Jizis Reflections on Art（one）
Jizis Reflections on Art
1. I have named my paintings the Tao of Ink Landscapes. The Tao is
the spirit of the great universe. What I seek as an artist is the
unification of Heaven and Earth and Man, insight into the Tao, the
material universe, and myself.
- 永利集团248cc登录 ，Change the real object into the subject, and turn the visual sense
of reality into reality as seen by the soul. Go from the objective world
to the subjective world by utilizing a type of transcendental subjective
spirit to dominate physical reality. This is the key to transforming
concrete reality into the abstract, it is the golden key as the material
world is changed by mind.Although the real world (that is life) is the
foundation of art, nonetheless, all artwork that has artistic value is
definitely not obtained by a mind changed by the material world.
Tao, also Romanized as Dao, literally means a road, a path, a way
and is the metaphysical principle of Chinas Taoist philosophy. Universe
here is given as qian and kun, both of which are the names of the two
lines, qian solid kun broken, used to form trigrams and hexagrams in
Chinas ancient Book of Changes (circa third millennium BCE.). Qian and
kun are also the names of the two trigrams that represent Heaven and
Earth respectively in the Book of Changes; as such, qian and kun
represent the universe.
While the quote itself (Chinese: wu sui xin zhuan) is attributed to the
Buddha in The Lankavatara Sutra (compiled in the fourth century CE), the
philosophic idealism expressed in this quote is also a principle of the
Consciousness-only School (weishi lun) that flourished in the Tang
2. The artists awakening through meditation and intuiting the Tao
are not the ecstasy of religious believers, but rather an emphasis on
choosing those cultural factors that accord with art and that inspire
the artist to blend them with modern aesthetic concepts in order to
create a new realm of artistic expression.
This quote, in Chinese xin sui wu zhuan, is the authors play on the
words of the above quote: wu sui xin zhuan (the material world is
changed by mind).
Awakening through meditation is wu chan. The Chinese terms wu and
chan are more generally known in the West by their Japanese
pronunciations sartori and zen respectively.
When the form of a physical image is changed, although it forfeits
its significance as an object, nonetheless, it symbolizes the artists
expression of an inner mystery. Although unrestraint leads to
exaggeration, and eccentricity produces abnormal forms, these are all
different expressions of the artists mind. When the special features of
the physical image no longer exist, and colors also lose the effect of
pure substance, then what emerges is a transformation in concepts. What
the viewer feels is that the artist has completely exposed his inner
mind. This is something about which the School of Modern Artists in the
West has reached a fundamental consensus and, this being so, they use a
special kind of painting language to convey the souls artistic
A painting is speech. If the painting reveals ones mind, then that
mind is enlightened.
3. Attaining enlightenment by means of the sutras, and profoundly
believing that all sentient beings have the Buddha nature, one does not
return to the delusions of a material world, but rather casts away
delusions and returns to truth. One who returns to truth manifests an
authentic mind. An authentic mind gives rise to great truth, and great
truth gives rise to authentic paintings. Authentic paintings are
spiritual paintings, and spiritual paintings attain the realm of the
The Chinese word translated as enlightened is fo which literally means
the Buddha; the original meaning of the word Buddha, and its original
Chinese transliteration fotu, however, was the enlightened one.
The quoted remarks are attributed to Bodhidharma, the Indian
Buddhist who lived circa the 6th century CE, and reputedly introduced
the Chan (Japanese: Zen) or sudden enlightenment School of Buddhism to
- The source of the mind is the source of art. One who gets his mind
is then capable of getting the objects in his mind. The objects in ones
mind are the objects of art. Art objects are natures creative
transformations. Nature transforms creatively.Transforming creatively,
however, does not mean transforming the ancient, objects, scenes, or art
from outside (that is art from abroad), so how about creating?
The word xin, which literally means heart, is translated throughout
as mind because, in the Chinese philosophical tradition, the heart,
regarded as the seat of consciousness, is the mind.
Nature transforms creatively is the authors play on the Chinese term:
zaohua, which, as a noun, can mean Nature and, as a verb, to create or
The Chinese word zhen (真) can mean both true and authentic.
- If you follow the Tao to establish the image, then the image
establishes itself. If you follow the Tao to seek an artistic method,
then an artistic method arises by itself. If you follow the Tao to
structure a scene, then the scene structures itself. If you follow the
Tao to transform an artistic realm, then the realm itself comes into
4. Practitioners of Chan Buddhism say about meditation that things
viewed in the external illuminate the internal. This is also true of
painting the Tao.
Painting landscapes, the vulgar eye sees scenes but not realms.
The term, waiguan neizhao, is a Buddhist expression used to explain
how the Buddha, by inwardly reflecting on the external human condition,
discovered the Four Noble Truths.
If there are both scenes and realms, the painter is competent.
5. If we use the mind to illuminate things, then things are
transformed. If we just use our eyes to view things, then the things we
see are not authentic. Things that are not authentic cannot be created
because creations are things in ones mind. These things in ones mind are
artworks. The Tang painter Zhang Zao said: Learn about painting from
natures creations, but find the source for paintings in your mind. If we
only learn about painting but do not study natures creations, then we
impede both our eyes and our minds. If our eyes are impeded then our
minds lack clarity. If our minds lack clarity, then our eyes will not be
bright, and wisdom will not arise. A painting with no wisdom rarely
captures the essence of its subject.
If there are no scenes but there are realms,
The Tang Dynasty artist and scholar Zhang Zao lived in the seventh
Then the painter is a Master.
6. Once the image is finished, the meaning appears; grasp the
meaning and forget the image. Once we forget the image, the authentic
image appears. The authentic image is the artistic image, something that
an image that is a mere instrument can never imitate.
The Chinese for follow the Tao is yuan dao, a term that also has the
sense of going along with the Tao, being on the edge of the Tao, and
because of the Tao.
A quote attributed to the philosopher Wang Bi (226-249) in his
commentary on Chinas Book of Changes. The second half of the quote can
also be found in the What Comes from Without (wai wu) Chapter of The
Book of Zhuang Zi. Chinese scholars generally understand the quote to
mean that the image is an instrument that allows us to grasp meaning,
and that meaning is the goal for an artist creating an image.
- The scene is an instrument, the artistic realm is the Tao.
The word translated as instrument is qi, a word that means
instrument, device, or tool and is used in The Book of Changes in sharp
contradistinction to dao (i.e. the Tao).
What is called the scene is not the scene;
7. The paintings of a modern Chinese artist should have a
forcefulness that is both daring and dynamic, and also have
transcendental connotations that are unfathomable, unrestrained, and
The non-scene is not the non-scene; it is the scene.
8. In my landscape paintings, the image means an awareness of the
image, which is also an awareness of the Tao, an awareness of the
universe. The image governs the impression in impressionistic artwork.
The meaning of impression in impressionistic is the microscopic. While
the meaning of image connotes the creation of a macroscopic image, this
image is not what is conventionally called impressionistic sketches. The
former is the Tao; the latter, but an instrument.
What is called the realm is not the realm;
As noted above, this philosophic contradistinction between the Tao
(dao) and an instrument (qi) is from The Book of Changes.
The non-realm is not the non-realm; it is the realm.
9. There is a distinction in the black used in paintings between
real black and false black. Real black is the application of pure black.
In false black, however, one can regularly see objects as false black
has a certain transparency. When painting in the traditional categories,
artists mostly avoided real black calling it dead black, but I boldly
enable dead black, because it has certain functions in an artwork as a
whole. If, however, we simply paint black in isolation, it has
absolutely no meaning, and is simply a dash of dead ink.
What is called the method is not the method;
10. The Tao uses technique as a means of expression, and technique
itself connotes the spirit of the Tao. Because an artist uses the great
brush that leaves no traces, he composes a realm in which a great image
has no form, great beauty has no adornment, and great music uses sound
sparingly. This demonstrates the spirit of a realm of images where
Heaven, earth, and man are one, and there is insight into the Tao,
objects, and one s self, a realm where the artist puts in front of the
viewer indications of the Taos universal spirit. Such an artist is not
only the inheritor of that psychological understanding where a pure mind
gets a sense of the image and glimpses the Tao and the creative state
where the artist loosens his clothing and rolls up his sleeves, but also
such an artist transcends rationalism so that the artist can develop the
realm of the great Tao as a visual concept.
The non-method is not the non-method; it is the method.
The quote on beauty can be found in the last of the Outer Chapters,
titled Knowledge Rambling in the North, in the Book of Zhuang Zi. The
two quotes Great images have no forms, great music uses sound sparingly
are from Chapter 41 of Lao Zis Daode Jing.
As noted above, the word translated as instrument is qi, a word that
means instrument, device, or tool. Qi is used in The Book of Changes in
sharp contradistinction to dao (i.e. the Tao). Cf. Confucius remark in
the Second Chapter of the Analects of Confucius that the princely man
(i.e. the Confucian humanist ideal) is not a mere instrument (qi).
The ideas expressed in this quote can be found in all three of
Chinas indigenous philosophies: Confucianism, Taoism, and those Schools
of Buddhism that are indigenous to China.
- Speaking from a macroscopic perspective (the universe reflects
consciousness), the highest artistic realm is where culture expresses
The quote of a pure mind getting a sense of the image is from the
artist Zong Bing (375-443), while a pure mind glimpsing the Tao is a
Chan Buddhist statement that has been historically regarded as a
statement of an aesthetic principle. Cf., Zong Baihua, Meixue Sanbu (An
Aesthetic Stroll). Shanghai Peoples Publishing Company, 1981.
Speaking in a certain narrow sense (where art itself reflects
consciousness), then art expresses culture.
This quote is from the Tianzi Fang Chapter of the Book of Zhuang
Great music uses sound sparingly. Great images have no form. Great
beauty has no adornment. But it is not that there is absolutely no
sound, no form, no adornment. Rather, silence is not without sound; the
formless is not without form; the unadorned is not without adornment;
and this is the meaning of sound, form, and adornment. This kind of
sound, form, and adornment are authentic truth, form, and adornment. If
a painter does not thoroughly comprehend this principle, then that
painter is a conventional artist painting conventional pictures.
A great brush leave no traces. No traces are not non-traces. There
are the traces of creativity, of the real, of the original state; these
are all traces. Traces are signs; signs that include: signs of the mind,
the Tao, and the spirit.
11. When I was creating the Tao of Ink Landscapes, I wanted to grasp
and embody the spirit of the whole from a macroscopic level. On a
microscopic level, I wanted to show the qualities of objects. In other
words, I was seeking mutual agreement between a macroscopic exploration
of the Tao, and a microscopic exploration of the real. The Tao indicates
the universes eternally unchanging natural spirit in operation. Real
indicates the authentic qualities of physical images, and not the
reality of the natural shapes that appear before ones eyes. If we want
to assimilate the overall spirit of nature (the spirit of the universe),
we must first have an overall awareness, and this kind of overall
awareness is just the spiritual realm that the artwork demonstrates when
directly perceived through the visual sense. The picture constitutes the
artistic realm, and scenes constitute the picture, so that scenes then
are the most fundamental sensual elements. Several sensual elements
compose the overall awareness. When an artist is creating, he must fully
comprehend his artwork from this aspect of overall awareness; otherwise,
if the artist is constrained by a single sensual element, then he
remains an artisan, not an artist. As to the microscopic, the artist
wants to achieve the authenticity of the original object.
Life — the artist — artworks (the eye)
12. Although a painting is small, nevertheless, the artistic realm
should be broad and deep, and painted in such a way that one sees the
universe on the tip of a hair, and can turn the great dharma wheel while
occupying a molecule.
The artist — the cultivation of life — artworks (the mind)
The quotation is from the Chan Buddhist work Record of Pointing at
the Moon (zhiyue lun), compiled in 1602. Universe here is shifang sha,
literally places in all directions, while turning the dharma wheel
(zhuan falun) literally means enabling the truth of Buddhism. The dharma
wheel, or the Wheel of the Law (Chinese: falun; Sanskrit:
dharma-chakra), is an ancient Buddhist symbol and concept.
The universe — mans life — art (the Tao)
13. If an artist wants to turn out artwork that attains a high
artistic realm, and expresses a type of grand, broad, virile beauty,
then that artist must seek the source of truth, must reflect and know
oneself, must experience the stillness and the silence, and gain insight
via random feelings.
- From ancient times until the present, artists have persisted in the
concept of using forms to paint mysteries. I do just the opposite and
use mysteries to paint forms. Using forms to paint mysteries is
reproducing the subject of the painting while using mysteries to paint
forms is an artistic expression. The former repeats the object; the
latter, the subject. Lao Zi said:
The first two quotations, attributed to Shen Hui (670-762), a
famous student of the Sixth Chan Patriarch Hui Neng (638-713), can be
found in Shen Huis Xian Zong Ji written in 733. The last two quotations
are from the Later Han Dynasty work, The Sutra of 42 Sections,
traditionally attributed to two monks from what is now Central Asia,
Kasyapa Matanga and Dharmaratna, who translated the work into Chinese in
circa the first century.
Reversal is the movement of the Tao.
14. If in the end an artist does not dare to break down the mindset
of experience, then ultimately the artist will never create a great
artwork that astonishes people.
Cf. Chapter 40 of Lao Zis Daode Jing.
15. The traditional high walls and fixed barriers of experience
restrain an artists creative power. An artist must find that difficult
and rare breach in these walls and barriers of experience. When the
artist has found such a breach, he will be startled to discover that his
potential is unlimited.
- Painting natural objects is a process of objects move with the
mind,the earth transforms following mind, appearances transform
following mind, and the material word is changed by mind. Painting
natural objects is also a process of re-creating according to mind.It is
a process of going from the realm is created according to mind, and mind
is created in accord with the Tao, to follow the Tao to establish the
image, the image is changed by mind, the images of the scene constitute
the scene, the scene returns to the realm of images, and the realm of
images returns to the scene.
16. In discussing art, an artist should be introspective and
enlightened; in wielding the brush, an artist must return to the
original state of non-being.
This quote is from the Shishi Tongjian, a work compiled by the Korean
Monk known as Caoyi Chanshi (the Grass Cape Chan Monk), (1786-1866).
That is, wu, the Taoist concept of non-being.
These several quotes about how mind effects changes and transformations
are typical of the philosophical idealism of such Buddhist schools of
thought as Chan, consciousness-only,etc.
17. (One who obtains the mysterious Tao) obtains it from within; he
guards it against the external, and uses it to understand the spiritual;
he remains oblivious to instruments. These words essentially describe
how the Jin Dynasty Taoist Baopu Zi thought about the Tao. If an artist
wants to create a superb artwork, this is the best formula.
- A landscape paintings qualities and the levels of its artistic realm
are displayed in the following schematic:
Superb artworks inevitably at first appear unfathomable, but over
time become precious.
Materialized — mindized– Taoized
The quote is from the Jin Dynasty (265-420) Taoist work Baopu Zi
(literally The Master who Embraces Simplicity) authored by the scholar
Ge Hong (283-343). Again we see the philosophical contrast between the
Tao (dao) and an instrument (qi).
Eye objects — mind objects — Tao objects
The Baopu Zi is generally considered a Taoist work although it also
contains elements of Confucianism and Legalism.
Indicates the material word — indicates mind — indicates the Tao
The quote is from the Tang Dynasty calligrapher Zhang Huainao (no
Literally mindized (xinhua).
18. Large scenes substantially painted evoke great interest, but
small scenes in small paintings should also evoke great interest. What
is of interest is the artistic realm. The shape of the Lang Garden atop
the Kun Lun Mountains can be enclosed in a painting of an inch, while a
three inch vertical stroke can represent thousands of feet in height;
and a few horizontal measures of ink can embody a trail of a hundred
miles. (Zong Bing) And: A very small diagram can contain a scene of a
thousand miles meandering before ones eyes in all directions. (Wang Wei)
Literally Taozied (daohua).
Zong Bing (375-443), a painter and calligrapher of the Northern and
Southern Dynasties, authored A Preface to Landscape Painting, from which
the quote derives. The Lang Garden was reputed to be the abode of
- Does a painter want to know how good he is? Let him compare himself
to others, and he will know at first glance. Is the painter thinking of
becoming a Master? Then he must start as a conventional painter, spend
several decades striving to cultivate himself and practicing his art,
and only then will he achieve it.
Wang Wei (701-761), the Tang Dynasty scholar and poet, authored The
Secrets of Painting, from which this quote is taken.
Several basic processes produced the Tao of Ink Landscapes. The first
step was to proceed to the macroscopic conception of the realm of the
Tao. The second step was to proceed to the overall paintings macroscopic
composition based on the requirements of the realm of the Tao. The third
step was to create the image based on the needs of that composition, the
so called laying hold of the Tao to create the image. As to the aspect
of creating the image, I utilized a mode of thinking that allows for the
creation of multidimensional images, sets of concrete images, abstract
images, mental images, and so on. The fourth step was to paint a draft.
In the draft, the painting should be guided by rationality but there
should also be some irrational elements. There should be inevitable
accidents, and accidental inevitabilities brought about by the learning
and cultivating that is a convergence of artistic processes. This type
of bringing about is unconscious, but there are also conscious elements
so that by doing nothing, nothing is not done.Chinas spirit of the great
Tao and the characteristics of Chinas nationalities are naturally
embodied in this, and when we add individualized applications such as
the relationships between brush and ink, false and real, complex and
simple, black and white, and other such applications, then the the
concrete artistic language avails itself of the Tao to come into being,
and lays hold of the Tao to establish itself. In this there is a
rational, meticulous creativity, and also some irrational randomness.
There is a rationally transcendent epitome, but also the traditional
unity of Heaven and man, a creative mood in which both the ego and
objects are forgotten, and a state that transcends rationality in which
Heaven, man, and earth are one and the Tao, objects, and the ego are
fully comprehended. The fifth step was the last overall putting of
things in order. From here, the Tao of Ink Landscapes are not just the
traditional literatis poetic paintings,but the poetic mind of Heaven and
earth and also of the philosopher. The artworks are awe inspiring and
majestic and touch peoples heartstrings. They are a harmonious unity of
the subjective and the ontological as well as the smooth assimilation of
subject and object. They provide each individual with a different
inspiration, and they are also the visual appearances of the spirit of
the great Tao. They demonstrate that Chinese paintings striving for the
highest spiritual realm are not only a creative state of mind but also,
and more importantly, paintings of a realm directly perceived through
the visual sense.
19. One needs a multi-spatial and multi-temporal stand point from
which to look down on the universe, as this is what is meant by seeing
the overall plan. This is not meant, however, to be a simple comparison
from another perspective. but rather it is meant to be the summing up of
art, the summing up of philosophy and science. When an artist uses the
language of painting to express himself, then he must cultivate the
exquisite. This cultivating the exquisite, however, is not a matter of
overelaborate formalities and superficial lines. While the great is
simple, it is simple in a subtle way.
Cf. Chapter 37 of Lao Zis Daode Jing.
These two quotes are from the famous 14th century Chinese novel
Romance of the Three Kingdoms and are generally considered the two
different attitudes toward living and learning held by the novels
An allusion to the Song Dynasty poet and painter Su Dongpos (1037-1101)
famous remark that in a painting there is a poem; in a poem, a painting.
20. Great objects have no form; great beauty, no adornment; and
great music uses sound sparingly. To express a great realm, then there
must be a great space-time continuum, a great truth, a great principle
of the Tao, and a great spirit of the universe. If such is the case,
then the artist must pursue such corresponding requirements as: great
brushwork, great ability with brush and ink, breadth of mind, mettle,
self-cultivation, and worthiness. Without these, there can be no great
undertaking. Instead, there will be: something made up; a small artistic
realm of little interest; a great scene of little interest; narrow and
- Chinese painting is one form of Chinese culture and, regardless of
whether it is the past, present, or future, it is an inheritance that
continues, by expansion and creation, to develop artistic forms that
possess the people of Chinas cultural spirit.These forms of drawing
follow the development of history and possess the spirit of the times of
each historical period. This spirit of the times is frequently expressed
in schematic representations that are expressions of forms (some say
that brush and ink paintings ought also to follow the times). What I
want especially to stress here, however, is that, regardless of what
historical period the artworks of the times represent, there is one main
current that permeates them all, and that current is the significance of
the people of Chinas cultural spirit that is the backdrop to all these
artworks. This current is the fundamental soul of the people of Chinas
art; their strength of character.
21. The Tao of Ink Landscapes were established as a new pattern in
landscape paintings constructed via a consciousness of the great
universe. From beginning to end these landscapes are penetrated by
greatness: a great cultural background, great Chinese paintings, great
brush and ink work, the great spirit of the Tao, a great energy, great
mountains and waters, great fluctuations, great benevolence, great
truth, goodness, and beauty, great humanity and justice, a great awe
inspiring energy, great breadth of mind, great brushwork that leaves no
traces, and a great elegance that appears inelegant.
A people that has experienced several thousand years, close to ten
thousand years, of historical development, are a people whose cultural
spirit has formed a deep seated memorial. This memorial, following
historical developments, is an eclectic mix that synthesizes mankinds
advances in every historical period, and these have both strengthened
and enriched this memorial. Simultaneously, the people of Chinas
cultural spirit is absorbed by other peoples consolidating even further
the common pursuit of a human cultural spirit. Even if we engage in
wishful thinking, and use a utopian style of education, thought, and
behavior to the point of making it mandatory to make changes to this
memorial, and even if we were to expend all our energies for several
decades on this endeavor, ultimately we would have to admit defeat, and
we would be guilty of impeding the progress of history.
Because the Tao of Ink Landscapes were an exploration of a
comprehensiveness, multiple perspectives, and newness in landscape
painting, the requirement, premised on the new orogenic engineering, to
achieve these landscapes is a unique creativity that included: a new
aesthetic realm, a new linguistic context, a new schematic structure, a
new conception, a new image, a new mode for brush and ink, new visual
effects, a new aesthetic orientation, and so forth. The Tao of Ink
Landscapes established new concepts of space and time, the universe,
aesthetics that strengthened both the tension on the canvas and the
paintings power to shock. The Tao of Ink Landscapes had to be able to
withstand viewers having a close look at distant views and their
searching and pondering the landscapes. The Tao of Ink Landscapes also
had to achieve a profound and harmonious unity of the subjective and
At the convergence of the end of the twentieth and the beginning of the
twenty first centuries, Chinese painting, which is one method of
demonstrating the people of Chinas cultural spirit, was criticized by
some people who said that brush and ink paintings amount to nothing, and
by others who said hold fast to the bottom line for brush and ink
paintings, a confrontation that sparked heated debate. In essence,
paintings are nothing but the expressions of forms. I believe that the
most important matter is to uphold the people of Chinas cultural spirit,
and that to improve and enrich their strength of character is of the
essence. As to whether Chinese painting amounts to nothing or to whether
we should hold fast to the bottom line, these both serve the people of
Chinas cultural spirit.
The apparent contradictions in these phrases, such as brushwork
that leaves no traces and elegance that seems inelegant, is typical of
Taoist philosophic statements. Cf. The Book of Zhuang Zi, the usefulness
of the useless.
The term translated as people of China is minzu, literally a people, a
nation, an ethnic community. Because China is a composite of many
different peoples, however, and because the author clearly refers to all
of these peoples, I have used people of China rather than Chinese
people, a term often mistakenly thought to refer only to the majority
22. The Tao of Ink Landscapes are transformations within and outward
signs. The myriad of things in the universe are transformed within while
the outward signs are the spirit of transformations within.
The term is jiliang, literally backbone but by extension, and similar to
its use in English, strength of character.
The terms transformations within (neihua) and outward signs (waiji)
are Buddhist in origin. Cf. The Tang Dynasty work Bianzheng Lun,
authored by the Monk Fa Lin.
- Art is not philosophy, but art can answer some of the questions that
philosophy raises. These answers are not graphic solutions, nor are they
some kind of philosophic symbols; instead, they are a kind of extension
of the philosophic spirit.
23. When painting landscapes, one should deliberately seek the
spirit of life, and the real nature of this spirit. Prefer the grand to
the the minute. Prefer the extraordinary to the tedious. Avoid what is
real but soulless, what lives but has no spirit.
Artists must be deep thinking philosophers. Philosophers depend on
language to expound their philosophic thinking. Artists depend on their
own unique artistic schematic vocabulary to trace their own philosophic
thinking; in other words, the deeper meaning of artworks.
24. Painting requires ingenuity but not a blind ingenuity. Blind
ingenuity is called cloyingly clever and is to be avoided. The ingenuity
must be clumsy; and the clumsiness, ingenious. One requires both great
ingenuity and great clumsiness; great ingenuity is like great
clumsiness; and great clumsiness, ingenious.
A typical Taoist contrast of opposites. The word translated above as
clumsy is zhuo which literally means clumsy, unskillful, poor.
25. A painting must be both dynamic and tranquil: tranquilly
dynamic, and dynamically tranquil. Great dynamism and great tranquility.
Great dynamism is tranquil; and great tranquility is dynamic.
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