今日游程的计划，是温君预为布置的，早上要去拜访当地画家，及参观爪哇唯一的美术专科学校。下午才能去瞻谒古迹。

我们一早就去学校参观佐哥努基 Djokonekil 的画室，在画室里看⻅佐君作品凡四十余件，及高足三十余人。这是我们到印尼來，唯一⻅到的新型艺术的作家群，为了物质的缺乏，他们都用火烧过的木炭作素描，把油漆当作油色來绘制油画，將麻包袋当油布用，那种刻苦的精神，真令我们钦敬！他们的绘画作⻛，都接近抽象⻛格，喜用对比色，笔触粗犷有力，多以耕作为题材，这批艺术的斗士们，都本着一股爱好艺术的热情而努力。 他们提问了许多有关本邦美术界的活动情形。佐君说：「他们的画太大胆了吧？也许是题材不够刺激，所以喜欢的人很少，不过我们並不因此而灰心······」。我借用佐拉的话对他说：「一个成功作家，往往是在 失败中⻓成的······。」

接着，佐君就带领我们走过画室对面去参观美专，并介绍我们与校⻓及全体教师认识。大家在会客室里，津津有味地纵谈着当地的艺术情况。茶点用过后，便参观学校。美专校址占地约十二英亩，校舍是一座堂皇的三层楼建筑。全校教师廿四位、学生七百余人。我们从三楼的素描教室开始参观，经过高年级的人像写生教室、实用美术教室、及美术理论教室。二楼全为雕刻教室。木刻方面分为浮雕组、人像雕刻组。泥塑方面則先从雕刻佛像入手，续而塑造人像。地下层全属行政部⻔。为了时间所限，我们只好与该校教师合摄了三帧照片，携归以作纪念，就此告辞了。

该校教师的绘画技法，都具有高度的修养，校舍也堂皇，在籍学生的作品，一般说來郁达相当水准。 我深感到美中不足的，就是美专应具有的条件——模特兒——这里也沒有。不但沒有摸特兒，並且连裸体的石像，还要用布条把下体围住，这未兔太煞⻛景了。我疑问其中的一位教师：「这到底是怎么一回事？」他说：「这是大总統的命令！」其次因物质缺乏，绘画材料往往以代用品，参考资料不理想，石膏像设备不足，这些对绘画工作都有很大的影响，若能克服这些困难，该校实不难成为印尼开拓艺术的学业之宮！

离开美专后，我们又去参观了印尼名画家阿芬迪 Affandi 的故居及其女阿连尼的画室。十一时受文化部的招待，参观文化馆，教育局与总統府。并承文化司⻓的介绍，我们得以观览了许多爪哇成名画家的作品。有的经已裝箱准备寄往椰城，都特別命人拆开箱子，让我们先饱眼福！

十二时半，离开总統府后，亟亟驱⻋前往雕刻家杜律巴⻄ Trubus 的工作场地。这雕刻工场规模甚大， 中有大起重机的设备，有熔炉场专制铜像，还有石膏场，设计室及细工部等。杜君是国家选为运动场中巨像的雕刻作者。许多陈列在椰城大旅馆中的雕刻品，都是自他主持翻模工作的。我们看到了那座高卅呎，预备陈列在运动场中的巨像！那纤⻓柔和的线条，经过夸张的颈项与手臂，⻓形的脸庞，完全是一座典型的印尼塑像！确是值得夸耀的艺术作品！我们详细地参观了原摸，铜像及翻出來的巨像，只可惜不能详览其修饰工作的过程。

杜君为人极诚恳，有问必答。庆光对於雕塑的兴趣特別浓厚，他提出了许多问题，杜君都为之一一详答。杜君说：「若游客需要一尊自己的雕像，只需一万五千盾，时间的限制是兩星期！」我想：假如不是为了时间的限制，我们十个人將会會变成二十个头带回来的！杜君的雕刻技巧，已臻国际标准，且具有印尼的独特⻛格。將來若有爱好艺术的游客到日惹來，不妨拨冗去参观这「雕刻之家」，相信一定不会感到失望的，我敢担保！ (十八)

Today's itinerary was arranged by Mr. Wen. In the morning, we planned to visit a local artist and the only art school in Java. In the afternoon, we would explore the historical sites.

Early in the morning, we visited the art studio of Mr. Djokonekil. Inside the studio, we saw more than forty pieces of his artwork and over thirty of his students' work. This was the only group of new-style artists we encountered in Indonesia. Due to a lack of resources, they used burnt charcoal for sketches, used paint as oil colors, and repurposed burlap sacks as canvas. Their dedication to their craft was truly admirable. Their painting style leaned towards abstraction, often using contrasting colors with bold and powerful brushstrokes. Many of their works depicted agricultural scenes. These artistic warriors pursued their passion for art with great dedication. They asked us many questions about the art scene in our country. Mr. Djokonekil said, "Our art may be too bold, and perhaps the subject matter is not exciting enough, which is why there are few admirers. But we won't be discouraged by this..." I borrowed Mr. Zara's words to tell him, "A successful artist often grows in the midst of failures..."

Next, Mr. Djokonekil led us to visit the art school and introduced us to the principal and all the teachers. In the reception room, we had an engaging conversation about the local art scene. After having some tea, we explored the school. The art school campus covered approximately twelve acres, and the building was a grand three-story structure. The school had twenty-four teachers and over seven hundred students. Our tour started with the sketching classroom on the third floor, then proceeded to the upper-grade portrait drawing room, practical art classroom, and art theory classroom. The second floor was entirely dedicated to sculpture classrooms, including relief and portrait sculpture. For stone carving, they began with carving Buddha statues and later moved on to human figures. The ground floor housed administrative offices. Due to time constraints, we only took three photos with the school's teachers as a memento before bidding farewell.

The teachers at the school were highly skilled, and the students' artwork generally met a good standard. However, one aspect that I found lacking was the availability of models. Not only were there no live models, but even the nude statues had their lower parts covered with cloth, which seemed excessive. I asked one of the teachers about this, and he said, "It's the president's orders!" Furthermore, due to material shortages, they often used substitutes for art supplies, and the lack of ideal reference materials and insufficient plaster figures impacted their work. If they could overcome these challenges, this art school could easily become a palace of Indonesian art!

After leaving the art school, we visited the former residence of the renowned Indonesian painter Affandi and his daughter Alein's art studio. At 11 AM, we were hosted by the Ministry of Culture and visited the Culture Museum, the Education Bureau, and the Presidential Palace. With an introduction from the Director of Culture, we had the opportunity to view the works of many famous Javanese painters. Some of the paintings, originally packed for shipment to Yogyakarta, were specially unpacked for us to enjoy!

At 12:30 PM, after leaving the Presidential Palace, we hurriedly drove to the workshop of the sculptor Mr. Trubus. This sculpting workshop was quite large and equipped with a large crane, a bronze casting furnace, a plaster workshop, a design room, and a fine arts department, among other facilities. Mr. Trubus was selected by the government to create sculptures for the sports stadium. Many of the sculptures displayed at the Yogyakarta Grand Hotel were replicas created under his supervision. We saw the colossal statue, which stood about thirty feet tall and was to be displayed at the sports stadium. Its slender and graceful lines, exaggerated neck and arms, and elongated face made it a typical Indonesian sculpture. It was undoubtedly an artistic masterpiece worthy of admiration! We examined the original model, bronze statue, and the finished colossal sculpture in detail. However, due to time constraints, we couldn't witness the entire process of its creation.

Mr. Trubus was extremely sincere and answered all our questions. Keng Kwang had a particularly strong interest in sculpture and asked many questions, all of which Mr. Trubus patiently addressed. Mr. Trubus mentioned that if tourists wanted a sculpture of themselves, it could be done for 15,000 rupiahs, with a turnaround time of two weeks! I thought, if it weren't for the time constraint, we might return with ten more heads! Mr. Trubus's sculpting skills were of international standard and carried a unique Indonesian style. In the future, if art enthusiasts visit Yogyakarta, I would highly recommend taking the time to visit this "House of Sculpture." I can guarantee that they won't be disappointed!