印尼记遊（十六）
Travelogue in Indonesia 16

日惹是个靜穆而严肃的都市，街道不宽，可是直而且⻓，「古」的气息颇浓厚。尤其是在那行人道上，你可以看到各种不同时的路面：有的铺着花砖，有的铺着磨石，有的铺着碎石，有的却由三合土凝成。这正代表着新旧年代的产物。道路两旁的店屋，也是新旧参半。我们下榻的 Garuda 旅馆，是这条街上最凸出的建筑物，骤看之下，有如政府衙⻔，占地约五英亩。前⻔临街的是一列铁栏杆，中央有一大铁⻔。步入铁⻔，是大花园，正中有喷水池，池旁设置涼椅供人坐憩。园中两旁为环园⻢路，兩翼楼对峙着，全属一号房。园的尽头是正座大厦，拾级而上，即达大客堂，四壁悬挂着当地古迹⻛景之画幅。厅中的每一个角落都布置着佛头与古玩，饶有古趣！中 央甬道可通大餐厅，甬道两旁均为办事处。我们住在左侧楼房，这是一座很古老的建筑物。房子既高大，空气又好，房前尚有望台，夜里可以坐在此处欣赏园中景物。每逢喜庆日，还有印尼舞蹈表演以娱旅客，真可说是一个布置优雅，设备完善，令人心旷神怡的旅馆！

此次至日惹，仅打算兩天的滞溜，因此不得不走⻢看花地正视这中爪哇的文化古城 。第一个要拜会的古迹，自然就是婆罗浮屠 Borobudur 了。我们决定花一整日的工夫在此吊古。

九时，我们分乘了三辆「德士」，由 Garuda 旅馆出发、祗半小时的路程，便抵达目的地。浮屠是建在一座圆形的丘陵之上。我们在停⻋场下了⻋，在丘陵下⻅到一个卖笛者，手执一笛吹奏着美妙动人的时曲。许多游人都被他这抑扬呜咽似的笛声吸引住了。於是每人一笛，边走边吹，在这登上浮屠的石级上，就凭添了一批仪仗队。走上了山丘之原，每人费十鲁比购买⻔券后，才能步入浮屠之范围。约往前行四十步，就到达浮屠之边缘。浮屠的高度是一百二十公尺。从浮屠的北端视之，较其他三面更为凸出。在浮屠前的平场上，有十余株苍劲古树，拂荫着來此凭吊的游人。再北則为一拜台，据说印尼政府將在此建筑一座富丽堂皇的旅邸，更方便旅客到此浏览于凭吊！任何一个游客，每当他的目光，触及那工程浩伟的外观时，都会不禁然地为其雄大非凡的气魄，精美紧密的结构而赞叹的！！四野靜寂，更足以撩起游人的怀古幽情！

我们就选取了这角度在此作画。子平，庆光，金裕均作油画，余者全作素描。我感觉到越是美好的东⻄，就越不容易表现；尤其是这座完美的佛塔，那有规則的层次，复杂精细的雕刻，苍老斑驳的色调，已经是件极完美的艺术品了。我们以此作画，总未兔有东施效颦之讯，弄巧反拙之嫌，更何况还要在这短短的几小时之內，完成一帧油画，真不是简易的事啊！所以我祗勾了几幅纪念性的画稿，把每一个角度，及浮屠內的杰出雕刻都作一SKETCH——而已！（(十六）

Yogyakarta is a serene and solemn city. The streets are not wide but straight and long, exuding a strong sense of history. Especially on the pedestrian pathways, you can see various types of road surfaces: some paved with patterned tiles, some with cobblestones, some with crushed stones, and some made of compacted earth. This represents the products of different eras. The shop-houses along the streets also display a mix of old and new. Our accommodation, Garuda Hotel, stands out as the most prominent building on this street, resembling a government office with an area of about five acres. At the front, there is a row of iron railings with a large iron gate in the center. Upon entering, there is a large garden with a central fountain and shaded benches for relaxation. On both sides of the garden are circular pathways, and two wings of the building face each other, comprising the number one rooms. At the end of the garden is the main building, accessible via a flight of steps, leading to the main hall. The walls of the hall are adorned with paintings depicting local historical scenes. Every corner of the hall is decorated with Buddha statues and antiques, exuding an antique charm. In the middle of the central hallway, there is access to the main dining hall, while offices line both sides of the hallway. We stayed in the left-wing building, which is quite old. The building is tall and airy, with a front terrace offering views of the garden. At night, one can sit here and enjoy the scenery. On festive occasions, traditional Indonesian dance performances are held to entertain the guests. It can be said that this is an elegant and well-equipped hotel, providing a delightful experience!

Our visit to Yogyakarta was intended to be just a two-day stay, so we decided to explore the cultural heritage of this Javanese ancient city. The first historical site we planned to visit was Borobudur, and we decided to dedicate an entire day to it.

At 9 o'clock, we divided into three taxis, departing from Garuda Hotel. The journey took only half an hour, and we arrived at our destination. Borobudur is built on a circular hill. As we got off our taxis in the parking area, we encountered a flute player playing captivating tunes. Many tourists were drawn to his melodious tunes. Each of us bought a flute, and as we walked along the stone steps leading to Borobudur, we created a parade with our marching band. Ascending the hill, we found ourselves amid lush greenery. Every forty steps or so, there was a grassy area under the shade of trees. These were places where local vendors rented out mats for couples to enjoy a quiet moment by the serene Borobudur. We reached the edge of Borobudur after about 40 steps. Borobudur's height is 120 meters. When viewed from the north, it appears more prominent than the other three sides. The surroundings of Borobudur were peaceful. There was nothing that disturbed the silence except for the solemnity of the monument itself. All of us couldn't help but admire its grandeur, intricacy, and its finely detailed structure! The tranquility of the surroundings further enhanced our appreciation for the historical significance of Borobudur.

We chose this viewpoint to create our artworks. Tze Peng, Keng Kwang, and Kim Joo worked on oil paintings, while the rest of us focused on sketches. I felt that the more beautiful something was, the harder it was to capture its essence in art. Especially with Borobudur's perfect stupa, with its structured levels, intricate carvings, and aged color tones, it was already a masterpiece in itself. Attempting to paint it might have led to copying, and achieving that in just a few hours was not an easy task. So, I decided to create several commemorative sketches, capturing various angles and the remarkable carvings inside Borobudur - that was enough!