A painting can be beautifully organised and still refuse our first reading of it. This guide teaches 100 English paubha painting vocabulary words through Nepal’s Kathmandu Valley and Newar artistic contexts. You will learn to describe a cloth painting, distinguish pigment from its support, read a composition’s orientation and write about surviving details without pretending every missing part is known.
Paubha makes the country connection precise. Rubin Museum scholarship discusses named paintings from the Kathmandu Valley, their inscriptions, patrons and religious settings. These works belong to particular histories and communities within Nepal’s much wider cultural variety. A mandala is not simply any attractive circle, and a museum photograph does not replace the knowledge of practitioners or a carefully attributed scholarly account.
Begin with the orientation diagnostic, then choose ten words around the feature you need to explain. “Top 100” is a curated learning list, not a statistical frequency ranking. The entries are mainly English; paubha and mandala are labelled with language and meaning. The paper diagrams, gallery records and dialogues below are invented learning material. They teach description and source reading without reproducing a ritual practice or claiming the skill to make a traditional painting.
Read the surface, the arrangement and the record
Choose the question that will make your next look more useful.
The top of a picture is not a universal compass point
Imagine a learner looking at a diagram with a central circle and four labelled sides. The learner writes, “North is at the top,” before reading the key. That is a familiar map convention, not a rule governing every pictorial space. A source can specify a different orientation.
Rubin Museum scholarship explains a particular Chakrasamvara painting from Nepal whose pictorial east lies at the bottom. The point for an English learner is to follow the named source’s key, not to generalise one arrangement to every painting or turn a diagram into ritual instruction.
Students can label positions as top, bottom, left and right before assigning directions from a supplied key. Parents can ask what the page shows and what the key adds. Teachers can replace the key and check whether the description updates. The missing connection may be between a convention and a particular source, rather than between a word and its dictionary meaning.
Contents: ten groups of ten words
Words 1–50
1–10: Name the work and its arrangement
11–20: Separate support from paint
21–30: Describe the mark without inventing the method
Words 51–100
51–60: People and purposes belong in the record
61–70: Keep the tradition particular
71–80: What survives is not always the complete work
Worked example · Learning method · Practice · Questions · Sources
Paubha is a useful local term because it keeps the cloth-painting context visible. It should introduce a particular work, not flatten every Nepalese painting into one format.
| No. | Word or term | Meaning and usage | Natural collocation | Original example |
|---|---|---|---|---|
| 1 | paubha | A Nepal Bhasa term, called Newari in the cited scholarship, romanised paubha: a painting on cloth in this context. | Newar paubha | The label introduced the paubha and identified its documented Kathmandu Valley setting. |
| 2 | cloth painting | A painting carried on textile material; a broad English description. | religious cloth painting | The description named a cloth painting without assigning its entire history from appearance. |
| 3 | scroll | A flexible work that can be rolled; identify the particular format. | painted scroll | The catalogue called the object a scroll only where its record supported that format. |
| 4 | mandala | Sanskrit term, romanised mandala, literally circle; a structured religious diagram in the context discussed. | painted mandala | The source explained the mandala rather than calling every circular pattern one. |
| 5 | composition | The arrangement of elements within a whole work. | painted composition | The learner described the composition before naming an unverified subject. |
| 6 | register | A horizontal band or level within an artwork; specialist art sense. | upper register | The catalogue discussed an upper register that was not fully preserved. |
| 7 | central figure | The represented figure occupying a composition’s centre. | identify the central figure | The caption located the central figure while keeping its identity attached to the source. |
| 8 | retinue | A group accompanying a prominent figure; formal descriptive noun. | surrounding retinue | The source account identified the retinue rather than treating every small figure as a donor. |
| 9 | border | A band or design framing an area. | decorated border | The border enclosed the composition without supplying a compass direction by itself. |
| 10 | field | The main area of a painting or design, distinguished from its border. | painted field | The description placed the small figures within the field. |
A mandala carries religious and interpretive context. General geometry can help a learner describe part of its organisation without supplying the complete knowledge needed to interpret it.
The support carries the work; a ground prepares a surface; pigment and binder belong to the paint system. The words describe different material roles.
| No. | Word or term | Meaning and usage | Natural collocation | Original example |
|---|---|---|---|---|
| 11 | support | The material carrying a work’s layers; conservation sense. | cloth support | The record identified the support separately from the pigment on it. |
| 12 | cotton | A plant fibre and textile made from it. | cotton cloth | The museum record named cotton cloth for the particular painting. |
| 13 | canvas | A strong woven textile used as a support; not every cloth support should be called this. | prepared canvas | The comparison used canvas for a documented teaching sample rather than every paubha. |
| 14 | ground | A prepared layer between support and paint; art-material sense. | prepared ground | The diagram separated ground from both the cotton and the coloured layers. |
| 15 | primer | A preparatory coating applied before later paint; process-specific term. | priming layer | The hypothetical record used primer for the stated preparation layer. |
| 16 | binder | The medium holding pigment particles together and helping attach them. | paint binder | The analysis question concerned binder rather than colour alone. |
| 17 | pigment | A colouring substance present as particles rather than dissolved as a dye. | mineral pigment | The source listed mineral pigment for a named work without making it universal. |
| 18 | colourant | A substance used to provide colour; broader than pigment. | organic colourant | The material record distinguished colourant from the cloth carrying it. |
| 19 | paint | A material combining colour with a medium for application. | paint layer | The diagram showed paint over the prepared surface. |
| 20 | layer | A distinct thickness or application within a material structure. | underlying layer | The condition account distinguished an underlying layer from later surface work. |
A photograph’s blue area does not identify its precise pigment or binder. Use the object record or relevant analysis for material claims, and do not assume one historical work’s ingredients apply to every paubha.
Line and contour are useful observations. A claim about a particular tool, preparation stage or metallic material needs its own evidence.
| No. | Word or term | Meaning and usage | Natural collocation | Original example |
|---|---|---|---|---|
| 21 | drawing | An arrangement of marks describing form, or the activity creating it. | preparatory drawing | The hypothetical process record placed drawing before later painted detail. |
| 22 | outline | A line marking the boundary of a form. | figure outline | The observer followed the outline without claiming it identified the maker. |
| 23 | contour | A line following the shape of a form. | curved contour | The description noted the curved contour along the shoulder. |
| 24 | line | A continuous mark or boundary; width and direction matter. | fine line | The caption described a fine line rather than simply calling the detail beautiful. |
| 25 | brush | A tool with bristles or similar fibres used to apply material. | fine brush | The teaching diagram labelled the brush without guessing a historical tool from one mark. |
| 26 | stroke | A movement leaving a painted or drawn mark. | brush stroke | The learner described the stroke’s direction in the enlarged teaching image. |
| 27 | modelling | Rendering a form’s apparent volume; an art sense distinct from sculpting material. | tonal modelling | The comparison discussed modelling through light and dark rather than a physical figurine. |
| 28 | shading | Using tonal differences to suggest form or light conditions. | subtle shading | The description identified shading without assuming every figure followed one light source. |
| 29 | gilding | Applying gold or a gold-like metallic layer; identify the material where known. | documented gilding | The label used gilding only after checking the material record. |
| 30 | burnish | Polish or smooth by rubbing; a general craft verb. | burnished surface | The account described a burnished surface without supplying practical treatment instructions. |
Modelling has several English senses. Here it can mean rendering apparent volume through painting; in sculpture it can mean physically shaping material. The sentence should tell the reader which job the word does.
Top, bottom, left and right describe positions on the page. North, east, south and west require a stated directional convention. The two systems connect through a key.
| No. | Word or term | Meaning and usage | Natural collocation | Original example |
|---|---|---|---|---|
| 31 | circle | A closed plane curve whose points are equally distant from its centre. | central circle | The paper diagram placed a circle inside a square frame. |
| 32 | square | A four-sided plane shape with equal sides and right angles. | inscribed square | The description named the square before discussing the surrounding imagery. |
| 33 | axis | A reference line organising a form or its symmetry. | vertical axis | The sketch used an axis to compare positions on either side. |
| 34 | centre | The middle or organising point of a form. | composition centre | The learner located the centre without assuming its meaning from geometry alone. |
| 35 | radial | Arranged in relation to lines extending from a centre. | radial arrangement | The paper diagram used a radial arrangement of four labelled positions. |
| 36 | concentric | Sharing a common centre. | concentric circles | The illustration showed concentric circles without calling them a complete mandala. |
| 37 | symmetry | Correspondence under a specified transformation. | reflection symmetry | The observer tested symmetry rather than assuming every balanced composition had it. |
| 38 | orientation | The directional arrangement of a work or view. | pictorial orientation | The key established orientation before the learner assigned north and east. |
| 39 | clockwise | Moving in the direction followed by clock hands. | clockwise order | The explanation followed a clockwise order from the stated starting point. |
| 40 | cardinal direction | One of north, east, south and west. | identify cardinal directions | The diagram’s key assigned each cardinal direction to a page position. |
The cited Nepalese painting provides one specific example. Do not turn its orientation into a rule for every mandala, painting or geographical map.
Religious iconography connects represented features with particular subjects and traditions. A lotus or gesture can be described visibly while its meaning is attributed separately.
| No. | Word or term | Meaning and usage | Natural collocation | Original example |
|---|---|---|---|---|
| 41 | iconography | The subjects, attributes and symbols of images, and their study. | religious iconography | The account treated iconography as contextual knowledge rather than visual guesswork. |
| 42 | attribute | A feature or object associated with identifying a represented figure. | identifying attribute | The source used the attribute as part of an identification, not as its sole proof. |
| 43 | gesture | A represented bodily movement or position carrying expression or meaning. | hand gesture | The caption described a hand gesture before giving its attributed interpretation. |
| 44 | posture | The position of a body or its parts. | seated posture | The learner distinguished posture from the identity of the seated figure. |
| 45 | lotus | A plant or its represented form; meanings depend on the artistic context. | lotus form | The description located the lotus form and referred interpretation to the source. |
| 46 | halo | A luminous disc or surrounding form associated with a represented sacred figure. | painted halo | The observer described the halo’s outline without assigning every detail a universal meaning. |
| 47 | throne | A formal seat or its representation; iconographic context matters. | represented throne | The catalogue explained the throne within the particular painting’s subject. |
| 48 | canopy | An overhead cover or its representation; art and architectural noun. | painted canopy | The caption identified a canopy above the figure. |
| 49 | pedestal | A supporting base beneath an object or represented figure. | lotus pedestal | The source account named the pedestal rather than leaving the lower form unexplained. |
| 50 | emblem | A form used as a recognisable sign of an idea or identity. | religious emblem | The enquiry asked for a source before assigning an emblem’s meaning. |
The guide introduces vocabulary for reading a source. It does not offer ritual instruction or encourage a learner to identify sacred figures from a single colour or accessory.
Donors, patrons and artisans can have different roles. An inscription may supply some names or dates while leaving others unknown.
| No. | Word or term | Meaning and usage | Natural collocation | Original example |
|---|---|---|---|---|
| 51 | donor | A person supporting or giving towards a work or institution. | donor portrait | The record identified a donor portrait without assuming the donor painted the work. |
| 52 | patron | A person or organisation supporting or commissioning art. | art patron | The source distinguished the patron from the artisan. |
| 53 | commission | An order or arrangement for producing a work. | religious commission | The account qualified the commission where the surviving evidence was incomplete. |
| 54 | artisan | A person skilled in making objects by hand. | painting artisan | The label credited the artisan where the record supplied a name. |
| 55 | atelier | An artist’s studio or workshop; formal art-historical term. | painting atelier | The attribution proposed an atelier rather than pretending a hand had been securely identified. |
| 56 | collaboration | Working together towards a shared outcome. | artistic collaboration | The record named contributions to the collaboration where they were known. |
| 57 | inscription | Words or marks placed on an object. | painted inscription | The scholar used an inscription alongside other evidence about the work. |
| 58 | dedication | A statement or act identifying the purpose or recipient of an offering or work. | commemorative dedication | The catalogue distinguished dedication from an artist’s signature. |
| 59 | commemoration | An act or object recalling a person or event. | commemorative painting | The source described commemoration without claiming the work was a direct portrait. |
| 60 | date | A stated time associated with a work, event or record; identify which. | inscription date | The report distinguished the date in the inscription from a later photograph’s date. |
A named dedication is not automatically a signature. Ask what the inscription actually says, how it was read and which conclusion it supports before expanding the object’s history.
A monastery, community or lineage gives an account a social setting. Those relationships may extend across places and periods rather than matching modern country borders neatly.
| No. | Word or term | Meaning and usage | Natural collocation | Original example |
|---|---|---|---|---|
| 61 | devotion | Religious commitment or its expression. | devotional context | The interpretation kept devotional context beside the material description. |
| 62 | ritual | An established sequence of actions with religious or social meaning. | ritual context | The guide discussed ritual context without offering instructions for performing it. |
| 63 | monastery | A religious institution or complex; particular traditions differ. | monastery community | The account identified the monastery and its documented community. |
| 64 | community | People connected by place, practice or another relationship; not necessarily uniform. | artistic community | The discussion avoided assuming one view for the whole community. |
| 65 | lineage | A sequence of transmission or descent; name the kind involved. | teaching lineage | The source identified the lineage rather than inferring it from a repeated colour. |
| 66 | transmission | The passing on of skills, knowledge or teachings. | artistic transmission | The enquiry asked how transmission occurred between people and settings. |
| 67 | tradition | A practice or body of knowledge maintained and passed on; it can change. | living tradition | The account treated tradition as continuing knowledge rather than a frozen rulebook. |
| 68 | context | Circumstances needed to understand a work or claim. | historical context | The historical context helped distinguish the original painting from a later copy. |
| 69 | interpretation | An explanation of meaning or significance. | scholarly interpretation | The caption attributed an interpretation instead of presenting it as direct observation. |
| 70 | attribution | Assigning a work to a maker, workshop, place or period. | tentative attribution | The source kept the attribution tentative where the evidence required it. |
An attributed interpretation can be both valuable and provisional. The useful language makes its evidence and uncertainty clear instead of treating a scholarly proposal as a photographed fact.
A fragment, loss and cropped photograph can all limit what is visible, but they describe different situations. Begin by asking whether the object or only its reproduction is incomplete.
| No. | Word or term | Meaning and usage | Natural collocation | Original example |
|---|---|---|---|---|
| 71 | fragment | A surviving part of a larger whole. | painting fragment | The fragment could not establish the complete original arrangement unaided. |
| 72 | crop | A selected portion of an image, or the act of cutting its visible area. | cropped photograph | The cropped photograph concealed the border without proving the border never existed. |
| 73 | loss | Material or detail no longer present; a condition term here. | paint loss | The condition note distinguished loss from a deliberately unpainted area. |
| 74 | abrasion | Wear caused by rubbing or scraping. | surface abrasion | The report described abrasion without naming an unsupported cause. |
| 75 | flaking | Separation or lifting of material in small pieces. | flaking paint | The condition record located flaking paint and left treatment to appropriate expertise. |
| 76 | fading | A reduction in colour intensity over time or exposure. | colour fading | The comparison needed consistent images before discussing apparent fading. |
| 77 | crease | A line or fold caused by bending flexible material. | cloth crease | The photograph showed a crease crossing part of the painted field. |
| 78 | tear | A split or opening caused by the separation of material. | edge tear | The condition note recorded a tear near the support’s edge. |
| 79 | repair | Work addressing damage or a defect. | documented repair | The object history identified a repair rather than presenting it as original making. |
| 80 | repainting | Later application of paint over an earlier surface. | later repainting | The catalogue distinguished repainting from the initial painted layer. |
A missing area cannot be reconstructed merely by imagining a balanced design. Earlier records, traces and comparative works may help, but each source needs its own assessment.
Collection entry, production, photography and treatment have different dates. Good documentation keeps those events separate so a later reader can follow the history.
| No. | Word or term | Meaning and usage | Natural collocation | Original example |
|---|---|---|---|---|
| 81 | provenance | The documented history of origin, ownership and custody. | painting provenance | The record gave provenance where known and identified missing information. |
| 82 | inventory | An organised list or record of objects. | collection inventory | The inventory connected the image with its object record. |
| 83 | accession | An object’s formal entry into a collection, or the associated record. | accession number | The accession number identified the collection object, not its production year. |
| 84 | catalogue | An organised descriptive record of a collection or group of works. | museum catalogue | The learner checked the catalogue before expanding a caption’s material claim. |
| 85 | documentation | Records supporting an account of a work or process. | condition documentation | The documentation kept the observation date and source attached to the image. |
| 86 | conservation | Care directed towards preserving material and significance. | painting conservation | The discussion separated conservation from making a surface look newly painted. |
| 87 | restoration | Intervention intended to recover an earlier state or appearance. | documented restoration | The label recorded restoration as part of the object’s later history. |
| 88 | replica | A copy made in relation to an earlier work. | educational replica | The replica was labelled separately from the collection painting. |
| 89 | facsimile | A reproduction intended to reproduce an original’s appearance closely. | printed facsimile | The facsimile helped reading without becoming the original object. |
| 90 | comparison | Examining similarities and differences against stated features. | compare versions | The comparison distinguished a later copy from independent evidence about the original. |
A copy can clarify a question without automatically proving every detail of the earlier work. Explain the relationship between versions rather than treating them as interchangeable witnesses.
A caption can be concise without pretending certainty. It can name a visible feature and attribute the explanation that makes the feature meaningful.
| No. | Word or term | Meaning and usage | Natural collocation | Original example |
|---|---|---|---|---|
| 91 | observation | An account of what was directly noticed. | close observation | Observation established a visible border but not the identity of its maker. |
| 92 | inference | A conclusion drawn from evidence and reasoning. | limited inference | The caption kept the inference within what the surviving record supported. |
| 93 | hypothesis | A proposed explanation that can be examined against evidence. | working hypothesis | The scholar’s hypothesis remained open to a better reading of the inscription. |
| 94 | evidence | Information supporting a claim or conclusion. | contextual evidence | The earlier record supplied evidence missing from the cropped image. |
| 95 | uncertainty | A recognised limit to knowledge or confidence. | attribution uncertainty | The catalogue made uncertainty visible rather than filling a gap with a plausible name. |
| 96 | qualification | A limitation attached to a claim; not an examination award here. | qualify a statement | The revision added a qualification where the surviving image was incomplete. |
| 97 | caption | A short explanation accompanying an image or object. | image caption | The caption identified the diagram as an invented learning exercise. |
| 98 | audience | The intended readers, listeners or viewers. | museum audience | The writer explained paubha for an audience unfamiliar with the term. |
| 99 | translation | Rendering meaning from one language into another; it requires context. | inscription translation | The account identified the source of the translation rather than inventing one. |
| 100 | revision | A deliberate change improving an account or piece of work. | revise the description | The revision changed the directional description after the key changed. |
Translation, attribution and interpretation all involve judgement. Identify the responsible source where known, and leave an unrecorded detail as a question rather than supplying a plausible answer.
Worked diagram: the key decides the direction
Use an invented, non-ritual paper diagram with a central circle and four positions. Its key says: bottom is east, left is south, top is west and right is north. These labels form the exercise’s rule. The drawing is a general reading model, not a reconstruction of a sacred image.
A small triangle sits at the top. Which cardinal direction does its position represent? West, according to the supplied key. Calling it north would apply a familiar convention instead of reading the source. Top is still a correct page-position description; the directional label comes from a different relationship.
A second mark sits at the right. It represents north under this key. Describe it in a full sentence: “The mark is on the right side of the page, corresponding to north in this diagram.” The sentence connects both coordinate systems and tells a reader why the unfamiliar mapping is being used.
Now replace the key for a different invented diagram: top is north, right is east, bottom is south and left is west. The triangle at the top now corresponds to north. The page position has not changed, but the source convention has. A learner should revise the directional description rather than carry the first key into every new task.
Finally, remove the key from an unfamiliar diagram. You can still describe top and right. You cannot confidently assign cardinal directions from those positions alone. The missing information becomes a precise enquiry rather than an invitation to guess.
Rubin Museum scholarship supplies the real-world reason for this lesson: its discussion of a particular Chakrasamvara painting from Nepal identifies pictorial east at the bottom. The source’s specific orientation matters. This paper exercise teaches how to read such a statement, not how to perform or reproduce the religious practice.
A painting can preserve both knowledge and unanswered questions
The Rubin’s study of a Nepalese paubha commemorating Vanaratna discusses a work from Patan dated 1469. It uses an inscription and a later copy to investigate the painting’s history, while keeping aspects of attribution and the prominent female figure’s identity open to interpretation.
That account demonstrates why a surviving surface should not be treated as a complete record. The study discusses an incomplete painting and evidence suggesting a lost upper register. A later version can be informative without making every reconstruction certain. The important learning relationship is between a claim and the sources supporting it.
The separate Chakrasamvara study identifies a painting on cotton with mineral and organic colourants. Those material terms belong to that object record. They help a learner ask better questions about support and paint without establishing the composition of an unnamed painting elsewhere.
Original scene: Maya labels the top of a paper diagram north with the confidence of somebody who has met many maps. Tenzin points to the new key. They keep top as a position word and change the direction. The diagram has not become difficult; it has become specific.
Mini-dialogue: “The border is missing.” “From the object, or from this cropped photograph?” “I only have the photograph.” “Then our next question concerns the reproduction.” The invented exchange shows how a small vocabulary distinction can redirect an investigation.
Let the source change the sentence
Retrieve five words around one task: support, pigment, orientation, inscription and evidence. Write a short object note that gives each word a clear role. If a detail is not known, identify what kind of source could supply it.
Later, change one condition: supply a different key, remove the inscription reading or show a cropped reproduction. Ask for an independent revision. Parents can listen for the source of a claim; teachers can compare the diagram and paragraph; students can test themselves on a new record before returning to the list.
The English Tuition | Nepal guide distinguishes understanding a concept from expressing it clearly in English. Here the learner may understand the key in a drawing yet need help explaining the relationship between page position and cardinal direction.
For wider country context, the Nepal learning guide separates Kathmandu Valley craft histories from other regional subjects, including Mithila art. Use that breadth to recognise difference rather than treating the country’s visual traditions as one style.
Continue through the eduKateSG vocabulary hub for meaning, retrieval and use. These resources express eduKateSG’s Singapore teaching perspective. Transfer the key-reading habit to a gallery plan, technical drawing or historical map, preserving the source’s convention rather than assuming your first familiar one.
Practice: retrieve, explain and revise
1. In the first paper key, which direction corresponds to the top position?
2. What can be described if an unfamiliar diagram has no directional key?
3. Why are pigment and support different words?
4. Does an inscription automatically name the artist?
5. Why distinguish a fragment from a cropped photograph?
Answers and explanations
1. West. The answer follows the supplied key, not an assumed north-at-top convention.
2. Its page positions, such as top and right. Cardinal directions need further information.
3. Pigment supplies colour as a material component; the support carries the work’s layers. A cotton support does not identify the pigment.
4. No. It may record a donor, dedication, date or other information. Read and attribute what the source actually establishes.
5. A fragment concerns the surviving object; a crop concerns the selected image area. They create different evidence questions.
Frequently asked questions
Does paubha describe every painting made in Nepal?
No. The guide uses it in the documented Newar cloth-painting context. Nepal includes many other artistic traditions and forms.
Is every circular design a mandala?
No. A mandala has particular religious and interpretive contexts. Geometry alone does not establish that identity.
Is east always at the bottom of a paubha?
This guide makes no such universal claim. It follows a source discussing one particular painting and uses an invented key-reading exercise.
Can colour alone identify a pigment?
No. A visible hue does not establish material composition. Use an object record or relevant analysis.
Does a later copy prove every missing detail?
No. It can be evidence, but its date, purpose, relationship and possible changes need assessment.
What should a beginner practise first?
Describe one visible feature, then identify the source needed for one interpretive claim. Keep the distinction clear in a short caption.
Sources and scope
Sources checked on 17 October 2026. Institutional and practitioner sources establish the cultural context and selected specialist distinctions. The learning sequence, fictional records, example sentences and exercises are original educational material. This guide teaches vocabulary and careful explanation; practical work requires appropriate instruction and information specific to the person, object or site.
Rubin Project Himalayan Art: a Nepalese paubha commemorating Vanaratna — An attributed scholarly study of a specific painting, inscription, attribution questions and incomplete survival.
Rubin Project Himalayan Art: Chakrasamvara Mandala with Newar Donors — Paubha terminology, the named painting’s materials and its specific pictorial orientation.
Rubin Project Himalayan Art: visual symbols of Buddhist art — Context for iconography, attributes and religious diagram terminology.
Cambridge Dictionary: pigment — The English colour-material noun.
Cambridge Dictionary: provenance — The history-of-origin sense used in the object-record discussion.
Next: read the key beside the image
Choose one image and one source statement. Explain how the statement changes what you can responsibly say about the image.
Return with a changed key or incomplete record. Revise the description independently. Useful art vocabulary lets the reader see more clearly while keeping the tradition and its sources particular.