated to other forms of art, such as print illustration and sculpture.
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paintings, which have led scholars to this conclusion. Li's painting style involved fine lines and precise brushwork. In general, Chinese paintings of
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761:: Tōmyō E'nichi), who lived from 1272–1340. In 1309, this priest of Chinese origin relocated to Japan, where he went on to establish a monastery in
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While some Zen masters' inscriptions situate them in the same camp as Mingben, Brinker suggests that still others favor the alternative reading of
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Though part of a broader tradition in Buddhist art and literature across Asia of depicting Śākyamuni during his years of asceticism, the story of
127:. Key interpretive debates about paintings on this theme pivot on the question of whether the artist portrays Śākyamuni as enlightened or not.
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is unknown, the style of the painting leads scholars to infer that the creator of this work was a Zen priest rather than a trained painter.
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appears starved and tired, his body is gaunt and bony, and his face may bear a dismayed expression. He is also commonly depicted as a monk.
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were based closely on Chinese models. Since Japanese priests were often the ones transporting paintings back to their home country, Chinese
258:(ca. 1140-ca. 1210) was transported by Zen monks to Japan, where it inspired later Japanese paintings. Hence, early Japanese renditions of
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paintings often ended up in Japanese monasteries, and subsequent copies or imitations were created in monastery ateliers. In Japan,
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alike, mountains are believed to be holy places, and Daoist sages in particular often retreated to mountains for meditation.
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In English there are many variant titles, with "emerging", "mountains", different diacriticals and prepositions, and so on.
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735:, Nambokucho Period (Japanese), 14th century, hanging scroll, ink on silk, 72.7 x 36.1 cm, Choraku-ji Collection, Japan.
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is modeled after Liang Kai's famous rendition, Carla M. Zainie suggests it is evidently inspired by the Cleveland
989:
Brinker, Helmut; Kanazawa, Hiroshi (1997). "Themes and Genres of Zen Painting: The Historical Buddha Sakyamuni".
84:
469:
Southern Song Dynasty (Chinese), 1244, hanging scroll, ink on paper, 166.37 x 49.85 cm, Cleveland Museum of Art.
234:
83:
returns from six years of asceticism in the mountains, having realized that ascetic practice is not the path to
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no mountain locale is mentioned in that text, and indeed the traditional locations for Śākyamuni's life after
1301:
Brinker, Helmut and Hiroshi Kanazawa. "Themes and Genres of Zen Painting: The Historical Buddha Sakyamuni."
549:
489:, Southern Song Dynasty, mid 13th century, hanging scroll, ink on paper, 92 x 31.7 cm, Freer Gallery of Art.
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sect of Zen Buddhism and saw more prolonged popularity as a painting subject than in China, even into the
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innovation of the tenth century. While reference to Śākyamuni's six years of asceticism is present in the
843:, ca. 1800, hanging scroll, ink and light color on paper, 106.68 x 54.93 cm, Nelson-Atkins Museum of Art.
38:, Southern Song Dynasty (Chinese), 13th century, hanging scroll, ink and color on silk, 118.4 x 52.0 cm,
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has been dubiously attributed to Hu Zhifu, a man about whom little historical information is available.
514:
498:
39:
1343:, ed. Pratapaditya Pal, 37–128, but mainly 96-100. Los Angeles: Los Angeles County Museum of Art, 1984.
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was a favourite place in his later life. The mountain setting was likely of Chinese origin because in
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717:, the only landscape element depicted on this hanging scroll is the ground on which Śākyamuni walks.
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1243:. Ann Arbor: University of Michigan Center for South and Southeast Asian Studies. pp. 153–161.
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1315:., 153–161. Ann Arbor: University of Michigan Center for South and Southeast Asian Studies, 1982.
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685:, late 13th century (Japanese), hanging scroll, ink on paper, 90.8 x 41.9 cm, Seattle Art Museum.
160:
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Pal, Pratapaditya (1984). "The Legendary Life of Buddha Sakyamuni". In Pal, Pratapaditya (ed.).
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381:
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paintings, the baldness on top of Śākyamuni's head can also represent an uṣṇīṣa. Most Chinese
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bears an inscription attributed to the Zen priest Chijue Daochong, (1170–1251), which reads:
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205:. The artist credited with initiating this motific tradition is the Northern Song literatus
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is an important subject in painting from both China and Japan, but rarely or never found in
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Art of Japan: Paintings, Prints and Screens: Selected Articles from Orientations 1984–2002
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elements. The former was the earlier style, common in the Song Dynasty, while into the
99:, where a mountain retreat is not part of the story of this part of the Buddha's life.
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was popularized as a subject in painting in the thirteenth century during the Chinese
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1350:, ed. Pratapaditya Pal, 183–250. Los Angeles: Los Angeles County Museum of Art, 1984.
1336:, ed. Pratapaditya Pal, 165–174. Los Angeles: Los Angeles County Museum of Art, 1984.
1209:
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111:, the city that would become known as the famous site of his enlightenment under the
1103:
Zainie, Carla M. (September 1978). "Sources for Some Early Japanese Ink Paintings".
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This anonymous work housed at the Seattle Art Museum is the earliest known Japanese
698:, along with its style and materials, associates it with the painting workshops of
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The inscriber of this work was also a Zen priest, identified as Dongming Huizhi (
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as an enlightened Buddha returning to the world to spread his wordless teaching:
1173:
Poster, Amy G. (1984). "The Buddha Image in Japan". In Pal, Pratapaditya (ed.).
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differs radically in style from Liang Kai's version. In contrast to Liang Kai's
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There is only You, old fellow, who is still lacking complete Enlightenment.
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texts or artwork, indicating that this part of Śākyamuni's biography was a
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145:
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1329:, trans. Barbara Ford, 84–87. Tokyo: Kodansha International Ltd., 1979.
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He forcibly spoke of the six years as the time of completing his way.
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has the simple, abbreviated quality of a sketch. Like the Cleveland
1292:
Art of Japan: Paintings, Prints and Screens: Selected articles from
939:
Brinker, Helmut (1973). "Shussan Shaka in Sung and Yüan Painting".
650:"I see that all living are completed into Buddhas since some time.
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between 1239 and 1260, most likely close to 1250. This painting of
1353:
Zainie, Carla M. "Sources for Some Early Japanese Ink Paintings."
1177:. Los Angeles: Los Angeles County Museum of Art. pp. 183–250.
1140:. Los Angeles: Los Angeles County Museum of Art. pp. 165–174.
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1308:, trans. Andreas Lesinger, 131–135. Zurich: Artibus Asiae, 1997.
1049:. Los Angeles: Los Angeles County Museum of Art. pp. 37–128.
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paintings, and the most famous. Produced under the patronage of
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He who emerges from the mountains and has entered the mountains:
368:
1339:
Pal, Pratapaditya. "The Legendary Life of Buddha Sakyamuni."
1283:
Brinker, Helmut. "Shussan Shaka in Sung and Yüan Painting."
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After having a twinkling of revelation with impassioned eyes
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presents the viewer with an as yet unenlightened Śākyamuni.
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Ha, ha, ha...! He glances over ten million miles of billows.
1265:
Kanazawa, Hiroshi (1979). "Shaka Descending the Mountain".
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Brinker, Helmut (2002). "Zen Masters in Words and Images".
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constitutes not only an example of a much later (ca. 1800)
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by eschewing background and landscape elements altogether.
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The Lives of the Buddha in the Art and Literature of Asia
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The Lives of the Buddha in the Art and Literature of Asia
1155:. Hong Kong: Orientations Magazine Ltd. pp. 195–204.
497:, from the first half of the 13th century and now in the
1298:, 195–204. Hong Kong: Orientations Magazine, Ltd., 2002.
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Graham, Patricia J. (2007). "Professional Icon-Makers".
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Since entering the mountain, too dried out and emaciated
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Huanzhu Mingben salutes with respectfully folded hands.
371:, each of which may signify enlightenment. In Japanese
1322:, 127–249. Honolulu: University of Hawaii Press, 2007.
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With the beauty of a dragon and the air of a phoenix.
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Kanazawa, Hiroshi. "Shaka Descending the Mountain."
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Brinker, Helmut. "Zen Masters in Words and Images."
1269:. Tokyo: Kodansha International Ltd. pp. 84–87.
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While Hiroshi Kanazawa posits that this portrait of
226:(1271–1368) it was the latter style that prevailed.
1320:
Faith and Power in Japanese Buddhist Art, 1600–2005
1211:
Faith and Power in Japanese Buddhist Art, 1600–2005
627:went yet further than the painter of the Cleveland
556:Although depicting the same subject, the Cleveland
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Shakyamuni Descending the Mountain After Asceticism
495:Śākyamuni Descending the Mountain After Asceticism
347:In interpreting Chinese and Japanese paintings of
36:Śākyamuni Descending the Mountain After Asceticism
1215:. Honolulu: University of Hawaii Press. pp.
777:taken to signify a kind of spiritual revelation.
1318:Graham, Patricia J. "Professional Icon-Makers."
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411:The venerable master Shijia (Śākyamuni) comes.
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209:(1049–1106). Though not extant, Li Gonglin's
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1348:Light of Asia: Buddha Sakyamuni in Asian Art
1346:Poster, Amy G. "The Buddha Image in Japan."
1341:Light of Asia: Buddha Sakyamuni in Asian Art
1334:Light of Asia: Buddha Sakyamuni in Asian Art
1306:Masters of Meditation in Images and Writings
1175:Light of Asia: Buddha Sakyamuni in Asian Art
1138:Light of Asia: Buddha Sakyamuni in Asian Art
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646:Before his feet emerged from the mountains
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442:The day he came out of the mountains he
434:At midnight he passed over the city wall
270:became particularly associated with the
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832:and the accessibility of enlightenment.
213:is referenced in inscriptions on other
18:Shakyamuni Descending from the Mountain
1239:Cummings, Mary (1982). "Austerities".
739:Although the artist of the Choraku-ji
485:Traditionally attributed to Hu Zhifu,
467:Śākyamuni Emerging from the Mountains,
73:Śākyamuni Descending from the Mountain
1376:Cultural depictions of Gautama Buddha
613:Śākyamuni Emerging from the Mountains
487:Śākyamuni Emerging from the Mountains
380:following colophon by the Zen master
7:
642:At midnight he saw the morning star.
841:Shaka Descending from the Mountains
798:Shaka Descending from the Mountains
440:the Honorable was not aware of it.
25:
1136:(1984). Pal, Pratapaditya (ed.).
683:Śākyamuni Descending the Mountain
343:Japanese book illustratiion, 1809
1357:65, no. 7 (Sep., 1978): 232–246.
1311:Cummings, Mary. "Austerities."
517:, it is a classic example of a
444:could no bear hunger and cold,
326:is displayed and the mantra of
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802:Nelson-Atkins Museum of Art
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765:. His inscription reads:
550:Cleveland Museum of Art
405:That is originally You.
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1381:Buddhist iconography
666:In Japanese Painting
609:Freer Gallery of Art
335:Interpretive Debates
1371:Zen art and culture
458:In Chinese Painting
409:It still is not he.
254:by Chinese painter
165:Indo-Gangetic plain
161:the Great Departure
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1287:9 (1973): 21–40.
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725:
719:
675:
669:
667:
664:
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594:
583:
567:The Cleveland
541:
537:The Cleveland
535:
511:Emperor Lizong
478:
472:
459:
456:
449:
418:
336:
333:
288:
285:
283:
280:
231:
228:
137:
134:
132:
129:
65:chūshān shìjiā
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1393:
1382:
1379:
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1297:
1294:Orientations
1293:
1289:
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946:
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869:
867:
863:
857:
854:
847:
842:
837:
833:
831:
830:buddha-nature
827:
826:Shussan Shaka
823:
822:Shussan Shaka
817:
815:
811:
810:Shussan Shaka
807:
806:Shussan Shaka
803:
799:
795:
791:
790:Shussan Shaka
788:The motif of
784:
783:Shussan Shaka
781:Mori Sosen's
778:
773:
772:
766:
764:
760:
755:
753:
752:Shussan Shaka
749:
748:Shussan Shaka
744:
742:
741:Shussan Shaka
734:
733:Shussan Shaka
730:
724:
723:Shussan Shaka
720:
718:
716:
715:Shussan Shaka
712:
711:Shussan Shaka
707:
705:
701:
697:
696:Shussan Shaka
692:
691:Shussan Shaka
684:
680:
674:
673:Shussan Shaka
670:
665:
663:
657:Wuzhun Shifan
653:
639:
637:
636:Wuzhun Shifan
632:
630:
629:Shussan Shaka
626:
625:Shussan Shaka
621:
620:Shussan Shaka
616:
614:
610:
606:
605:Shussan Shaka
599:
598:Shussan Shaka
595:
593:
582:
572:
570:
569:Shussan Shaka
565:
563:
562:Shussan Shaka
559:
558:Shussan Shaka
554:
551:
547:
546:Shussan Shaka
540:
539:Shussan Shaka
536:
534:
532:
528:
527:Shussan Shaka
522:
520:
519:Shussan Shaka
516:
512:
508:
504:
503:Shussan Shaka
500:
496:
488:
483:
477:
476:Shussan Shaka
468:
464:
457:
448:
431:
429:
428:Shussan Shaka
417:
398:
393:
389:
387:
386:Shussan Shaka
383:
378:
377:Shussan Shaka
374:
373:Shussan Shaka
370:
366:
361:
360:Shussan Shaka
356:
354:
350:
349:Shussan Shaka
341:
334:
332:
329:
325:
324:Shussan Shaka
320:
319:Shussan Shaka
315:
312:
307:
306:Shussan Shaka
302:
299:
298:Shussan Shaka
294:
293:Shussan Shaka
286:
281:
279:
277:
273:
269:
268:Shussan Shaka
265:
264:Shussan Shaka
261:
260:Shussan Shaka
257:
253:
252:Shussan Shaka
245:
241:
236:
229:
227:
225:
220:
219:Shussan Shaka
216:
215:Shussan Shaka
212:
211:Shussan Shaka
208:
204:
200:
196:
195:Shussan Shaka
192:
190:
186:
182:
178:
174:
170:
166:
162:
158:
156:
151:
150:Chan Buddhist
147:
143:
142:Shussan Shaka
135:
130:
128:
126:
125:Buddha in art
121:
120:Shussan Shaka
116:
114:
110:
106:
100:
98:
94:
90:
89:Shussan Shaka
86:
85:enlightenment
82:
78:
74:
70:
66:
62:
58:
57:shussan shaka
54:
50:
49:
48:Shussan Shaka
41:
37:
32:
19:
1354:
1347:
1340:
1333:
1326:
1319:
1312:
1305:
1302:
1295:
1291:
1284:
1278:Bibliography
1266:
1240:
1210:
1174:
1152:
1146:
1137:
1108:
1104:
1064:
1055:
1046:
990:
944:
940:
856:
840:
839:Mori Sosen,
825:
821:
818:
809:
805:
797:
789:
787:
782:
775:
769:
768:
756:
751:
747:
745:
740:
738:
732:
722:
714:
710:
708:
695:
690:
688:
682:
672:
671:The Seattle
661:
641:
633:
628:
624:
619:
617:
612:
604:
602:
597:
590:
574:
568:
566:
561:
557:
555:
545:
543:
538:
530:
526:
523:
518:
502:
494:
493:Liang Kai's
492:
486:
475:
474:Liang Kai's
466:
433:
427:
425:
402:
385:
376:
372:
359:
357:
348:
346:
323:
318:
316:
305:
303:
297:
292:
290:
282:Significance
267:
263:
259:
251:
248:
224:Yuan Dynasty
218:
214:
210:
199:Song Dynasty
194:
193:
189:Confucianism
173:Rajgir Hills
169:Vulture Peak
155:Buddhacarita
153:
141:
139:
119:
117:
101:
93:Buddhist art
88:
77:Buddhist art
72:
64:
56:
47:
46:
45:
35:
814:Kano School
353:bodhisattva
95:outside of
34:Liang Kai,
1365:Categories
1111:(7): 237.
848:References
794:Mori Sosen
596:The Freer
276:Edo Period
244:Edo Period
207:Li Gonglin
113:bodhi tree
1296:1984–2002
947:: 21–40.
812:from the
771:confused.
638:, reads:
358:Although
256:Liang Kai
238:Japanese
97:East Asia
1117:25159592
763:Kamakura
759:Japanese
655:—
584:—
450:—
419:—
367:, or an
53:Japanese
953:4629268
800:at the
700:Kozanji
548:at the
513:of the
397:netsuke
171:in the
131:Origins
69:English
63:: 出山釋迦
61:Chinese
55:: 出山釈迦
1115:
951:
365:uṣṇīṣa
272:Rinzai
187:, and
185:Daoism
105:Sujata
1219:–149.
1113:JSTOR
949:JSTOR
709:This
704:Kyoto
311:mudra
240:tsuba
177:Bihar
1303:Zen:
369:urna
109:Gaya
1217:127
820:of
796:'s
509:or
175:in
1367::
1249:^
1225:^
1183:^
1161:^
1125:^
1109:65
1107:.
1073:^
999:^
961:^
943:.
865:^
816:.
706:.
183:,
115:.
71::
67:;
59:;
1119:.
955:.
945:9
157:,
51:(
42:.
20:)
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