书法篆刻艺术 刘乐一和他的书法篆刻艺术

　　 　　刘乐一先生是山东大学艺术学院教授。他在全国的金石书画鉴赏方面是一个新闻人物，几年的研究成果一经面世，总会引起轰动。从破译《周易卦符》到贵州对《红崖天书》的释译，都在全国学术界引起关注。他又与人合作，几经曲折，刻苦攻关，使已经失传的千年古玺铸造技术重放光彩，其书法、篆刻作品高古雅致，深受各界人士的赞誉。
　　
　　博学多才益童年
　　
　　刘乐一先生自幼跟随外祖父长大，受其影响便从小喜爱广集民间墨、印、字、画，且为日后选择艺术道路提供了有利条件。
　　上世纪80年代初，刘乐一先生大学毕业被分配在山东大学出版社，先后任美术编辑、总编室副主任、技术编辑室主任，主要从事图书的装帧设计和技术编辑工作。他先后为山东大学出版社、青岛海洋大学出版社、黄河出版社、《文史哲》编辑部等书、刊社设计正式出版的封面达千余种，其中《成仿吾文集》获山东省优秀图书编辑奖、封面编辑一等奖。他多才多艺，曾多次被国家教委调去参加文交会、北京展览馆、上海展览馆等教育部分的展览总体设计。现山东大学校徽的设计就出于乐一先生之手。
　　1989年冬，乐一先生调任山东大学艺术系美术教研室主任，教学之余，主要从事中国画鉴赏与汉字艺术学的研究。在长期的治学研究中，他总结出：中国书法的体制，无不是从古文字形体的变化而来，熟知上古汉字形体，善于多方面借鉴，利用当今丰富的资料在师古基础上去开创新风。开创新风不能靠荒诞的杜撰，而是根植于传统，却又不为陈旧所束缚，融合个人的学识，才得以形成。在长期教学中，乐一先生总结出“国画乃是写画，画不融于书法非画也”的理论。从此，他苦研书法，先从钟鼎文入手，并广涉古文字学、音韵学，并得到其恩师著名文字学家、书法家蒋维崧先生的教诲，使其书风飘逸富有情趣，他的书法造诣逐渐得到社会的广泛赞誉。
　　在乐一先生家的阳台上，有一张小桌，上面摆满了各色各样的石料和刀具。这是乐一先生治印的一方小天地，有行家说乐一的篆刻优于书法，其篆刻作品极得同道之赞誉。翻阅他书案上的《一乐斋印存》十二集，可以看到风格各异、古朴典雅的近500方印石。这些篆刻无论是肖形印，还是诸多名章、闲章；无论是巨如拳头者，还是微如黄豆者，均用刀一丝不苟，工整稳健，行文之间揖让照应，错落奇诡，新意迭出。在这些印谱中有许多国际名人和社会贤达人士的印章，如韩国总统金泳三、孔子第76代孙孔德成等，皆以得一枚乐一先生的名章而为乐事。在1993年12期的《书法》杂志上，有两方大型篆刻作品引起读者的广泛关注，这就是乐一先生用了近半个月的时间精心设计篆刻的毛泽东诗词《沁园春?雪》。这长达114字的长诗分两段刻成，篆刻以秦篆入印，分朱布白疏密有致，刀法刚健又不落俗套，笔画粗细匀整，线条严正中杂以圆曲形，结体俊逸潇洒，给人以清新雅正之感，观之感觉一股浓厚的人文气息扑面而来。这两方大型篆刻作品成为乐一先生篆刻艺术的代表作。
　　乐一先生为追求恩师蒋维崧先生所倡导的“七篆三刻，讲求古文字功夫，从心所欲而不逾规矩”的创作特点，亲手写了一幅对联悬挂在客厅的墙上，对联曰：“篆参隶势奇姿可生，隶参篆势形质高古。”此联是乐一先生对书法篆刻形成风格的总结，说明了学书法先应从篆入手，习篆必先通六书，熟悉篆书隶法即熟，隶熟则通各体顺入坦途的道理。
　　2003年春天，经过几年的积累，刘乐一的篆刻集《一乐斋印存》终于由中国文联出版社出版发行了。这些篆刻作品无论是肖形印还是诸多名章、闲章和他自己释解的古文字图释形体等，无论是石刻还是铜铸，均用刀一丝不苟，工整稳健，错落有致，新意迭出。这次出版的300方印存是从乐一先生创作的两千多方印章中精选出来的，可以说是他篆刻作品的代表作。
　　刘乐一先生的书法、篆刻艺术成就，除了他具备丰厚的古文字学功底外，更得益于对中国古老的经典《周易》的研究上，他的关于“周易卦符”的研究成果引发了中国易学界、文字学界的轰动。
　　中国的书画、印艺术门类繁多，形成了一个艺术世界，涉足到这一艺术境界之内，将得到精神与情操的陶冶，增添高雅的素质。因此，古今中外不同风格的中国书画作品越来越受到各阶层人们所喜爱。这种“书画热”反映了全民族对传统文明的追求。但是有一点常被忽视的那就是在浩如烟海的艺术作品中，人们对传统书画的认识在水平上有较大差距，特别一些书画爱好者对传统文化与现代书画所起的作用认识不足，从而取法卑下，以至途入迷津，因此提高书画的社会鉴赏能力便成了当务之急。在这种情况下，刘乐一先生利用业余时间收集了大量资料，夜以继日苦干一个暑期，将一部20多万字的《中国书画鉴赏与探讨》的书稿交付山东美术出版社出版发行。此书问世之后，受到专家和书画收藏者们的一致好评，并作为高等院校美育选修课教程。该书在1995年优秀教材评选中获优秀奖。
　　
　　1992年9月，在中韩建交之初，应韩国东方研书会的邀请，乐一先生赴韩国汉城举办书法篆刻展览和古汉字形体演变的讲学活动。乐一先生的书法篆刻展在汉城东方画廊举办，由于这是中韩建交前夕第一个中国人的作品在汉城展出，备受韩国观众青睐，韩国新闻界为此作了大量报道，引起社会各界关注。正在竞选总统、时为韩国民主自由党总裁的金泳三先生赠送了祝展树，于是便把展览会推向了高潮。在举办展览期间，乐一先生还到高丽大学、汉城大学等学校举办讲演会。与中国传统文化有一脉相承的韩国人对中国的书法篆刻艺术情有独钟，据当地报纸报道，前来听讲演的韩国社会各界书法爱好者，是历次书道讲演活动中听众人数最多的。乐一先生在讲演时回答了韩国朋友有关现代书法是继承传统还是放弃传统的10多个提问，精炼、准确、风趣的讲解和回答赢得了阵阵掌声。前来听讲演的不仅有韩国各大学的汉学教授，而且还有韩国文化部、中央博物馆、韩国议会的不少官员也在听众席上就座。他们对乐一先生深厚的传统文化功底和严谨的治学学风给予了很高的评价，并加深了对中国新一代知识分子的印象，同时也被乐一先生的学识所折服。
　　刘乐一先生的书法篆刻艺术洋溢着一幅广涉博学的文人面貌，是与他深厚的民族文化知识和严谨的治学态度分不开的。他在大学任教之余，撰写《硬笔书法原理》，整编《颜真卿书东方朔画赞碑、东方先生墓碑》，主编《汉字与书法》等多部专著，皆已出版问世，可谓成就卓越。1995年12月24日，由中国文化部批办的“95华人书画艺术作品大展赛”获奖颁发仪式在北京人民大会堂隆重举行，乐一先生在这次大展赛中荣获金奖，受到国家领导人接见和颁奖。
　　2002年，刘乐一先生应香港大公报社的邀请，参加《大公报》创刊百年活动，其书法、篆刻作品，在香港举办了展览，受到香港各界人士的欢迎与赞誉。
　　2002年10月1日，刘乐一先生又应日本爱知县日中友好协会和名古屋市立大学的邀请，在日本名古屋海滨展厅举办了书画印作品展，并且精心创作了巨幅书法作品《沁园春?雪》赠送给了名古屋市立图书馆。
　　
　　破释“天书”轰动世界
　　
　　对中国古文字学和易学有深厚研究的刘乐一先生，两次赴贵州布依族自治区关岭县境内，对红崖山进行考察，成功地释译了“红崖天书”，在中国掀起了“红崖天书”热，并由此成为一种文化现象，引起专家学者的关注。
　　享誉中外的红崖古迹是黔中瑰宝，特别是书写在崖壁上的“神秘天书”，引起了中外学者和好奇人士的极大兴趣。天书是否是文字，何种文体，何人所为，产生于何时，是什么遗迹，更是释疑多说，已成为一种神秘的文化现象。
　　红崖古迹论证了近百年，筛去所谓运用“宇宙讯息”、“特异功能”以及难以称谓的神秘杂说，也有几种说法值得商榷: 有人说是“诸葛碑”，因红崖山一带地名与传说故事多与三国时诸葛亮相关，又因《华阳国志》有“诸葛为夷人作图谱”的故事，被认为是诸葛亮教夷人作图谱之遗迹；也有人说是“古彝文”，说它是彝族的巫师们要为彝民们“岁祭年丰”，而在石壁上书写了符号；还有人说是“自然石花”，认为“石质中含有朱砂水银之属，故字者石赤”；也有人把它视为“夜郎挂经”，可提示某种人间祸福。总之，不知有多少人为之冥思苦想，都想解答这个千古之谜。
　　
　　刘乐一教授在考察完“红崖天书”后认为，问题的关键在于“红崖天书”无拓本传世，也就失去了辨别现存甘愿本真伪的依据。因为红崖碑的文字是直接书写在未经打磨的石壁上，其痕迹极浅而无法拓片。石壁又长期裸露在外，涂写的符号在日晒、雨袭的风化中剥蚀，特别是自光绪二十七年罗光堂用桐油石灰捶拓后，复经巨斧铲凿，又以沸水洗涤，字迹已多漫患难辨。无独有偶，不久贵州提督余印川（另说周达武）又在其上书一草书“虎”字，更混淆耳目。要临摹“天书”，只有在这些若隐若现的图迹上勾勒填写，难免会造成原迹与摹本之间的差异，民间又多有复刻本流传，甚至以讹传讹，使众多的研究者因执赝本而误入歧途，必然会在考释上众说纷纭。
　　此外，在流传的摹本中，既有无“虎”字者，也有写“虎”字者，一些新本也相继出现，摹本上的字数有的多达50余个，有的只有几十个，无一能够相互对应，临写的水平更是参差不齐，这就为辨别摹本字迹的真伪造成了极大困难。因此，要考释“天书”，首先要考证能与“红崖古迹”相对应的真迹摹本。
　　所幸之事，是在安顺地区博物馆发现了一张民国时期拍摄的“红崖古迹”照片。照片上反映出的十几个字迹还较为清晰。刘乐一先生用现存的摹本与这张旧照片对照，发现只有清?瞿鸿摹本能够与其契合；又发现崖壁上仍残留了几个字迹尚可辨认，特别是清?徐印川（或周达武）添加在石壁上的草书“虎”字尤为清晰，“虎”字之下的大篆形体“丙”、“戌”二字以及右上角“品”字的形体也能分辨，无论从字迹的形体还是所在方位，清代瞿鸿锡的摹本与“红崖古迹”残存的字形能够对应相符，从而证实了清?瞿鸿锡摹本应是原迹摹本。这就为考释“红崖天书”提供了可信的凭据。
　　刘乐一认为：依据清?瞿鸿锡摹本分析，“天书”的字体是应用了钟鼎和籀文等篆隶书体，在书写方式上有横写也有倒写，为增加各体字型的隐蔽性又采取了添加、省减、移位、图释四种方法将字型肢解，使后人难识庐山真面目。但是，“天书”里惟有一个“甲”字一个横写的“乙”字和一个大篆书体“丙”字在形体上未加变化，给人留下了开启“天书”的锁钥。
　　依据汉字学推理，此“天书”的内容大致是：丙戌，兵败宫乱，有口难言。
　　以此为据，从“红崖天书”的汉字属性分析来看，似乎是一位曾经目睹过宫廷内乱的隐士所书。
　　
　　“天书”右下角有两组图形，很像是一个女人在祈祷（T）和一个儿童在戏耍（U）。其含义是说：“自此隐居山林以享天伦之乐”还是表示当时的书写环境，很是耐人寻味。
　　至于“天书”的书写年代，刘乐一教授依据“红崖天书”所使用的汉字形体断代，理应是中古前后的作品，欲说是远古之遗迹未免太离奇。“红崖天书”的最早记载要算明嘉靖二十五年（公元1546年）贵州普安州举人邵元善所作的《红崖诗》，诗曰：“红崖削立一千丈，刻划盘回非一状。参差时作钟鼎形，腾踯或成飞走象。诸葛曾闻此信兵，至今铜鼓有遗声。即望壁上粉奇诡，图谱浑疑尚诅盟。”此后三百余年寂然无闻。至清道光时，宦黔官吏首介考证，文人硕士群起响应，才有诸多的诗文、记载和摹刻本出现。根据“天书”中的“允”字以及“丙”、“戌”推测，公元癸末（1403年），燕王朱棣进军应天，建文帝朱允下落不明。丙戌年（公元1406年）即是明?永乐四年，也就是朱棣当政的第四年，清顺治提督浙江学政佥事谷应泰在他所撰的《明史纪事本末》里记载了建文帝此时的行踪：“丙戌年，夏四月，建文帝至西平侯沐晟家，留旬日。五月，结茆白龙山。”述叙了建文帝逃离皇宫后带一班随员流落襄阳，后化装成僧人匿迹滇黔的史实。民国之初，原高峰山主持范清所藏一幅“大明建文皇帝遗像”已被安顺地区博物馆著录，画图上的朱允以僧人面貌出现。高峰山在贵州沔平坝县境内，其石壁上所镌刻的“西来面壁”四字相传是出自建文帝之手笔，表明了朱允曾在黔中一带活动过。据此推测，“天书”里的“允”字应该是指朱允。由此，千古之谜“红崖天书”应是明初建文帝逃匿贵黔所至，已是不争的事实，史学界对这一推论给予了充分肯定。近几年来国内外对红崖文化的探讨也皆以刘乐一教授这一论断作主线。
　　
　　千年古玺重放光彩
　　
　　刘乐一运用古文字学知识和篆刻艺术，与人合作经过联手攻关，使千年古玺重放光彩。
　　在研究古文字学、印学的过程中，刘乐一对古代铜铸玺印越来越感兴趣。中国早期的印玺是由实用而产生的，后来又发展成为统治阶级表征权力的法物，自春秋战国直至明代初年，古玺用材多以铜质为主，明中叶以后，一些质地松软、美观的石料广受文人墨客青睐。文人们自篆自刻蔚成风气，铜铸玺印渐趋冷落，一些重要的铸造技术也伴随着岁月的流逝而慢慢失传。
　　刘乐一查阅了大量古玺铸刻资料，并收集了一些以古法铸的铜印。他发现，虽然铜质古玺具有内容丰富、形式多样、气势雄浑等特点，但也存在制作工艺繁琐，外表粗糙易生锈等问题，特别是古法铸造的铜印印文粗犷有余而细致不足，难以表现书法笔画中的精细之处。
　　用什么方法可以使质地坚硬的铜印也能纤毫毕现呢？显然，铸造工艺是关键，刘乐一蓦地想起了他中学时的校友阎小平。
　　阎小平的父亲是从旧社会过来的擅长治印的老艺人，在当地颇有影响。阎小平自幼随父铸铜刻印，高中毕业后又进工厂当了一名铸工，练得一手上佳的铸艺功夫。
　　一位是精通书法篆刻的学者，一位是擅长铸造工艺的师傅，合起来不就是“铜铸玺印”吗？当刘乐一把自己的想法告知阎小平时，阎小平高兴得击掌叫好。
　　古玺铸造中，印钮是衡量印玺美观的重要一环。它不仅是印章的装饰品，也是铸造工艺与雕刻水平的体现。“钮”也称作“纽”，意即印背隆起，有孔可以穿带，古人以系结在印钮上的绶绳颜色来区别官职的大小。古玺常见的钮式有几十种，无论是龙、虎、狮、龟钮还是圭、坛、桥、亭钮，均利用这些形体的镂空处代替孔鼻。这些富于变化、灵巧生动地镂空钮的造型是铸造中的难关。
　　在发掘、继承传统的过程中，刘乐一和阎小平从未停下创新的脚步。新的技术将传统铸铜工艺与现代腐蚀成像技术结合起来，在铜合金的浅雕上加腐蚀工艺，能不失真地再现任何指定的书法形体、山水图案及至人物肖像。铸成的铜玺印钮生动精致，表面亮洁防锈，印文刚柔相济、劲润酣畅，给人以醇厚的艺术享受。
　　清末篆刻家徐三庚说“看款能知印”。印旁刻款是表现篆刻者成熟的重要技巧。中国古代真正的印旁题款始见于明代的石质印章，此前在坚硬的铜印边旁题款极为少见。刘乐一和阎小平实验了多种刀具和机械，屡次改进，终于找到了一种得心应手的“利器”，可以在坚硬的铜合金表面上直接刻制题款。刘乐一通常以动态的行、草书刻款，与精美的篆体印文张弛结合，相映成趣。精美的刻款如锦上添花，使新铸铜印更加完美，也使传统的铜铸古玺艺术大大向前跃进了一步。
　　前不久，日本著名铜版画家河井次郎先生喜得贵子，按照日本习俗，将自己得意的事情写成祝语，请名家巧匠刻印珍藏于家中，据说能万事顺利。为此，他特意致信请刘乐一先生为其制印。当刘乐一、阎小平合作的“儿哺岁月”兽钮铜章传到河井手中时，这位对东方铸印技术十分了解的专家大为惊奇，立刻亲笔在日本《印鉴》上撰文，对其作品做了极高的评价。
　　
　　Mr. Liu Leyi is a professor of the Art School of Shandong University. As an outstanding connoisseur in the field of epigraphy, calligraphy and paintings, whenever his several years of research achievements are published, sensation is brought about in academic circles. From deciphering Divinatory Symbols of the Books of Changes of the Zhou Dynasty to deciphering Book from Heaven on Red Cliff, Mr. Liu has attracted much attention in scholarly circles nationwide. Later, by cooperating with other experts, Mr. Liu has reproduced the casting technology for royal seals that had been lost nearly a thousand years ago. His achievements in calligraphy and seal cutting have also won great praises from aficionados.
　　
　　Erudite Since Childhood
　　
　　Mr. Liu grew up in his grandparents family. Influenced by his grandfather since childhood, he has been interested in calligraphy, painting, and seal cutting, all of which laid a solid foundation for his later success in aesthetic endeavors.
　　In the 1980s, after graduating from university, Mr. Liu found a job at the Shandong University Press. One after another, he has assumed the posts of art editor, vice director of the office of editor-in-chief, and director of the technology edition office, where he has been mainly involved in design and editorial affairs concerning various publications. To date, he has designed more than a thousand covers for books and magazines published by Shandong University Press, Ocean University of China Press, Huanghe Press, and Wen Shi Zhe Magazine, among which Cheng Fangw’sllective Works was awarded the outstanding prize for an edition and the grade one prize for its cover.
　　As a versatile scholar, Mr. Liu has participated in the design of many ceremonial exhibitions and fairs held by the National Ministry of Education. The present university badge or seal of Shandong University was designed by Mr. Liu.
　　In the spring of 2003, after several years of accumulation, a collection of Mr. Liu’sals cut in stone, metal, and wood were published in a book entitled Seal Cutting Storage in Yile Studio by the Publishing House of China Federation of Literary and Art Circles. The 300 seals depicted in this book were selected from more than 2000 carved by Mr. Liu and are representative of his seal cutting art.
　　Mr. Liu’slligraphy and seal carving are characterized by the erudite features of a scholar, which should be ascribed to his deep knowledge of national culture and strict attitude towards academic studies. In his spare time after teaching in the university, Mr. Liu has published Fundamentals of Pen Calligraphy, and acted as editor-in-chief of Chinese Characters and Calligraphy, both of which are regarded as great achievements in calligraphic circles. On December 24, 1995, at the prize-awarding ceremony held in the People’seat Hall in Beijing for the Chinese Calligraphy and Painting Art Works Competition, held under the auspices of the National Ministry of Culture, Mr. Liu was awarded the gold prize and was honored by meeting with national leaders.
　　
　　Stirring the World by Deciphering the Book from Heaven
　　
　　Mr. Liu, pursuing his in-depth studies into ancient Chinese characters and The Book of Changes, has twice visited Guanling County of the Buyi Nationality Autonomous Region in Guizhou Province to make on-the-spot research on the Book from Heaven on the Red Cliff. Finally, he successfully deciphered the Book from Heaven, stirring China and attracting extensive attention from many specialists.
　　The cultural relics site of the Red Cliff is a treasure within the territory of Guizhou. The mysterious Book from Heaven written on the cliff has fascinated many scholars and tourists from home and abroad. Whether the Book from Heaven is written in characters (and if so, what kind of characters), who inscribed it, and the date of its creation have all been “unsolved mysteries”inspiring diversified explanations.
　　 After making extensive investigations into the Book from Heaven on the Red Cliff, Mr. Liu thinks that since there are no rubbing materials for reference, there is no arguable evidence to make an exact explanation of the book. Since the characters (if such they be) are written on a cliff wall that has not been polished, the traces are so shallow that rubbings are not easy to get. Furthermore, exposed as they have been to the natural ravages of wind, rain and sun for such a long time, the characters on the cliff wall have been seriously eroded.
　　
　　Moreover, in 1901, Luo Guangtang tried to make rubbings with tung oil, lime, and pounding, then cutting with a giant ax and shovel, followed by washing with boiling water, all of which made the characters difficult to discern. Though not unique, it has its counterpart. Still later, Yu Yinchuan, provincial governor of Guizhou, wrote a Chinese character“虎” (Tiger) in cursive script on the cliff, which further obscured some of the original writing. So, now, to reproduce the characters in the Book from Heaven, people can only rub on the dim traces, which usually produce great differences between the original characters. Some people even make reproductions in accordance with these rubbings, further misleading numerous researchers.
　　Mr. Liu thinks, according to the rubbing reproduction by Ju Hongxin in the Qing Dynasty, the style of calligraphy of characters in the Book from Heaven should have absorbed the features of seal and official scripts popularly used in the inscriptions on ancient bronze objects. In terms of calligraphic style, the characters are written in both horizontal and vertical shapes. In order to increase the concealment of the characters, the characters are divided into some sections, which made later people unable to recognize them clearly. Among the characters, only three are not divided, they are“甲” in horizontal shape, “乙”and“丙” in seal character style, which leave a key for later people to decipher the mystery.
　　Therefore, in accordance with the fundamentals of Chinese characters, the contents of the Book from Heaven should be explained as follows: In 1406, after defeating from a palace coup, finding hard to bring up the result.
　　By this, it seems that the characters in the Book from Heaven were written by a hermit who had witnessed the coup.
　　At the right corner of the Book from Heaven, there were two groups of graphics in which it appears that a women is praying and a child is playing. Whether this implies that the author would withdraw from society and live in solitude to enjoy the happiness of family union or implies the environment at the time, nobody can tell now.
　　With regard to the time when the Book from Heaven was written, in accordance with the style of calligraphy in the book, Mr. Liu thinks it was written around the middle period of ancient times (in Chinese history, from the 3rd to the 9th century). The earliest historic records concerning the Book from Heaven can be found in the Red Cliff Poem written by a scholar in Pu’an, Guizhou, in 1546. Since then, for 300 years, there were no further historic references; but from the 1820s in the Qing Dynasty, many scholars started to make research into the characters on the Red Cliff, and many of these records are still extant.
　　In the Book from Heaven, there are characters of“允”,“丙”and“戊”In 1403 during the Ming Dynasty, Zhu Di headed an army to invade the capital of Nanjing, and the reigning emperor, Zhu Yunwen (also called Emperor Jianwen), was “lost”during the invasion. In 1406, the Year of Bingxu (丙戊) according to the ancient Chinese calendar, when Zhu Di had been emperor for four years, a government official recorded the traces of Emperor Jianwen, implying that he had not been killed, but had fled to Guizhou.
　　In the early years of the Republic of China (1913-1949), Fan Qing, a chief monk in a temple on Mount Gaofeng in Guizhou, discovered a painting entitled“A Portrait of the Decreased Emperor Jianwen of the Ming Dynasty,”in which Zhu Yunwen was portrayed as a monk. Later, the painting was collected by the Anshun Museum. Mount Gaofeng is located in the territory of Pingba County, Gaiping, Guizhou Province. On the mountain, there is a rock on which four characters“西来面壁” were said to be inscribed by Emperor Jianwen, implying that Zhu Yunwen used to live in central Guizhou. Following this line of thought, it can be presumed that the character“允”(Yun) in the Book from Heaven refers to Zhu Yunwen. And, accordingly, the Books from Heaven was written after Zhu Yunwen escaped from Nanjing to Guizhou. Many historians have given their commendation and approval to this conclusion.

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