2025婵犵數濮烽弫鍛婃叏閻戣棄鏋侀柛娑橈攻閸欏繘鏌i幋锝嗩棄闁哄绶氶弻娑樷槈濮楀牊鏁鹃梺鍛婄懃缁绘﹢寮婚敐澶婄闁挎繂妫Λ鍕⒑閸濆嫷鍎庣紒鑸靛哺瀵鈽夊Ο閿嬵潔濠殿喗顨呴悧濠囧极妤e啯鈷戦柛娑橈功閹冲啰绱掔紒姗堣€跨€殿喖顭烽弫鎰緞婵犲嫷鍚呴梻浣瑰缁诲倸螞椤撶倣娑㈠礋椤栨稈鎷洪梺鍛婄箓鐎氱兘宕曟惔锝囩<闁兼悂娼ч崫铏光偓娈垮枦椤曆囧煡婢跺á鐔兼煥鐎e灚缍屽┑鐘愁問閸犳銆冮崨瀛樺亱濠电姴娲ら弸浣肝旈敐鍛殲闁抽攱鍨块弻娑樷槈濮楀牆濮涢梺鐟板暱閸熸壆妲愰幒鏃傜<婵鐗愰埀顒冩硶閳ь剚顔栭崰鏍€﹂悜钘夌畺闁靛繈鍊栭幆鐐烘煕閿旇寮跨紒杈ㄧ叀濮婄粯绗熼埀顒€岣胯閹广垽骞掗幘鏉戝伎闂佹眹鍨归幉锟犲磹閸撲讲鍋撻獮鍨姎妞わ缚鍗抽崺娑㈠箣閻樼數锛滈柣搴秵娴滄繈宕戦妷锔轰簻閹兼番鍩勫▓鏇㈡煏閸パ冾伃闁轰礁鍊婚幏鐘绘嚑椤戞寧顢橀梻鍌欒兌閸嬨劑宕曢懡銈囦笉闁规儳纾弳锔剧磼鐎n収鍤﹂柡鍐e亾闁瑰嘲鎳樺畷銊︾節閸曨剚绶梻鍌氬€搁崐鎼佸磹閹间礁纾归柟闂寸劍閸嬪鈹戦悩鎻掝伀闁活厽鐟╅弻鐔告綇閹规劦鍚呯紓鍌氱У閻楁粓鍩€椤掆偓閸樻粓宕戦幘缁樼厓鐟滄粓宕滃☉妯滐綁骞囬弶璺啋闁诲孩绋掗敋妞ゅ孩鎹囧娲川婵犲嫮鐣甸柣搴㈠嚬閸犳盯濡甸幇顑芥瀻闁瑰墽琛ラ幏娲⒑绾懎浜归柛瀣洴瀹曟繈鍩€椤掑嫭鈷戦柛娑橈功閻棛绱掗埀顒佺瑹閳ь剙顕i弻銉︽櫜濠㈣泛顑傞幏缁樼箾鏉堝墽鎮奸柣鈩冩瀹曢潧鈻庨幘鏉戔偓鍨箾閹寸偛绗氭繛鍛川缁辨帡顢欓悾灞惧櫚濡ょ姷鍋炵敮鈥愁嚕閹绢喗鍋勭紒瀣椤忕偤姊婚崒姘偓宄懊归崶顒夋晪鐟滃繘骞戦姀銈呯疀妞ゆ垹鍋熼幊鎾伙綖濠靛牊宕夐柛婵嗗娴滆泛鈹戦悩缁樻锭闁稿﹥鎮傞獮澶愭晬閸曨厺绗夐梺鍦劋閹稿墽寮ч埀顒勬⒑濮瑰洤鐏叉繛浣冲啰鎽ラ梻鍌欑劍鐎笛兠鸿箛娑樼9婵犻潧顑囧畵浣糕攽閻樻彃鏆為柛搴e枛閺屾洝绠涚€n亞鍔村┑鐐插级閹倸顫忛搹瑙勫珰闁炽儱纾导鍥⒑鐠囪尙绠叉慨濠傜秺楠炲棝寮崼婢晠鏌曟竟顖氬暊閸嬫捇鎮欓悜妯轰画濠电姴锕ょ€氼喚绮婚悙鐑樼厽闁瑰灝鍟晶瀛樸亜閵忊槅娈滈柛鈹惧亾濡炪倖甯掔€氼剟鎮″鈧弻鐔告綇閸撗呮殸闂佽绻愮壕顓㈠焵椤掑喚娼愭繛鍙夌墪鐓ら柕鍫濐槹閸嬪倿鏌i弬鍨倯闁稿﹦鏁婚幃宄扳枎韫囨搩浠剧紓浣插亾闁割偁鍎查悡鏇㈡煟濡櫣锛嶅褏鏁婚弻鏇㈠幢閺囩媭妲銈庡亝缁捇宕洪埀顒併亜閹烘垵顏╃紒鐘崇墬缁绘盯宕卞Δ浣侯洶闂佸摜鍠庨幊蹇涘Φ閸曨垰绫嶉柛顐ゅ枑濞堜即姊虹粙娆惧剱闁圭懓娲悰顔碱潨閳ь剟銆佸▎鎴炲枂闁挎繂妫楅娲⒒閸屾瑨鍏岄弸顏堟煛閸偄澧撮柟顔炬焿椤﹀綊鎸婂┑瀣叆闁哄洨鍋涢埀顒€缍婇幃鈥斥枎閹炬潙浠梺鎼炲劚濞层倝骞婇幇鐗堝剨闁割偁鍎查埛鎴︽偣閸ワ絺鍋撻搹顐や壕闂備胶枪缁绘垼鎽繛锝呮搐閿曨亪骞冮崸妤婃晬闁挎繂鏌婇鍫熺厽閹兼番鍊ゅḿ鎰箾閸欏澧い鏇秮瀹曞ジ寮撮悙鐢垫澖闂備線娼ф灙闁稿骸鎼妴鎺撶節濮橆厼浠梺鎼炲労娴滄粎妲愰敃鈧…璺ㄦ喆閸曨剛顦伴梺鍝勭焿缁查箖骞嗛弮鍫濐潊闁宠桨鐒﹀▍娑㈡⒒娴e憡鎲稿┑顔炬暬閹囨偐鐠囪尙浼嬮梺鎸庢礀閸婂綊宕愭繝姘參婵☆垯璀﹀Σ褰掓煟鎼搭喖澧存慨濠囩細閵囨劙骞掗幋婊冩瀳闂備礁鎲℃灙闁稿鍔曢埢搴ㄥ閵堝棗鈧攱绻涢弶鎴剱闁哄倵鍋撻梻鍌欒兌缁垵鎽悷婊勬緲閸熸挳銆侀弮鍫濈妞ゆ梻鏅崢鍗炩攽椤旀枻渚涢柛鎾村哺瀹曠敻宕堕妸锕€寮挎繝鐢靛Т鐎氼喚鏁☉銏$厵鐎瑰嫮澧楅崵鍥煙椤旀儳鍘撮柡灞芥喘閺佸啴鍩€椤掆偓閳绘挸鈹戦崼銏紳闂佺ǹ鏈悷锔剧矈閻楀牄浜滈柡鍥ф濞层倗澹曠憴鍕弿婵犻潧妫涢悘鍗灻瑰⿰鍡涘摵濞e洤锕幃娆擃敂閸曘劌浜鹃柡宥庡幖缁犳澘螖閿濆懎鏆欑痪鎯х秺閺屻劌鈹戦崱妯烘珴濠碘剝褰冮悧鎾诲蓟閺囷紕鐤€闁哄洨鍊妷锔轰簻闁挎棁濮ょ欢鍙夈亜椤忓嫬鏆e┑鈥崇埣瀹曞崬螣閻戞ɑ顔傛繝鐢靛У椤旀牠宕板璺虹婵せ鍋撶€殿噮鍋勯濂稿川椤忓嫮澧梻浣稿閸嬪棝宕崸妤€绠柧蹇撴贡绾句粙鏌涚仦鍓ф噮闁告柨绉归弻銊ヮ潩椤戣姤鏂€濡炪倖娲栧Λ娑㈡偩閻㈠憡鐓涢悘鐐插⒔濞插瓨顨ラ悙鐦佺細闁逞屽墴濞佳囧箟閿熺姴闂ù鐓庣摠閸婄敻鎮峰▎蹇擃仾缂佲偓閸愵亞纾奸悹鍥皺婢ф稑菐閸パ嶈含鐎规洖銈稿鎾倷閼煎灈鍋撻崹顔规斀闁绘劕寮堕ˉ鐐烘煕閳轰胶澧︾€规洦鍨遍幆鏃堟晲閸モ晪绱冲┑鐐舵彧缂嶄胶绱撳顒夌€堕柟闂寸劍閻撴洘绻涢崱妤冪闁哄棴缍侀幐濠囨偄閸忚偐鍘甸梺纭咁潐閸旀牜娑甸幆褉鏀芥い鏇炴噹婢ф挳鏌$仦鐣屝ユい褌绶氶弻娑㈠箻鐠虹儤鐏堝Δ鐘靛仜閸燁偉鐏冮梺閫炲苯澧撮柛鈹垮灲楠炴ḿ鎷犻幓鎺斺偓顓烆渻閵堝棙鈷掗柡鍜佸亝缁傚秹顢旈崨顒傜畾闂佺粯鍔︽禍婊堝焵椤戞儳鈧繂鐣烽姀掳鍋呴柛鎰╁妿椤ρ冣攽椤斿浠滈柛瀣崌閺岋絽鈽夐崡鐐寸彎閻庤娲橀敃銏ゃ€佸▎鎴濇瀳閺夊牄鍔庣粔閬嶆⒒閸屾瑧绐旀繛浣冲洦鍋嬮柛鈩冪☉缁犵娀骞栨潏鍓ф偧闁绘粎绮换娑㈠箣閻愬灚鍣紓浣叉閸嬫捇姊绘担鍦菇闁搞劏妫勫玻鑳槻闁烩槅鍙冨铏规嫚閹绘帩鍔夐梺鍛婂灥缂嶅﹤鐣烽弶搴撴闁靛繒濮烽敍娆撴⒑閸︻叀妾搁柛鐘愁殜閸╂盯骞掑Δ浣哄幈闁诲繒鍋炲畷妯荤珶濮椻偓閺屽秷顧侀柛鎾跺枛钘熼柟鎹愭硾閸ㄦ繈鏌涢銈呮灁闁荤喎缍婇弻宥堫檨闁告挾鍠栭幃浼搭敊閽樺绐為梺褰掑亰閸樿棄鈻嶉姀銈嗏拺缂備焦銆掗崷顓濈剨婵炲棙鎼╅弫濠囨煕閵夘喖澧柍閿嬪灩缁辨帡顢涘☉娆戭槬婵犫拃鍡楃毢缂佽鲸甯為埀顒婄秵閸嬪嫰鎮橀妷锔轰簻闁哄倽娉曠粻浼存煃鐟欏嫬鐏寸€规洖鐖兼俊鐑藉Χ閸モ晜鏅ㄩ梻鍌氬€风粈渚€骞栭锕€鐤い鎰剁畱绾剧懓鈹戦悩瀹犲缂佺姵妞介弻娑樼暆閳ь剟宕戦悙鐑樺亗闁哄洢鍨洪悡鐔兼煛閸愩劎澧涢柡渚€浜堕弻娑㈡晲閸ャ劍鐝紓浣介哺鐢岣胯箛娑樜╅柨鏇楀亾缁剧偓濞婇幃妤冩喆閸曨剛顦ㄩ柣銏╁灡鐢繝鏁愰悙娴嬫斀閻庯絽鐏氶弲鐐烘⒑閼恒儍顏埶囬鐣岀彾闁哄洢鍨洪埛鎴犳喐閻楀牆绗氶柨娑氬枔缁辨帡鍩€椤掍焦濯撮柛婵嗗濡粓鎮峰⿰鍛暭閻㈩垱顨婇幃锟犳偄閸忚偐鍘甸柡澶婄墕婢т粙宕氶幍顔藉仏婵ǹ鍩栭埛鎴︽煙閼测晛浠滈柍褜鍓氬ú婊堝焵椤掍胶鐓柛妤€鍟块锝嗙節濮橆儵褍顭跨捄鐚村姛妞ゆ梹鍔栫换娑欐綇閸撗呅氬銈庡亜椤︾敻寮婚妸鈺婃晣闁靛繆妾ч幏娲⒑绾懎浜归柛瀣⊕娣囧﹪鎳為妷锕€寮挎繝鐢靛Т閸婅崵绮旈崫鍕ㄦ斀闁挎稑瀚弳顒傗偓瑙勬礈閸犳牠銆佸☉姗嗘僵濡插本鐗曢弲顏堟⒒閸屾瑧顦﹂柟璇х節閵嗗啴宕奸妷銉э紱闂佺粯鏌ㄩ幗婊堛€呭畡鎵虫斀闁稿本纰嶉崯鐐烘煃闁垮鐏撮柡宀€鍠栭幊鏍煛娴i鎹曞┑鐘殿暯閳ь剛鍋ㄩ崑銏ゆ煛鐏炲墽鈯曠紒缁樼箞瀹曟帒鈽夊Ο瑙勬▕闂佽瀛╅鏍窗濞戙埄鏁嬬憸鏃堝春閵夛箑绶為柟閭﹀墻濞煎﹪姊洪崘鍙夋儓闁稿﹦鎳撻埢宥夊炊椤掍讲鎷绘繛杈剧悼閹虫捇顢氬⿰鍛<閻犲洦褰冮埀顒佺摃閻忓鈹戦悙鏉戠亶闁瑰磭鍋ゅ畷鍫曨敆閳ь剙鏁梻浣稿暱閹碱偊宕愰悽绋跨婵炲樊浜濋埛鎴︽煠閹帒鍓い蹇撶吇閸ヮ剦鏁嶉柣鎰级鏉堝牓姊虹紒妯荤叆闁告艾顑夐幃锟犲即閵忥紕鍘藉┑鈽嗗灥濞咃綁鏁嶅鍜佺唵鐟滃繘寮幖浣哥劦妞ゆ帊绶¢崯蹇涙煕閻樺磭澧甸柍銉畱閻o繝鏌囬敃鈧▓銊╂⒑閸︻叀妾搁柛鐘愁殜瀹曟垿宕熼娑氬弰闂婎偄娲﹂崙褰掑吹閸愵喗鐓曢柣鏃傚厴閸欏嫭鎱ㄦ繝鍕笡闁瑰嘲鎳橀幖褰掓偡閹殿噮鍋ч梻鍌欑閹测€澄涢幋鐘典笉闁规儳纾弳锔界節婵犲倸鏋ゆ繛灏栨櫊閺屻倝骞栨担瑙勯敪婵炲濮嶉崶銊㈡嫼闂佸憡绻傜€氼參宕掗妸鈺傜厱闁靛⿵闄勯妵婵嬫煕閳哄倻娲存鐐差儔閹晠鎮界喊澶屽簥闂備浇顕ч崙鐣岀礊閸℃稑纾婚柟鐑橆殔绾惧潡鏌曟径鍡樻珕闁绘挻娲熼獮鏍ㄦ綇閸撗咃紵缂備胶濮佃ぐ鍐絹闂佹悶鍎滃鍫濇儓婵$偑鍊戦崹鍝劽洪悢鐓庢瀬闁圭増婢橀悙濠囨煃閸濆嫬鏆炴繝銏$墵濮婅櫣鎷犻幓鎺濆妷濡炪倖姊归悧鐘茬暦閺夊簱妲堥柕蹇婃櫆閺咁亪鎮峰⿰鍕棃鐎规洘妞芥俊鐑芥晝閳ь剛娆㈤悙娴嬫斀闁绘ɑ褰冮銏ゆ煕瀹ュ娑фい顏勫暣婵″爼宕卞Δ鈧〖缂傚倷娴囩亸顏呮叏閵堝绀嗗┑鐘插暙椤曢亶鎮楀☉娅辨岸骞忕紒妯肩閺夊牆澧介崚浼存煙鐠囇呯瘈鐎规洦鍨堕幃娆撴倻濡厧骞嶇紓鍌欑椤戝棛鈧瑳鍥佸濮€閵堝棛鍘遍梺瀹狀潐閸庤櫕绂嶉悙顑跨箚闁绘劦浜滈埀顒佺墪椤斿繑绻濆顒傦紱闂佽宕橀褏娑甸埀顒勬⒒娓氬洤澧紒澶屾暬閹繝寮撮悢缈犵盎闂佽婢樻晶搴ㄥ箖閼测晝纾奸柣姗嗗枛閸旀粎绱掔紒妯兼创妤犵偞锕㈤獮鍥ㄦ媴閸濆嫭鍊梻鍌欑閹碱偊寮甸鈧叅闁绘棃顥撻弳锕傛煟閹惧磭宀搁柡鈧禒瀣厱闁靛鍨电€氼噣寮抽鍕拻闁稿本鐟ㄩ崗宀€绱掗鍛仯缂侇喗鐟╅獮鎺楀棘閸喚浜伴梻浣筋潐瀹曟﹢顢氳閹锋垿鎮㈤崗鑲╁幗闂佸搫鍟崐鍝ユ暜閸撲胶纾奸柍褜鍓熷畷鐔碱敍濞戞艾甯鹃梻浣稿閸嬪懐鎹㈤崘顔㈠饪伴崟鈺€绨婚棅顐㈡储閸庤尙鈧熬鎷�4闂傚倸鍊搁崐鎼佸磹閹间礁纾归柟闂寸绾惧綊鏌熼梻瀵割槮缁炬儳缍婇弻鐔兼⒒鐎靛壊妲紒鐐劤缂嶅﹪寮婚悢鍏尖拻閻庨潧澹婂Σ顔剧磼閻愵剙鍔ょ紓宥咃躬瀵鎮㈤崗灏栨嫽闁诲酣娼ф竟濠偽i鍓х<闁绘劦鍓欓崝銈囩磽瀹ュ拑韬€殿喖顭烽幃銏ゅ礂鐏忔牗瀚介梺璇查叄濞佳勭珶婵犲伣锝夘敊閸撗咃紲闂佺粯鍔﹂崜娆撳礉閵堝洨纾界€广儱鎷戦煬顒傗偓娈垮枛椤兘骞冮姀銈呯閻忓繑鐗楃€氫粙姊虹拠鏌ュ弰婵炰匠鍕彾濠电姴浼i敐澶樻晩闁告挆鍜冪床闂備胶绮崝锕傚礈濞嗘挸绀夐柕鍫濇川绾剧晫鈧箍鍎遍幏鎴︾叕椤掑倵鍋撳▓鍨灈妞ゎ厾鍏橀獮鍐閵堝懐顦ч柣蹇撶箲閻楁鈧矮绮欏铏规嫚閺屻儱寮板┑鐐板尃閸曨厾褰炬繝鐢靛Т娴硷綁鏁愭径妯绘櫓闂佸憡鎸嗛崪鍐簥闂傚倷鑳剁划顖炲礉閿曞倸绀堟繛鍡樻尭缁€澶愭煏閸繃宸濈痪鍓ф櫕閳ь剙绠嶉崕閬嶅箯閹达妇鍙曟い鎺戝€甸崑鎾斥枔閸喗鐏堝銈庡幘閸忔﹢鐛崘顔碱潊闁靛牆鎳愰ˇ褔鏌h箛鎾剁闁绘顨堥埀顒佺煯缁瑥顫忛搹瑙勫珰闁哄被鍎卞鏉库攽閻愭澘灏冮柛鏇ㄥ幘瑜扮偓绻濋悽闈浶㈠ù纭风秮閺佹劖寰勫Ο缁樻珦闂備礁鎲¢幐鍡涘椽閸愵亜绨ラ梻鍌氬€峰ù鍥敋閺嶎厼鍨傞幖娣妼缁€鍐煥濠靛棙顥滈柣锕備憾濮婂宕掑▎鎺戝帯濡炪們鍨归敃銈夊煝瀹ュ鍗抽柕蹇曞Х椤斿姊洪幖鐐插姶闁告挻鐟╅幃姗€骞庨懞銉у幐闂佸憡鍔戦崝搴㈡櫠閺囩姷纾奸柍褜鍓熷畷姗€鍩炴径鍝ョ泿闂傚⿴鍋勫ú銈吤归悜鍓垮洭鏁冮埀顒勬箒濠电姴锕ら悧蹇涙偩濞差亝鐓涢悘鐐额嚙婵″ジ鏌嶇憴鍕伌鐎规洖宕埢搴ょ疀閹惧妲楃紓鍌氬€搁崐鐑芥⒔瀹ュ绀夌€光偓閸曨倠褔鏌熼梻瀵割槮闁藉啰鍠栭弻锝夊棘閸喗鍊梺绋块閻倿寮诲☉妯锋斀闁告洦鍋勬慨銏ゆ偠濮樺墽鐣垫慨濠勭帛閹峰懘宕ㄦ繝鍐ㄥ壍闂備焦妞块崢濂杆囨潏鈺傤潟闁绘劕顕悷褰掓煃瑜滈崜鐔镐繆鐎涙ɑ濯撮柛鎾冲级瀵ゆ椽姊洪柅鐐茶嫰婢у瓨顨ラ悙鎻掓殭闁宠閰i獮妯虹暦閸ヨ泛鏅e┑锛勫亼閸婃牠骞愭ィ鍐ㄩ棷闁靛鍎欏☉婊庢▌濠殿喖锕ら…宄扮暦閹烘垟鏋庨柟瀵稿Х瀹曞弶绻濋悽闈涗粧闁告牜濞€瀹曟鎮欓鍌楁闂佸疇顕ч柊锝夌嵁鐎n喗鍊烽悗娑欙供閸炲爼姊婚崒娆戭槮婵犫偓闁秴纾块柕鍫濐槶閳ь剙鍟撮獮鍥敊閸撗屾Ц闂備礁鎼粔鏌ュ礉鎼达絽濮柍褜鍓熷濠氬磼濮樺崬顤€婵炴挻纰嶉〃濠傜暦閺囥垹绠涢柣妤€鐗忛崢鎼佹⒑閸涘﹣绶遍柛鐘冲哺瀹曪綁鍩€椤掑嫭鈷戦柛婵嗗濠€鎵磼鐎n偄鐏撮柛鈹垮劜瀵板嫰骞囬鍌ゆ敤闂備胶绮崝鏇炍熸繝鍌栫細缂備焦眉缁诲棝鏌i幇鍏哥盎闁逞屽墯閸ㄥ灝鐣烽弴銏犺摕闁靛绠戝▓鐐翠繆閵堝繒鍒伴柛鐕佸亰閹€愁潨閳ь剟寮婚悢琛″亾閻㈢櫥瑙勭濠婂懐纾奸柣姗€娼ч埢鍫熸叏婵犲懏顏犵紒顔界懇瀹曠娀鍩勯崘鈺傛瘞濠碉紕鍋戦崐鎴﹀礉鐏炶娇娑樷攽鐎n剙绁﹂梺鍓插亖閸庤鲸鍎梻浣稿暱閹碱偊宕愰幖浣哥劦妞ゆ巻鍋撴い顓犲厴瀵鏁冮埀顒冪亽婵炴挻鍑归崹杈殭闂傚倷鐒︾€笛呯矙閹烘鍎庢い鏍ㄥ嚬濞兼牠鏌ц箛鎾磋础缁炬儳鍚嬫穱濠囶敍濮橆厽鍎撳銈庡亜闁帮絽顫忛搹鍦煓閻犳亽鍔嶅Σ鈧梻浣呵归敃銉ф崲閸岀偞鍋╅柣鎴f缁狅綁鏌e鍡椾簻濞存粓绠栭弻銊モ攽閸℃侗鈧鏌$€n剙鏋涢柡宀嬬秮楠炴ḿ鎹勯悜妯尖偓鐐箾閿濆懏鎼愰柨鏇ㄤ邯閵嗕礁鈽夊Ο閿嬫杸闂佺硶鍓濋〃鍡涘磿椤忓懐绡€闁汇垽娼цⅴ闂佺ǹ顑嗛幐鎼佹箒闂佺粯锚濡﹪宕曢幇鐗堢厽闁规儳鍟块弳鐔兼煙閼碱儮褰掋偑娴兼潙閱囨繝闈涚墱濡差垱绻濋悽闈涗沪闁搞劌澧庨崰濠傤吋婢舵ɑ鏅濋梺鍏间航閸庢煡宕h箛鏃€鍙忔俊銈傚亾婵☆偅顨嗛弲鑸电節濮橆厾鍘遍梺闈涚墕濡瑧绮堢€n喗鐓涚€光偓閳ь剟宕伴幘鑸殿潟闁圭儤顨呴~鍛存煟濡櫣锛嶅ù婊庝簼娣囧﹪鎮欓鍕ㄥ亾閵堝纾婚柛鏇ㄥ灠缁犵姵鎱ㄥ璇蹭壕閻庢鍠涢褔顢橀崗鐓庣窞濠电姴瀚獮鎰攽閻愯埖褰х紒韫矙楠炲鍨鹃弬銉︾亖闂佸搫琚崕鏌ュ煕閹寸姷纾藉ù锝堢柈缂傛氨绱掗悩宕囧缂佺粯鐩幊鐘活敆閳ь剟寮告惔鈧簻妞ゆ劑鍨荤粻宕囩磼鏉堛劌绗掗摶锝夋偣閸パ勨枙闁逞屽墯閹瑰洤顫忓ú顏呭殟闁靛鍠氭禍顏堝极瀹ュ拋鍚嬪璺猴功椤旀帞绱撻崒娆戝妽瀹€锝呮健瀹曪綁宕卞缁樻杸濡炪倖姊归弸缁樼瑹濞戙垺鐓曟俊顖涱儥濞兼劗绱掗崒姘毙㈡顏冨嵆瀹曞ジ鎮㈤崫鍕辈闂傚倷绀侀幖顐﹀疮椤愨挌褰掑磼閻愭彃鎯炲┑鐐叉閹稿鎮″☉銏″€甸柨婵嗗暙婵″ジ鏌嶈閸撴岸銆冮崼婢綁骞囬弶璺唺闂佽鍎抽顓犵矓閸洘鈷戦梻鍫熺▓鎼寸兘鎮楅棃娑滃閾荤偤鏌涢幇闈涙灍闁稿﹤鐏氱换娑㈠醇濠靛牅铏庨梺鍝勵儑閸犳牠寮婚悢濂夋桨閻忕偛澧借ぐ褔姊洪柅娑氣敀闁告梹鍨垮畷娲焵椤掍降浜滈柟鐑樺灥椤忣亪鏌i幘鍐叉殻婵﹤鎼埢搴ㄥ箚瑜忔禒鈺傜箾鐎涙ḿ鐭掔紒鐘崇墪椤繑銈︾憗銈勬睏闂佸湱鍎ょ换鍐夐弽顐ょ=濞撴艾娲ゅ▍姗€鏌涢妸锕€鈻曟鐐村灴婵偓闁绘﹩鍋呴~宥呪攽閻愬弶顥為柛鏃€顨堢划鏃堝醇閺囩啿鎷洪梺鍛婄☉閿曘儳鈧灚鐟╅弻娑樷槈濡娅ら梺鐓庣秺缁犳牠宕洪悙鍝勭闁挎棁妫勯埀顒傚厴閺屾稑鈻庤箛锝喰﹂梺缁樼箖濮婅崵妲愰幘瀛樺闁荤喐澹嗙粊宄扳攽閻愯尙姣為柍褜鍓氶崜姘跺吹閺囩喆浜滈柟鎷屾硾閻︽粓鏌℃担闈╄含闁诡喗枪缁犳盯寮崒姘兼椒婵$偑鍊ら崑鍕矓閻熼偊娼栨繛宸簼椤ュ牊绻涢幋娆忕伄鐎规洦浜炵槐鎾存媴娴犲鎽靛┑鐐跺皺閸犲酣鎮鹃悜钘夘潊闁靛牆妫涢崝鍫曟倵楠炲灝鍔氭俊顐㈢焸楠炲繐煤椤忓應鎷洪梺鍛婄☉閿曪妇绮婚幘缁樺€垫慨妯煎帶婢у鈧鍠涘▍鏇犳崲濠靛鐐婇柕濞у啫绠為梻浣筋嚙閸戠晫绱為崱娑樼;闁告侗鍨悞濠囨煙濞堝灝鏋ょ痪鎹愬亹缁辨挻鎷呯拹顖滅窗濠电偛寮堕幐鎶藉蓟閻旈鏆﹂柛銉戔偓閺嬪懎顪冮妶鍐ㄧ仾妞ゃ劌锕畷娲焵椤掍降浜滈柟鐑樺灥椤忊晠鏌涢幋鐘残g紒缁樼洴楠炲鈻庤箛鏇氱棯闂備胶绮幐楣冨窗閹邦喗宕叉繛鎴欏灩缁狅絾绻濋棃娑欘棥闁糕晝鍋涢埞鎴︽倷閸欏娅g紓浣割槸閻栧ジ宕洪埀顒併亜閹哄秶璐伴柛鐔风箻閺屾盯鎮╅搹顐ゎ槶闂佸憡甯楃敮鎺楀煝鎼淬劌绠婚柟鍏哥娴滄儳霉閿濆牆鈧粙鎮㈢亸浣圭€婚梺缁樺姦閸庣兘顢旈崼鐔叉嫽婵炶揪绲介幉锟犲箚閸儲鐓欓柛鎰皺缁犳娊鏌熼獮鍨伈鐎规洜鍘ч埞鎴﹀箛椤撶姷鈻夊┑鐘垫暩閸嬫稑螣婵犲啰顩叉繝闈涚懁婢舵劕閱囬柣鏃囨椤旀洟姊洪悷閭﹀殶闁稿濮电粩鐔肺熷Ч鍥︾盎闂佹寧绻傞幊蹇涘箚閸儲鐓冮悷娆忓閻忔挳鏌熼鐣屾噭闁挎稒鍔曢埞鎴﹀幢濡吋婢撶紓鍌氬€搁崐宄懊归崶鈺€鐒婃い蹇撳閺嬫牠鏌¢崶銉ョ仼缂佲偓閸℃稒鐓欓柣鎴烇供濞堛垽鏌℃担鍛婂枠闁哄矉缍佸顕€宕奸锝庢缂傚倷鐒﹂崝妤呭磻閻愬灚宕叉繝闈涱儐閸嬨劑姊婚崼鐔峰瀬闁靛繈鍊栭崐鍨箾閹寸偛绗氭繛鍛喘閺屽秷顧侀柛鎾跺枎宀h儻顦归柟顖氱焸瀹曟帒顫濋崗鑲╃▉婵犵數鍋涘Ο濠冪濠靛瑤澶愬醇閻旇櫣顔曢梺鐟邦嚟閸嬬姵绔熷Ο姹囦簻闁挎繂鎳忛幆鍫ユ煃鐟欏嫬鐏撮柛鈹垮劦瀹曞崬顪冮崜褍鍤紓鍌氬€风粈渚€顢栭崱娆愭殰闁炽儲鍓氶崵鏇㈡煛鐏炶鍔氶梺鍗炴喘閺岋繝宕堕埡浣圭亖闂佸憡鏌ㄩ悥濂稿箖濡ゅ懐宓侀柛顭戝枛婵骸鈹戦埥鍡椾簼闁烩晩鍨伴悾鐑藉閵堝棛鍔堕悗骞垮劚濡盯宕㈡禒瀣厵闁稿繐鍚嬮崕妤呮煕閵娿儳锛嶇紒顔芥閹粙宕ㄦ繝鍕箞闂備浇顫夐崕鎶筋敋椤撱垹绠犻柛鏇ㄥ幘绾惧ジ鏌涚仦鍓р槈婵炴惌鍣i弻锛勪沪閼恒儺妫炲銈嗘尭閵堢ǹ鐣烽崡鐐╂瀻闊洦鎸鹃鍏肩節绾板纾块柛瀣灴瀹曟劙寮介‖鈩冩そ瀵粙鈥栭浣衡槈闁宠棄顦~婵嬵敆閳ь剝鈪查梻鍌欑窔閳ь剛鍋涢懟顖涙櫠椤栨粎纾肩紓浣贯缚缁犳﹢鏌涢悩璇ф敾鐎垫澘瀚悾婵嬪焵椤掑嫭鏅柣鏂垮悑閳锋垹绱掔€n厽纭剁紒鐘崇叀閺屻劑寮村Ο铏逛患闂佷紮绲介崲鑼弲濡炪倕绻愰幊蹇撯枍閵忋倖鈷戠紓浣广€掗崷顓濈剨婵炲棙鎸婚弲顒佺節婵犲倸鏆婇柡鈧禒瀣厽婵☆垱顑欓崵瀣偓瑙勬偠閸庣敻寮诲☉銏″亞濞达綁鏅茬花鐣岀磽娓氬洤鏋︽い鏇嗗懎寮叉俊鐐€曠换鎰板箠婢舵劕绠┑鐘崇閳锋垹绱掔€n偄顕滄繝鈧导瀛樼厽闁绘梹绻傚▔姘跺炊椤掍焦娅囬梺绋挎湰缁嬫捇宕㈤悽鐢电<闁绘劦鍓氱欢鑼偓瑙勬处閸撴氨绮嬪鍛牚闁割偆鍠庢禍妤呮⒑闂堟稓澧曟い锔垮嵆閹ょ疀閹绢垱鏂€闂佺粯鍔欏ḿ褎绂嶉悙顒傜闁告侗鍘介崳浠嬫煟閵夘喕閭€规洘绮忛ˇ鎾偨椤栨稓銆掔紒杈ㄥ笧缁辨帒螣閸忕厧鍨辨俊銈囧Х閸嬫盯顢栭崨鏉戠厺閹兼番鍊楅悿鈧梺鍝勬处绾板秹宕戦崨瀛樷拻闁稿本鐟ㄩ崗宀€绱掗鍛仯闁轰緡鍣i獮鎺懳旀担绯曞亾閼稿灚鍙忔俊顖涘绾儳顩奸崨瀛樷拺闁告稑锕ユ径鍕煕閵婏箑顥嬬紒顔碱煼楠炲酣鎳為妷褍骞堥梻浣规灱閺呮盯宕妸锔绢浄闁挎洍鍋撴い顓℃硶閹叉挳宕熼鍌ゆО缂傚倷鑳剁划顖滄崲閸儱绠栧ù鐘差儐椤ュ牊绻涚壕瀣厫闁烩晩鍨跺璇测槈濮橈絽浜鹃柨婵嗛娴滄繄鈧娲栭張顒勫箞閵婏妇绡€闁告劏鏂傛禒銏狀渻閵堝啫鐏い銊ワ躬瀹曟椽鍩€椤掍降浜滈柟鐑樺灥閳ь剙顭烽幆宀勫箻缂佹ḿ鍘电紓鍌欓檷閸ㄥ綊寮搁悢鍏肩厱濠电姴鍊归崑銉╂煛鐏炲墽娲撮柍銉畵楠炲鈹戦崨顖涘瘻婵犵數鍋涢悺銊у垝瀹ュ洤鍨濋柟鎹愵嚙閽冪喖鏌i弮鍌氬付濞磋偐濞€閺屾盯寮撮妸銉ヨ緟闂侀潧顦弲婊堟偂閺囥垻鍙撻柛銉e妽鐏忕敻鏌i幒鎾村€愰柡宀嬬磿娴狅箓宕滆閸掓盯姊虹拠鈥虫灁闁搞劏妫勯悾鐑筋敃閿曗偓鍞梺闈涱槶閸庢娊宕Δ鍛拻闁稿本鐟чˇ锕傛煙绾板崬浜伴柟顖氼槹缁虹晫绮欑捄銊у炊闂備礁鎼拠鐐哄川椤旂瓔鍟庡┑鐘垫暩閸嬫稑螞濞嗘挸绠扮紒瀣缁绢垶姊婚崒娆掑厡缁绢厼鐖煎畷婊冣攽鐎c劉鍋撻崘顓犵杸闁哄倹顑欓崵銈夋⒑鐠恒劌娅愰柟鍑ゆ嫹9闂傚倸鍊搁崐鎼佸磹閹间礁纾归柟闂寸绾惧綊鏌熼梻瀵割槮缁炬儳缍婇弻鐔兼⒒鐎靛壊妲紒鐐劤缂嶅﹪寮婚悢鍏尖拻閻庨潧澹婂Σ顔剧磼閻愵剙鍔ょ紓宥咃躬瀵鎮㈤崗灏栨嫽闁诲酣娼ф竟濠偽i鍓х<闁绘劦鍓欓崝銈囩磽瀹ュ拑韬€殿喖顭烽幃銏ゅ礂鐏忔牗瀚介梺璇查叄濞佳勭珶婵犲伣锝夘敊閸撗咃紲闂佺粯鍔﹂崜娆撳礉閵堝洨纾界€广儱鎷戦煬顒傗偓娈垮枛椤兘骞冮姀銈呯閻忓繑鐗楃€氫粙姊虹拠鏌ュ弰婵炰匠鍕彾濠电姴浼i敐澶樻晩闁告挆鍜冪床闂備胶绮崝锕傚礈濞嗘挸绀夐柕鍫濇川绾剧晫鈧箍鍎遍幏鎴︾叕椤掑倵鍋撳▓鍨灈妞ゎ厾鍏橀獮鍐閵堝懐顦ч柣蹇撶箲閻楁鈧矮绮欏铏规嫚閺屻儱寮板┑鐐板尃閸曨厾褰炬繝鐢靛Т娴硷綁鏁愭径妯绘櫓闂佸憡鎸嗛崪鍐簥闂傚倷鑳剁划顖炲礉閿曞倸绀堟繛鍡樻尭缁€澶愭煏閸繃宸濈痪鍓ф櫕閳ь剙绠嶉崕閬嶅箯閹达妇鍙曟い鎺戝€甸崑鎾斥枔閸喗鐏堝銈庡幘閸忔﹢鐛崘顔碱潊闁靛牆鎳愰ˇ褔鏌h箛鎾剁闁绘顨堥埀顒佺煯缁瑥顫忛搹瑙勫珰闁哄被鍎卞鏉库攽閻愭澘灏冮柛鏇ㄥ幘瑜扮偓绻濋悽闈浶㈠ù纭风秮閺佹劖寰勫Ο缁樻珦闂備礁鎲¢幐鍡涘椽閸愵亜绨ラ梻鍌氬€峰ù鍥敋閺嶎厼鍨傞幖娣妼缁€鍐煥濠靛棙顥滈柣锕備憾濮婂宕掑▎鎺戝帯濡炪們鍨归敃銈夊煝瀹ュ鍗抽柕蹇曞Х椤斿姊洪幖鐐插姶闁告挻鐟╅幃姗€骞庨懞銉у幐闂佸憡鍔戦崝搴㈡櫠閺囩姷纾奸柍褜鍓熷畷姗€鍩炴径鍝ョ泿闂傚⿴鍋勫ú銈吤归悜鍓垮洭鏁冮埀顒勬箒濠电姴锕ら悧蹇涙偩濞差亝鐓涢悘鐐额嚙婵″ジ鏌嶇憴鍕伌鐎规洖宕埢搴ょ疀閹惧妲楃紓鍌氬€搁崐鐑芥⒔瀹ュ绀夌€光偓閸曨倠褔鏌熼梻瀵割槮闁藉啰鍠栭弻锝夊棘閸喗鍊梺绋块閻倿寮诲☉妯锋斀闁告洦鍋勬慨銏ゆ偠濮樺墽鐣垫慨濠勭帛閹峰懘宕ㄦ繝鍐ㄥ壍闂備焦妞块崢濂杆囨潏鈺傤潟闁绘劕顕悷褰掓煃瑜滈崜鐔镐繆鐎涙ɑ濯撮柛鎾冲级瀵ゆ椽姊洪柅鐐茶嫰婢у瓨顨ラ悙鎻掓殭闁宠閰i獮妯虹暦閸ヨ泛鏅e┑锛勫亼閸婃牠骞愭ィ鍐ㄩ棷闁靛鍎欏☉婊庢▌濠殿喖锕ら…宄扮暦閹烘垟鏋庨柟瀵稿Х瀹曞弶绻濋悽闈涗粧闁告牜濞€瀹曟鎮欓鍌楁闂佸疇顕ч柊锝夌嵁鐎n喗鍊烽悗娑欙供閸炲爼姊婚崒娆戭槮婵犫偓闁秴纾块柕鍫濐槶閳ь剙鍟撮獮鍥敊閸撗屾Ц闂備礁鎼粔鏌ュ礉鎼达絽濮柍褜鍓熷濠氬磼濮樺崬顤€婵炴挻纰嶉〃濠傜暦閺囥垹绠涢柣妤€鐗忛崢鎼佹⒑閸涘﹣绶遍柛鐘冲哺瀹曪綁鍩€椤掑嫭鈷戦柛婵嗗濠€鎵磼鐎n偄鐏撮柛鈹垮劜瀵板嫰骞囬鍌ゆ敤闂備胶绮崝鏇炍熸繝鍌栫細缂備焦眉缁诲棝鏌i幇鍏哥盎闁逞屽墯閸ㄥ灝鐣烽弴銏犺摕闁靛绠戝▓鐐翠繆閵堝繒鍒伴柛鐕佸亰閹€愁潨閳ь剟寮婚悢琛″亾閻㈢櫥瑙勭濠婂懐纾奸柣姗€娼ч埢鍫熸叏婵犲懏顏犵紒顔界懇瀹曠娀鍩勯崘鈺傛瘞濠碉紕鍋戦崐鎴﹀礉鐏炶娇娑樷攽鐎n剙绁﹂梺鍓插亖閸庤鲸鍎梻浣稿暱閹碱偊宕愰幖浣哥劦妞ゆ巻鍋撴い顓犲厴瀵鏁冮埀顒冪亽婵炴挻鍑归崹杈殭闂傚倷鐒︾€笛呯矙閹烘鍎庢い鏍ㄥ嚬濞兼牠鏌ц箛鎾磋础缁炬儳鍚嬫穱濠囶敍濮橆厽鍎撳銈庡亜闁帮絽顫忛搹鍦煓閻犳亽鍔嶅Σ鈧梻浣呵归敃銉ф崲閸岀偞鍋╅柣鎴f缁狅綁鏌e鍡椾簻濞存粓绠栭弻銊モ攽閸℃侗鈧鏌$€n剙鏋涢柡宀嬬秮楠炴ḿ鎹勯悜妯尖偓鐐箾閿濆懏鎼愰柨鏇ㄤ邯閵嗕礁鈽夊Ο閿嬫杸闂佺硶鍓濋〃鍡涘磿椤忓懐绡€闁汇垽娼цⅴ闂佺ǹ顑嗛幐鎼佹箒闂佺粯锚濡﹪宕曢幇鐗堢厽闁规儳鍟块弳鐔兼煙閼碱儮褰掋偑娴兼潙閱囨繝闈涚墱濡差垱绻濋悽闈涗沪闁搞劌澧庨崰濠傤吋婢舵ɑ鏅濋梺鍏间航閸庢煡宕h箛鏃€鍙忔俊銈傚亾婵☆偅顨嗛弲鑸电節濮橆厾鍘遍梺闈涚墕濡瑧绮堢€n喗鐓涚€光偓閳ь剟宕伴幘鑸殿潟闁圭儤顨呴~鍛存煟濡櫣锛嶅ù婊庝簼娣囧﹪鎮欓鍕ㄥ亾閵堝纾婚柛鏇ㄥ灠缁犵姵鎱ㄥ璇蹭壕閻庢鍠涢褔顢橀崗鐓庣窞濠电姴瀚獮鎰攽閻愯埖褰х紒韫矙楠炲鍨鹃弬銉︾亖闂佸搫琚崕鏌ュ煕閹寸姷纾藉ù锝堢柈缂傛氨绱掗悩宕囧⒌闁哄矉绲借灃闁告劑鍓遍姀掳浜滄い鎰╁灮缁犲磭绱掓潏銊ョ瑨閾伙綁鏌ゅù瀣珕闁搞倕鐭傚缁樼瑹閳ь剟鍩€椤掑倸浠滈柤娲诲灡閺呭爼骞橀鐣屽幈闂佸疇顫夐崕铏閻愵兛绻嗛柣鎰典簻閳ь剚鐗滈弫顕€骞掑Δ鈧壕褰掓煕濞戞﹫鍔熸い鈺呮敱缁绘繃绻濋崒婊冾杸闂佺粯鎸炬慨鐢垫崲濞戙垺鍤戝Λ鐗堢箓濞堫參姊虹拠鏌ョ崪缂佺粯绻堝濠氭晸閻樻彃绐涘銈嗘尵婵挳鎮¢悢鑲烘棃鎮╅棃娑楃捕缂備礁顦紞濠囧Υ娴g硶鏋庨柟鎯х-椤︻參鎮峰⿰鍕畼婵″弶鍔欏畷锝嗗緞婢跺瞼鐣鹃梻浣虹帛閸旓附绂嶅⿰鍫濈劦妞ゆ帊鑳舵晶顏堟偂閵堝鐓涚€广儱娴锋禒婊勭箾閹寸們姘i崼銉︾厪闊洦娲栧暩濡炪倧瀵岄崑鍛崲濞戞埃鍋撻悽鐧诲湱鏁崼鏇熺厽閹烘娊宕濋幋锔惧祦濠电姴鍋嗗ḿ鈺呮煠閸濄儲鏆╅柛妯绘倐閹鐛崹顔煎濠电偞鎸抽弨杈╃矉瀹ュ鎹舵い鎾跺枎閺嬫垿姊虹紒姗嗘當闁绘妫涚划顓烆潩閼哥數鍘搁梺鍛婁緱閸犳岸宕i埀顒勬⒑閸濆嫭婀伴柣鈺婂灦閵嗕線寮撮姀鐘栄囨煕濞戝崬鏋ょ憸鐗堢懃閳规垿鎮欏顔兼婵犳鍣崣鍐嚕閹绘巻妲堥柍鍨涙杹閸嬫捇寮崼婵堫槰濡炪倖鏌ㄥΣ鍫n樄闁哄本鐩崺鍕礂閿旇棄鍝烘鐐茬箻閹兘骞嶉搹顐f澑闂備胶绮崝妯衡枖濞戙垺鍎嶆繛宸簼閻撴洟鏌eΟ鑽ゅ弨闁告瑥瀚伴弻銊モ攽閸繀鍝楃紓浣哄У閻╊垶鐛Ο缁樺閻熸瑥瀚ㄦ禒銏狀渻閵堝啫鐏俊顐㈠暙閻g兘濡搁埡濠冩櫍濠电娀娼ч悧濠囧汲娴煎瓨鈷掗柛灞捐壘閳ь剙鍢查湁闁搞儺鍓ㄧ紞鏍ь熆閼搁潧濮﹂柡浣革躬閺屸€愁吋鎼粹€崇缂備焦鍔栭〃鍡樼┍婵犲洤围闁告侗鍠栧▍锝囩磽娴e搫啸闁哥姴閰i崺鐐哄箣閿曗偓绾惧吋鎱ㄥ鍡楀箹闁哄棗鐗撳娲箮閼恒儲鏆犻梺鎼炲妼濞尖€愁嚕婵犳艾围闁糕剝锚瀵潡姊鸿ぐ鎺戜喊闁稿繑锕㈠畷鎴﹀箻鐠囨彃宓嗛梺闈涚箳婵挳宕甸幋锔解拺缂佸娉曢悘閬嶆煕鐎n剙浠遍柟顕嗙節瀵挳濮€閻樻鍟囬梺鍝勵槸閻楀棙鏅堕悾宀€鐭欏┑鐘崇閻撴盯鏌涢埦鈧弲娑欐櫠椤栨稏浜滈柕濠忕到閸旓箓鏌熼鐣屾噰妤犵偞鎹囬獮鎺楀箻閹碱厼鏁虫繝纰夌磿閸嬫垿宕愰妶澶婄;闁告侗鍨伴崹婵嬫煙閹规劦鍤欓柡鍕╁劦閺屽秷顧侀柛鎾村哺婵$敻宕熼姘鳖唺闂佺懓鐡ㄧ换宥嗙婵傚憡鈷戦柛婵嗗椤忋儵鏌涙惔锝嗘毈鐎殿喖顭锋俊鎼佸煛閸屾矮绨婚梻浣告啞缁诲倻鈧艾鎳樻慨鈧柕蹇嬪灮閿涙粓姊洪柅鐐茶嫰婢у鈧娲橀敃銏ゅ春閻愭潙绶為柛婵勫劤濞夊潡姊婚崒姘g湅闁稿瀚叅闁挎洖鍊哥粻鏉库攽閻樺磭顣查柡鍜佸墴閺岋繝宕橀妸銉㈠亾閼姐倕顥氬┑鍌溓圭痪褔鏌涢锝団槈濠碘€虫健閺屾稑鈻庣仦鎴掑婵犵數濮甸鏍窗閺嶎厽鏅濋柨鏃€鍎抽崹婵囥亜閺嶎偄浠滅紒鐙€鍨堕弻娑樷槈濡吋鎲奸梺璇″灣閸嬨倝寮婚敐澶嬪亜缂佸顑欏Λ鍡楊渻閵堝棗濮囬柕鍫⑶归~蹇曠磼濡顎撻梺鑺ッˇ顖炲箚閻愮儤鈷戦柛婵勫劚瀛濆┑鈽嗗亝缁诲倿鎮鹃悿顖樹汗闁圭儤鎸搁惂鍕節閵忥絾纭鹃柡鍫墮閳绘挻銈i崘鈹炬嫼缂佺虎鍘奸幊蹇氥亹瑜忕槐鎺楁偐閸愯尙浠肩紓渚囧枛椤兘骞婇敓鐘参ч柛銉㈡櫔缁卞啿鈹戦悙鑸靛涧缂傚秮鍋撻梺姹囧€ら崰姘辨閹炬剚娼╅柤鍝ユ暩閸樺崬鈹戦濮愪粶闁稿鎸搁湁婵犲﹤妫欑涵鐐亜椤愩垻绠伴悡銈嗐亜韫囨挻濯兼俊顐㈠暙閳规垿鎮欑€靛憡娈梺鍛婃煥閻偐妲愰悙瀵哥瘈闁稿本绮嶅▓楣冩⒑閸濆嫭鍌ㄩ柛銊ユ贡缁顢氶埀顒勫蓟閿曗偓铻e〒姘煎灡鏁堟繝纰樷偓铏枙闁告挾鍠庨~蹇撁洪鍕唶闁硅壈鎻徊鍧楁偩闂堟稈鏀介柣鎰硾閻ㄥ搫鈹戦悙鈺佷壕闁诲氦顫夊ú姗€宕归崸妤冨祦婵せ鍋撶€殿噮鍓熸俊鐑芥晜閸欍儳鎸夐梻鍌氬€风粈浣圭珶婵犲洦鍋傞柛顐犲劚缁愭淇婇妶鍛櫤闁稿﹤鐖奸弻娑㈩敃閿濆洨顓煎┑鐐存尭椤兘寮婚弴銏犻唶婵犻潧顑愰埀顒侇殘閳ь剚顔栭崳顕€宕抽敐澶婅摕闁跨喓濮撮悞鍨亜閹哄秶鍔嶇紓宥呮喘閺屾洘绻涜閸嬫捇鏌¢埀顒勬惞椤愩倗鐦堥梺姹囧灲濞佳冪摥婵犵數鍋涢惇浼村磹濡ゅ啫鍨濆┑鐘崇閸嬶繝鏌熼崘璇у伐缂傚秴锕顐﹀箛閺夊灝绐涘銈嗘濡嫰寮搁幋锔解拻濞达絽鎲¢崯鐐烘嫅闁秵鐓欐い鏃傚帶閳ь剚鎮傞敐鐐剁疀濞戞瑦鍎梺闈╁瘜閸橀箖鎮¢幘缁樷拺闁革富鍘愰崷顓涘亾濞戞帗娅婃鐐茬箻閺屽棗顓奸崱蹇斿婵犵數鍋犵亸顏堫敋瑜嶉锝嗐偅閸愨晝鍘遍梺缁樏崯鍧楀传濞差亝鐓欑€规洖娲ゆ禒锔界箾閻撳海绠诲┑鈩冪摃椤т焦绻涢弶鎴濐伃闁哄矉绲鹃幆鏃堫敍濠婂憛锝夋⒑缁嬫鍎岄柛瀣崌濮婇缚銇愰幒婵囶棖缂備緡鍣崹鎶藉箲閵忕姭妲堟繛鍡樺姉缁夊爼姊洪崨濠冨瘷闁告劑鍔庨崢鎺楁⒒閸屾瑨鍏屾い銏狅工閳诲秹寮撮姀鈥充画闂侀潧艌閺呮稒顢婇梻浣告贡婢ф顭垮Ο鑲╀笉闁规儼濮ら悡娆撴倵濞戞瑡缂氱紒鐘翅缚閹叉悂寮跺▎鐐ф繛锝呮搐閿曨亪骞冨▎鎿冩晜闁告洏鍔屾禍楣冩煛瀹ュ骸浜濋柡鍡樼矒閺岀喖鎮滃鍡樼暥缂佹儳澧介幊鎾诲煘閹达附鍋愮€规洖娴傞弳锟犳⒑缁嬪灝顒㈡い銊ユ閹广垹鈽夐姀鐘茶€垮┑鈽嗗灥椤曆囨瀹ュ鈷戠紓浣股戠亸浼存煟閻斿弶娅呮い鏇秮瀹曞ジ寮撮悙鍝勬暪闂備胶绮弻銊╁床閸欏鍙忛柕蹇嬪€栭埛鎴澝归崗鑲╂噰婵$虎鍠氱槐鎺楊敊閼恒儱纾抽悗娈垮枛椤兘宕洪崟顖氱闁宠桨绶¢埀顒佹尵缁辨挻鎷呴崜鎻掑壈缂備降鍔戞禍璺虹暦閹达箑绠婚悹鍥ㄧ叀閺佹粌鈹戞幊閸婃劙宕戦幘缁樼參闁告劦浜滈弸娑㈡煛鐏炵偓绀冪紒缁樼洴閹瑩顢楁担鍝勭稻闂傚倷鑳舵灙妞ゆ垵鎳庤灋婵犻潧顑呴拑鐔哥箾閹寸偟鐓繛宀婁邯閺屾盯骞樺璇蹭壕濠碘剝褰冮悧鍡涒€旈崘顔嘉ч柛娑橆嚟瀹曨亪姊洪悷鏉挎闁瑰嚖鎷� 闂傚倸鍊搁崐鎼佸磹閹间礁纾归柟闂寸绾惧綊鏌熼梻瀵割槮缁炬儳缍婇弻鐔兼⒒鐎靛壊妲紒鐐劤缂嶅﹪寮婚悢鍏尖拻閻庨潧澹婂Σ顔剧磼閻愵剙鍔ょ紓宥咃躬瀵鎮㈤崗灏栨嫽闁诲酣娼ф竟濠偽i鍓х<闁绘劦鍓欓崝銈囩磽瀹ュ拑韬€殿喖顭烽幃銏ゅ礂鐏忔牗瀚介梺璇查叄濞佳勭珶婵犲伣锝夘敊閸撗咃紲闂佺粯鍔﹂崜娆撳礉閵堝洨纾界€广儱鎷戦煬顒傗偓娈垮枛椤兘骞冮姀銈呯閻忓繑鐗楃€氫粙姊虹拠鏌ュ弰婵炰匠鍕彾濠电姴浼i敐澶樻晩闁告挆鍜冪床闂備胶绮崝锕傚礈濞嗘挸绀夐柕鍫濇川绾剧晫鈧箍鍎遍幏鎴︾叕椤掑倵鍋撳▓鍨灈妞ゎ厾鍏橀獮鍐閵堝懐顦ч柣蹇撶箲閻楁鈧矮绮欏铏规嫚閺屻儱寮板┑鐐板尃閸曨厾褰炬繝鐢靛Т娴硷綁鏁愭径妯绘櫓闂佸憡鎸嗛崪鍐簥闂傚倷鑳剁划顖炲礉閿曞倸绀堟繛鍡樻尭缁€澶愭煏閸繃宸濈痪鍓ф櫕閳ь剙绠嶉崕閬嶅箯閹达妇鍙曟い鎺戝€甸崑鎾斥枔閸喗鐏堝銈庡幘閸忔﹢鐛崘顔碱潊闁靛牆鎳愰ˇ褔鏌h箛鎾剁闁绘顨堥埀顒佺煯缁瑥顫忛搹瑙勫珰闁哄被鍎卞鏉库攽閻愭澘灏冮柛鏇ㄥ幘瑜扮偓绻濋悽闈浶㈠ù纭风秮閺佹劖寰勫Ο缁樻珦闂備礁鎲¢幐鍡涘椽閸愵亜绨ラ梻鍌氬€峰ù鍥敋閺嶎厼鍨傞幖娣妼缁€鍐煥濠靛棙顥滈柣锕備憾濮婂宕掑▎鎺戝帯濡炪們鍨归敃銈夊煝瀹ュ鍗抽柕蹇曞Х椤斿姊洪幖鐐插姶闁告挻鐟╅幃姗€骞庨懞銉у幐闂佸憡鍔戦崝搴㈡櫠閺囩姷纾奸柍褜鍓熷畷姗€鍩炴径鍝ョ泿闂傚⿴鍋勫ú銈吤归悜鍓垮洭鏁冮埀顒勬箒濠电姴锕ら悧蹇涙偩濞差亝鐓涢悘鐐额嚙婵″ジ鏌嶇憴鍕伌鐎规洖宕埢搴ょ疀閹惧妲楃紓鍌氬€搁崐鐑芥⒔瀹ュ绀夌€光偓閸曨倠褔鏌熼梻瀵割槮闁藉啰鍠栭弻锝夊棘閸喗鍊梺绋块閻倿寮诲☉妯锋斀闁告洦鍋勬慨銏ゆ偠濮樺墽鐣垫慨濠勭帛閹峰懘宕ㄦ繝鍐ㄥ壍闂備焦妞块崢濂杆囨潏鈺傤潟闁绘劕顕悷褰掓煃瑜滈崜鐔镐繆鐎涙ɑ濯撮柛鎾冲级瀵ゆ椽姊洪柅鐐茶嫰婢у瓨顨ラ悙鎻掓殭闁宠閰i獮妯虹暦閸ヨ泛鏅e┑锛勫亼閸婃牠骞愭ィ鍐ㄩ棷闁靛鍎欏☉婊庢▌濠殿喖锕ら…宄扮暦閹烘垟鏋庨柟瀵稿Х瀹曞弶绻濋悽闈涗粧闁告牜濞€瀹曟鎮欓鍌楁闂佸疇顕ч柊锝夌嵁鐎n喗鍊烽悗娑欙供閸炲爼姊婚崒娆戭槮婵犫偓闁秴纾块柕鍫濐槶閳ь剙鍟撮獮鍥敊閸撗屾Ц闂備礁鎼粔鏌ュ礉鎼达絽濮柍褜鍓熷濠氬磼濮樺崬顤€婵炴挻纰嶉〃濠傜暦閺囥垹绠涢柣妤€鐗忛崢鎼佹⒑閸涘﹣绶遍柛鐘冲哺瀹曪綁鍩€椤掑嫭鈷戦柛婵嗗濠€鎵磼鐎n偄鐏撮柛鈹垮劜瀵板嫰骞囬鍌ゆ敤闂備胶绮崝鏇炍熸繝鍌栫細缂備焦眉缁诲棝鏌i幇鍏哥盎闁逞屽墯閸ㄥ灝鐣烽弴銏犺摕闁靛绠戝▓鐐翠繆閵堝繒鍒伴柛鐕佸亰閹€愁潨閳ь剟寮婚悢琛″亾閻㈢櫥瑙勭濠婂懐纾奸柣姗€娼ч埢鍫熸叏婵犲懏顏犵紒顔界懇瀹曠娀鍩勯崘鈺傛瘞濠碉紕鍋戦崐鎴﹀礉鐏炶娇娑樷攽鐎n剙绁﹂梺鍓插亖閸庤鲸鍎梻浣稿暱閹碱偊宕愰幖浣哥劦妞ゆ巻鍋撴い顓犲厴瀵鏁冮埀顒冪亽婵炴挻鍑归崹杈殭闂傚倷鐒︾€笛呯矙閹烘鍎庢い鏍ㄥ嚬濞兼牠鏌ц箛鎾磋础缁炬儳鍚嬫穱濠囶敍濮橆厽鍎撳銈庡亜闁帮絽顫忛搹鍦煓閻犳亽鍔嶅Σ鈧梻浣呵归敃銉ф崲閸岀偞鍋╅柣鎴f缁狅綁鏌e鍡椾簻濞存粓绠栭弻銊モ攽閸℃侗鈧鏌$€n剙鏋涢柡宀嬬秮楠炴ḿ鎹勯悜妯尖偓鐐箾閿濆懏鎼愰柨鏇ㄤ邯閵嗕礁鈽夊Ο閿嬫杸闂佺硶鍓濋〃鍡涘磿椤忓懐绡€闁汇垽娼цⅴ闂佺ǹ顑嗛幐鎼佹箒闂佺粯锚濡﹪宕曢幇鐗堢厽闁规儳鍟块弳鐔兼煙閼碱儮褰掋偑娴兼潙閱囨繝闈涚墱濡差垱绻濋悽闈涗沪闁搞劌澧庨崰濠傤吋婢舵ɑ鏅濋梺鍏间航閸庢煡宕h箛鏃€鍙忔俊銈傚亾婵☆偅顨嗛弲鑸电節濮橆厾鍘遍梺闈涚墕濡瑧绮堢€n喗鐓涚€光偓閳ь剟宕伴幘鑸殿潟闁圭儤顨呴~鍛存煟濡櫣锛嶅ù婊庝簼娣囧﹪鎮欓鍕ㄥ亾閵堝纾婚柛鏇ㄥ灠缁犵姵鎱ㄥ璇蹭壕閻庢鍠栭…鐑藉极閹版澘宸濋柛灞剧矊閺嬫盯鏌熺粵鍦瘈濠碘€崇埣瀹曘劑顢涘▎鎰簼闂傚倸鍊搁崐鐑芥倿閿曞倸绠栭柛顐f礀绾炬寧銇勯弽顐粶缂佲偓婢舵劕绠规繛锝庡墮婵″ジ鏌涚仦璇插婵﹥妞介、妤呭焵椤掑倻鐭撻柣銏犳啞閸嬪倿鏌i弮鍥т汗闁告瑦鎹囬弻娑㈠Ψ閿濆懎顬夌紓浣插亾闁逞屽墯缁绘稓鈧數枪鏍$紓渚囧枛閻倿鍨鹃敃鍌涘殑妞ゆ牭绲炬缂傚倸鍊风欢锟犲窗濡ゅ懏鍋¢柍鍝勬噽瀹撲線鏌涢幇闈涙灍闁哄懏鎮傞弻锝呪枎鐏炴垝澹曢梻浣芥〃缁€浣虹矓閻㈢ǹ绠為柕濞垮剻閻旂厧鍨傛い鏃傜帛閻繘姊绘担鍛婃喐闁稿鍠栧顐g節濮橆剝鎽曢梺鎸庣箓椤︿即宕戦崟顖涚厱婵犻潧瀚崝婊堟煕閿涘崬娲﹂悡鐔煎箹濞n剙鐏╅柛銈庡墴閺屾稑螣閸濆嫧鎸冮梺鍛婂笚鐢€崇暦婵傜ǹ唯闁靛/鍐ㄐ曞┑锛勫亼閸婃牜鏁幒鏂哄亾濮樼厧寮柛鈺傜洴楠炲鏁傞挊澶嗗亾閻㈠憡鐓曢柨鏃囶嚙楠炴牗銇勬惔鈩冩拱缂佺粯鐩畷妤呮偂鎼粹槅娼氶梻浣告惈閺堫剟鎯勯娑楃箚闁归棿绀佸敮闂佹寧娲嶉崑鎾趁归悩铏唉婵﹥妞藉Λ鍐ㄢ槈濞嗘ɑ顥犵紓鍌欒閸嬫挸銆掑锝呬壕闂佺硶鏂傞崹娲箚閺冨牆惟闁靛/灞芥倛闂傚倷鑳剁划顖氱幓閸фぜ鈧倿顢欓悙顒夋綗闂佸搫琚崕鏌ュ煕閹烘嚚褰掓晲閸モ晜鎲樺┑鐐插悑閸旀瑩寮诲☉娆愬劅闁靛牆妫涜ぐ褔姊洪崫鍕殌闁糕晜鐗犻獮鍡涘籍閸喐娅滈梺鎼炲劗閺呮稓绮婚崹顐ょ瘈鐎典即鏀卞姗€鍩€椤掍焦绀嬫鐐诧龚缁犳稑鈽夊Ο鐓庡箞闂備礁婀遍崕銈夊吹濮樼偨浜归柟鐑樻尰濞呮粓姊洪崨濠佺繁闁哥姵鐗犲鎶藉醇閵夛腹鎷洪梺鍛婄缚閸庨亶寮搁弮鍫熺厱閻庯綆鍓欐禒鍗炩攽閿涘嫭鏆€规洜鍠栭、娑㈡晲閸℃ɑ鐝濋梻鍌欒兌缁垶宕濋弽顓炵畾閻忕偠濞囧☉銏℃櫇闁稿本绋戦埀顒傛暬閹嘲鈻庤箛鎿冧痪缂備讲鍋撻柛鎰靛枟閻撱儵鏌¢崶顭嬵亪鎮橀懠顑藉亾濞堝灝娅橀柛瀣躬閻涱噣宕堕鈧痪褔鏌涢…鎴濇灕闁逞屽墮閻忔繈鍩為幋锔藉€烽柛娆忣樈濡偤姊洪崗鍏笺仧闁搞劏浜划瀣吋婢跺鈧攱銇勯幒鎴濃偓濠氼敊閺囥垺鍊甸柣鐔告緲椤ュ繘鏌涢悩铏闁奸缚椴哥缓浠嬪川婵犲嫬骞堝┑鐘垫暩婵挳宕愮紒妯碱浄婵炴垶鐟f禍婊堟煏婵犲繒鍒伴柛鏃撶畵閺岀喖顢欓悾灞惧櫚闂佺懓纾繛鈧い銏$墵閹虫顢涘☉鎵佸亾濡ゅ懏鈷掗柛灞剧懅椤︼箓鏌熷ù瀣у亾閹颁焦缍庨梺闈╁瘜閸樺ジ寮搁崼鈶╁亾楠炲灝鍔氭繛璇х畱閻g兘宕f径宀€顔曢梺鐟扮摠閻熴儵鎮橀鍫熺厱闁靛牆妫楅悘锕傛煏閸パ冾伃妤犵偞甯″畷鍗烆渻閹屾闂傚倸鍊风粈渚€鎮块崶顒夋晪鐟滄棃骞冭缁犳稑鈽夊Ο鐓庡Е婵$偑鍊栫敮鎺楀窗濮橆兗缂氶柟閭﹀幘缁犻箖鏌涘▎蹇f闁兼媽娉曢埀顒冾潐濞叉牜绱炴繝鍌滄殾缂佸顕抽弮鍫濈闁靛ě浣镐喊婵犵數濮甸鏍窗濡ゅ懎桅婵炴垯鍨圭壕濠氭煙閸撗呭笡闁绘挻鐟╅弻褑绠涢敐鍛敖闂佹椿鍘界敮妤佺┍婵犲浂鏁冮柕蹇曞У濞堫參姊虹€圭姵顥夋い锔诲灦閸┿垺鎯旈妸銉ь吅闂佸搫鍊搁妵妯荤珶閺囩儐娓婚柕鍫濇鐏忣亪鏌涢妸锔姐仢闁糕晜鐩獮鎺楀箠閵娿儳绉洪柡浣瑰姍瀹曘劑顢欓崗鍏肩暭闂傚倷绀侀幗婊堝窗閹捐纾婚柣鎰仛瀹曞弶绻涢幋鐐殿暡閻庢碍姘ㄩ幉姝岀疀濞戞瑥浠奸梺姹囧灮椤d粙宕戦幘鑸靛枂闁告洦鍓涢ˇ銊х磽娓氬洤鏋涢柣顓炲€垮畷娲Ψ閿曗偓缁剁偤鏌熼柇锕€澧绘繛鐓庯躬濮婃椽寮妷锔界彅闂佸摜鍣ラ崹鍫曞箖閻㈠壊鏁冮柨婵嗘川閻﹀牓姊哄Ч鍥х伈婵炰匠鍕浄闁挎洖鍊归悡鏇熴亜椤撶喎鐏ラ柣蹇ュ閳ь剝顫夊ú婊堝箠閹捐泛寮叉俊鐐€曠换鎰偓姘煎櫍瀹曘垽鏌嗗鍡忔嫼缂佺虎鍘奸幊蹇氥亹瑜斿濠氬礋椤愩埄浼冮梺璇″櫙缁绘繂顕i幘顔藉亜闁惧繗顕栭崯搴ㄦ⒒娴g儤鍤€妞ゆ洦鍙冨畷鎰板箣濠垫劖鍍甸梺鍏兼倐濞佳囧礈閹惰姤鐓熼幖鎼灣缁夌敻鏌涚€n亝顥犵紒顔剧帛閵堬綁宕橀埡鍐ㄥ箞婵$偑鍊栭崝鎴﹀磹閺囥垹鍑犻柟瀵稿Х绾惧ジ鏌嶈閸撶喖宕洪埀顒併亜閹烘垵顏柍閿嬪灴閹宕烽鐑嗏偓灞剧箾閸忕厧濮嶉柡灞剧洴婵℃悂濡烽敃鈧禒鏉懳旈悩闈涗粶闁哥噥鍋婇崺銏℃償閵娿儳顓洪梺缁樺姌鐏忔瑨銇愰幘顔界厽闁绘柨鎽滈惌瀣煕閵娿儳浠㈤柣锝囧厴婵$兘鍩℃繝鍐╂珖闂備焦瀵уΛ浣筋暰闂佸綊鏀卞浠嬪蓟閿濆鍋愰柛娆忣槺椤﹂亶姊洪柅鐐茶嫰婢у弶绻涢崨顔界闁诡喗锕㈠畷鍗炩槈濞嗗本瀚奸梻浣告啞缁嬫垿銈弶鎴旀灁闁哄洨鍋愰弨浠嬫煟閹邦垼鍤嬮棅顒夊墮閳规垿鍨惧畷鍥ㄦ喖闂佺懓鍢查幊妯虹暦濠婂牆鐭楀璺猴工閸樼偤姊绘担钘夊惞濠电偐鍋撶紓鍌氬€归懝楣冨煝瀹ュ鏅插璺猴功椤︻噣姊洪幐搴㈢5闁稿鎸婚妵鍕敂閸曨偅娈绘繝纰樷偓宕囧煟鐎规洖宕灃闁逞屽墮宀e潡骞嬮敂瑙f嫼缂備礁顑嗛娆撳磿閹扮増鐓欓柣鐔哄閸犳ḿ鈧鍠栭…鐑藉极閹邦厼绶為悗锝庡亝閻濇娊姊绘担瑙勫仩闁稿孩绮撳畷姗€濡歌閸氬懘姊绘担绛嬪殭婵﹫绠撻敐鐐村緞婵炴帗妞藉浠嬵敇閻愬诞鍛<閻庯綆鍋掗崕銉╂煕閵堝棙绀嬮柡宀€鍠撶槐鎺楀閻樺磭浜梺璇″灣閸犳牕顫忓ú顏勭閹兼番鍩勫鎸庣節濞堝灝鏋旈柛濠冪箞楠炲啴妫冨☉鎺戠墯闂佸憡娲﹂崢楣冩儊閸儲鈷戞慨鐟版搐閻忓弶绻涙担鍐叉閸欏潡姊婚崒娆戝妽闁诡喖鐖煎畷婵囨償閵娿儱鍋嶉悷婊勬瀹曟椽濮€閵堝懏顥濋柟鐓庣摠閹稿锝炲澶嬧拺闂傚牊绋撶粻姘舵煛閸涱喚鐭掔€殿喗鐓¢幃娆撴倻濡攱瀚肩紓鍌欑贰閸ㄥ崬煤閺嶃劍娅犻柡灞诲劜閻撳繘鏌涢妷锝呭婵炴彃顕埀顒侇問閸犳碍鐏欏銈嗘尭閸氬顕ラ崟顓涘亾閿濆簼绨撮柛瀣崌瀹曞ジ寮撮悢鍝勫箺闂備礁缍婇崑濠囧窗濮樿京鐭嗛悗锝庡枟閻撴瑩鏌i幋鐑囦緵婵炲牊姊荤槐鎾存媴閸欏鐝旈梻鍥ь樀閺岋絽螣閻戞ǚ鏋欓梺绋垮閸旀瑩寮婚敐澶婄閻犺櫣鍎ら悗鐐箾閿濆懏鎼愰柨鏇ㄤ邯閵嗕礁鈽夊Ο閿嬫杸闂佹悶鍎插﹢褰掑传濡も偓閳规垿鎮欏顔兼婵犳鍠氶弫濠氬箚閸曨垼鏁嶉柣鎰蔼閹芥洟姊虹捄銊ユ灁濠殿喗鎸抽悰顕€濮€閵堝洤褰勯梺鎼炲劘閸斿秹鍩涢幇鐗堢厽婵犻潧娲﹂ˉ鍫熸叏婵犲懏顏犻柍褜鍓欏﹢杈ㄥ垔椤撶偍缂氶柟鎵閻撴洟鏌曟繛鍨姕闁稿鍎甸弻鏇㈠幢閺囩媭妲梺瀹狀嚙闁帮綁鐛鈧鍫曞箣閻愬灚鐎梻鍌氬€风欢姘缚瑜旇棟妞ゆ挶鍨圭壕鍧楁⒑椤掆偓缁夊绱掗埡鍌樹簻闁规崘娉涢弸宥囩磼鐠囧弶顥㈤柡灞炬礋瀹曠厧鈹戦崶銊﹀€烽梺鍝ュ枑閹倸顫忛搹鍦煓婵炲棙鍎抽崜閬嶆⒑閻戔晜娅撻柛銊ㄦ硾椤曪綁顢曢敃鈧粈鍐┿亜閺傛寧顫嶉柕濞炬櫆閻撳繐顭块懜寰楊亪寮稿☉娆戠闁割偒鍋勬禍鐗堟叏婵犲啯銇濈€规洏鍔嶇换婵嬪礃椤垶袩闂傚倷鐒﹂幃鍫曞礉瀹ュ棛鐝堕柛鈩冪懃閸ㄦ繈鎮归崶銊с偞婵℃彃鐗婄换娑㈠幢濡ゅ唭锛勭磼閵娿儺鐓兼慨濠冩そ瀹曠兘顢橀悙鎻掝瀱闂備焦鎮堕崝宀勬倶濮樿京鐭夌€广儱顦粻銉︺亜閺傚灝鈷旈柨娑欑矒濮婄粯绗熼崶褍顫╃紓浣割槹婵炲﹪鐛径鎰€锋い鎺嶇瀵寧绻濋悽闈浶㈤悗姘煎枤閺侇喖鈽夐姀锛勫幍閻庣懓瀚晶妤呭闯閻e瞼纾兼い鏃傚亾閺嗏晠鏌嶈閸撱劎绱為崱娑樼;闁糕剝鐟ч惌鎾绘煟閹达絽袚闁绘挾鍠栭獮鏍庨鈧埀顑惧€曞玻鍧楀箛椤撶姷顔曢梺鍛婄懃椤р偓闁兼澘娼¢弻鈩冩媴缁嬫寧娈绘繝娈垮枓閸嬫捇姊洪棃娑氬闁哥喓濞€瀹曟垿骞樼€涙ê顎撻梺鍛婃尭瀵爼宕撻悽鍛娾拺鐟滅増甯╅弳鎺楁煟閹虹偟鐣甸柛鈹垮灩閻f繈宕熼鑺ュ濠电偠鎻徊浠嬪箟閿熺姴绠氶柛顐犲劜閸嬬姵鎱ㄥΟ鐓庡付濞存粍澹嗛埀顒冾潐濞叉ḿ鎹㈤崼銉у祦閻庯綆鍠楅崐鐑芥煙濞堝灝鏋ら柣锝夌畺濮婄粯鎷呯粙娆炬闂佺ǹ顑呴幊搴e弲闂佸搫绋侀崢鎯х暤娓氣偓閺屾洝绠涚€n亖鍋撻弽顓熷亗婵炴垯鍨洪悡鏇㈡煏婢跺牆鐏繛鍛嚇瀹曨垶骞栨担鍏夋嫼婵炴潙鍚嬮悷褏绮旈鍓х<闁绘ê纾晶顏呫亜椤愩垻绠崇紒杈ㄥ笒铻i柤娴嬫櫆閸ゅ矂姊绘笟鈧埀顒傚仜閼活垱鏅堕鑲╂殕闁挎繂鐗嗛崝鍨亜閿曗偓缂嶅﹪寮婚悢纰辨晩闁靛ǹ鍎查幖鎰殽閻愵亜鐏紒缁樼洴瀹曞崬螖閸曨偒浼冨┑鐐茬摠缁酣宕戦幘璇茬疄闁靛ǹ鍎欓悢鍏煎亗閹肩补鈧尙甯涢梻鍌欐祰椤曆勵殽韫囨柧绻嗛柛銉墮閻掑灚銇勯幒鎴濇灓婵炲吋鍔栫换娑㈠矗婢舵稖鈧潡鏌曢崱妤€鏆g€规洏鍔庨埀顒佺⊕閿氬ù鐘靛帶閳规垿鎮╃紒妯婚敪濡炪倖鍨甸幊鎰垝閸懇鍋撻敐搴′簴濞存粍绮撻弻鐔兼倻濡櫣浠撮梺閫炲苯澧柟顔煎€块幃浼搭敋閳ь剙鐣锋總鍛婂亜闁惧繐婀卞Σ鍥╃磽娴gǹ鈷斿褎顨夐幗顐㈩渻閵堝骸浜滈柨鏇ㄤ邯瀵鈽夐姀鐘栤晠鏌曟竟顖氱Ф缁€濠囨⒒娴e憡鍟為悽顖涱殘閺侇噣鏁撻悩顔瑰亾娴g硶妲堟慨妤€妫欓崓鐢告煛婢跺﹦澧戦柛鏂跨Ч椤㈡瑩寮撮姀鈾€鎷洪柣鐘叉穿鐏忔瑧绮婚幎鑺ョ厱閻庯綆鍓欓弸娑氣偓瑙勬礃閸ㄥ潡鐛Ο鍏煎珰闁肩⒈鍓涢崢顒勬⒒婵犲骸浜滄繛璇х畵楠炴劙骞橀鑲╁摋婵炲濮撮鍡涙偂閻旈晲绻嗘い鏍ㄧ閹牏绱掗悪娆忔处閻撴洟鏌ㄥ┑鍡樻悙闁告柨顑夐弻鏇㈠炊瑜嶉顒傜磼閻樺磭娲寸€殿喗鎸抽幃娆撳煛閸屾壕鍋撴导瀛樷拻濞达絽鎲¢幆鍫ユ煠濞茶鐏g紒顔芥閹粓鏌ч懜顒€濡界紒妤冨枛閸┾偓妞ゆ帒瀚拑鐔哥箾閹存瑥鐏╃紒鐘差煼閹妫冨☉娆忔殘闂侀潻鎬ラ崶銊㈡嫼闂佸湱枪鐎涒晝澹曢幖浣圭厱闁靛ǹ鍎查幆鍫濈暆閿濆牆鍔电紒鐘崇☉閳藉螣濠х偓娅婇柡灞诲姂瀵潙螖閳ь剚绂嶆ィ鍐╁€垫繛鍫濈仢閺嬫稒绻涚亸鏍ゅ亾閹颁焦缍庨梺鍛婄箓鐎氬懓顦圭€规洘鍎奸ˇ鏉懨归悡搴☆伃闁哄矉绱曢埀顒婄到閸氣偓缂併劌鍚嬬换娑㈡嚌闁箑娈梺瀹狀潐閸ㄥ綊鍩€椤掑﹦绉甸柛瀣у亾闂佸綊鏀卞钘夘潖濞差亜宸濆┑鐘插濡插牓姊洪幐搴㈢8闁稿﹥鐗犻獮鍫ュΩ閳哄倹娅囬梺閫炲苯澧存繝鈧担绯曟斀闁绘ǹ顕滃銉╂煙閸愭彃顒㈢紒鍌涘笩椤﹀弶銇勯鈩冪《闁瑰弶鎸冲畷鐔碱敆閸屻倖袨缂傚倸鍊峰ù鍥ь浖閵娧冨灊婵炲棗绻掗弳锕傛煏婵犲繐顩紒鈾€鍋撻梻浣告啞濞诧箓宕戦崟顓犵當婵ǹ鍩栭埛鎴︽煠婵劕鈧洟寮搁幋鐘电<妞ゆ棁鍋愯倴闂佸憡甯楃敮锟犵嵁濡櫣鏆﹂柛銉e妽椤旀洘绻濋悽闈浶㈤柨鏇樺€濆畷鏉款潩椤戣偐绱伴梺鍐叉惈閹冲海鐥閺屾盯顢曢敐鍥舵殹濠电偛鎳庡ú顓㈠蓟閿濆鏅查柛娑卞灠閻撶喎鈹戦纭烽練婵炲拑绲垮Σ鎰板箳閹冲磭鍠栭幃婊堝煛閸屾凹浼滈梻鍌氬€风粈渚€骞夐敓鐘偓锕傚幢濞戞ḿ鍊為梺闈浨归崕顕€宕戦幘璇查敜婵°倓鑳堕崢鍗烆渻閵堝骸骞楅柛銊ョ仛缁傚秹寮介‖锛勬嚀楗即宕熼鐘靛帨闂備礁鎼惉濂稿窗閺嵮呮殾妞ゆ劧绠戠粈瀣亜閹烘埈妲规い銉到閳规垿鎮欓懠顒佹喖缂備緡鍠栫粔鐟扮暦閺囥垹绠悷娆欑岛閸嬫捇寮崼婵堫槰濡炪倖鏌ㄥΣ鍫n樄闁哄本鐩崺鍕礃閿涘嫮绐楅梻浣哥枃椤绮欓幘鑸殿潟闁规崘顕х壕鍏兼叏濡崵妯傞柨娑樺绾惧ジ鏌ら幖浣规锭闁告繃妞介弻鐔碱敊鐠囨彃绁銈冨灪閻熲晠骞婇悙鍝勎ㄩ柕澶堝劚闊﹂梻鍌氬€风欢姘缚瑜旈妶顏堟偨閻㈠吀绗夐梺鐟扮摠缁洪箖寮搁弮鍫熺厽闁哄倸鐏濋幃鎴︽煃闁垮鐏存慨濠傤煼瀹曞ジ鎮㈤崜浣虹畳婵犵鍓濊ぐ鍐偉婵傜ǹ钃熸繛鎴炵懄閸庣喖鏌曡箛鏇烆€屾俊顐㈡濮婄儤绺介崫銉х獥婵$偞娼欓幗婊堝箲閵忕姭鏀介柛鈾€鏅滈崓闈涱渻閵堝棙灏扮紒瀣笧閳ь剚淇哄Λ鍕煘閹达附鍊烽柤鎼佹涧濞懷呯磽娴h棄绱︾紒顔界懇閻涱喗绻濋崒妤佺€婚梺瑙勫礃濞呮洖鐣靛鍜佹富闁靛牆妫欑亸鐢告煕閻樻彃顒㈤柟顖涙⒐缁绘繈宕掑Δ浣规澑闂佸湱鍎ゆ繛濠傜暦閹版澘鍗抽柕蹇曞Х閻ゅ洭鏌熼懝鐗堝涧缂佽弓绮欒棢婵﹩鍏橀弨浠嬫煟濡櫣锛嶆い锝嗙叀閺岋綁骞樼€靛憡鍣伴梺鍝勭焿缁插€熺亙闂侀€炲苯澧撮柟顔ㄥ嫮绡€闁告洦鍓﹂崑銊╂⒑閸濆嫯顫﹂柛搴㈢叀閹繝寮撮姀鈥斥偓鍫曟煟閹伴偊鏉洪柛銈嗙懃閳规垿顢欓悡搴樺亾閸ф钃熼柍銉ョ-閺嗗棝鏌嶈閸撶喎鐣锋导鏉戝唨妞ゆ挾濮寸粊锕傛⒑缁洖澧查柛鎴犳嚀鍗遍悹鍥ф▕濞撳鏌曢崼婵堢闁告帗澹嗛惀顏嗙磼閵忕姴绫嶉梺璇″灙閸嬫挸顪冮妶鍛闁绘妫濋幆灞轿旈崨顔惧帾婵犮垼顕栭崹浼村箠閹版澘鍌ㄦい鏍仦閳锋帒霉閿濆懏鍟為柟顖氱墦閺岋繝宕奸銏狀潾缂備緡鍠楅悷鈺呯嵁濡皷鍋撻棃娑橆棌婵炴潙瀚板娲箰鎼淬垻顦ラ梺绋匡工閹芥粎鍒掗崼銉ラ唶闁靛繆鈧櫕鐎鹃梺鐟板悑閻n亪宕濆畝鍕拻妞ゆ牗绋忔禍婊堟煛閸ヮ煈娈斿ù婊勫劤閳规垿顢欑涵閿嬫暰濠碉紕鍋犲Λ鍕偩閻戣棄惟闁挎柨澧介惁鍫ユ⒑閸涘﹤濮﹀ù婊勭矊椤曪絽鐣烽崶鈺冿紳闂佺ǹ鏈悷褔藝閿斿浜滈柨鏃囶嚙閻忥絿绱掓潏鈺佷沪缂佺粯绻堝畷鍫曞煛娴f亽鍋婇梻鍌氣看閸嬪嫬煤閿斿墽鐭欓柟瀵稿Х娑撳秹鏌ㄥ┑鍡╂Ч闁绘挾鍠栭弻鐔兼焽閿曗偓婢у鏌涢妶鍥ф灁缂佽鲸甯楀鍕節閸曨偆鍘芥繝娈垮枛閿曘儱顪冮挊澹╂盯宕橀妸銏☆潔闂佸湱鍎ら崹鍫曞磹閿濆洨纾介柛灞剧懄缁佷即鎮樿箛锝勯偗鐎规洘鍨块獮鍥偋閸繃鐤呴梺鍝勵槸閻楀嫰宕濇惔锝呭К闁逞屽墮閳规垿顢欓弬銈勭返闂佸憡蓱閹倿鐛箛鎾佹椽顢旈崨顏呭闂備胶枪閺堫剙顫濋妸锔芥珷婵炴垶菧閳ь剚甯掗~婵嬵敇瑜庨悾鍫曟煕濡ゅ懍鎲鹃柡灞剧洴椤㈡洟鏁愰崱娆樻О闂備胶绮幐璇裁洪悢鑲╁祦闁哄稁鐏旀惔顭戞晢闁逞屽墴閸┾偓妞ゆ帊鑳舵晶鐢告煙椤旂偓鏆い銏℃瀹曞ジ鎮㈤崫鍕闂傚倷绀侀幉鈩冪瑹濡ゅ懎鍌ㄥΔ锝呭暙閺勩儵鏌ㄥ┑鍡╂Ч闁绘挻绋戦湁闁挎繂姣ヨぐ鎺戞辈闁挎繂娲犻崑鎾舵喆閸曨剛顦ㄩ柣銏╁灡鐢繝宕洪妷锕€绶炲┑鐘插閸嶉潧顪冮妶鍡楀潑闁稿鎸剧槐鎺楁偐閸楃偛绁┑顔硷龚濞咃綁骞忛悩璇茶摕闁靛鍠掗崑鎾澄旈崨顔惧幈濠碘槅鍨靛畷鐢告儗閹烘柡鍋撶憴鍕闁搞劌娼¢悰顔嘉熼懖鈺冿紲濠碘槅鍨甸妴鈧柛瀣崌閹粙宕ㄦ繝鍕汲婵犵數濞€濞佳兾涘┑瀣垫晛婵°倐鍋撴い顓″劵椤﹂亶鏌涘Δ浣糕枙鐎殿喖顭锋俊鎼佸Ψ閵忊槅娼旀繝娈垮枟閿曗晠宕滃鑸靛€甸柛鎾楀懐锛濇繛杈剧秬濞咃絿鏁☉姘辩<閻庯綆鍋呭畷宀勬煕閳规儳浜炬俊鐐€栫敮鎺楀磹瑜版帒姹查柍鍝勬噹閸戠姵銇勮箛鎾村櫡濞存粍绮撻獮鏍庨鈧悘顏堟倶韫囷絽寮柡灞界Ф閹叉挳宕熼銈勭礉闂備焦鎮堕崝鎴犵不閺嶎厼绠圭憸鐗堝俯閺佸啴鏌曡箛銉х?濞存粌鍢查埞鎴炲箠闁稿﹥顨嗛幈銊╂倻閽樺锛涘┑鐐村灦绾板秴鐣烽崣澶嬪弿婵$偠顕ф禍鎯旈悩闈涗粶闁哥喐鎸冲畷娲晸閻樿尙顦ㄩ梺瀹犳〃閼虫儼銇愰幘顔解拻濞达綀妫勬禍褰掓煃瀹勬壆澧︾€规洘绮撻弫鍐磼濮樺啿鐓樺┑鐐差嚟婵挳顢栭崱娑樼厱闁圭儤鍤氳ぐ鎺撴櫜闁告侗鍠栭弳鍫ユ煟閻樺啿濮х紒缁樼箞瀵鈽夊▎鎰妳濠电偞鍨惰彜闁稿鎸歌灃闁告侗鍘鹃澶愭⒑闂堟稓绠為柛濠冩礈缁牓宕橀埞澶哥盎闂婎偄娲﹂幐濠毸夐悩鐐戒簻闁挎棁顕ч悘锔芥叏婵犲懏顏犻柛鏍ㄧ墵瀵挳鎮欏ù瀣珶缂傚倸鍊风粈渚€顢栭崱娆愭殰闁跨喓濮撮弰銉︾箾閹存瑥鐏╃紒鐘烘珪娣囧﹪濡堕崟顔煎帯闂佸憡锕㈡禍鍫曞蓟閿濆牏鐤€闁哄洨鍋樼划鑸电節閳封偓閸屾粎鐓撳Δ鐘靛仜閿曨亜鐣烽悢纰辨晣闁绘ḿ顣槐鎻掆攽閻愯埖褰х紒韫矙楠炴牠顢曢敂琛″亾閸屾稓闄勯柛娑橈功閸橆亪姊洪幖鐐插妧闁告劕褰炵槐鏃堟煟鎼淬埄鍟忛柛鐘愁殜楠炴劙骞庨挊澶岀暫闂侀潧绻堥崐鏇熷閻樼粯鐓曢柡鍥俊浠嬫倵濮橆厾鍙€婵﹨娅i幏鐘诲矗婢跺﹥鏁俊鐐€ら崑鍕囬婊冨疾闂備胶顢婇幓顏嗙不閹寸姵鍏滈柍褜鍓熷娲偡閺夋鏆㈤梺鍝勬媼閸嬪嫰鎮鹃崹顐e闂侇偅绋撶粻姘渻閵堝棛澧柤褰掔畺楠炲啴骞嬮敂钘夆偓鍨叏濮楀棗骞栭柛婵囨そ閺岋紕浠︾拠娴嬪亾濡ゅ懎绐楀┑鐘叉搐绾偓闂佺粯鍔栫粊鎾箰閸曨厾纾介柛灞剧懅缁愭梻鐥鐔稿€愮€规洘婢樿灃闁告劏鏅涙惔濠傗攽閻樼粯娑фい鎴濇瀹曟垿濡搁埡鍌楁嫽闂佸壊鍋嗛崰鎾诲煝閹剧粯鐓涢悗锝庝簼閸e綊鏌嶇憴鍕伌闁诡喗鐟╁鍫曞垂椤旂偓顔嶉梻鍌欒兌鏋紒缁樺浮瀹曟垿骞橀崜浣虹厯闂佺鎻粻鎴︽偂閳ユ剚鐔嗛柤鎼佹涧婵洦銇勯銏″殗闁哄矉绲借灒闁惧繗顫夐悗顔剧磽娴g晫鍫柛銊ㄦ椤繒绱掑Ο璇差€撻梺鑽ゅ枛閸嬪﹪宕电€n亖鏀介柣鎰絻缁狙囨煟濡ゅ啫孝闁伙絿鍏橀獮鍥敍濡鐫忛梻浣告贡閸庛倝骞愰崨濠勵洸婵°倐鍋撻柍瑙勫灴閹瑩宕f径妯伙紒闂備礁婀辨灙妞ゎ厾鍏橀獮鍐晸閻樺啿浜滈梺绋跨箺閸嬫劙宕㈤悽鍛婄厽閹艰揪绲鹃弳顒勬煛閸涙澘鐨烘俊鍙夊姍閹煎綊顢曢悩杈╃泿闂傚⿴鍋勫ú锕傚箰閻愵剚娅犳繛鎴欏灪閻撴洖鈹戦悩鎻掆偓鎼併€傞幎鑺ョ厓鐟滄粓宕滃▎鎴犱笉鐎广儱顦壕鍧楁煕濡ゅ啫鈧絽鈽夐姀鐘电潉闂佺ǹ鏈粙鎴炴償婵犲洦鈷戠紒顖涙礀婢ц尙绱掔€n偄娴柟顔光偓鏂ユ瀻闁瑰濮烽敍婵囩箾鏉堝墽鍒版い顐g墵椤㈡棃宕卞▎鎴犳殽闁荤喐绮岀粔褰掑灳閿曞倹鍤勬い鏍电稻姝囬梻鍌欒兌閸庣敻寮查埡鍛瀭閻犺桨璀﹂崵鏇炩攽閻樺磭顣查柛瀣閺屾稑鈹戦崟顐㈠Б闂佺娅曠换鍫濐潖濞差亜绀堥柤纰卞墮鐢儵姊洪崫銉バi柣妤冨█閸ㄩ箖寮介鐐哄敹闂侀潧顧€婵″洭宕i崟顓犵=闁稿本鐟ч崝宥呯暆閿濆棗顕滈柡鍛埣閹粙宕ㄦ繝鍕箰闂佽绻掗崑鐔煎疾椤愩垺姣勫┑锛勫亼娴煎洭宕掑⿰鍛床闂備礁鎼張顒勬儎椤栫偟宓佹俊顖氱毞閸嬫捇妫冨☉娆忔殘闂侀潻缍嗛崹璺侯潖閾忚瀚氶柤纰卞墰椤斿洤顪冮妶鍡楃仴妞わ富鍨堕敐鐐剁疀閹句焦妞介、鏃堝礋椤忓棛鍊為梻鍌欑閹测€趁洪敃鍌氱;闁告侗鍘搁弸鏃€銇勯幘鍗炵仾闁抽攱鍨圭槐鎺斺偓锝庝簻閻紕鈧鎮堕崕宕囨閹炬剚鍚嬮柛婊冨暢閸氼偊姊烘潪鎵妽闁告梹鐟╅獮鍐ㄢ枎閹惧厖绱堕梺鍛婃处閸嬪嫮绮婇鈧缁樼瑹閳ь剙岣胯椤ㄣ儴绠涢弴鐕佹綗闂佸搫娲㈤崹褰掓儗濡ゅ懏鐓曢柍鈺佸暟閳洟鏌嶉柨瀣仼缂佽鲸鎸婚幏鍛存嚃閳╁啫鐏╃紒顔肩墦閸┾偓妞ゆ帒瀚埛鎴犵磼鐎n亜鐨$€规悶鍎茬换婵嬪焵椤掑嫭鐒肩€广儱鎳愰崝锕€顪冮妶鍡楃瑐闁煎啿鐖煎畷顖炲蓟閵夛妇鍘甸梺鍛婂灟閸婃牜鈧熬鎷�闂傚倸鍊搁崐鎼佸磹閹间礁纾归柟闂寸绾惧綊鏌熼梻瀵割槮缁炬儳缍婇弻鐔兼⒒鐎靛壊妲紒鐐劤缂嶅﹪寮婚悢鍏尖拻閻庨潧澹婂Σ顔剧磼閻愵剙鍔ょ紓宥咃躬瀵鎮㈤崗灏栨嫽闁诲酣娼ф竟濠偽i鍓х<闁绘劦鍓欓崝銈囩磽瀹ュ拑韬€殿喖顭烽幃銏ゅ礂鐏忔牗瀚介梺璇查叄濞佳勭珶婵犲伣锝夘敊閸撗咃紲闂佺粯鍔﹂崜娆撳礉閵堝洨纾界€广儱鎷戦煬顒傗偓娈垮枛椤兘骞冮姀銈呯閻忓繑鐗楃€氫粙姊虹拠鏌ュ弰婵炰匠鍕彾濠电姴浼i敐澶樻晩闁告挆鍜冪床闂備胶绮崝锕傚礈濞嗘挸绀夐柕鍫濇川绾剧晫鈧箍鍎遍幏鎴︾叕椤掑倵鍋撳▓鍨灈妞ゎ厾鍏橀獮鍐閵堝懐顦ч柣蹇撶箲閻楁鈧矮绮欏铏规嫚閺屻儱寮板┑鐐板尃閸曨厾褰炬繝鐢靛Т娴硷綁鏁愭径妯绘櫓闂佸憡鎸嗛崪鍐簥闂傚倷鑳剁划顖炲礉閿曞倸绀堟繛鍡樻尭缁€澶愭煏閸繃宸濈痪鍓ф櫕閳ь剙绠嶉崕閬嶅箯閹达妇鍙曟い鎺戝€甸崑鎾斥枔閸喗鐏堝銈庡幘閸忔﹢鐛崘顔碱潊闁靛牆鎳愰ˇ褔鏌h箛鎾剁闁绘顨堥埀顒佺煯缁瑥顫忛搹瑙勫珰闁哄被鍎卞鏉库攽閻愭澘灏冮柛鏇ㄥ幘瑜扮偓绻濋悽闈浶㈠ù纭风秮閺佹劖寰勫Ο缁樻珦闂備礁鎲¢幐鍡涘椽閸愵亜绨ラ梻鍌氬€峰ù鍥敋閺嶎厼鍨傞幖娣妼缁€鍐煥濠靛棙顥滈柣锕備憾濮婂宕掑▎鎺戝帯濡炪們鍨归敃銈夊煝瀹ュ鍗抽柕蹇曞Х椤斿姊洪幖鐐插姶闁告挻鐟╅幃姗€骞庨懞銉у幐闂佸憡鍔戦崝搴㈡櫠閺囩姷纾奸柍褜鍓熷畷姗€鍩炴径鍝ョ泿闂傚⿴鍋勫ú銈吤归悜鍓垮洭鏁冮埀顒勬箒濠电姴锕ら悧蹇涙偩濞差亝鐓涢悘鐐额嚙婵″ジ鏌嶇憴鍕伌鐎规洖宕埢搴ょ疀閹惧妲楃紓鍌氬€搁崐鐑芥⒔瀹ュ绀夐幖杈剧到閸ㄦ繃銇勯弽顐粶濡楀懘姊洪崨濠冨闁搞劍澹嗙划濠氬箮閼恒儱鈧敻鏌ㄥ┑鍡欏嚬缂併劏妫勯湁闁绘ǹ宕甸悾鐑樻叏婵犲啯銇濇俊顐㈠暙閳藉鈻庨幇顓炩偓鐑芥⒑鐠囨彃顒㈤柣顓у櫍瀹曪繝骞庨懞銉ヤ粧濡炪倖娲嶉崑鎾垛偓瑙勬礀閻栧ジ銆佸Δ浣哥窞閻庯綆鍋呴悵顐⑩攽閻樻剚鍟忛柛锝庡灣瀵板﹪宕滆閸嬫挾绮☉妯绘悙缂佺姵鐓¢弻娑㈠Ψ椤旂厧顫╅梺钘夊暟閸犳牠寮婚敐澶婃闁圭ǹ瀛╅崰鎰版⒑閼姐倕鏋庣紓宥咃躬瀵鈽夐埗鈹惧亾閿曞倸绠f繝闈涙川娴滎亝淇婇悙顏勨偓銈夊礈濞嗘挻鍋嬮柛鈩冪▓閳ь剚妫冨畷姗€顢欓崲澹洤绠圭紒顔煎帨閸嬫捇鎳犻鈧崵顒傜磽閸屾艾鈧娆㈤敓鐘茬獥婵°倕鎳庣粻浼存煙闂傚鍔嶉柛瀣ф櫊閺岋綁骞嬮敐鍡╂缂佺虎鍘搁崑鎾绘⒒娴h櫣甯涢柛鏃€娲滅划鏃堟濞磋櫕鐩畷姗€顢欓崗鍏夹氶梻渚€鈧偛鑻晶顖炴煏閸パ冾伃妤犵偞甯¢獮瀣攽閹邦亞纾婚梺璇叉唉椤骞愭搴g焼濞撴埃鍋撻柛鈺冨仱楠炲鏁傞挊澶夋睏闂備礁婀辩划顖滄暜閳哄倸顕遍柍褜鍓涚槐鎾存媴閻熸澘濮㈤悷婊勫閸嬬喖宕氶幒鎴旀瀻闁规儳鐤囬幗鏇炩攽閻愭潙鐏﹂柣顓у枛閳讳粙顢旈崼鐔哄幍闁荤喐鐟ョ€氼剚鎱ㄩ崶銊d簻闁靛濡囩粻鐐存叏婵犲啯銇濋柡灞芥嚇閹瑩鎳犵捄渚純濠电姭鎷冮崒姘ギ闂佸搫鐬奸崰鏍箹瑜版帩鏁冮柨婵嗘噽閿涙捇姊绘担鐟邦嚋缂佽瀚板畷鎴濃槈閵忕姷鍘撮梺鐟邦嚟婵參宕戦幘缁樻櫜閹煎瓨锚娴滅偓銇勯幘瀵糕姇婵炲懎锕弻锛勪沪閻e睗锝嗙箾绾板彉閭鐐茬箳娴狅箓鎸婃径濠呭帿闂傚倸鍊烽悞锕傛儑瑜版帒纾归柡鍥ュ灩缁犵娀鏌熼柇锕€鏋熸い顐f礋閺岀喖骞嗚閹界姴鈹戦娑欏唉闁哄本鐩獮姗€寮堕幋鐘点偡闂備礁鎲¢幐绋跨暦椤掑嫧鈧棃宕橀鍢壯囨煕閳╁喚娈樺ù鐘虫倐濮婃椽鎳¢妶鍛瘣闂佸搫鎳忛惄顖炲箖妤e啯鍊婚柦妯猴級閵娧勫枑濠㈣埖鍔曠壕濠氭煙閸撗呭笡闁哄懏鐓¢獮鏍垝閻熸澘鈷夐梺璇茬箰缁夌懓顫忛搹鍦<婵☆垵顕ч棄宥呪攽閻愭彃绾ч柨鏇樺灪娣囧﹪鎮界粙璺槹濡炪倖鐗楀銊╂偪閳ь剟姊婚崒姘偓鎼佹偋婵犲嫮鐭欓柟閭﹀枦婵娊鏌ゅù瀣珖缁炬崘妫勯湁闁挎繂鐗婇ˉ澶愭煟閹炬潙濮堥柟渚垮妼铻g紒瀣仢椤鈹戦垾鍐茬骇闁告梹鐟╅悰顔嘉熼崗鐓庣彴闂佽偐鈷堥崜锕€危娴煎瓨鈷掑ù锝嚽归弳閬嶆煙绾板崬浜扮€规洘鍔栫换婵喰掔粙鎸庡枠鐎殿喛鍩栭幆鏃堝箻鐎涙ɑ婢戝┑锛勫亼閸婃牕顫忔繝姘ラ悗锝庡€犲☉姗嗘僵妞ゆ挾濮烽鏇㈡⒑閸涘﹦鐭婇柛鐔稿缁棃顢欑粵瀣啍闂佺粯鍔樼亸娆戠不婵犳碍鐓欐い鏃囶潐濞呭洭鏌熸搴♀枅闁瑰磭濞€閹虫粓宕归銏℃瘒闂傚倸鍊搁崐椋庢濮橆兗缂氱憸鏃囨婵炲濮撮鍛玻濡ゅ懏鐓欓柣鎴烇供濞堟梻鐥幆褜鐓奸柡宀€鍠栭幃娆擃敆閸屾粎宓侀梻浣告惈閸燁偊鎮ч崱妤婂晠婵犻潧娲㈡禍婊堟煛閸愶絽浜鹃梺绋垮婵炲﹪鎮伴鈧畷濂告偄閾忓湱妲囩紓浣稿⒔婢ф鎽銈庡亜閿曨亪寮诲☉銏犖╅柍鍝勫€归柨顓㈡⒑娴兼瑧鎮奸柛蹇旓耿楠炲啯绂掔€n亜绐涙繝鐢靛Т閸婂憡绔熼幒妤佲拻濞达絽鎲$拹锟犳煕鎼存稑鈧繂顕f繝姘櫢闁绘ǹ灏欓敍娑㈡⒑鐟欏嫬绀冮柛鈺傜墵瀹曚即宕卞☉娆戝幈闂佸搫娲㈤崝灞炬櫠閻楀牄浜滈柨鏂挎惈婵倹鎱ㄦ繝鍐┿仢妤犵偞鐗犻幃娆撳箵閹烘繄鈧櫕绻濋悽闈涗户闁靛棗顑囬幑銏犫攽鐎n亞鐣烘繛鏉戝悑閹矂寮繝鍥ㄧ厱闁靛繒濯Σ娲煕閻樺磭澧垫鐐诧躬瀵粙顢橀悙闈涘箰闂備礁鎲¢崝妯衡枖閺囩喐鍎熷┑鐘插€甸弨浠嬫煟濡椿鍟忛柡鍡╁灡娣囧﹪骞撻幒鎾虫畻閻庤娲栫紞濠囩嵁鎼淬劍瀵犲璺猴工娴滃爼鏌i悢鍝ョ煁婵☆偄鍟撮獮鍐╁閹碱厽鏅梺閫炲苯澧柣锝夋敱缁虹晫绮欑拠淇卞姂閺屻劑寮崶鑸电秷闁诲孩淇哄Λ鍕煘閹达附鍊烽柤鎼佹涧濞懷呯磽娴h棄绱︾紒顔界懇閻涱喗寰勯幇顓熸闂佺粯枪鐏忔瑩鎮炬ィ鍐┾拺闁告挻褰冩禍鐐烘煕閻樿櫕灏电紒顔剧帛閵堬綁宕橀埡浣插亾閸洘鐓熼柟閭﹀幖缁插鏌嶈閸撴岸骞冮崒鐐茬畺婵せ鍋撻柟宕囧█椤㈡牠鎸婃径澶婎棜闂佽崵鍠愰悷銉р偓姘煎幘缁牓宕橀鍡欙紲闁荤姴娲﹁ぐ鍐敂椤忓棛纾奸柛灞剧☉濞搭噣鏌℃担绋挎殻鐎规洘甯掗~婵囶潙閺嶃剱銈夋⒑閼姐倕鏋戠紒顔肩Ф閸掓帒鐣濋埀顒勫矗閸涘瓨鈷戠憸鐗堝笚閿涚喖鏌i幒鐐电暤闁糕晜鐩獮瀣偐閻㈢绱冲┑鐐舵彧缁蹭粙锝為弽顓ф晜闁告侗鍠栧鎸庣節閵忥絽鐓愰柛鏃€鐗犻幃锟犲即閵忕姷顔愰柣搴㈢⊕宀e潡鍩ユ径鎰厓鐟滄粓宕滃杈ㄥ床闁割偁鍎冲畵渚€鏌涢幇闈涙灍闁哄懏鎮傞弻锝呂熼崫鍕棟闂侀潧艌閺呮粓鎮¢妷鈺傜厸闁稿本姘ㄦ禒銏ゆ煃闁垮鈷愰柕鍥у瀵噣鍩€椤掆偓鐓ら柣鏂款殠濞兼牗绻涘顔荤凹闁稿绻濆娲敇閵娧呮殸濠电偛鐗嗛悥鐓庮潖閾忓湱鐭欐繛鍡樺劤閸撴娊姊洪崫銉バi柣妤冨█閹即顢欓悾宀€鐦堥梺鎼炲劀閸愵亞宕哄┑锛勫亼閸婃牠寮婚妸锔芥珷濞寸姴顑愰弫濠囨煛閸ャ儱鐏柍閿嬪灴閺屾盯鏁傜拠鎻掔闁汇埄鍨遍惄顖炲箖娴犲鏁嶆繝濠傚暕濡叉劕螖閻橀潧浠︽い銊ワ躬楠炲啴鍩¢崘顏嗭紲濠碘槅鍨抽崢褔鐛鍛斀闁绘劕鐡ㄧ亸浼存煠瑜版帞鐣洪柟顔矫埞鎴﹀炊閿斿墽鐣鹃梻浣风串缁蹭粙鎯夐懖鈺侇棜闁兼祴鏅濈壕钘壝归敐鍫㈡焾缂傚倹姘ㄧ槐鎺楁偐闂堟稐鎴烽梺閫炲苯澧叉い顐㈩槸鐓ゆ慨妞诲亾闁轰礁鍟存慨鈧柕鍫濇噺濡差剟姊虹紒妯哄婵炲吋鐟у▎銏ゆ倷鐎涙ê寮垮┑鐘绘涧濡瑥锕㈤悧鍫涗簻閹兼番鍩勫▓婊勬叏婵犲偆鐓肩€规洘甯掗~婵嬵敄閽樺澹曢悗鐟板閸g銇愰幒鎴犲€炲銈嗗笒椤︿即寮查鍫熲拺闁告繂瀚埢澶愭煕濡灝浜圭紒顕嗙到铻栧ù锝囨嚀瀵灝鈹戦埥鍡楃仭閻庣瑳鍛厹闁告挆鍛紲闂侀€炲苯澧寸€规洘甯掗埥澶娢旈崘顏嗘毎濠碉紕鍋戦崐鏍偋濡ゅ懏鍋¢柕濞炬櫓閺佸棝鏌i弬鍨倯闁绘挻娲熼弻鏇㈠醇濠靛浂妫$紓浣插亾閻庯綆鍠楅悡娑㈡倶閻愰鍤欓柍褜鍓氶〃鍫ュ礆閹烘垟鏋庨柟瀵稿仜绾绢垶姊洪棃娴ㄥ綊宕愬Δ浣典粴闁规儼濮ら埛鎺懨归敐鍛殘闁荤喐鍣磋ぐ鎺撳€婚柦妯侯槺閻涖儵姊洪崫鍕枆闁告ê銈搁幏鎴︽偄閸忚偐鍘介梺鍝勫€搁悘婵嬪箖閹达附鐓曞┑鐘叉处閺侀亶鏌曢崶褍顏鐐村笒椤撳ジ宕煎┑鍡楄厫缂傚倸鍊风粈渚€顢栭崨顒兼椽顢橀悜鍡樼稁闂佺粯鍨堕敋妞ゆ洝椴哥换娑㈠幢濡櫣浠奸梺鍝勬閸ㄨ櫣鎹㈠☉姘e亾濞戞瑡缂氶柣顓滃€濋弻娑㈠箻鐎电硶妲堥柛妤呬憾閺岀喖鎮ч崼鐔哄嚒缂備胶濮撮…鐑藉箖瑜版帒鐐婃い蹇撳濮c垽姊洪幐搴b姇缂侇喖鐭傞崺鐐哄箣閿旂粯鏅╅梺鍝勫€堕崐鎾舵閻㈠憡鈷戠紒瀣硶缁犳煡鏌ㄩ弴妯虹仼闁伙絿鍏橀獮瀣晝閳ь剛绮绘繝姘厵缁炬澘宕獮妤呭极閸儲鈷戦柣鐔告緲閹垿鏌i敐搴濋偗鐎规洘妞藉畷鐔碱敍濮樻唻绱遍梻渚€娼ц墝闁哄懏绮撻崺娑㈠箣閿旇棄浠梺璇″幗鐢帗淇婃總鍛婄厸閻庯綆鍋呴悡銉╂煃鐟欏嫬鐏存い銏$懇閹崇偤濡烽妷銉︽暘濠电姵顔栭崰鏍晝閵堝鈧箓鎮滄慨鎰ㄥ亾娴g硶妲堟俊顖炴敱椤秹姊洪崫鍕枌濠碘€虫喘閹嫭鎯旈妸锔规嫽婵炶揪绲介幉锟犲箚閸喓绠鹃悹鍥囧懐鏆ら梺闈涙閸熸潙鐣烽妸鈺婃晩缂備降鍨洪柨銈呪攽鎺抽崐褏寰婃禒瀣柈妞ゆ牜鍋涚壕褰掓煟閵忕姵鍟為柛瀣у墲缁绘盯宕卞Δ鍐唶濡炪倕娴氭禍鐐垫閹烘鐒垫い鎺戝閻掑灚銇勯幒鎴濃偓鑽ゅ娴犲鐓曢悘鐐靛亾閻ㄦ垹鈧稒绻堝娲箰鎼淬垻锛橀梺绋匡攻缁诲牓鐛崘鈹垮亝闁告劏鏅濋崣鍡涙煟鎼搭垳绉甸柛鎾跺枎椤﹪顢欓崜褏锛濇繛杈剧到婢瑰﹪宕曡箛娑欑厽闊洦姊荤粻鎾绘煟閿濆洦鏆€规洖宕埥澶娾枎鐏炴儳顏圭紓鍌氬€搁崐鐑芥倿閿曞倹鏅┑鐘愁問閸犳牠藝閻㈢ǹ钃熼柍鈺佸暞婵挳鎮峰▎蹇擃仼闁逞屽墯閸旀鍩€椤掍緡鍟忛柛鐘愁殕缁绘稒绻濋崶銉㈠亾娓氣偓瀵挳濮€閳╁啯鐝曢梺鑽ゅ枑閻熻京寰婇崜褉鍋撳铏棄闁宠鍨块幃娆撴嚋闂堟稒閿紓鍌氬€哥粔顕€宕戦幘瀵哥瘈婵炲牆鐏濋弸鏃堟煕婵犲喚娈旈柍钘夘樀閹晫绮欓崸妤€鏁归梻浣告惈濞层劑宕伴幘璇插偍闂侇剙绉甸埛鎴犵磽娴e箍鈧帡鎮烽幍铏€洪梺鍝勬川婵娊鎮炴繝鍋綊鎮℃惔锝嗘喖闂佺粯鎸婚悷銉╁Υ閹烘埈娼╂い鎺戝€烽搹搴㈢節濞堝灝鏋涢柛濠傜秺閵嗗啴濡烽埡鍌氣偓鐑藉级閸喎绀冮柍褜鍓氱€笛囧Φ閸曨垰顫呴柨娑樺閸d即姊虹涵鍛彧闁绘濞€瀹曟椽鍩勯崘顏嗙槇闂佸憡鍔忛弲婊冣枔閵忋倖鈷掗柛灞捐壘閳ь剚鎮傚畷鎰暋閹冲﹤缍婂畷鍫曨敆婵犲嫮鈼ゅ┑鐘灱閸╂牠宕濋弴鐘差棜闁秆勵殕閻撴洟鐓崶銊﹀碍闁诡喗鍨块弻娑樷枎韫囨洜顔掗梺鍝勬湰濞茬喎鐣烽悡搴樻斀闁归偊鍘滆濮婅櫣绮欏▎鎯у壈闂佺ǹ锕ゅḿ锟犲箖閿熺媭鏁冮柨鏇楀亾闁绘劕锕弻鏇熺箾瑜岀拋鏌ュ磻閹捐绠虫俊銈勮兌閸樺崬鈹戦悙鍙夘棡闁告梹鐗曢悾宄扮暆閸曨剛鍘搁柣蹇曞仜婢ц棄煤閺夋垟鏀介柨娑樺閸樻挳鏌℃担鐟板鐎规洏鍔戦、姗€鎮滈崱妯肩▔闂傚倸鍊搁崐椋庣矆娓氣偓楠炲鏁撻悩鑼舵憰闂佹寧绻傞ˇ顖滃鐟欏嫪绻嗛柕鍫濇噺閸f椽鏌涙惔鈽嗘Ч闁靛洤瀚粻娑㈠箻鐠轰警鏆紓鍌欒兌婵潧顫濋妸鈺佺疅闁告稑锕ラ崕鐔兼煏婵炲灝鍔ら柨娑欑洴濮婃椽妫冨☉杈ㄐ㈤梺鍝勬噺缁捇骞冮垾鏂ユ闁靛繆鈧枼鍋撻崼鏇熺厽闁归偊鍘肩徊濠氭煃闁垮顥堥柡灞界Ч閹稿﹥寰勫Ο鐑╂瀰闂備胶顢婂Λ鍕偉婵傜ǹ鏋侀柟閭﹀幖缁剁偤鎮楅敐搴″妤犵偛鐗撳缁樼節鎼粹€茬盎濠电偠顕滅粻鎾荤嵁閹版澘绠瑰ù锝呮憸閻f椽姊洪悷閭﹀殶闁稿鍋ゅ畷锝堢疀濞戞瑧鍙嗗┑鐘绘涧濡瑩宕抽挊澶樼唵鐟滃骸煤閻旂厧钃熺€广儱娲﹂崰鍡涙煕閺囥劌浜炲ù鐓庤嫰椤啴濡堕崘銊т痪闂佽崵鍟欓崘锝嗩潔闂傚倸鐗婄粙鎾诲汲鐎n喗鐓涘璺侯儛閸庛儲绻涚喊鍗炲缂佽鲸鎹囧畷鎺戭潩椤戣棄浜惧瀣椤愪粙鏌ㄩ悢鍝勑㈤梻鍌ゅ灡閵囧嫰寮村Δ鈧禍楣冩倵鐟欏嫭绀堥柟铏崌閹箖鎮滈挊澶屽€為悷婊冪Ч閹ɑ绻濋崒銈嗗瘜闂侀潧鐗嗗Λ娆戜焊椤忓牊鐓曢柕濠忛檮閵囨繄鈧娲橀崹鍨暦閻旂⒈鏁嶆繛鎴炶壘楠炴姊绘担绛嬫綈鐎规洘锚閳诲秹寮撮姀鐘殿唹闂佹寧绻傞ˇ浼存偂閺囩偐鏀介柣妯诲絻椤忊晛霉閻樿鎲鹃柡宀€鍠栭、娆撴偂鎼粹懣鈺佄斿Δ濠佺胺闁告鍟块悾宄邦潨閳ь剟銆侀幘娲绘晬闁靛牆娲ㄨⅵ闂備浇顕栭崰妤呫€冩繝鍋芥盯宕橀妸銏☆潔濠碘槅鍨甸褔鍩€椤掑鐏︽慨濠呮閹风娀鍨惧畷鍥︾敾婵犵妲呴崑鍕疮閺夋埈鍤曟い鎰剁畱缁犳盯鏌℃径搴㈢《闁稿﹦鍋ゅ娲礃閸欏鍎撳銈嗗灥濞差厼顫忔繝姘兼晬婵炴垶姘ㄩ惁鍫ユ⒑濮瑰洤鐏叉繛浣冲嫮顩烽柍鍝勬噺閻撴瑦绻涢懠棰濆敽缂併劎鏅埀顒€鐏氬姗€鏁冮妷褏鐭夐柟鐑樻煛閸嬫捇鏁愭惔婵堟晼濡炪倖姊归崝鏇⑩€旈崘顔嘉ч柛鈩冾殔琛肩紓鍌欑瀵墎鈧瑳鍥х柧闁割偅娲橀弲鎼佹煟濡粯鐏遍柟宄邦煼濮婅櫣绮欓幐搴㈡嫳闂佽崵鍟欓崶褏顦悗骞垮劚椤︿即鎮″▎鎰╀簻闁哄啫娲ゆ禍褰掓煕閳哄鎮奸柍褜鍓濋~澶娒哄Ο鍏煎床闁告洦鍓涢々鐑芥煥閺傚灝鈷旂痪鎯с偢閺岀喖骞嗚椤e磭绱掗幇顓ф疁婵﹦绮幏鍛存嚍閵壯佲偓濠囨⒑閸濄儱校闁圭ǹ顭烽獮鍫ュΩ瑜夐崑鎾绘濞戞瑦鍠愭繛鎴炴尭缁夊綊寮婚垾鎰佸悑閹艰揪绲煎Ч妤呮偡濠婂懎顣奸悽顖涘笧缁牓宕掗悙瀵稿幈闂婎偄娲﹀ú鏍暜閸洘鐓曢柟鎯х-缁夌儤鎱ㄦ繝鍕妺婵炵⒈浜獮宥夘敋閸涱啩婊堟⒒娴g懓顕滄繛娴嬫櫇缁骞樼拠鑼暰闂侀€炲苯澧柕鍥у缁犳盯骞樼捄渚毇缂傚倷鑳舵刊顓㈠垂閹惰棄鐒垫い鎺嗗亾闁告ɑ绮撳畷鎴﹀箻缂佹ḿ鍘遍梺鍝勬储閸斿本绂嶅┑瀣厵闁惧浚鍋嗛幊鍥煛瀹€瀣ɑ闁诡垱妫冮弫鎰板川椤掆偓鐎垫煡姊绘担鍛靛綊鏁冮妷鈺傚亱闁哄洠鎳囬埀顒佹瀹曟﹢顢欓挊澶屾濠电姰鍨奸崺鏍懌缂傚倸绉存鎼佸煘閹达附鍊烽柛娆忣槴閺嬫瑦绻涚€涙ḿ鐭嬬紒璇茬墦楠炲啴鎮欑€靛摜鐦堝┑顔斤供閸橀箖宕㈡禒瀣拺鐟滅増甯掓禍浼存煕閵娿倕宓嗛柟閿嬫礃缁轰粙宕ㄦ繝鍌楀亾閸偅鍙忔慨妤€妫楅獮妤冪磼鐠哄搫绾ч柕鍥у椤㈡﹢鍨鹃崘鎻捫ユ俊鐐€х粻鎴濐嚕閸洖桅闁告洦鍨伴崡鎶芥煏婵炲灝鍔氱紒顐㈢Ч濮婅櫣鍖栭弴鐔告緬闂佺ǹ顑嗛幐鎼佲€旈崘顔嘉ч柛鈩冾殘閻熸劗绱撴担绛嬪晣缂佺粯绻傞悾鐑筋敍濠靛牏鏉稿┑鐐村灦閻熝囧储闁秵鈷戠紓浣光棨椤忓棗顥氭い鎾跺枑濞呯娀鏌i姀鐘冲暈闁绘挸鍟撮弻鏇熷緞濡櫣浠梺浼欑悼閺佸寮婚悢纰辨晩闁伙絽鐬奸悡澶愭⒑閸︻厐褰掓晝閵夈儺鍤楅柛鏇ㄥ幐閸嬫捇鏁愭惔鈥冲箣闂佺ǹ顑嗛幑鍥€佸Δ鍛妞ゆ垼濮ょ€氬ジ鏌i悢鍝ョ煂濠⒀勵殘閺侇噣骞掗幘棰濇锤婵炲鍘ч悺銊╂偂閺囩喍绻嗘い鏍ㄦ皑娴犮垹霉濠婂棭娼愮紒缁樼洴瀹曢亶骞囬鍌欑礄闂備浇顕栭崰妤呮偡瑜忓Σ鎰枎閹炬潙浜归梺姹囧灮閺佹悂寮抽弶搴撴斀闁挎稑瀚禍濂告煕婵犲啰澧甸柟顔ㄥ吘鏃堝礃閵娿儳浜伴梺纭呭閹活亞寰婃ィ鍐ㄦ辈婵犲﹤瀚粻楣冩煙鐎电ǹ浠ч柟鍐叉噽缁辨帡鎮╅懡銈囨毇闂佸搫鏈粙鎴﹀煡婢舵劕纭€闁绘劘灏欓鎺楁⒑鏉炴壆顦﹂柣妤€妫濋崺鐐哄箣閿旂粯鏅╃紒缁㈠幖閸㈠弶鎱ㄥ☉姘辩=濞撴艾娲ゅ▍姗€鏌涢妸銉у煟闁绘侗鍠涚粻娑樷槈濡櫣鐛╅梺璇插缁嬫帟鎽梺绋垮瘨娴滎亜顫忓ú顏呭殥闁靛牆鎳忛悗鐐節閵忋垺鍤€婵☆偅绻堥妴渚€寮撮悢娲闂佸憡绋戣墝闁归绮换娑欐綇閸撗呅氬銈庡亜椤﹂潧鐣烽幋锔藉亹缂備焦岣块崢閬嶆⒑閸濆嫬鏆婇柛瀣崌閺屾盯濡搁埡鍌涢敪闂佺粯绮岄…鐑藉箠濡ゅ拋鏁嶉柨婵嗘煀椤掑嫭鈷掑ù锝呮啞閸熺偤鏌i悢鏉戝姦妤犵偛锕よ灒濞撴凹鍨辩紞搴♀攽閻愬弶鈻曞ù婊勭箞钘熼柛顐ゅ枔缁犻箖鏌熺€电ǹ浠╁瑙勆戦妵鍕晲閸涱喗鍎撻梺瀹狀潐閸ㄥ潡宕洪妷鈺佸耿婵$偛澧介崙褰掓⒒娴h棄鍚归柛鐔锋健瀵彃鈽夐姀鈥充患闂佺粯鍨兼慨銈夊疾閺屻儲鐓曟い鎰Т閻忣噣鏌℃径瀣€愭慨濠冩そ瀹曨偊宕熼锝嗩唲闂備胶枪閿曘倝鈥﹂悜濮愨偓浣糕枎閹惧啿宓嗛梺闈涚箚濡狙囧箯濞差亝鈷戦柤濮愬€曢弸鎴濐熆閻熺増顥㈡鐐搭殜閹晝绱掑Ο鐓庡箺闂備胶绮鐟搬缚濞嗘挸绀夐柨鏇炲€归悡娆愩亜閺冣偓閺嬪鎳撻幐搴涗簻闁靛繆鍓濋ˉ鍫⑩偓瑙勬礀閵堟悂骞冮姀銈呬紶闁告洦鍋嗛悷鏌ユ⒒閸屾艾鈧悂宕愭搴g焼濞撴埃鍋撻柟顔矫埞鎴犫偓锝呯仛閺呯偤姊洪崨濠勨槈闁宦板姂瀹曟劙宕奸弴鐔封偓鍨箾閹寸儐浼嗛柟杈剧畱閻鐓崶銊﹀皑闁衡偓娴犲鐓熸俊顖濐嚙缁插鏌¢崱娆忎槐闁哄本娲熷畷鍫曞Ω瑜忛悾娲⒑闂堟稒鎼愰悗姘卞閹便劑鍩€椤掑嫭鐓冮柍杞扮閺嗙喐銇勯敂鎯ь暭缂佺粯绻勯崰濠偽熷畡棰佸閻庤娲栧ú銈夋偂閻斿吋鍊甸悷娆忓绾炬悂鏌涢弮鈧崹鍧楀Υ娴h倽鏃堝川椤撶媴绱叉繝鐢靛仦閸ㄨ泛鐜婚崸妞濆洦瀵肩€涙ǚ鎷婚梺绋挎湰閼归箖鍩€椤掍焦鍊愮€规洘鍔栭ˇ鐗堟償閿濆洨鍔跺┑鐐存尰閸╁啴宕戦幘鍨涘亾鐟欏嫭纾搁柛搴㈠▕閸┾偓妞ゆ帒锕︾粔闈浢瑰⿰鍡樼【闁靛棙甯楃换婵嗩潩椤撶姴骞堥柣鐔哥矊闁帮綁濡撮崘顔煎窛闁哄鍨甸悗顓㈡⒑缁嬭法鐏遍柛瀣仱閸╂盯骞嬮悙顏冪盎闂佺懓鎼Λ妤佺閸撗呯=濞达絽澹婂Σ褰掓煙閸涘﹤鈻曟鐐插暣楠炴劖鎯斿☉妯圭凹闂備礁鎲¢崝蹇涘疾濠靛鍌ㄩ柛妤冨剱濞撳鏌曢崼婵囶棞濠殿啫鍛<闁肩⒈鍓欐禍鍓р偓鍨緲鐎氭澘鐣烽悢纰辨晬婵炴垶鑹鹃獮鎰攽閻愯埖褰х紓宥勭宀f寧绻濆鍗炲絾濡炪倖甯掔€氼參鎮″☉銏″€堕柣鎰絻閳锋梹绻涢幓鎺旀憼妞ゃ劊鍎甸幃娆撴偪濞堝じ娴烽柣蹇撳暣濮婃椽鏌呴悙鑼跺濠⒀冪摠椤ㄣ儵鎮欓懠顒傤啋濡ょ姷鍋涢澶愬箖閳哄懎绠涘ù锝呮贡缁嬫劙姊婚崒娆愮グ妞ゎ偄顦靛畷鏇㈠礂閸忕厧寮块梺闈涚墕椤︿即宕戦崒鐐寸厽闁哄啫鍊哥敮鍓佺磼閻樿尙绉虹€殿喖鐖煎畷鐓庘攽閸″繑瀵栫紓浣哄亾閸庡啿岣块敓鐘茶摕闁挎繂顦伴弲鏌ュ箹缁厜鍋撳畷鍥╂綁闂傚倷绀侀幖顐﹀嫉椤掑倻鐭欓柟鐑橆殔缁犳岸鏌¢崘銊у閹喖姊洪棃娑氬婵☆偅顨婂鎼佸Χ閸℃洜绠氶梺闈涚墕濞层倕鏆╅梻浣呵归鍡欑矙閹捐绠查柕蹇曞濞笺劑鏌嶈閸撶喖骞冩导鎼晩闂佹鍨版禍楣冩煥濠靛棛鍑圭紒銊︽尦閺岋繝鍩€椤掍胶顩烽悗锝庡亞閸樼敻姊绘笟鍥у伎缂佺姵鍨堕弲鍫曨敍濞戞氨顔曢梺鍛婁緱閸欏繘鐓浣瑰弿濠电姴瀚敮娑氱磼濡ゅ啫鏋涢柛鈹惧亾濡炪倖宸婚崑鎾崇暆閿濆牆鍔垫い锕€缍婇幐濠傗攽閸ャ儰绨婚梺瑙勫劤瀹曨剟鎮橀埡鍐/闁诡垎鍕淮闂佸搫鐬奸崰鏍嵁閸℃稒鍋嬮柛顐亝椤ュ绻濆▓鍨灕妞ゎ偄顦甸幃锟犳晸閻樿尪鎽曞┑鐐村灟閸ㄥ綊鎮炲ú顏呯厱闁规澘鍚€缁ㄦ潙鈹戦鍏煎枠婵﹨娅g槐鎺懳熺拠鑼舵暱闂備胶枪濮橈妇浜稿▎鎾崇闁靛繒濮弨浠嬫倵閿濆骸浜芥俊顐㈠暙閳规垿鎮欓弶鎴犱桓闂佽崵鍣ラ崹鎷岀亱闂佺偨鍎查崜姘€掓繝姘厪闁割偅绻傞弳娆撴煕閺冣偓缁海妲愰幒妤婃晩闁兼祴鏁╄閳规垿鏁嶉崟顒佹瘓閻庤娲滈崰鏍€佸☉姗嗘僵妞ゆ巻鍋撶紒渚囧櫍濮婄粯鎷呴搹鐟扮濠碘槅鍋傜粈渚€鍩㈠澶嬫櫜濠㈣泛顑呮禍妤呮⒑缁嬫寧婀扮紒顔兼捣婢规洟鎸婃竟婵嗙秺閺佹劙宕熼鐘靛幆闂備礁鎲$换鍐渻娴犲绠栧ù鐘差儛閺佸秵绻濇繝鍌氭殨闁规潙鍢查埞鎴﹀灳閸愯尙楠囬梺鍛婃⒐閻熲晠鎮伴鈧獮鎺懳旈埀顒傜不閻樼鍋撶憴鍕婵炲眰鍊濆绋库槈閵忥紕鍘甸梺鎯ф禋閸嬪棙鏅堕悽鍛婄厱闁冲搫顑囩弧鈧悗瑙勬礃閿曘垽宕洪敓鐘茬<闁靛牆鎳忓▍鏇炩攽閻樺灚鏆╁┑顔惧厴閵嗗倿顢欓悙顒夋綗闂佸搫娲㈤崹鍦婵犳碍鐓欓弶鍫濆⒔閻h京鐥幆褏绉洪柡灞炬礋瀹曠厧鈹戦幇顓夛妇绱掗悙顒€鍔ゆい顓犲厴瀵鈽夊Ο閿嬵潔闂佸憡顨堥崑鐔哥椤撱垺鍊甸悷娆忓缁€鍐煟閹垮嫮绡€鐎殿喛顕ч埥澶愬閳哄倹娅囬梻浣虹帛钃辩憸鏉垮暞閹便劌鐣濋崟顑芥嫼闂備緡鍋嗛崑娑㈡嚐椤栫偛鍌ㄩ柛婵勫劤绾惧ジ鏌嶈閸撴岸骞忛崨瀛樺仼閻忕偠鍋愰懗娲⒒閸屾艾鈧绮堟笟鈧獮澶愬焺閸愵亞鎳濆┑掳鍊曢幊搴ㄥ磼閵娿儙鏃堟晲閸涱厽娈查梺鍝勬媼閸撴氨鎹㈠┑鍥╃瘈闁稿本绮岄·鈧梻浣瑰▕閺€閬嶅垂閸噮娼栧┑鐘宠壘闁卞洭鏌i弮鈧禍浠嬪焵椤掍礁绗掓い顓″劵椤﹁櫕绻涢懠顒€鏋涚€殿喖顭烽幃銏ゆ偂鎼达綆妲伴梻浣藉亹閳峰牓宕滃☉銏╂晩闁圭儤顨嗛崐鍨箾閸繄浠㈤柡瀣枎閳规垿鎮欑拠褑鍚悗瑙勬礃濡炰粙寮幘缁樺亹闁圭粯甯為悰鈺備繆閻愵亜鈧牕螞娓氣偓閿濈偞寰勭仦绋夸壕婵﹩鍋嗛惌娆愭叏婵犲嫮甯涢柟宄版嚇瀹曘劑妫冨☉姘毙ㄩ悗娈垮枤閺佸銆佸Δ鍛妞ゆ巻鍋撴繛鍫㈠仦娣囧﹪濡惰箛鏇炲煂闂佸摜鍣ラ崑濠囧箖閻愬搫鍨傛い鎰С缁ㄥ姊洪悷鐗堟儓婵☆偅顨嗙粋宥嗐偅閸愨斁鎷洪梺纭呭亹閸嬫盯鎮橀鍫熺厽闁圭虎鍨崑鎾剁驳绾應鍋撻崹顔衡偓鎺戭潩閿濆懍澹曟繝娈垮枛閿曘儱顪冩禒瀣祦闁哄稁鍘介崐鐑芥煙缂佹ê绗掗摶姘舵⒒閸屾瑧绐旈柍褜鍓涢崑娑㈡嚐椤栨稒娅犻悗鐢电《閸嬫挸鈻撻崹顔界亶闂佽鍠栭崐鎼侇敋閿濆棛顩烽悗锝呯仛閺咃綁姊虹紒妯荤叆闁圭⒈鍋婇悰顕€骞囬悧鍫氭嫽婵炶揪缍€椤宕戦悩缁樼厱閹兼惌鍠栭悘锔锯偓瑙勬礃濞茬喖寮婚崱妤婂悑闁糕剝銇涢崑鎾诲醇閺囩喓鍘撻梺鍛婄箓鐎氼參宕冲ú顏呯厓闂佸灝顑呭ù顕€鏌$仦鍓с€掑ù鐙呭閹风姴霉鐎n亙澹曢梺鍝勬储閸ㄦ椽宕愰崼鏇熺叆闁哄洨鍋涢埀顒€缍婇幃鈥斥槈閵忊€斥偓鍫曟煟閹伴偊鏉洪柛銈嗙懃閳规垿顢欓悡搴樺亾婵犳艾鐒垫い鎺嶇贰閸熷繘鏌涢悩鎰佹疁妤犵偞鍔欓獮搴ㄦ寠婢跺瞼鏆繝鐢靛仜濡娆㈤悜钘夋嵍妞ゆ挻绋戞禍楣冩煥濠靛棛鍑圭紒銊ュ槻椤法鎲撮崟顒傤槹濠殿喖锕ュ钘夌暦閵婏妇绡€闁告洦鍘剧粣妤呮⒒娴e懙鐟邦潩閿曗偓閳诲秹寮撮悩鐢电厯婵犮垼娉涢オ鎾触鐎n喗鐓曢柍鈺佸暙婵啰绱掗妸銉吋婵﹥妞藉畷顐﹀礋椤撴稒鐎遍梻浣呵归鍛偓姘煎幘缁骞掑Δ浣规珖闂佺ǹ鏈粙鎾诲储娴犲鈷戦悷娆忓閸斻倗鈧娲﹂崜鐔风暦濠靛鏅濋柛灞剧〒閸樻悂鎮楅崗澶婁壕闁诲函缍嗛崜娑溾叺闂佽瀛╅鏍窗濡ゅ懎绠伴柟鎯版缁犳牗绻涢崱妤冭穿闁革富鍘搁崑鎾绘晲鎼存繄鑳烘繝銏n潐濞茬喎顫忓ú顏咁棃闁宠桨鑳跺Σ锝夋⒑閸涘鎴﹀箖閸屾氨鏆﹂柟杈剧畱缁犲鏌熸0浣哄妽闁稿秶鏁诲铏圭磼濡搫袝闂佸憡鎸婚悷鈺呫€侀弮鍫熸櫢闁跨噦鎷�3闂傚倸鍊搁崐鎼佸磹閹间礁纾归柟闂寸绾惧綊鏌熼梻瀵割槮缁炬儳缍婇弻鐔兼⒒鐎靛壊妲紒鐐劤缂嶅﹪寮婚悢鍏尖拻閻庨潧澹婂Σ顔剧磼閻愵剙鍔ょ紓宥咃躬瀵鎮㈤崗灏栨嫽闁诲酣娼ф竟濠偽i鍓х<闁绘劦鍓欓崝銈囩磽瀹ュ拑韬€殿喖顭烽幃銏ゅ礂鐏忔牗瀚介梺璇查叄濞佳勭珶婵犲伣锝夘敊閸撗咃紲闂佺粯鍔﹂崜娆撳礉閵堝洨纾界€广儱鎷戦煬顒傗偓娈垮枛椤兘骞冮姀銈呯閻忓繑鐗楃€氫粙姊虹拠鏌ュ弰婵炰匠鍕彾濠电姴浼i敐澶樻晩闁告挆鍜冪床闂備胶绮崝锕傚礈濞嗘挸绀夐柕鍫濇川绾剧晫鈧箍鍎遍幏鎴︾叕椤掑倵鍋撳▓鍨灈妞ゎ厾鍏橀獮鍐閵堝懐顦ч柣蹇撶箲閻楁鈧矮绮欏铏规嫚閺屻儱寮板┑鐐板尃閸曨厾褰炬繝鐢靛Т娴硷綁鏁愭径妯绘櫓闂佸憡鎸嗛崪鍐簥闂傚倷鑳剁划顖炲礉閿曞倸绀堟繛鍡樻尭缁€澶愭煏閸繃宸濈痪鍓ф櫕閳ь剙绠嶉崕閬嶅箯閹达妇鍙曟い鎺戝€甸崑鎾斥枔閸喗鐏堝銈庡幘閸忔﹢鐛崘顔碱潊闁靛牆鎳愰ˇ褔鏌h箛鎾剁闁绘顨堥埀顒佺煯缁瑥顫忛搹瑙勫珰闁哄被鍎卞鏉库攽閻愭澘灏冮柛鏇ㄥ幘瑜扮偓绻濋悽闈浶㈠ù纭风秮閺佹劖寰勫Ο缁樻珦闂備礁鎲¢幐鍡涘椽閸愵亜绨ラ梻鍌氬€峰ù鍥敋閺嶎厼鍨傞幖娣妼缁€鍐煥濠靛棙顥滈柣锕備憾濮婂宕掑▎鎺戝帯濡炪們鍨归敃銈夊煝瀹ュ鍗抽柕蹇曞Х椤斿姊洪幖鐐插姶闁告挻鐟╅幃姗€骞庨懞銉у幐闂佸憡鍔戦崝搴㈡櫠閺囩姷纾奸柍褜鍓熷畷姗€鍩炴径鍝ョ泿闂傚⿴鍋勫ú銈吤归悜鍓垮洭鏁冮埀顒勬箒濠电姴锕ら悧蹇涙偩濞差亝鐓涢悘鐐额嚙婵″ジ鏌嶇憴鍕伌鐎规洖宕埢搴ょ疀閹惧妲楃紓鍌氬€搁崐鐑芥⒔瀹ュ绀夌€光偓閸曨倠褔鏌熼梻瀵割槮闁藉啰鍠栭弻锝夊棘閸喗鍊梺绋块閻倿寮诲☉妯锋斀闁告洦鍋勬慨銏ゆ偠濮樺墽鐣垫慨濠勭帛閹峰懘宕ㄦ繝鍐ㄥ壍闂備焦妞块崢濂杆囨潏鈺傤潟闁绘劕顕悷褰掓煃瑜滈崜鐔镐繆鐎涙ɑ濯撮柛鎾冲级瀵ゆ椽姊洪柅鐐茶嫰婢у瓨顨ラ悙鎻掓殭闁宠閰i獮妯虹暦閸ヨ泛鏅e┑锛勫亼閸婃牠骞愭ィ鍐ㄩ棷闁靛鍎欏☉婊庢▌濠殿喖锕ら…宄扮暦閹烘垟鏋庨柟瀵稿Х瀹曞弶绻濋悽闈涗粧闁告牜濞€瀹曟鎮欓鍌楁闂佸疇顕ч柊锝夌嵁鐎n喗鍊烽悗娑欙供閸炲爼姊婚崒娆戭槮婵犫偓闁秴纾块柕鍫濐槶閳ь剙鍟撮獮鍥敊閸撗屾Ц闂備礁鎼粔鏌ュ礉鎼达絽濮柍褜鍓熷濠氬磼濮樺崬顤€婵炴挻纰嶉〃濠傜暦閺囥垹绠涢柣妤€鐗忛崢鎼佹⒑閸涘﹣绶遍柛鐘冲哺瀹曪綁鍩€椤掑嫭鈷戦柛婵嗗濠€鎵磼鐎n偄鐏撮柛鈹垮劜瀵板嫰骞囬鍌ゆ敤闂備胶绮崝鏇炍熸繝鍌栫細缂備焦眉缁诲棝鏌i幇鍏哥盎闁逞屽墯閸ㄥ灝鐣烽弴銏犺摕闁靛绠戝▓鐐翠繆閵堝繒鍒伴柛鐕佸亰閹€愁潨閳ь剟寮婚悢琛″亾閻㈢櫥瑙勭濠婂懐纾奸柣姗€娼ч埢鍫熸叏婵犲懏顏犵紒顔界懇瀹曠娀鍩勯崘鈺傛瘞濠碉紕鍋戦崐鎴﹀礉鐏炶娇娑樷攽鐎n剙绁﹂梺鍓插亖閸庤鲸鍎梻浣稿暱閹碱偊宕愰幖浣哥劦妞ゆ巻鍋撴い顓犲厴瀵鏁冮埀顒冪亽婵炴挻鍑归崹杈殭闂傚倷鐒︾€笛呯矙閹烘鍎庢い鏍ㄥ嚬濞兼牠鏌ц箛鎾磋础缁炬儳鍚嬫穱濠囶敍濮橆厽鍎撳銈庡亜闁帮絽顫忛搹鍦煓閻犳亽鍔嶅Σ鈧梻浣呵归敃銉ф崲閸岀偞鍋╅柣鎴f缁狅綁鏌e鍡椾簻濞存粓绠栭弻銊モ攽閸℃侗鈧鏌$€n剙鏋涢柡宀嬬秮楠炴ḿ鎹勯悜妯尖偓鐐箾閿濆懏鎼愰柨鏇ㄤ邯閵嗕礁鈽夊Ο閿嬫杸闂佺硶鍓濋〃鍡涘磿椤忓懐绡€闁汇垽娼цⅴ闂佺ǹ顑嗛幐鎼佹箒闂佺粯锚濡﹪宕曢幇鐗堢厽闁规儳鍟块弳鐔兼煙閼碱儮褰掋偑娴兼潙閱囨繝闈涚墱濡差垱绻濋悽闈涗沪闁搞劌澧庨崰濠傤吋婢舵ɑ鏅濋梺鍏间航閸庢煡宕h箛鏃€鍙忔俊銈傚亾婵☆偅顨嗛弲鑸电節濮橆厾鍘遍梺闈涚墕濡瑧绮堢€n喗鐓涚€光偓閳ь剟宕伴幘鑸殿潟闁圭儤顨呴~鍛存煟濡櫣锛嶅ù婊庝簼娣囧﹪鎮欓鍕ㄥ亾閵堝纾婚柛鏇ㄥ灠缁犵姵鎱ㄥ璇蹭壕閻庢鍠涢褔顢橀崗鐓庣窞濠电姴瀚獮鎰攽閻愯埖褰х紒韫矙楠炲鍨鹃弬銉︾亖闂佸搫琚崕鏌ュ煕閹寸姷纾藉ù锝堢柈缂傛氨绱掗悩宕囧缂佺粯鐩幊鐘活敆閳ь剟寮告惔鈧簻妞ゆ劑鍨荤粻宕囩磼鏉堛劌绗掗摶锝夋偣閸パ勨枙闁逞屽墯閹瑰洤顫忓ú顏呭殟闁靛鍠氭禍顏堝极瀹ュ拋鍚嬪璺猴功椤旀帞绱撻崒娆戝妽瀹€锝呮健瀹曪綁宕卞缁樻杸濡炪倖姊归弸缁樼瑹濞戙垺鐓曟俊顖涱儥濞兼劗绱掗崒姘毙㈡顏冨嵆瀹曞ジ鎮㈤崫鍕辈闂傚倷绀侀幖顐﹀疮椤愨挌褰掑磼閻愭彃鎯炲┑鐐叉閹稿鎮″☉銏″€甸柨婵嗗暙婵″ジ鏌嶈閸撴岸銆冮崼婢綁骞囬弶璺唺闂佽鍎抽顓犵矓閸洘鈷戦梻鍫熺▓鎼寸兘鎮楅棃娑滃閾荤偤鏌涢幇闈涙灍闁稿﹤鐏氱换娑㈠醇濠靛牅铏庨梺鍝勵儑閸犳牠寮婚悢濂夋桨閻忕偛澧借ぐ褔姊洪柅娑氣敀闁告梹鍨垮畷娲焵椤掍降浜滈柟鐑樺灥椤忣亪鏌i幘鍐叉殻婵﹤鎼埢搴ㄥ箚瑜忔禒鈺傜箾鐎涙ḿ鐭掔紒鐘崇墪椤繑銈︾憗銈勬睏闂佸湱鍎ょ换鍐夐弽顐ょ=濞撴艾娲ゅ▍姗€鏌涢妸锕€鈻曟鐐村灴婵偓闁绘﹩鍋呴~宥呪攽閻愬弶顥為柛鏃€顨堢划鏃堝醇閺囩啿鎷洪梺鍛婄☉閿曘儳鈧灚鐟╅弻娑樷槈濡娅ら梺鐓庣秺缁犳牠宕洪悙鍝勭闁挎棁妫勯埀顒傚厴閺屾稑鈻庤箛锝喰﹂梺缁樼箖濮婅崵妲愰幘瀛樺闁荤喐澹嗙粊宄扳攽閻愯尙姣為柍褜鍓氶崜姘跺吹閺囩喆浜滈柟鎷屾硾閻︽粓鏌℃担闈╄含闁诡喗枪缁犳盯寮崒姘兼椒婵$偑鍊ら崑鍕矓閻熼偊娼栨繛宸簼椤ュ牊绻涢幋娆忕伄鐎规洦浜炵槐鎾存媴娴犲鎽靛┑鐐跺皺閸犲酣鎮鹃悜钘夘潊闁靛牆妫涢崝鍫曟倵楠炲灝鍔氭俊顐㈢焸楠炲繐煤椤忓應鎷洪梺鍛婄☉閿曪妇绮婚幘缁樺€垫慨妯煎帶婢у鈧鍠涘▍鏇犳崲濠靛鐐婇柕濞у啫绠為梻浣筋嚙閸戠晫绱為崱娑樼;闁告侗鍨悞濠囨煙濞堝灝鏋ょ痪鎹愬亹缁辨挻鎷呯拹顖滅窗濠电偛寮堕幐鎶藉蓟閻旈鏆﹂柛銉戔偓閺嬪懎顪冮妶鍐ㄧ仾妞ゃ劌锕畷娲焵椤掍降浜滈柟鐑樺灥椤忊晠鏌涢幋鐘残g紒缁樼洴楠炲鈻庤箛鏇氱棯闂備胶绮幐楣冨窗閹邦喗宕叉繛鎴欏灩缁狅絾绻濋棃娑欘棥闁糕晝鍋涢埞鎴︽倷閸欏娅g紓浣割槸閻栧ジ宕洪埀顒併亜閹哄秶璐伴柛鐔风箻閺屾盯鎮╅搹顐ゎ槶闂佸憡甯楃敮鎺楀煝鎼淬劌绠婚柟鍏哥娴滄儳霉閿濆牆鈧粙鎮㈢亸浣圭€婚梺缁樺姦閸庣兘顢旈崼鐔叉嫽婵炶揪绲介幉锟犲箚閸儲鐓欓柛鎰皺缁犳娊鏌熼獮鍨伈鐎规洜鍘ч埞鎴﹀箛椤撶姷鈻夊┑鐘垫暩閸嬫稑螣婵犲啰顩叉繝闈涚懁婢舵劕閱囬柣鏃囨椤旀洟姊洪悷閭﹀殶闁稿濮电粩鐔肺熷Ч鍥︾盎闂佹寧绻傞幊蹇涘箚閸儲鐓冮悷娆忓閻忔挳鏌熼鐣屾噭闁挎稒鍔曢埞鎴﹀幢濡吋婢撶紓鍌氬€搁崐宄懊归崶鈺€鐒婃い蹇撳閺嬫牠鏌¢崶銉ョ仼缂佲偓閸℃稒鐓欓柣鎴烇供濞堛垽鏌℃担鍛婂枠闁哄矉缍佸顕€宕奸锝庢缂傚倷鐒﹂崝妤呭磻閻愬灚宕叉繝闈涱儐閸嬨劑姊婚崼鐔峰瀬闁靛繈鍊栭崐鍨箾閹寸偛绗氭繛鍛喘閺屽秷顧侀柛鎾跺枎宀h儻顦归柟顖氱焸瀹曟帒顫濋崗鑲╃▉婵犵數鍋涘Ο濠冪濠靛瑤澶愬醇閻旇櫣顔曢梺鐟邦嚟閸嬬姵绔熷Ο姹囦簻闁挎繂鎳忛幆鍫ユ煃鐟欏嫬鐏撮柛鈹垮劦瀹曞崬顪冮崜褍鍤紓鍌氬€风粈渚€顢栭崱娆愭殰闁炽儲鍓氶崵鏇㈡煛鐏炶鍔氶梺鍗炴喘閺岋繝宕堕埡浣圭亖闂佸憡鏌ㄩ悥濂稿箖濡ゅ懐宓侀柛顭戝枛婵骸鈹戦埥鍡椾簼闁烩晩鍨伴悾鐑藉閵堝棛鍔堕悗骞垮劚濡盯宕㈡禒瀣厵闁稿繐鍚嬮崕妤呮煕閵娿儳锛嶇紒顔芥閹粙宕ㄦ繝鍕箞闂備浇顫夐崕鎶筋敋椤撱垹绠犻柛鏇ㄥ幘绾惧ジ鏌涚仦鍓р槈婵炴惌鍣i弻锛勪沪閼恒儺妫炲銈嗘尭閵堢ǹ鐣烽崡鐐╂瀻闊洦鎸鹃鍏肩節绾板纾块柛瀣灴瀹曟劙寮介‖鈩冩そ瀵粙鈥栭浣衡槈闁宠棄顦~婵嬵敆閳ь剝鈪查梻鍌欑窔閳ь剛鍋涢懟顖涙櫠椤栨粎纾肩紓浣贯缚缁犳﹢鏌涢悩璇ф敾鐎垫澘瀚悾婵嬪焵椤掑嫭鏅柣鏂垮悑閳锋垹绱掔€n厽纭剁紒鐘崇叀閺屻劑寮村Ο铏逛患闂佷紮绲介崲鑼弲濡炪倕绻愰幊蹇撯枍閵忋倖鈷戠紓浣广€掗崷顓濈剨婵炲棙鎸婚弲顒佺節婵犲倸鏆婇柡鈧禒瀣厽婵☆垱顑欓崵瀣偓瑙勬偠閸庣敻寮诲☉銏″亞濞达綁鏅茬花鐣岀磽娓氬洤鏋︽い鏇嗗懎寮叉俊鐐€曠换鎰板箠婢舵劕绠┑鐘崇閳锋垹绱掔€n偄顕滄繝鈧导瀛樼厽闁绘梹绻傚▔姘跺炊椤掍焦娅囬梺绋挎湰缁嬫捇宕㈤悽鐢电<闁绘劦鍓氱欢鑼偓瑙勬处閸撴氨绮嬪鍛牚闁割偆鍠庢禍妤呮⒑闂堟稓澧曟い锔垮嵆閹ょ疀閹绢垱鏂€闂佺粯鍔欏ḿ褎绂嶉悙顒傜闁告侗鍘介崳浠嬫煟閵夘喕閭€规洘绮忛ˇ鎾偨椤栨稓銆掔紒杈ㄥ笧缁辨帒螣閸忕厧鍨辨俊銈囧Х閸嬫盯顢栭崨鏉戠厺閹兼番鍊楅悿鈧梺鍝勬处绾板秹宕戦崨瀛樷拻闁稿本鐟ㄩ崗宀€绱掗鍛仯闁轰緡鍣i獮鎺懳旀担绯曞亾閼稿灚鍙忔俊顖涘绾儳顩奸崨瀛樷拺闁告稑锕ユ径鍕煕閵婏箑顥嬬紒顔碱煼楠炲酣鎳為妷褍骞堥梻浣规灱閺呮盯宕妸锔绢浄闁挎洍鍋撴い顓℃硶閹叉挳宕熼鍌ゆО缂傚倷鑳剁划顖滄崲閸儱绠栧ù鐘差儐椤ュ牊绻涚壕瀣厫闁烩晩鍨跺璇测槈濮橈絽浜鹃柨婵嗛娴滄繄鈧娲栭張顒勫箞閵婏妇绡€闁告劏鏂傛禒銏狀渻閵堝啫鐏い銊ワ躬瀹曟椽鍩€椤掍降浜滈柟鐑樺灥閳ь剙顭烽幆宀勫箻缂佹ḿ鍘电紓鍌欓檷閸ㄥ綊寮搁悢鍏肩厱濠电姴鍊归崑銉╂煛鐏炲墽娲撮柍銉畵楠炲鈹戦崨顖涘瘻婵犵數鍋涢悺銊у垝瀹ュ洤鍨濋柟鎹愵嚙閽冪喖鏌i弮鍌氬付濞磋偐濞€閺屾盯寮撮妸銉ヨ緟闂侀潧顦弲婊堟偂閺囥垻鍙撻柛銉e妽鐏忕敻鏌i幒鎾村€愰柡宀嬬磿娴狅箓宕滆閸掓盯姊虹拠鈥虫灁闁搞劏妫勯悾鐑筋敃閿曗偓鍞梺闈涱槶閸庢娊宕Δ鍛拻闁稿本鐟чˇ锕傛煙绾板崬浜伴柟顖氼槹缁虹晫绮欑捄銊у炊闂備礁鎼拠鐐哄川椤旂瓔鍟庡┑鐘垫暩閸嬫稑螞濞嗘挸绠扮紒瀣缁绢垶姊婚崒娆掑厡缁绢厼鐖煎畷婊冣攽鐎c劉鍋撻崘顓犵杸闁哄倹顑欓崵銈夋⒑鐠恒劌娅愰柟鍑ゆ嫹12闂傚倸鍊搁崐鎼佸磹閹间礁纾归柟闂寸绾惧綊鏌熼梻瀵割槮缁炬儳缍婇弻鐔兼⒒鐎靛壊妲紒鐐劤缂嶅﹪寮婚悢鍏尖拻閻庨潧澹婂Σ顔剧磼閻愵剙鍔ょ紓宥咃躬瀵鎮㈤崗灏栨嫽闁诲酣娼ф竟濠偽i鍓х<闁绘劦鍓欓崝銈囩磽瀹ュ拑韬€殿喖顭烽幃銏ゅ礂鐏忔牗瀚介梺璇查叄濞佳勭珶婵犲伣锝夘敊閸撗咃紲闂佺粯鍔﹂崜娆撳礉閵堝洨纾界€广儱鎷戦煬顒傗偓娈垮枛椤兘骞冮姀銈呯閻忓繑鐗楃€氫粙姊虹拠鏌ュ弰婵炰匠鍕彾濠电姴浼i敐澶樻晩闁告挆鍜冪床闂備胶绮崝锕傚礈濞嗘挸绀夐柕鍫濇川绾剧晫鈧箍鍎遍幏鎴︾叕椤掑倵鍋撳▓鍨灈妞ゎ厾鍏橀獮鍐閵堝懐顦ч柣蹇撶箲閻楁鈧矮绮欏铏规嫚閺屻儱寮板┑鐐板尃閸曨厾褰炬繝鐢靛Т娴硷綁鏁愭径妯绘櫓闂佸憡鎸嗛崪鍐簥闂傚倷鑳剁划顖炲礉閿曞倸绀堟繛鍡樻尭缁€澶愭煏閸繃宸濈痪鍓ф櫕閳ь剙绠嶉崕閬嶅箯閹达妇鍙曟い鎺戝€甸崑鎾斥枔閸喗鐏堝銈庡幘閸忔﹢鐛崘顔碱潊闁靛牆鎳愰ˇ褔鏌h箛鎾剁闁绘顨堥埀顒佺煯缁瑥顫忛搹瑙勫珰闁哄被鍎卞鏉库攽閻愭澘灏冮柛鏇ㄥ幘瑜扮偓绻濋悽闈浶㈠ù纭风秮閺佹劖寰勫Ο缁樻珦闂備礁鎲¢幐鍡涘椽閸愵亜绨ラ梻鍌氬€峰ù鍥敋閺嶎厼鍨傞幖娣妼缁€鍐煥濠靛棙顥滈柣锕備憾濮婂宕掑▎鎺戝帯濡炪們鍨归敃銈夊煝瀹ュ鍗抽柕蹇曞Х椤斿姊洪幖鐐插姶闁告挻鐟╅幃姗€骞庨懞銉у幐闂佸憡鍔戦崝搴㈡櫠閺囩姷纾奸柍褜鍓熷畷姗€鍩炴径鍝ョ泿闂傚⿴鍋勫ú銈吤归悜鍓垮洭鏁冮埀顒勬箒濠电姴锕ら悧蹇涙偩濞差亝鐓涢悘鐐额嚙婵″ジ鏌嶇憴鍕伌鐎规洖宕埢搴ょ疀閹惧妲楃紓鍌氬€搁崐鐑芥⒔瀹ュ绀夌€光偓閸曨倠褔鏌熼梻瀵割槮闁藉啰鍠栭弻锝夊棘閸喗鍊梺绋块閻倿寮诲☉妯锋斀闁告洦鍋勬慨銏ゆ偠濮樺墽鐣垫慨濠勭帛閹峰懘宕ㄦ繝鍐ㄥ壍闂備焦妞块崢濂杆囨潏鈺傤潟闁绘劕顕悷褰掓煃瑜滈崜鐔镐繆鐎涙ɑ濯撮柛鎾冲级瀵ゆ椽姊洪柅鐐茶嫰婢у瓨顨ラ悙鎻掓殭闁宠閰i獮妯虹暦閸ヨ泛鏅e┑锛勫亼閸婃牠骞愭ィ鍐ㄩ棷闁靛鍎欏☉婊庢▌濠殿喖锕ら…宄扮暦閹烘垟鏋庨柟瀵稿Х瀹曞弶绻濋悽闈涗粧闁告牜濞€瀹曟鎮欓鍌楁闂佸疇顕ч柊锝夌嵁鐎n喗鍊烽悗娑欙供閸炲爼姊婚崒娆戭槮婵犫偓闁秴纾块柕鍫濐槶閳ь剙鍟撮獮鍥敊閸撗屾Ц闂備礁鎼粔鏌ュ礉鎼达絽濮柍褜鍓熷濠氬磼濮樺崬顤€婵炴挻纰嶉〃濠傜暦閺囥垹绠涢柣妤€鐗忛崢鎼佹⒑閸涘﹣绶遍柛鐘冲哺瀹曪綁鍩€椤掑嫭鈷戦柛婵嗗濠€鎵磼鐎n偄鐏撮柛鈹垮劜瀵板嫰骞囬鍌ゆ敤闂備胶绮崝鏇炍熸繝鍌栫細缂備焦眉缁诲棝鏌i幇鍏哥盎闁逞屽墯閸ㄥ灝鐣烽弴銏犺摕闁靛绠戝▓鐐翠繆閵堝繒鍒伴柛鐕佸亰閹€愁潨閳ь剟寮婚悢琛″亾閻㈢櫥瑙勭濠婂懐纾奸柣姗€娼ч埢鍫熸叏婵犲懏顏犵紒顔界懇瀹曠娀鍩勯崘鈺傛瘞濠碉紕鍋戦崐鎴﹀礉鐏炶娇娑樷攽鐎n剙绁﹂梺鍓插亖閸庤鲸鍎梻浣稿暱閹碱偊宕愰幖浣哥劦妞ゆ巻鍋撴い顓犲厴瀵鏁冮埀顒冪亽婵炴挻鍑归崹杈殭闂傚倷鐒︾€笛呯矙閹烘鍎庢い鏍ㄥ嚬濞兼牠鏌ц箛鎾磋础缁炬儳鍚嬫穱濠囶敍濮橆厽鍎撳銈庡亜闁帮絽顫忛搹鍦煓閻犳亽鍔嶅Σ鈧梻浣呵归敃銉ф崲閸岀偞鍋╅柣鎴f缁狅綁鏌e鍡椾簻濞存粓绠栭弻銊モ攽閸℃侗鈧鏌$€n剙鏋涢柡宀嬬秮楠炴ḿ鎹勯悜妯尖偓鐐箾閿濆懏鎼愰柨鏇ㄤ邯閵嗕礁鈽夊Ο閿嬫杸闂佺硶鍓濋〃鍡涘磿椤忓懐绡€闁汇垽娼цⅴ闂佺ǹ顑嗛幐鎼佹箒闂佺粯锚濡﹪宕曢幇鐗堢厽闁规儳鍟块弳鐔兼煙閼碱儮褰掋偑娴兼潙閱囨繝闈涚墱濡差垱绻濋悽闈涗沪闁搞劌澧庨崰濠傤吋婢舵ɑ鏅濋梺鍏间航閸庢煡宕h箛鏃€鍙忔俊銈傚亾婵☆偅顨嗛弲鑸电節濮橆厾鍘遍梺闈涚墕濡瑧绮堢€n喗鐓涚€光偓閳ь剟宕伴幘鑸殿潟闁圭儤顨呴~鍛存煟濡櫣锛嶅ù婊庝簼娣囧﹪鎮欓鍕ㄥ亾閵堝纾婚柛鏇ㄥ灠缁犵姵鎱ㄥ璇蹭壕閻庢鍠涢褔顢橀崗鐓庣窞濠电姴瀚獮鎰攽閻愯埖褰х紒韫矙楠炲鍨鹃弬銉︾亖闂佸搫琚崕鏌ュ煕閹寸姷纾藉ù锝堢柈缂傛氨绱掗悩宕囧⒌闁哄矉绲借灃闁告劑鍓遍姀掳浜滄い鎰╁灮缁犲磭绱掓潏銊ョ瑨閾伙綁鏌ゅù瀣珕闁搞倕鐭傚缁樼瑹閳ь剟鍩€椤掑倸浠滈柤娲诲灡閺呭爼骞橀鐣屽幈闂佸疇顫夐崕铏閻愵兛绻嗛柣鎰典簻閳ь剚鐗滈弫顕€骞掑Δ鈧壕褰掓煕濞戞﹫鍔熸い鈺呮敱缁绘繃绻濋崒婊冾杸闂佺粯鎸炬慨鐢垫崲濞戙垺鍤戝Λ鐗堢箓濞堫參姊虹拠鏌ョ崪缂佺粯绻堝濠氭晸閻樻彃绐涘銈嗘尵婵挳鎮¢悢鑲烘棃鎮╅棃娑楃捕缂備礁顦紞濠囧Υ娴g硶鏋庨柟鎯х-椤︻參鎮峰⿰鍕畼婵″弶鍔欏畷锝嗗緞婢跺瞼鐣鹃梻浣虹帛閸旓附绂嶅⿰鍫濈劦妞ゆ帊鑳舵晶顏堟偂閵堝鐓涚€广儱娴锋禒婊勭箾閹寸們姘i崼銉︾厪闊洦娲栧暩濡炪倧瀵岄崑鍛崲濞戞埃鍋撻悽鐧诲湱鏁崼鏇熺厽閹烘娊宕濋幋锔惧祦濠电姴鍋嗗ḿ鈺呮煠閸濄儲鏆╅柛妯绘倐閹鐛崹顔煎濠电偞鎸抽弨杈╃矉瀹ュ鎹舵い鎾跺枎閺嬫垿姊虹紒姗嗘當闁绘妫涚划顓烆潩閼哥數鍘搁梺鍛婁緱閸犳岸宕i埀顒勬⒑閸濆嫭婀伴柣鈺婂灦閵嗕線寮撮姀鐘栄囨煕濞戝崬鏋ょ憸鐗堢懃閳规垿鎮欏顔兼婵犳鍣崣鍐嚕閹绘巻妲堥柍鍨涙杹閸嬫捇寮崼婵堫槰濡炪倖鏌ㄥΣ鍫n樄闁哄本鐩崺鍕礂閿旇棄鍝烘鐐茬箻閹兘骞嶉搹顐f澑闂備胶绮崝妯衡枖濞戙垺鍎嶆繛宸簼閻撴洟鏌eΟ鑽ゅ弨闁告瑥瀚伴弻銊モ攽閸繀鍝楃紓浣哄У閻╊垶鐛Ο缁樺閻熸瑥瀚ㄦ禒銏狀渻閵堝啫鐏俊顐㈠暙閻g兘濡搁埡濠冩櫍濠电娀娼ч悧濠囧汲娴煎瓨鈷掗柛灞捐壘閳ь剙鍢查湁闁搞儺鍓ㄧ紞鏍ь熆閼搁潧濮﹂柡浣革躬閺屸€愁吋鎼粹€崇缂備焦鍔栭〃鍡樼┍婵犲洤围闁告侗鍠栧▍锝囩磽娴e搫啸闁哥姴閰i崺鐐哄箣閿曗偓绾惧吋鎱ㄥ鍡楀箹闁哄棗鐗撳娲箮閼恒儲鏆犻梺鎼炲妼濞尖€愁嚕婵犳艾围闁糕剝锚瀵潡姊鸿ぐ鎺戜喊闁稿繑锕㈠畷鎴﹀箻鐠囨彃宓嗛梺闈涚箳婵挳宕甸幋锔解拺缂佸娉曢悘閬嶆煕鐎n剙浠遍柟顕嗙節瀵挳濮€閻樻鍟囬梺鍝勵槸閻楀棙鏅堕悾宀€鐭欏┑鐘崇閻撴盯鏌涢埦鈧弲娑欐櫠椤栨稏浜滈柕濠忕到閸旓箓鏌熼鐣屾噰妤犵偞鎹囬獮鎺楀箻閹碱厼鏁虫繝纰夌磿閸嬫垿宕愰妶澶婄;闁告侗鍨伴崹婵嬫煙閹规劦鍤欓柡鍕╁劦閺屽秷顧侀柛鎾村哺婵$敻宕熼姘鳖唺闂佺懓鐡ㄧ换宥嗙婵傚憡鈷戦柛婵嗗椤忋儵鏌涙惔锝嗘毈鐎殿喖顭锋俊鎼佸煛閸屾矮绨婚梻浣告啞缁诲倻鈧艾鎳樻慨鈧柕蹇嬪灮閿涙粓姊洪柅鐐茶嫰婢у鈧娲橀敃銏ゅ春閻愭潙绶為柛婵勫劤濞夊潡姊婚崒姘g湅闁稿瀚叅闁挎洖鍊哥粻鏉库攽閻樺磭顣查柡鍜佸墴閺岋繝宕橀妸銉㈠亾閼姐倕顥氬┑鍌溓圭痪褔鏌涢锝団槈濠碘€虫健閺屾稑鈻庣仦鎴掑婵犵數濮甸鏍窗閺嶎厽鏅濋柨鏃€鍎抽崹婵囥亜閺嶎偄浠滅紒鐙€鍨堕弻娑樷槈濡吋鎲奸梺璇″灣閸嬨倝寮婚敐澶嬪亜缂佸顑欏Λ鍡楊渻閵堝棗濮囬柕鍫⑶归~蹇曠磼濡顎撻梺鑺ッˇ顖炲箚閻愮儤鈷戦柛婵勫劚瀛濆┑鈽嗗亝缁诲倿鎮鹃悿顖樹汗闁圭儤鎸搁惂鍕節閵忥絾纭鹃柡鍫墮閳绘挻銈i崘鈹炬嫼缂佺虎鍘奸幊蹇氥亹瑜忕槐鎺楁偐閸愯尙浠肩紓渚囧枛椤兘骞婇敓鐘参ч柛銉㈡櫔缁卞啿鈹戦悙鑸靛涧缂傚秮鍋撻梺姹囧€ら崰姘辨閹炬剚娼╅柤鍝ユ暩閸樺崬鈹戦濮愪粶闁稿鎸搁湁婵犲﹤妫欑涵鐐亜椤愩垻绠伴悡銈嗐亜韫囨挻濯兼俊顐㈠暙閳规垿鎮欑€靛憡娈梺鍛婃煥閻偐妲愰悙瀵哥瘈闁稿本绮嶅▓楣冩⒑閸濆嫭鍌ㄩ柛銊ユ贡缁顢氶埀顒勫蓟閿曗偓铻e〒姘煎灡鏁堟繝纰樷偓铏枙闁告挾鍠庨~蹇撁洪鍕唶闁硅壈鎻徊鍧楁偩闂堟稈鏀介柣鎰硾閻ㄥ搫鈹戦悙鈺佷壕闁诲氦顫夊ú姗€宕归崸妤冨祦婵せ鍋撶€殿噮鍓熸俊鐑芥晜閸欍儳鎸夐梻鍌氬€风粈浣圭珶婵犲洦鍋傞柛顐犲劚缁愭淇婇妶鍛櫤闁稿﹤鐖奸弻娑㈩敃閿濆洨顓煎┑鐐存尭椤兘寮婚弴銏犻唶婵犻潧顑愰埀顒侇殘閳ь剚顔栭崳顕€宕抽敐澶婅摕闁跨喓濮撮悞鍨亜閹哄秶鍔嶇紓宥呮喘閺屾洘绻涜閸嬫捇鏌¢埀顒勬惞椤愩倗鐦堥梺姹囧灲濞佳冪摥婵犵數鍋涢惇浼村磹濡ゅ啫鍨濆┑鐘崇閸嬶繝鏌熼崘璇у伐缂傚秴锕顐﹀箛閺夊灝绐涘銈嗘濡嫰寮搁幋锔解拻濞达絽鎲¢崯鐐烘嫅闁秵鐓欐い鏃傚帶閳ь剚鎮傞敐鐐剁疀濞戞瑦鍎梺闈╁瘜閸橀箖鎮¢幘缁樷拺闁革富鍘愰崷顓涘亾濞戞帗娅婃鐐茬箻閺屽棗顓奸崱蹇斿婵犵數鍋犵亸顏堫敋瑜嶉锝嗐偅閸愨晝鍘遍梺缁樏崯鍧楀传濞差亝鐓欑€规洖娲ゆ禒锔界箾閻撳海绠诲┑鈩冪摃椤т焦绻涢弶鎴濐伃闁哄矉绲鹃幆鏃堫敍濠婂憛锝夋⒑缁嬫鍎岄柛瀣崌濮婇缚銇愰幒婵囶棖缂備緡鍣崹鎶藉箲閵忕姭妲堟繛鍡樺姉缁夊爼姊洪崨濠冨瘷闁告劑鍔庨崢鎺楁⒒閸屾瑨鍏屾い銏狅工閳诲秹寮撮姀鈥充画闂侀潧艌閺呮稒顢婇梻浣告贡婢ф顭垮Ο鑲╀笉闁规儼濮ら悡娆撴倵濞戞瑡缂氱紒鐘翅缚閹叉悂寮跺▎鐐ф繛锝呮搐閿曨亪骞冨▎鎿冩晜闁告洏鍔屾禍楣冩煛瀹ュ骸浜濋柡鍡樼矒閺岀喖鎮滃鍡樼暥缂佹儳澧介幊鎾诲煘閹达附鍋愮€规洖娴傞弳锟犳⒑缁嬪灝顒㈡い銊ユ閹广垹鈽夐姀鐘茶€垮┑鈽嗗灥椤曆囨瀹ュ鈷戠紓浣股戠亸浼存煟閻斿弶娅呮い鏇秮瀹曞ジ寮撮悙鍝勬暪闂備胶绮弻銊╁床閸欏鍙忛柕蹇嬪€栭埛鎴澝归崗鑲╂噰婵$虎鍠氱槐鎺楊敊閼恒儱纾抽悗娈垮枛椤兘宕洪崟顖氱闁宠桨绶¢埀顒佹尵缁辨挻鎷呴崜鎻掑壈缂備降鍔戞禍璺虹暦閹达箑绠婚悹鍥ㄧ叀閺佹粌鈹戞幊閸婃劙宕戦幘缁樼參闁告劦浜滈弸娑㈡煛鐏炵偓绀冪紒缁樼洴閹瑩顢楁担鍝勭稻闂傚倷鑳舵灙妞ゆ垵鎳庤灋婵犻潧顑呴拑鐔哥箾閹寸偟鐓繛宀婁邯閺屾盯骞樺璇蹭壕濠碘剝褰冮悧鍡涒€旈崘顔嘉ч柛娑橆嚟瀹曨亪姊洪悷鏉挎闁瑰嚖鎷�
您现在的位置:佛教导航>> 五明研究>> 英文佛教>>正文内容

The Whole Body, not Heart, as Seat of Consciousness

       

发布时间:2009年04月18日
来源:不详   作者:Suwands H. J. Sugunasiri
人关注  打印  转发  投稿


·期刊原文

The Whole Body, not Heart, as Seat of Consciousness: The Buddha's View
By Suwands H. J. Sugunasiri
Philosophy East and West
Volume 45, Number 3
July 1995
P.409-430
(C) by University of Hawai'i Press


--------------------------------------------------------------------------------


P.409

What is the 'seat of consciousness' in Buddhism?
This is the question that this essay seeks to
answer, understanding the term 'seat', however, as a
mere 'concealing'(1) (sammuti) term, to denote not a
static entity but a dynamic process, like every
other dhamma 'phenomenon'(2)--human, animal, plant,
or otherwise. In answering the question, we shall
explore three sources: the Nikaayas, the Abhidhamma,
and the works of two commentators, Buddhaghosa's
Vissuddhimagga (fifth century C.E.) and Kassapa's
Mohavicchedanii (twelfth century C.E.). While the
former is the "oldest non-canonical authority of the
Theravada" (~Naa.namoli 1956, p. x), the latter
represents "the final stage of development of the
Theravaada Abhidhamma system in India and Ceylon"
(Buddhadatta and Warder 1961, p. xv). No attempt,
however, has been made here to explore traditions
other than the Theravaada.

The Traditional View

The most pervasive traditional answer to our
question is captured in the Pali Text Society's
Pali-English Dictionary, under the entry hadaya:
"the heart as seat of thought and feeling, esp.
strong emotion... which shows itself in the action
of the heart" (Davids and Stede 1979, p. 728). A
similar strain of thought runs through another entry
under citta: "citta = hadaya, the heart as
incorporating man's personality" (p. 266). This view
is echoed by modern scholars. Reviewing the
literature in his Buddhist Analysis of Matter,
Karunadasa, for example, says that "what is called
hadaya-vatthu is not absolutely identical with heart
as such" (1967, pp. 62 ff.). Yet, in the very next
sentence, he says: "like the senseorgans, it is a
very subtle and delicate species of matter, and is
located inside the heart" (p. 65).

Commentaries. Going back in history for an answer to
our question, however, we begin with Buddhaghosa,
because it is in the Visuddhimagga that we seem to
find the issue specifically developed, even though,
as we shall see, the seeds of the concept can be
found earlier. The Visuddhimagga clearly posits the
mind, the Paali term used being mano, specifically
in the heart, in the materiality (ruupa) aggregate:
in the htu-manovi~n~naa.nadhaatuuna.m-nissayalakkha.na.m
hadayavatthu 'The heart-basis has the characteristic
of being the [material] support for the mind-element
and for the mind-consciousness element' (chap. XIV,
no. 60; Warren 1950, p. 378; ~Naa.namoli 1956, pp.
496-497).(3) The characteristics of the mind are
then shown, with its function (rasa) being to
'subserve' (aadhaara.na) and the 'manifestation'
(paccupa.t.th^ana) being 'the carrying of them'
(ubbahana).

P.410

What is interesting, however, is that no
'proximate cause' is offered, the fourth type of
characterization given in relation to each of the
other items in both the materiality and the
mentality aggregates (chap. XIV). But, there is a
sentence which seems to suggest such a proximate
cause: "it is assisted by the primaries with their
function of upholding" (sandhaara.naadikiccehi
bhuutehi katuupakaara.m) (chap. XIV, no. 60; N, p.
497; W, p. 379) --primaries being, of course,
earthness, waterness, fireness, and airness.
Buddhaghosa further confirms that "it [heart] serves
as physical basis for the mind-element and
mind-consciousness element, and for the states
associated with them"
(manodhaatu-manovi~n~naa.nadhaatuuna~n c'eva
ta.msampayuttadhammaana~n ca vatthubhaava.m
saadhayamaana.m ti.t.thati)(ibid.)

We are now told that it (hadayavatthu) is to be
found "in dependence of the blood" (lohitam
nissaaya) (ibid.), as in relation to the heart
itself elsewhere (in the
anussati-kamma.t.thaananiddeso 'description of
concentration-on-other-recollections as meditation
subjects' [W, pp. 189 ff.; N, pp. 247 ff.]), where
it is described in relation to color, shape,
direction, location, and delimitation.(4)

Elsewhere in the Visuddhimagga, the heart-basis
is given as an example in explaining a 'prenascence
condition' (puurejaatapaccayo) , a "state that
assists by being present, having arisen previously"
(pa.thamatara.m uppajjitvaa vattamaanabhaavena
upakaarako) (no. 85; N, p. 617, W, p. 457) and a
'conascence condition' (sahajaatapaccayo), a "state
that, while arising, assists [another state] by
making it arise together with itself" (uppajjamaano
va saha uppaadanabhaavena upakaarako dhammo) (no.
77; N, p. 615, W, p. 455). The heart-basis is
further associated with the mind at
'rebirth-linking' (no. 215, N, p. 651)
(pa.tisandhiya.m), `in the course of existence' (no.
130; N, p. 630) (pavatte), and 'human death' (no.
163; N, p. 638) (manussacuti). Finally, hadayavatthu
is linked with the three major cognates appearing in
the literature: citta, mano, and vi~n~naa.na (see
below).

Nothing substantial seems to have changed in the
commentarial thinking on the subject between the
fifth and the twelfth centuries. Kassapa, in his
Mohavicchedanii, covers the same ground as
Buddhaghosa does, outlining the characteristics of
the heart, and linking it to the mind, without again
showing a 'proximate cause' (Buddhadatta and Warder
1961, p. 64). The connection between the mind and
blood is also made (ibid.) as is the role of the
heart at birth, in life, and at death (ibid.; nos.
43, 48, etc.). Continuing the Buddhaghosa tradition,
he links the heart with all three terms, citta,
mano, and vi~n~naa.na, as well.

But Kassapa makes a significant addition to
Buddhaghosa. Even though the latter had associated
the heart with the mind, he did not specifically
name a 'dhamma' in the mentality domain to parallel
hadaya in the materiality domain. But this Kassapa
does, drawing obviously from

P.411

tradition itself, by actually listing citta as one
of thirty-nine dhammas in the 'mentality domain'
(cittuppaadaka.n.do) (Buddhadatta and Warder, p. 8),
equating it with vi~n~naa.na and manas. It is now
given a description as in the case of hadayavattu,
the characteristic being shown as 'knowing'
(vijaanana,) the function as 'forerunning'
(pubba^ngama) , the manifestation as 'continuous
existence in consciousness' (nirantarappavattito
santaana), and, unlike in relation to hadayavatthu,
the proximate cause as `mentality-materiality'
(naamaruupa) (ibid., p. 12). It is as if Kassapa saw
a hiatus in Buddhaghosa's systematization and felt
compelled to fill it!

Judging by the Visuddhimagga and the
Mohavicchedanii, then, what we find in the
commentaries is that the mind, using the term citta
in particular, is associated, firmly and
irrevocably, with the heart.(5)

The Abhidhamma. In his notes to hadayavatthu, in
editing Abhidhamma.t.thasa.ngaha (see note 5) ,
contemporary Sri Lankan scholar Narada (1968, p.
293) says that "the Buddha refers to the basis of
consciousness in such indirect terms as ya.m ruupa.m
nissaaya 'depending on that material thing'," a
point made by Aung (1910) and ~Naa.namoli (pp. 498,
502) as well.

But Narada's quotation, though attributed to the
Buddha, is in fact, not from the Nikaayas but from
the Abhiddhamma work, Pa.t.thaana (Mrs. Davids
1921), a later systematization. It is said, for
example, that the mind-element and the
mind-consciousness element sometimes occur as a
'prenascence condition' (as, e.g., in the course of
an existence) and sometimes do not (as, e.g., at
rebirth linking).(6) And in the explanation of a
'prenascence condition', the 'heart basis'
(hadayavatthu) is listed as one of eleven physical
conditions (along with the five physical bases of
eye, ear, nose, tongue, and body and objects in the
five doors) for the mind-element and
mind-consciousness element and for the states
associated with it.

Interestingly, however, hadayavatthu does not
occur in the Dhammasa^nga.nii, the first book of
Abhidhamma (nor does it occur in Atthasaalinii,
Buddhaghosa's commentary to it). What does occur is
hadaya, which, unlike in the Pa.t.thaana, is equated
with the mind. In answer to the question, katamo
tasmin samaye vi~n~naa.nakkhandho hoti 'what then
constitutes vi~n~naa.na?' for example, we see the
following statement: Ya.m tasmin samaye citta.m mano
maanasa.m hadaya.m pa.n.daara.m mano manaayatana.m
manindriya.m vi~n~naa.na.m vi~n~naa.nakkhandho
tajjaa manovi~n~naa.na- dhaatu-aya.m tasmin samaye
vi~n~naa.nakkhandho hoti (Muller 1885, p. 18). Here
hadaya 'heart' is equated with, among other things,
the three major terms for the mind (supra), citta,
mano, and vi~n~naa.na. As if further evidence were
needed, we find the same stock answer repeated for
the same question again, replacing vi~n~naa.na with
manaayatana and manovi~n~naa.nadhaatu(ibid.) . In
like manner, we find in the Vibha^nga that hadaya

P.412

is defined "in a purely mental and not physical
sense" (~Naa.namoli, p. 498 n. 26) , in its
definition of mind-element and mind-consciousness
element.(7)

Like the Commentaries, then, we find the
Abhidhamma making a definite link of the mind with
the heart, even though not all the Abhidhamma
authors seem to have been sure whether to put it in
the mentality domain or the materiality domain, or
whether to use hadaya or hadayavatthu!

The Nikaayas. Since both the Abhidhamma and the
Commentaries always quote the Nikaayas as their
source and authority, we need to look at what
evidence we get from the Nikaayas for a link between
the mind and the heart. The first of the two
dictionary entries quoted in the subsection above
gives its source as Sa.myutta I.199. In examining
this source, we find the Buddha's chief disciple
AAnanda being addressed by "a deva, indigenous to
that [Kosalese] forest, moved with compassion [for
AAnanda!], desiring his welfare, and wishing to
agitate him" (Mrs. Davids 1950, 254); in verse:

Rukkhamuulagahana.m pasakkiya
nibbaana.m hadayasmin opiya....(Feer 1884,p. 198)

meaning, 'Having gone forth to the thicket at the
foot of a tree, and having experienced nibbaana in
the heart....'(8) Given that none of the classical
cognates for the mind (e.g., citta, mano, or
vi~n~naa.na) appears in the verse, the association
of the mind with the heart can only be made here by
extension, understanding that the experiencing of
nibbaana is through the mind, or, put another way,
that it is the mind that experiences nibbaana. So it
is only through a great license as taken by Mrs.
Davids (see note 8) that we can agree with the
Dictionary entry, "the heart as the seat of thought
and feeling."

Elsewhere in the Sa.myutta, there occurs a line
where both citta and hadaya occur: citta.m vaa
khipeyya hadaya.m vaa phaleyya... 'derange the mind
or split the heart' (Sa.myutta I.207). While the two
clearly have nothing to do with each other here,
their occurrence together may be interpreted as
suggesting an implicit connection. Even in such an
event, the words are not the Buddha's, even though
the utterance falls off his lips; he is only
repeating the words of Suciloma, the Yakkha, who has
threatend him: "Friar, I will ask thee a question.
If thou answerest me not, I will either derange thy
mind or split thy heart" (Mrs. Davids 1950, p.
265).(9) The words that follow, "I will take you by
the feet and throw thee over the Ganges," clearly
indicate that Suciloma was speaking literally, and
in no fancy language.(10)

A similar association between the mind and the
heart is contained elsewhere, in the words hadaya.m
vaassa phaleyya... cittavikkhepa.m

P.413

vaa... (Sa.myutta I.125-126). Again, it is the
daughters of Mara that are speaking, having tried in
vain to seduce the Buddha. The full text makes this
clear:

For if we had approached after this fashion any
recluse or brahmin who had not extirpated lust,
either his heart would be cleft asunder, or hot
blood had flowed from his mouth, or he had
become crazy, or have lost his mental balance...
. (Mrs. Davids 1950, p. 157)(11)

So it is not the Buddha that is speaking!

As can be seen, then, the only three references
in the Sa.myutta that seem to suggest an association
between the mind and the heart are contained in the
"Sagaatha" section, dealing as they do "with
legends, fairies, gods and devils, with royal and
priestly interviewers of the sublime teacher"
(ibid., p. vi), or of his disciples. So the only
evidence we have from the Sa.myutta comes not
through the words of the Buddha but from
unenlightened puthujjanas 'average people', or
rather puthussattas 'average beings'--to coin a term
that includes humans, yakkhas, and devas!

What the Nikaayas then encourage us to conclude
is that whatever else the Buddha may or may not have
understood as the seat of consciousness (see
discussion below), it certainly wasn't the heart. In
fact, the only sense in which the term hadaya occurs
in the Nikaayas is in the sense of an organ, as, for
example, the eleventh part of the body in a list of
thirty-two upon which to meditate(12)--this in the
Pa.tisambhidaamagga (Taylor 1905, vol. 1, p. 6), a
book of the Khuddaka Nikaaya.(13) The term
hadayavatthu, which appears in the Abhidhamma and
the Commentarial literature with roughly the same
semantic distribution as hadaya, never once appears
in the Nikaayas!

Discussion. Given that the Buddha himself has not
linked the mind to the heart, or at least not made a
statement to that effect, what is readily evident is
that the localization of the mind in the heart seems
to have taken root among the ranks of the Buddha's
discipleship during the time of the systematization
of the Abhidhamma. But during this stage, the
conceptualization still seems fluid: sometimes not
appearing at all, as, for example, in the
Dhammasa^nga.nii, where it appears sometimes as
hadaya alone, sometimes as hadayavatthu, and
sometimes with one or the other appearing in either
of or both the material and the mentality domains.
The fact that the term does not appear in the
Atthasaalinii, Buddhaghosa's commentary on the
Dhammasa^nga.nii, in which he sought to be authentic
to tradition, provides further evidence of the
ambivalence during this early period.

Since, however, we find such fluidity giving way
to solidity by Buddhaghosa's time (fifth century
C.E.), it may encourage one to view the entrenchment
as a result of a boldness on the part of
Buddhaghosa, given

P.414


that, as ~Naa.namoli points out, he did not hesitate
to take liberties in his creative work, the
Visuddhimagga, as he was equally careful to be true
to tradition in his other works (e.g., the
Atthasaalinii). But we cannot ignore the words of
Mrs. Rhys Davids: "Of his [Buddhaghosa's] talent
there can be no doubt.... But of originality, of
independent thought, there is at present no
evidence" (Hastings Encyclopedia of Religion and
Ethics, vol. 2, p. 887; quoted in Adikaram 1946, p.
4). Further, in none of the relevant sections in the
Visuddhimagga that refer to hadayavatthu or hadaya
for the first time (XIII.99 and VII.111,
respectively) or deal with them extensively (XIV.60,
VIII.111), do we have Buddhaghosa making the claim
aya.m pana me attano mati 'this indeed is my own
view', as seen, for example, in the Papa~ncasuudanii
(see Adikaram, p. 3, for the reference).

Now we come to the possibility that Buddhaghosa
was simply following tradition. There is much
evidence to support this. Buddhaghosa's task "was
not to write a series of original books on Buddhism
but to put into Pali in a coherent and intelligent
form the matter that already existed in the various
Sinhalese Commentaries" (Adikaram, p. 2) . His
description of his own methodology in the
Samantapaasaadikaa (Introduction) bears witness to
this:

In commencing this commentary--having embodied
therein the Mahaa A.t.thakathaa, without
excluding any proper meaning from the decisions
contained in the Mahaapaccarii, as also in the
famous Kurundii and other commentaries, and
including the opinions of the Elders.... From
these commentaries, after casting off the
language, condensing detailed accounts,
including authoritative decisions, without
overstepping any Paali idiom.... (quoted in
Adikaram, p. 2)


If Buddhaghosa is thus being authentic to
tradition, it can be reasonably assumed that the
notion of hadayavatthu as the seat of consciousness
was already in the Sinhalese commentaries as well
(in addition to the Abhidhamma) . Since the
Visuddhimagga was the "test" by which Buddhaghosa
was judged by the Sinhalese Elders to be allowed to
translate the commentaries into pali, it cannot but
be the case that he had to be accurate in his
understanding and analysis of so central a concept
as the dhammas. It is indeed entirely possible as
well that Buddhaghosa noted the presence of the
noncanonical material in the Sinhalese commentaries,
but, as Adikaram points out (p. 4), his task was
"not to rectify," particularly given his lack of
originality (supra) and the striving for
authenticity to scripture. There are, of course,
unfortunately no Sinhalese commentaries to check out
this claim.

So if we assume a role for Buddhaghosa, the
authors of Sinhalese commentaries, and the authors
of the Abhidhamma in the evolving localization of
the mind in the heart, they all seemed to have had a
fur-

P.415

ther source--ironically, the Nikaayas
themselves--and this, as we shall see, almost by
default!

Writing the words, "The heart-basis... the
support for the mind-element and for the
mindconsciousness-element," Buddhaghosa asks, "How
is that to be known? " He answers, "[1] From
scriptures and [2] from logical reasoning" (no. 60;
N, pp. 497-498 n. 26). He then goes on to quote the
Pa.t.thaana (I.10, as above)(14) as his evidence.
But why is it not (as noted above) in the
Dhammasa^nga.nii (the first book of the Abhidhamma),
he asks, if it is in the Pa.t.thaana? Buddhaghosa
explains that the reason is the "non-inconsistency
of the teaching," to ensure "unity" (ibid.).(15)

What seems ironic is that even though he seeks
to make the Buddha's teaching consistent, it is the
very inconsistency in the Nikaayas(16) (and
presumably of the Buddha himself?)(17) that has led
to the inconsistency between the Nikaayas and the
later works on the issue of the localization of the
mind!

It is evident, for example, that more than one
term has been used by the Buddha to denote the
concept of consciousness, along with its associated
states. The three principal ones are citta, mano,
and vi~n~naa.na, as contained, for example, in the
classic statement, citta.m iti pi mano iti pi
vi~n~naa.na.m (Sa.myutta II.95), or in ya~n ca
vuccati citta.m vaa mano ti vaa vi~n~naa.na.m vaa
(Diigha I.21). It is "as if to say, choose which you
will" (Mrs. Rhys Davids 1936, p. 237)!(18)

Each term, further, has variant renderings:
citta as ceto, cetanaa, cetayita (ibid., p. 239),
and even cetasika; mane as manindriya, manodhaatu,
manaayatana, manovi~n~naa.na, manovi~n~na.nadhaatu,
and so on; and vi~n~naa.na as vi~n~naa.nadhaatu,
cakkhu-, sota-, ghaana-; jivhaa-, kaaya-,
mano-vi~n~naa.na, and so on (see Davids and Stede
1979 for the entries). This, of course, is not to
mention naama 'mentality', as in naamaruupa
'psychophysique' (this being my translation of the
term, in Sugunasiri 1978).

Again, grammatically speaking, of the three
terms, citta alone appears in the plural (though
only "3 of 150 times in the Nikaayas" [Davids and
Stede, p. 266]), while mano and vi~n~naa.na never
do.

The apparent semantic inconsistency of the three
major terms seems to complicate matters further. If,
as we have seen in the Sa.myutta and the Diigha
statements above, that the terms are used
synonymously, they are also used with different
shades of meaning. "Mano represents the intellectual
functioning of consciousness, while vi~n~naa.na
represents the field of sense and sense-reaction
('perception'), and citta the subjective aspect of
consciousness" (Davids and Stede, p. 520). Or "In
mano we have the man valuing, measuring, appraising,
and also purposing, intending.... In citta, we more
usually have the man as affective and affected, as
experiencing. In vi~n~naa.na, we have the man as not
of this world only" (Mrs. Rhys Davids 1936, p. 237).

P.416

Further, while citta means "inquisitiveness,
instability, impulsiveness" (combining the
intellectual and the affective), or "thinking or
thought" (intellectual), it is on the one hand
contrasted with kaaya 'body' (as, e.g., in the
series, cakkhu, sota, ghaana, jivhaa, kaaya, and
mano), and on the other hand with ruupa 'matter'
(ibid., p. 239). It is also both compared and
contrasted with 'will' (Davids and Stede, p. 267).
Mano is, again, used with "prefixes of sentiment,"
as, for example, in sumana and dummana (ibid., p.
238), but not citta.

Given thee sometimes overlapping, sometimes
complementary usage, it now seems a simple step for
Buddhaghosa, the Sinhalese commentators, or the
AAbhidhammikas to extend the association of nibbaana
to the heart in the Sa.myutta (supra), made by a
deva, first, to all three terms, citta, mane, and
vi~n~naa.na, and second, to put it in the mouth of
the Buddha! Not even the fact that the connection
was being made in the other two contexts in the
Sa.myutta by a yakkha and Mara's daughters seems to
have entered anybody's mind!(19)

If, then, inconsistency in the Nikaayas served
as one condition for the view to prevail that the
mind was located in the heart, it is equally likely
that the notion was influenced by an external source
as well: the Upani.sads. For one thing, at least
some of the Upani.sads (other than the earliest
five)(20) were not much older in time, some in fact
being written afterwards.(21) For another, at least
some of the Sinhalese elders who wrote down the
first Commentaries, if not Buddhaghosa himself,(22)
were "conversant with the Sanskrit language"
(Adikaram, p. 4).(23)

What, then, is this Upani.sadic view? The
Sanskrit term jiiva(.h) , which means 'life'
(Monier-Williams 1957, p. 452), literally means
'that which breathes', from the root jiv 'to
breathe'. According to the B.rhad-aara.nyaka
Upani.sad, the aatman 'soul' is based on the praa.na
'life-breath', also called 'in-breath'
(Radhakrishnan 1953).(24) Death, too, is associated
with breathing, in both the physical and the
nonphysical senses.(25)

If breath is associated with 'soul' and 'death'
in the Upani.sads, we also find it associated with
the heart as well, in life and at death. In sleep,
for example, "When this being fell asleep... then
[he] rests in that place which is the space within
the heart" (yatrai.sa etat supto 'bhuut... ya
eso'ntar-h.rdaya aakaa`s.h tasmi~n chete) (BU
II.1.17; R, p. 189). At death, "the point of his
heart becomes lighted up and by that light the self
departs" (tasya haitasya h.rdayasyaagra.m
pradyotate, tena pradyotenai.sa aatmaa ni.skraamati)
(BU IV.4.2; R, p. 270).

Nor is that all. Jiiva, which, as we have seen,
referred originally to the biological aspect of
human nature throughout one's life (awake, in a
dream state, or asleep), has a cognate, puru.sa,
meaning 'man' (both gender-neutral and male). But
the term has a literal sense as well, namely
puri-`saya 'that which dwells in the citadel of
heart' (R, p. 90). In the Ka.tha Upani.sad of
several centuries later, we in fact find the soul
(or self)

P.417

directly linked with the heart: aatmaasya jantor
nihito guhaaya.m 'the self is set in the heart of
every creature' (KU I.2.20; R, p. 617). If in the
later Ka.tha this secret place is "the chief seat of
the Supreme" (guhaam.... parame paraardhe) (KU
I.3.1; R, p. 621), in the earlier B.rhad-aara.nyaka,
Brahman itself comes to be equated with the heart:
e.sa prajaa-patir yad h.rdayam, etad brahma 'This is
Prajaa-pati [literally, 'Lord of People'] [the same
as] this heart. It is Brahman' (BU V.3.1; R, p.
291). When the line continues with the words etat
sarvam. tad etat try-ak.saram; h.r-da-yam iti 'It is
all. It has three syllables, h.r, da, yam..., we
find even a ritual quality accorded the heart.(26)

If the understanding of the heart that we get
from what is given above is captured in the
Chaandogya phrase aatmaa h.rdi 'the self is in the
heart' (CU VIII.3.3; R, p. 496) , the
Kau.siitakii-Braahma.na captures its extended
concept in the phrase praa.no brahmeti 'the
breathing [living] spirit is Brahma' (II.1; R, p.
761).

But what about the heart as the seat of the
'mind'? For this we have to turn to the CHaandogya
Upani.sad, where we find a specific reference to two
cognates of the mind, mano and citta, captured in
the parallel phrases mano brahmeti `mind as Brahman'
(CU III.18.1; R, p. 397) and citta.m brahmeti
'thought as Brahman' (CU VII.5.3; R, pp. 474-475).

So we find in the Upani.sads, both early and
late, the mind associated with the heart,
definitively and irrevocably. But how is the heart
itself described in terms of its physical make-up?
Here is the Chaandogya description: atha yad idam
asmin brahmapure dahara.m pu.n.dariika.m ve`sma,
daharo'sminn antaraakaa`sa.h.... 'Now, here in this
city of Brahman is an abode, a small lotus flower;
within it is a small place' (CU VIII.1.1; R, p.
491). The term h.rdaya itself occurs two verses
later: yaavaan vaa ayam aakaa`sa.h, taavaan
e.so'ntarh.rdaya aakaa`sa.h.... 'as far, verily, as
this [world] space extends, so far extends the space
within the heart' (CU VIII.1.3; R, p. 492).(27)

It may now be instructive to recall that the
heart was characterized in the Visuddhimagga (see
above), too, in terms of a lotus, in relation to
both its shape and color. And, reminiscent of
aakaa`sa in the Upani.sads, Buddhaghosa writes,
"inside it there is a hollow," too (see note 4).

No doubt the much more detailed characterization
of the heart in the Visuddhimagga speaks to the
creative genius of Buddhaghosa that ~Naa.namoli
(supra) talks about. But the parallel between the
specific characterization of the heart in relation
to the lotus and the placing of 'the mind-element
and the mind-consciousness element' in the blood
that is in the hollow of the heart are too close to
be dismissed as being merely coincidental or
accidental. The inevitable conclusion, then, has to
be that the origin of the view of the seat of
consciousness as being in the heart is at least
partly Upani.sadic.

Now it may be ironic that the early disciples of
the Buddha would

P.418

want to accept something from Vedism out of a
critique of which Buddhism arose. But, of course, it
needs to be remembered that the Buddha himself had
continued to use some of the Vedic terminology
(e.g., naamaruupa, vi~n~naa.na, manas, citta, etc.;
see Mrs. Rhys Davids 1936, chap. 10, for a
discussion), though with changed meaning, and had
not categorically rejected the mind-heart
association as he had, for example, the caste
system, or the existence of a soul. There is the
possibility, further, that Vedism would have been in
the country (Lanka) prior to the advent, of
Buddhism, making it no alien thought to the educated
Sinhalese. So it may be conjectured, in the absence
of a better alternative, that the disciples hung on
to what was helping to make the intellectual circles
at the time. There was, after all, no reason to
think that the Brahminical tradition was wrong in
everything!

On the basis of the discussion above, then, we
must conclude that in associating the mind (using
whatever term) with the heart--basing oneslef in the
Upani.sads (and the Vedas) or the
Nikaayas--Buddhaghosa, the Sinhalese commentators,
and the AAbhidhammikas all erred!

The Buddha's View as Reconstructed from the Nikaayas

Having outlined the possible reasons for the
erroneous localization of the mind in the heart
during the post-Buddhian period, we are still left
with the task of identifying what the Buddha's view
indeed was on the matter. Did he in fact simply "not
commit himself" to a particular view, as Narada
(supra p. 199) claims:

It was [the] cardiac theory [the view that the
heart is the seat of consciousness] that
prevailed in the Buddha's time.... The Buddha
could have adopted this popular theory, but He
did not commit Himself.

Was he being silent on the matter, as Aung argues?

On a surface level, the answer to both questions
has to be in the affirmative, for the issue does not
seem to have warranted his attention qua issue.(28)
We find no elucidation of it in the discourses where
one should legitimately expect one, namely in the
Mahaanidaana Sutta (Diigha Nikaaya 15), one of two
suttas mentioned by name at the First Council (the
other being the Mahaaparinibbaana Sutta) and thus
likely to be among the oldest and most reflective of
the Buddha's own teachings, (29) or in the
Mahaapadaana Sutta (Diigha 14) (see Warder 1970, pp.
107-117 for a discussion).

The absence of a specific answer to our question
in the Nikaayas is on the one hand understandable,
since from the Buddha's point of view, all he was
doing was refraining from answering abstract,
philosophical, or psychological questions merely for
the sake of answering them, and seeking rather to
help human beings achieve liberation from sa.msaara.
Not that he did not have any complex explanations;
but he would offer these only to the extent that
they were relevant to the liberative process.

P.419

But it is precisely for this reason that the lack of
an answer is difficult to understand--because of the
singularly important position held by the concept of
consciousness in his teachings.

Such an absence may also suggest that the Buddha
was specifically seeking to avoid answering a
'wrong' question of the type "What would the hair
color of an offspring of a barren woman
be?"--knowing fully well that any answer given would
be wrong! Thus, for example, talking about a 'seat'
could suggest (a) a permanence or tangibility where
none exits, or (b) a linear causality that
contradicts the reality of relationality
(reciprocal, circular, and multicausal) as contained
in the pa.ticcasamuppaada, a fundamental pillar of
his teaching.

Despite the absence of a definitive answer to
our question in our terms, I want to argue that the
Buddha did indeed identify 'the seat of
consciousness' without calling it such, however, and
that the evidence is right there in the Nikaayas,
waiting to be discovered and continuing to appear in
the Abhidhamma, the Commentaries from the
Visuddhimagga to the Mohavicchedanii, and in all the
Buddhist writings of all schools to date.

In our explorations for a home for
consciousness, we can find the teacher talking to
AAnanda, explaining to him his teaching of
pa.ticcasamuppaada 'Conditioned Origination'
(Mahaanidaana Sutta). In explaining the cycle of
causation, the Buddha comes to the words
vi~n~naa.napaccayaa naamaruupa.m 'conditioned by
consciousness is the psychophysique'. Then he
summarizes the sequence backwards,
naamaruupapaccayaa vi~n~naa.na.m, showing the
reciprocal relationship between the two, a point in
fact made by Saariputta, too, to a learned Brahmin
Kotthita (Sa.myutta II.80).

The Buddha continues his explanation to AAnanda:
"If consciousness did not descend into the mother's
womb there would be no formation ('coagulation',
sam-murcch) of a sentient body in the mother's womb.
Or, if, after descending into the womb,
consciousness were to pass away, the sentient body
would not be produced for this world" (Warder,
p.110).

Since the Mahanidaana Sutta is one of two
discourses mentioned by name at the First Council,
and the fact that it is also shared by other schools
(Warder, p. 108),(30) We can assume that this was,
if not actually the Buddha's very own thinking, the
closest we can get to it.

The Mahaapadaana Sutta (supra) speaks to the
same reciprocal relationship: "this consciousness
turns back again from the sentient body. It goes no
further. To this extent one may be born, grow old,
die and be reborn, namely [to the extent that]
consciousness exists through the condition of a
sentient body, a sentient body through the condition
of consciousness" (ibid., p. 117).

A further addition is significant; it makes
conditioned origination

P.420

"the content of a Buddha's Enlightenment" (ibid., p.
116). Given that the Buddha (our's or any other,
since all Buddhas are supposed to have similar paths
to Enlightenment) would not be born again, the
suggested reciprocal relationship between
vi~n~naa.na and naamaruupa holds not only in the
rebirth process but even in the process of a given
lifetime, a point made by Buddhaghosa, too (supra).

There are, of course, many other places where
the sequence showing the reciprocal relationship
between vi~n~naa.na and naamaruupa occurs throughout
the Nikaayas. But of specific relevance is another
Diigha text (III.211), repeated in the Sa.myutta and
also found in the Chinese tradition (Warder, p.
118), where vi~n~naa.na is shown as one of four
'foods' (aahaara): "All beings (sattvas) persist
through food" (ibid). Elsewhere (Diigha III.247; M
III.31, 247), vi~n~naa.na occurs as one of six
dhaatus 'bases', along with the four elements (aapo,
tejo, vaayo, pa.thavii) , and space (aakaasa) ,
suggesting even a material quality.

As the evidence above indicates, the view in the
Nikaayas is that the mind, instead of being
localized in a single organ, is, rather,
nonlocalized, that is, spread throughout, or is
coterminous with, the whole of naamaruupa. This,
captured also, incidentally, by Kassapa in his
Mohavicchedanii (supra), is confirmed from another
function of vi~n~naa.na--as the 'coordinator' of the
senses. Such coordination may be aspectual
('localized' if you like) in relation to each of the
cakkhu-, sota-, ghaana-, and jivhaa-vi~n~naa.nas
when the data (aaramma.na) is input through the eye,
ear, nose, and tongue, respectively. But in the case
of kaaya of this same series, meaning the rest of
the body other than the eye, ear, nose, and tongue,(31)
it is evident that vi~n~naa.na, by definition, is in
the whole body and not in any one particular locale.

The same is the case when it comes to the mind
as sense (in the series cakkhu-, sota-, ghaana-,
jivhaa-, kaaya-, and mano-vi~n~naa.na) ; it is
logical to conclude that the mind-consciousness
(mano-vi~n~naa.na) is not 'localized' in any one
part of the body as in the case of the other
four--cakkhu, sota, ghaana, and jivhaa.

If, indeed, in the Buddha's mind, consciousness
was localized in the heart even as, for example, in
the eye and ear, one would expect to see him use a
term such as *hadaya-vi~n~naa.na(32) to capture the
notion, giving Buddhaghosa his fare. But, of course,
no such term occurs anywhere in the Nikaaya
literature.

In anwser to our question, I can now hear the
Buddha speaking to us as follows: "While there is no
'seat' as such of consciousness, as an unchanging
entity, or as a 'first cause', there is a process in
the mental domain that coarises with the process of
the totality of the physical domain." Indeed, there
are two terms in the Nikaayas that we can point to
as having precisely these functions in the
respective domains. They are jiivita 'life' and
jiivitindriya 'life faculty'. Of the two, jiivita
appears in the

P.421

Nikaayas extensively (V II.191; S I.42, IV.169, 213;
M II.173; A I.155; etc.), but unlike the case of
hadaya/hadayavatthu, the extended term jiivitindriya
also occurs at least twice (V III.73; S V.204).(33)
Both also occur in the context of 'depriving'
(jiivita.m voropeti) or 'destruction' (jivita.m
upacchindati).

The most fundamental justification for our
reconstruction, then, is that unlike hadayavatthu,
jiivitindriya is authentic to the tradition, and not
a later concoction of the AAbhidhammikas or
Poraa.naachariyas or Buddhaghosa, even though it
certainly received further elucidation at their
hands.

Though not understood as we have used them here,
what is of interest is that we find the two terms
(and concepts) appearing in the Visuddhimagga,
too--jiivita as the seventh of twenty seven
'constant states' associated with the first
sense-sphere of (profitable) conasciousness (chap.
XIV; 133 [395]) and jiivitindriya, its corollary, as
a 'derived materiality' (upaadaaya ruupa) (chap.
XIV; 36 [375]) . In outlining the features of
jiivita, Buddhaghosa says, for example:
lakkha.naadiini pan'assa ruupajiivite vuttanayen'eva
veditabbaani. Tan hi ruupadhammaana~n jiivita.m,
ida.m aruupadhammaana.m ti idam ev'ettha
naanaakaara.na.m 'its characteristics, etc. should
be understood in the way stated under material life.
For that is life of material things and this is life
of immaterial things. This is the only difference
here' (no. 138, W, p. 392; N, p. 523). The fourfold
description of jiivitindriya is given as follows:
Sahajaruupaanupaalanalakkha.na~n jiivitindriya.m,
tesan pavattanarasa.m, tesa.m yeva
.thapanapaccupa.t.thaana.m,
yaapayitabbabhuutapada.t.thaana.m 'The life faculty
has the characteristic of maintaining conascent
kinds of matter. Its function is to make them occur.
It is manifested in the establishing of their
presence. Its proximate cause is primary elements
that are to be sustained' (no. 59; W, p. 378; N, p.
496).

Further, in rebirth-linking (pa.tisandhiya.m) as
well as in the course of an existence (pavatte), the
'material life [faculty]' (ruupajiivita.m) is a
condition (in three ways: as presence,
nondisappearance, and faculty
(atthiavigata-indriyavasena... tidhaa) (chap. XVII,
217). But what about at death? Here is Buddhaghosa's
explanation:

It [i.e., jiivitindriya] does not prolong
presence at the moment of dissolution because it
is itself dissolving, like the flame of a lamp
when the wick and the oil are getting used up.
But it must not be regarded as destitute of
power, to maintain, make occur, and make
present, because it does accomplish each of
these functions at the moment stated." (No. 59;
N, p. 496)(34)

Elsewhere, jiivitindriya is characterized as being
one of eleven components that make up materiality,
the others being the four primaries and the six
physical bases (chap. XVII, no. 204). Noteworthy is
the fact that hadayavatthu is not included here.
Further, while 'life faculty' is listed by

P.422

Buddhaghosa as an indriya 'faculty/organ' (i.e.,
jiivitindriya) [chap. XVI, no. 1]), the 'heart-base'
is not, (35) with no such term as
*hadayavatthvindriya appearing anywhere in the
Visuddhimagga, just as it appears nowhere else in
the canonical literature either!(36)

Finally, Buddhaghosa seems to recognize the
primacy of the life-faculty over the heart-basis
when he says that the latter "is maintained by life"
(aayunaa anupaaliyamaana.m) (chap. XIV, no. 60).

If, then,'life faculty' (1) is an indriya, (2)
has, as is to be expected for an indriya, the
primary elements as the 'proximate cause', (3) is a
condition for rebirth, (4) is not destitute of power
for continuing life, and (5) dissolves at death, it
is immediately evident that it is coextensive with
the whole psychophysique. This conclusion is further
confirmed by its being listed (chap. XIV, no. 1)
along with itthindriya 'femininity faculty' and
purisindriya 'masculinity faculty', both of which,
of course, must be understood as being coextensive
with the whole body.

This indeed is what we found the Buddha telling
us in the Nikaayas: the reciprocal relationship
between naamaruupa and vi~n~naa.na (supra). In the
lamp/wick analogy above, one is reminded of the
characterization of vi~n~naa.na in relation to
naamaruupa elsewhere: "A state that, while arising,
assists [another state] by making it arise together
with itself [as] a conscence condition, as a lamp is
for illumination" (no. 77; ~Na.namoli, p. 614). It
is thus that Saariputta talks of the two as reeds
supporting each other.

As would be evident from our discussion, then,
it can be established, with seeming authority from
the Buddha and even the later tradition, that
jiivitindriya can lay a more legitimate claim as the
'seat of consciousness' in the materiality domain.
This, interestingly enough, was a possibility
considered by the author of Visuddhimagga
A.t.thakathaa, but passed up in favor of
hadayavatthu on the flimsiest of arguments, and
without any evidential base! To quote: "And in the
case of the life faculty, that would have to have
another function, so to make it the support would be
illogical, too" (~Naa.namoli, p. 497 n. 26). But why
it must have "another function" or what this
function would be is never explained. Nor is it
explained why it is illogical!(37) But he concludes:
"So it is the heart-basis that remains to be
recognized as their support" (ibid.)! The author
certainly seems to have been eager to be faithful to
Buddhaghosa, or perhaps trying to cover up,
or justify, an error!

Now jiivitindriya, though in the 'materiality'
domain, needs to be understood as a process like
citta and not hadaya. Jiivita, also a process,
listed as a dhamma, both kusala 'moral' and akusala
'immoral'--and presumably avyaakata 'indeterminate',
too--and thus present in all the states of mind,
would be its legitimate sibling in the mentality
domain. Jiivita and jiivitindriya are, then, both
coextensive with the whole body, and with each
other.

P.423

Concluding Remarks

If our analysis is correct, then we must see the
identification of the heart-base as the seat of
consciousness during the post-Buddhian period as a
gross misrepresentation of the Buddha, in violation
of the Buddha's advice not to be led by "tradition"
or "the authority of religious texts" (Kaalaama
Sutta) . The tradition here for the Sinhalese
Poraa.naacariyas appears to be Brahminism and the
associated worldview, with the Vedas, Puraanas,
AAgamas, and Upani.sads collectively being the texts.
For Buddhaghosa, Kassapa, and all others later, the
Sinhalese Poraa.naacariyas and their A.t.thakathaas
(see Adikaram 1946 for an overview) serve as
tradition and text, respectively. What we then have,
it appears, is an example of how the violation of a
scholarly principle of objectivity, as called for by
the Buddha, can blind an inquirer to the obvious.
For after all, as we have seen, the reciprocal
relationship between vi~n~naa.na and naamaruupa is
no stranger to the AAbhidhammikas, Poraa.naacariyas,
or Buddhaghosa, since it appears in their own
analyses. Yet they slide over it as if it was
irrelevant to the question at hand!(38)

While a comprehensive treatment of the
epistemological and pragmatic implications of our
new understanding is beyond the scope of this essay,
we may suggest some productive lines of comparative
inquiry. An obvious one would be our current
scientific understanding of the nature of the mind.
Writing in Psychology Today, John (1976) pointed
out, for example, how the mind is extended
throughout the body, through its neuroskeletal
system. Chopra (1989), "exploring the frontiers of
mindbody medicine" in his Quantum Healing, refers to
a 'thinking body', positing the mind
('intelligence') in the whole body.(39) Buddha's own
understanding, of course, goes beyond John's
neuroskeletal system to the very boundaries--skin,
hair, nails, and teeth, included as part of the
thirty-two body parts (supra). Putting the Buddha's
understanding in terms of contemporary terminology,
should we say that the mind is in every one of over
several trillion cells in each one of us, residing
in each DNA molecule and in instantaneous
communication with every other DNA molecule, with
research assigning this function of communication to
'neuropeptides' or "information molecules" (see note
39)? Since the blueprint for every subsequent DNA
molecule is provided by the very first DNA molecule
that comes into existence at the point of
conception, before the embryo starts dividing up the
second day or begins to make a nervous system on day
eighteen (Chopra 1989), it is obvious that the mind
must then be in the very first DNA molecule as well.
That is to say, it is precortical. Isn't this, then,
what the Buddha says when he posits a reciprocal
relationship between naamaruupa and vi~n~naa.na?

There is another related line of inquiry. In
maintaining that the heart is not the seat of
consciousness, the Buddha obviously joins
contemporary medicine in rejecting cardiac arrest as
constituting (clinical) death.

P.424

But whether the current medical understanding that
"brain death" constitutes death matches with the
Buddha's understanding can only be determined
through an examination of the concept of cuti-citta
'exit consciousness' and associated teachings. For a
start, it may be noted that, as mentioned in this
section, the mind exists from day (i.e., moment)
one, eighteen days before the neuronal system
evolves. Would it not then make sense to consider
the theoretical possibility that consciousness
(another term for mind) could still be present after
'brain death', for however brief a moment, even
though we may not have instruments" sophisticated
enough to measure it?

On a more pragmatic level, one of the obvious
concerns relates to organ transplantation (see
Sugunasiri 1990). For example, if the seat of
consciousness is not the heart, would it be easier
for Tibetan Buddhists, for example, to emulate the
Bodhisattva ideal of donating organs (jaatakas)
without being troubled by their traditional
understanding that a dead body should not be moved
for seven days, since life continues in the heart
for that long? This, however, is not to say that
life does not indeed continue to exist in the whole
body, "postcortically" as we have suggested, after
being declared clinically dead. If so, what are the
implications for the treatment of cadavers,
autopsies, burials, cremations, and so on--or,
indeed, for Buddhist postdeath customs of
transferring merit and offering alms at the end of
three, seven, or thirty days, at the end of the
first year, and so on?

NOTES

My thanks go to Professors A. K. Warder and Leonard
Priestley of the University of Toronto for comments
on an earlier version of this essay, and to the
anonymous reviewers for their critical evaluation.

1 - This is Warder's (1970, p. 150) translation of
the Sanskrit term, sa.mv.rti (Paali sammuti),
and I use it here since it captures best the
notion I am seeking to convey.

2 - The term dhamma has different meanings (see
Watanabe 1983, chap. 2, for a discussion). Thus
it will be rendered differently elsewhere in
this essay, and sometimes it will be retained
without translation.

3 - Unless otherwise indicated, the references to
the Visuddhimagga in this discussion are to
Warren 1950 (cited as "W") when in Paali and to
~Naa.namoli 1952 (cited as "N") when in
translation.

4 - The full description here is as follows:

P.425

This is the heart flesh. As to colour, it is the
colour of the back of a red-lotus petal. As to
shape, it is the shape of a lotus bud with the
outer petals removed and turned upside down; it
is smooth outside, and inside it is like the
interior of a kosaatakii(loofah gourd). In those
who possess understanding it is a little
expanded; in those without understanding it is
still only a bud. Inside it there is a hollow
the size of a punnaaga seed's bed where half a
pasata measure of blood is kept, with which as
their support the mind element and
mind-consciousness element occur. That in one of
greedy temperament is red; that in one of,hating
temperament is black; that in one of deluded
temperament is like the water that meat has been
washed in; that in one of speculative
temperament is like lentil soup in colour; that
in one of faithful temperament is the colour of
(yellow) ka.nikaara flowers; that in one of
understanding temperament is limpid, clear,
unturbid, bright, pure, like a washed gem of
pure water, and it seems to shine. As to
direction, it lies in the upper direction. As to
location, it is to be found in the middle
between the two breasts, inside the body. As to
delimitation, it is bounded by what appertains
to heart. (~Naa.namoli, p. 275)

See Warren 1950, p. 211, for the Paali version.

5 - See Anuruddha's Abhidhamma.t.thasa^ngaha
(Narada 1968), for a similar view.

6 - The relevant quotation in full is as follows:
Ya.m ruupa.m nissaaya manodhaatu ca
manovi~n~naa.nadhaatu ca vattanti, ta.m ruupa.m
manodhaatuyaa ta.msampayuttakaana~n ca
dhammaana.m puurejaatapaccayena paccayo;
manovi~n~naa.nadhaatuyaa ta.msampayuttakaana~n
ca dhammaana.m ka~nci kaala.m puurejaata...
ka~nci kaala.m na puurejaatapaccayena paccayo
(Mrs. Davids 1921, p. 5; quoted, with minor
variations, in Warren, p. 457) 'The materiality
with which as their support the mind element and
mind-consciousness element occur is a condition,
and it is sometimes [as in the course of an
existence] a condition, as prenascence
condition, sometimes [as at rebirth-linking] not
a condition as prenascence condition, for the
mind-consciousness element and for the states
associated therewith' (no. 85; ~Naa.namoli 1956,
p. 617).

7 - ... hadaya.m pa.n.daara.m mano manaayatana.m
manindriya.m vi~n~naa.na.m vi~n~naa.nakhando
tajjaa manodhaatu (Mrs. Davids 1904, p. 88).

8 - This is my literal translation. Mrs. Davids'
rendering of it (1950, p. 254), "Thou who hast
plunged in leafy lair of trees / Suffering
nibbaana in thy heart to sink," is certainly
more poetic, but is clearly a free translation.
It is thanks to her great license as well that,
as we shall see, the misleading entry has found
its way into the PTS dictionary (p. 728, under
hadaya) in the following words: "the heart as
seat of thought and feeling, esp. of strong
emotion (as in Vedas!) which shows itself in the
action of the heart."

P.426

9 - Here Mrs. Davids, basing herself on Commentarial
authority, states in a footnote: "Either by
making an appalling sight of himself before the
Buddha, or by uttering fearful sounds" (p. 265).

10 - The Buddha's words in full in this section are
as follows: Na khvaaha.m ta.m aavuso passaami
sadevake loke samaarake sabrahmake
sassama.na-brahmaniyaa pajaaya so
devamanussaaya yo me citta.m vaa khipeyya
hadaya.m vaa phaleyya padesu vaa gahetvaa
paraga^ngaaya khipeyya. api ca tva.m aavuso
puccha yad akankhaasi ti (Sa.myutta I. 207). "I
see no one, friend, in the whole world, be he
Mara or Brahma, nor among gods or men with all
the recluses and the brahmins, who is able to
derange my mind, or split my heart, or take me
by the feet and throw me over the Ganges;
nevertheless, friend, ask according to thy
desire" (Mrs. Davids 1950, p. 265).

11 - Even if we were to understand the two threats
here as clearly referring to the physical and
the mental, respectively, the association made
is evident.

12 - It is possible that this list was arrived at by
the Buddha through personal observation of his
own mindbody through meditation, and/or by
reference to the Indian medical texts of the
time.

13 - It may be noted here that the material of this
later work, as Warder points out (p. 203), is
of "doubtful authenticity" as well.

14 - Even though ~Naa.namoli gives the reference as
I.4, it should, in fact, be I.10. Incidentally,
the reference on the next page (p. 498) to the
Pa.tisambhidaa should be I.6 and not I.7 as
given.

15 - See ~Naa.namoli, p. 497, for Buddhaghosa's
complex argument, which need not detain us
here.

16 - "Let the reader not expect to find a
thorough-going consistency in the Suttas" (Mrs.
Davids 1936, p. 235).

17 - The apparent inconsistent usage by the Buddha
need not mean that he was unsure of himself,
given the extremely comprehensive ways in which
he has explained complex phenomena (e.g.,
naamaruupa, pa.ticcasamuppaada). It may rather
be that he used the concepts and terms that
best befitted the task at hand, the type of
listener (from the wise to the ignorant), the
context (a congregation of his disciples vs,
the battlefield, in which he advised kings),
etc. In this connection, it is worthy to note,
e.g., how we, too, in contemporary times, use
terms such as mind, thought, and consciousness
with both semantic overlap and mutual
exclusivity.

18 - But see later in the third section below for
another synonym used by the Buddha that is more
relevant to the case being made.

P.427

19 - I have, of course, not checked out every
reference to citta, mano, and vi~n~naa.na in a
reference work like the Pali Concordance. Such
a task, well beyond the needs of this essay,
might indeed be a fruitful endeavor for someone
who wishes to pursue the matter.

20 - Warder (p. 23) determines that the Chaandogya,
B.rhad-aara.nyaka, Aitareya, Kau.siitakii; and
Taittiriiya Upani.sads "alone are strictly
canonical Veda."

21 - Evidence for this is that some of the
Upani.sads themselves were influenced by
Buddhist teachings. For example, we find that
the later Upani.sads "dispense with
supernatural gods or a God and explain the
universe out of itself" (Warder, p. 32).

22 - Even though Buddhaghosa himself "nowhere shows
his knowledge of Upanishads" (Law 1946, p. 33),
the Buddhaghosuppatti records a tradition of
Buddhaghosa's knowledge of Sanskrit being
tested on the eve of his departure from Sri
Lanka (back to his homeland in India). It even
preserves a specimen of the Sanskrit verses he
was able to compose impromptu (ibid. p. 41).

23 - Buddhaghosa, e.g., tells us that a certain
Va^ngiisa and Punna, disciples of the Buddha of
his time, were born of Brahmin parents, and
that at least the former was versed in the
three Vedas (Law, p. 97). Many from this same
background and persuasion engaged the Buddha in
dialogue as well, as challengers or inquirers,
Va^ngiisa and Punna being examples of those who
eventually came under his tutelage.

24 - kasmin nu tva~n caatmaa ca prati.s.thitau stha
iti. praa.na iti (Radhakrishnan 1953, p. 243)
'On what are you and [your] soul based? On the
in-breath'.

25 - In the physical sense: praa.no vaa a^ngaana.m
rasa.h 'life-breath is the essence of the
limbs' (BU I.3.19; Radhakrishnan, p. 160). In
the nonphysical sense: [m.rtyu.h]... naapnot
yo'ya.m madhyama.h praa.na.h 'death did not
take possession of him who was the middle
breath' (BU I.5.21; R, p. 181).

26 - I have here in mind the parallel case of the
letters a, u, and m (akaara, ukaara,
makaara)--making up aum--being afforded such a
ritual quality, as, e.g., in the Maa.n.dukya
Upani.sad (699, 8).

27 - See Karunadasa 1967, p. 66, for additional
Vedic and other sources.

28 - E.g., Warder's extensive work, Indian Buddhism
(1970), based on a critical study of the
literature of the different schools of
Buddhism, in Paali, Sanskrit, and Chinese, does
not even have a reference in the index to this
topic, or even to h.rdaya (the terminology
being given by Warder in Sanskrit).

P.428

29 - While the question of just what the Buddha's
actual words were will likely never be
resolved, I agree with Warder's view (chap. 7)
that the mention by name at the First Council
is at least indicative of a Sutta's antiquity.

30 - Professor Leonard Priestley of the University
of Toronto, however, observes (in personal
communication) that the material is not
identical in all the versions.

31 - Here kaaya is used in the sense of 'body'
(ruupa) and not as a collective term for
phassa, vedanaa, and sa~n~naa (supra).

32 - The asterisk here means, 'does not occur in the
literature'.

33 - See Davids and Stede, p. 285, for the complete
entry.

34 - na bhangakkha.ne .thapeti saya.m
bhijjamaanattaa, khiiyamaano viya va.t.tisneho
diipasikha.m; na ca anupaalanapavattana.t.thapa
naanubhavavirahita.m, yathaavuttakkha.ne tassa
tassa saadhanato ti da.t.thabba.m (W, p. 378).

35 - Others in the list of twenty-two faculties
(indriya) are as follows: eye, ear, nose,
tongue, body, mind, [bodily] pleasure, [bodily]
pain, [mental] joy, [mental] grief, equanimity,
faith, energy, mindfulness, concentration,
understanding,
I-shall-come-to-know-the-unknown,
final-knowledge, and final-knower (chap. XVI,
no. 1; ~Naa.namoli, p. 559). It should be
noted, however, that the eye, ear, nose, and
tongue, unlike the rest in the list, seem to be
localized.

36 - Note also Buddhaghosa pointing out that the
'life faculty' serves as the only materiality
of 'non-percipient' beings: Asa~n~niina.m
ruupato jiivitindriyanavaka.m evaa ti (chap.
XVII; N, p. 478; W, p. 192). Again, there is no
reference to a 'heart faculty'.

37 - The full argument in support of hadayavatthu,
given prior to the lines quoted, goes as
follows: "But the logical reasoning should be
understood in this way In the
five-constituent becoming, [that is, in the
sense sphere and fine material sphere,] these
two elements have as their support produced
(nipphanna) derived matter. Herein, since
visible-data base, etc., and nutritive-essence,
are found to occur apart from what is bound up
with faculties, to make them the support would
be illogical. And since these two elements are
found in a continuity that is devoid of the
femininity and masculinity faculties [i.e., in
the Brahma world], to make them the support
would be illogical too. And in the case of the
life-faculty..." (ibid.).

38 - It may also be noted here that because the
misrepresentation of the Buddha appears in the
Abhidhamma, it provides further evidence to the
scholarly claim that the Abhidhamma is of later
origin.

P.429

39 - See Barasch 1993, pp. 58 ff., for an update of
the literature, which has now come to identify
neuropeptides--"stars scattered through the
bodily firmament" as he puts it, as the
"information molecules."

REFERENCES


Adikaram, E. W. 1946. Early History of Buddhism in
Ceylon. Colombo: Gunasena.

Aung, S. Z. 1910. Compendium of Philosophy. London:
Pali Text Society.

Barasch, Marc. 1993. "Welcome to the Mind-Body
Revolution." Psychology Today, July/August.

Buddhadatta, A. P., and A. K. Warder, eds. 1961.
Mohavicchedanii
Abhidhammamaatika.t.thava.n.nanaa. London: Pali
Text Society.

Buddhaghosa. 1897. Atthasalinii. London: Pali Text
Society.

-----. 1950. Visuddhimagga. Cambridge: Harvard
University Press.

Chopra, Deepak. 1989. Quantum Healing: Exploring the
Frontiers of Mind-body Medicine. New York:
Bantam.

Davids, Mrs. Rhys, 1936. The Birth of Indian
Psychology and Its Development in Buddhism. New
Delhi: Oriental Books Reprint Corporation.

Davids, Mrs. Rhys, ed. 1904. Vibha^nga. London: Pali
Text Society.

----. 1921. Pa.t.thaana. London: Pali Text Society.

----. 1950. The Book of the Kindred Sayings, I.
London: Pali Text Society.

Davids, T. W. Rhys, and J. E. Carpenter, eds.
[1890-1911] 1947-1960. Diigha Nikaaya. London:
Pali Text Society.

Davids, T. W. Rhys, and W. Stede. 1979. The Pali
Text Society's Pali-English Dictionary. London:
Pali Text Society.

Feer, M. Leon, ed. 1884. Sa.myutta Nikaaya of the
Sutta Pi.taka. London: Pali Text Society.

Hume, R. E. 1877. The Thirteen Principal Upanishads.
Oxford: Oxford University Press.

John, E. Roy. 1976. "How the Brain Works."
Psychology Today, May, pp. 48-56.

Karunadasa, Y. 1967. Buddhist Analysis of Matter.
Colombo: Dept. of Cultural Affairs.


P.42

Law, B. C. 1946. Buddhaghosa. Bombay: Royal Asiatic
Society.

Monier-Williams, Monier. 1957. A
Dictionary--English and Sanskrit. Lucknow:
Akhila Bharatiya Sanskrit Parishad.

Muller, Edward, ed. 1885. Dhammasa^nga.nii. London:
Pali Text Society.

~Naa.namoli, Bhikkhu, trans. 1956. The Path of
Purification (Visuddhimagga). Colombo: Semage
and Co.; Kandy: Buddhist Publication Society.

Narada. 1968. A Manual of Abhidhamma: Being
Abhidhammattha Sa^ngaha. Kandy: Buddhist
Publication Society.

Oldenberg, H. ed. 1879-1883. Vinaya Pi.taka. London:
Pali Text Society.

Radhakrishnan, S. 1953. The Principal Upanishads.
London: George Allen and Unwin Ltd.

Sugunasiri, Suwanda H. J. 1978. "Humanistic
Nationism: A Language and Ideology-based Model
of National Development for Post-Colonial
Nations." Unpublished, University of Toronto.

----. 1990. "The Buddhist View of the Dead Body."
Transplantation Proceedings 22 (3) (June) :
947-949.

Taylor, Arnold C., ed. 1905. Pa.tisambhidaamagga.
Vol. 1. London: Pali Text Society.

Trenckner, V., and Chalmers, R., eds. [1888-1899]
1948-1951. Majjhima Nikaaya. London: Pali Text
Society.

Warder, A. K. 1970. Indian Buddhism. Delhi: Motilal
Banarsidass.

Warren, Henry Clarke, ed. 1950. Visuddhimagga.
Harvard Oriental Series. Cambridge: Harvard
University Press.

Watanabe, Fumimaro. 1983. Philosophy and Its
Development in the Nikaayas and Abhidhamma.
Delhi: Motilal Banarsidass.


没有相关内容

欢迎投稿:lianxiwo@fjdh.cn


            在线投稿

------------------------------ 权 益 申 明 -----------------------------
1.所有在佛教导航转载的第三方来源稿件,均符合国家相关法律/政策、各级佛教主管部门规定以及和谐社会公序良俗,除了注明其来源和原始作者外,佛教导航会高度重视和尊重其原始来源的知识产权和著作权诉求。但是,佛教导航不对其关键事实的真实性负责,读者如有疑问请自行核实。另外,佛教导航对其观点的正确性持有审慎和保留态度,同时欢迎读者对第三方来源稿件的观点正确性提出批评;
2.佛教导航欢迎广大读者踊跃投稿,佛教导航将优先发布高质量的稿件,如果有必要,在不破坏关键事实和中心思想的前提下,佛教导航将会对原始稿件做适当润色和修饰,并主动联系作者确认修改稿后,才会正式发布。如果作者希望披露自己的联系方式和个人简单背景资料,佛教导航会尽量满足您的需求;
3.文章来源注明“佛教导航”的文章,为本站编辑组原创文章,其版权归佛教导航所有。欢迎非营利性电子刊物、网站转载,但须清楚注明来源“佛教导航”或作者“佛教导航”。