印尼记遊（七）
Travelogue in Indonesia 07

四月九日，早上今天我们的行程是先参观蝙蝠洞 “ Goa Lawa Klung Kunga ” 然后游览巴厘土王宫(水晶宫)“Udjung Karanges Sam”。早上七时五十分谢君与谢太太已经来了，因金裕、丕才、潮光与锡君一早就去了海边游泳未归，我们准备就绪后，则等他们回来换了衣服，收拾好行装，出发时已是八时二 十分了。

蝙蝠洞位在巴厘岛东岸之滨，距离丹巴刹约六十里。我们的⻋在道旁停下来，路的右旁是晒盐场，路左便是洞址了。我们循石级而上，级尽过大⻔楼，是一平场，纵横凡两英亩。两旁筑有草棚多座，供人拜祭时以从事休息之用。右边有一佛座，左边是一大木棚，再进去就是蝙蝠洞了。洞犹未⻅，那啾啾的蝙蝠叫声已不绝於耳。续而那一股浓烈的膻腥臭味，随⻛向鼻中送来，真令人不容易消受。及近，方⻅亿万蝙蝠⻜翔洞外。洞高约十尺，阔三 十余尺，四周尽是岩石，蝙蝠倒悬岩顶，紧密地排列着，把整个洞怖得密密麻麻，黑魆魆⻅不到方寸石壁，真是一幅蝙蝠阵绝景。还有数以万计，不得其栖止的蝙蝠则不停地在洞外⻜绕鸣噪。

洞之下首有塔凡五，一为石塔，余者均为草塔，高低不平地排列成一字形，竖立於坛形之平台上。坛高約三呎，坛后深洞，阴森森地无法測其深浅。坛上积满蝙蝠粪，厚达四五寸，气味难闻。这里除了那钻石而过，缠绕在蝙蝠洞上的老树根，及洞周围之頑石，颇增古趣之外，余者皆平平无足奇，不足以人画面！

凤美大姐作画最勤，她只一上石级就坐下来作画、等到她画到蝙蝠洞边时，已完成六七幅了。子平顶爱色彩，这漆黑的一片蝙蝠洞，居然也要用水彩来描画。他站得又近，結果，满纸蝙蝠粪，迫得落荒而逃，城梅今天倒很吃苦，她与丽君最怕脏，但竟然敢面对这大自然作画三帧。我只画了一幅，后來想画些蝙蝠⻜翔的形态和倒悬的样子，以及那苍老的树根，奇形的怪石，一整列的塔，富有装饰意昧之坛前雕刻。子平⻅到我这幅构图还好，竟在旁边帮笔，他认为蝙蝠画得不够多、便把水彩笔在我的画稿上点上无数黑点，结果糟透了，一幅画稿就此牺牲！

十時半，我们续程前往水晶宮，驱⻋沿着东海滨公路北上约三十哩，就到达⺫的地。这水晶宮是巴厘土王行宫，每月仅至此留宿一夜。这位土王拥有四十名王妃，富甲全岛。

宮前有巍峨之大⻔楼，走进⻔楼则⻅两旁尽是由山泉聚注而成的湖。湖心到处有喷水设备，水由雕刻的兽形神像口喷出。路右有九层塔一座，层层喷水，水极清冽。我们由小径进入第二道⻔，⻔前刻有雌雄怪兽，高可七八呎，庞然大物耳，此处塑像尽为泥塑，且敷上色彩，真可谓生色不足，还俗有余，未免太煞⻛景。这些雕塑亦多已破裂不完整，有者失头折足、有者只剩铁骨、有者更坍塌无遗。周围杂草丛生，颇有苍涼之感。行宮建在半山上，围以竹篱，⻔外汉不能越雷池一步。我们在大木棚內用膳，此地潮濕而阴暗，苍蝇特多。棚后有山泉曲折潺流而下，清冽可饮。

午餐已毕，意欲把笔作画、然而面对这人工园林亭树，真是全无作画之意境，难以下笔。是故，除了听听响导者倾谈吾王之艳福外，真觉意味索然。步出⻔口时，才发现凤美伏在沟边埋头苦画，在这样的景物之前，她居然也画了三四帧，真可钦佩！

今天的节目到此为止，大家心犹未止，不顾就此归去。恰在其时，远处传來「GASA 、GASA， ······ 。」骤听之下，令入心惊胆寒。疑问路人，承告此为斗鸡也。近在咫尺，何不趁机前往 一睹呢？於是沿崎岖之小径驱⻋开五分钟即抵达斗鸡场。下⻋后，我们都挤向斗鸡棚内去。这斗鸡棚建筑简陋 ‧‧ 土盖茅草 ，四周围以木椿。棚外有几十档零食摊，还有不少鸡笼。笼中全是雄纠纠之公 鸡，这大概都是参战的勇士了。我们在围边找个坐位，那些土人一看⻅我们来、都很欢迎似地让出座位来。

斗鸡场外围全是赌客，斗鸡者则在心场中央。他们先在雄鸡脚上缚上一对兩面锋利的小刀。斗鸡开始时，兩只鸡都显示出踌躇的样子。直至兩方的支持者猛烈的刺触，以及观众的大声呐喊，则立刻作疯狂的⻜扑进攻，兇悍的厮搏，彼此颈毛直竖翅翼相扑，发出「呼呼」之声，及至鸡脚上的刀，在敌方的背上或腹部一割，於是划开一条伤口，血流如注，撑下兩腿，抖一阵子，这受伤而失敗的雄鸡，便躺在自己鮮紅的血泊中送掉鸡命。

我虽不具有所谓菩萨心肠，但看到那羽毛纷落，遍体创伤，鮮血淋漓的搏斗场面，实引不起多大兴趣，起初，子平看見公鸡打架，也并不以为意，及至后来看到白鸡一刀戮死紅鸡的流血惨状时，不禁直跳起來大呼残忍，他那冰泠的手紧捏着我，看样子他好像也打败了似地跑出棚外去。后來他才告诉我:「这种把戏完全没有人道，为什么要迫它们同类自相残殺呢，我宁可交白卷也不画这些题材，还是回去多画一些巴厘姑娘更好。」言下不胜黯然。(七)

April 9th, this morning our itinerary was to visit the Bat Cave "Goa Lawa Klung Kunga" and then tour the Bali Water Palace (Crystal Palace) "Udjung Karanges Sam". At 7:50 AM, Mr. and Mrs. Xie had already arrived because Kin Joo, Phee Chye, Teo Kwang, and Sir Choon had gone swimming at the beach early in the morning and had not returned yet. We got ready and waited for them to come back, change their clothes, and pack their belongings. By the time we were ready, it was already 8:20 AM.

The Bat Cave is located on the eastern coast of Bali, about 60 miles from Denpasar. Our car stopped by the road, with salt fields on the right side and the cave site on the left. We climbed up the stone steps, passed through a large gate, and reached a flat area of about two acres. There were many thatched huts on both sides, which provided resting places for people during religious ceremonies. To the right, there was a Buddha statue, and to the left, a large wooden hut. Further inside was the Bat Cave. Even before we could see the cave, we could hear the chirping of bats, which was unceasing. As we got closer, a strong, foul odor reached our noses, making it difficult to endure. When we approached, we saw millions of bats flying outside the cave. The cave was about ten feet high and thirty feet wide, with rocky walls on all sides. Bats were hanging upside down from the cave ceiling, densely packed, covering the entire cave. It was a spectacular sight of bats. There were thousands of bats flying non-stop outside the cave, creating a deafening noise.

Below the cave entrance, there were five shrines, one made of stone and the others made of grass. They were arranged unevenly on a platform. The platform was about three feet high, and behind it was a deep, dark cave whose depth was impossible to determine. The shrines were covered in bat guano, about four to five inches thick, and the smell was unbearable. Aside from the bats and the winding tree roots hanging from the cave, there wasn't much else to see that could inspire an artist.

Foong Moi was the most diligent in her painting. As soon as she climbed the stone steps, she sat down to paint. By the time she reached the edge of the Bat Cave, she had already completed six or seven paintings. Tze Peng loved colors, so he wanted to use watercolors even in this pitch-dark Bat Cave. He stood too close, and as a result, his paper got covered in bat guano. He had to give up and leave in a hurry. Seah Boey had a tough day, too. She and Lih Juin were the most averse to dirt, but they bravely faced nature and painted three or four frames in front of this cave. I only painted one frame, but later I wanted to depict the forms of bats in flight, their upside-down postures, the ancient tree roots, the bizarre stones, and a row of shrines with decorative carvings in front. Tze Peng thought the composition of my painting was fine, but he added many black dots with his watercolor brush, thinking there weren't enough bats. Unfortunately, this ruined the painting, and it was sacrificed.

At 10:30 AM, we continued our journey to the Crystal Palace, driving north along the eastern coastline of Bali for about thirty miles until we reached the destination. This Crystal Palace is the palace of the Balinese king, where he stays for only one night each month. This king has forty queens and is the richest man on the island.

In front of the palace, there was a majestic gatehouse, and upon entering, we saw two lakes on both sides, formed by mountain springs. In the middle of the lakes, there were devices that sprayed water from the mouths of carved animal statues. To the right, there was a nine-story tower with cascading water, crystal clear. We entered through a second gate, where there were sculptures of strange beasts on both sides. These sculptures were made of clay, painted with colors, and looked rather gaudy and less artistic. Many of them were broken or incomplete, some missing heads or limbs, while others had collapsed. Weeds grew all around, giving a desolate feeling. The palace was built on a hill, surrounded by bamboo fences, and outsiders were not allowed to enter. We had our lunch in a big wooden hut, which was damp and dimly lit, and there were many flies. Behind the hut, a mountain spring meandered down, providing fresh and clear water for drinking.

After lunch, we wanted to start painting, but faced with this artificial garden with pavilions and trees, there was really no artistic inspiration. Therefore, except for listening to our guide talking about the king's luxurious life, it felt quite dull. Just as we were about to leave, we heard "GASA, GASA..." from a distance, which startled us. We asked a passerby and were told it was a cockfight. Since it was so close, why not take the opportunity to see it? We drove along a rough path for about five minutes and arrived at the cockfighting arena. After getting out of the car, we all rushed into the arena. The cockfighting arena was simple, made of mud and thatched with straw, with wooden fences all around. Outside the arena, there were many snack stalls and numerous chicken coops. The coops contained only roosters, probably all seasoned warriors. We found seats around the edge of the arena, and the locals welcomed us as if they were very pleased to see us.

Around the outer circle of the arena, there were spectators, and in the center were the fighting roosters. They first tied a pair of double-edged sharp knives to the roosters' legs. When the cockfight started, both roosters showed hesitation. It wasn't until the supporters on both sides provoked them vigorously and the audience shouted loudly that they immediately went into a frenzy, attacking each other ferociously. They fought fiercely, feathers flying, and blood spilled as they pecked at each other. They clashed with their neck feathers bristling, wings flapping, making a "whoosh" sound. When one of the roosters' knives made a cut on the opponent's back or abdomen, it created a wound, and blood gushed out. The injured and defeated rooster would then lie down in its own bloody pool and die.

Although I don't have a particularly soft heart, watching the feathers scatter, bodies wounded, and blood-soaked battles did not arouse much interest in me. Initially, Tze Peng saw the roosters fighting and didn't think much of it. However, when he saw a white rooster kill a red rooster in a bloody scene, he couldn't help but cry out in cruelty. He held onto my arm tightly, and it seemed like he also wanted to run out. Later, he told me, "This kind of show is completely inhumane. Why force these birds of the same species to harm each other? I'd rather leave my canvas blank than paint these subjects. Let's go back and paint more Balinese girls; that's much better." His words revealed a sense of disappointment.

Today's program ended there, and everyone's hearts were still restless, reluctant to leave. Just at that moment, we heard the cries of "GASA, GASA..." from the distance again, which sent shivers down our spines. Curious, we asked a local passerby, and he explained that it was a cockfight. Since it was so close, why not take the opportunity to see it? So, we drove along a rugged trail for about five minutes and arrived at the cockfighting arena. Once we got out of the car, we all crowded into the arena.

The cockfighting arena was quite basic, with mud walls and a thatched roof, surrounded by wooden fences. Outside the arena, there were numerous snack vendors and many chicken coops. All the coops held roosters, likely fierce warriors ready for combat. We found seats along the perimeter of the arena, and the locals warmly welcomed us, offering their seats.

Around the outside of the arena, spectators gathered, while in the center, the roosters were prepared for battle. Blades were fastened to the legs of the roosters. As the cockfight began, both roosters showed hesitation, but it wasn't long before the enthusiastic cheers from their supporters and the loud shouts from the audience spurred them into a frenzy. They attacked each other ferociously, feathers flying, and blood spilling as they pecked and fought. They locked in combat, with neck feathers standing on end, wings flapping wildly, and making a whooshing sound as they grappled. When one of the roosters' blades struck the opponent's back or abdomen, it inflicted a wound, and blood flowed freely. The injured rooster would eventually succumb and lie in its own pool of blood.

Although I don't have an especially soft heart, watching the scene of feathers scattering, injuries, and bloodshed didn't pique my interest. Initially, Tze Peng saw the roosters fighting and didn't think much of it. However, when he witnessed a white rooster lethally wound a red one in a brutal display of bloodshed, he couldn't help but cry out against the cruelty. He clutched my arm tightly, and it appeared that he also wanted to leave. Later, he confided, "This kind of spectacle is completely devoid of humanity. Why force creatures of the same species to harm each other? I'd rather leave my canvas blank than paint these subjects. Let's go back and paint more Balinese girls; that's a much better idea." His words conveyed a sense of disillusionment.

After the cockfight, we returned to our lodgings. It was a day filled with mixed emotions, from the awe-inspiring beauty of nature to witnessing the brutality of a cockfight. Everyone had a lot to think about and discuss, and it was clear that the day's experiences had left a deep impact on us all.