Bali Island:
Art and the World
Beyond the Rainforest巴厘岛：
雨林外的艺术与世界

An opera sketch from Covarrubias’s travels in China sits beside a later illustration for Pearl S. Buck’s translation of All Men Are Brothers. The comparison follows Chinese subjects from theatrical observation into an English-language publication, placing Covarrubias’s engagement with China alongside his better-known Bali work.

珂佛罗皮斯在中国旅行时绘制的戏曲速写，与他后来为赛珍珠英译《水浒传》绘制的插图并置。中国题材从现场观察进入英文出版物：这条线索，让我们在他广为人知的巴厘岛创作之外，看见中国文化在其艺术实践中的位置。

Wang Lanruo, Huang Dufeng and See Cheen Tee paint tropical ornamental fish bred for aquariums. Placing the works together raises a question about how a modern animal category became an ink-painting subject across southern China and Singapore. See’s 1990 inscription brings the fish into a national celebration.

王兰若、黄独峰与许振第画中的对象，是为水族箱人工繁育的热带观赏鱼。将三幅画放在一起，我们可以追问：这种现代动物类别，怎样成为华南与新加坡艺术家的水墨题材？许振第1990年的题识，又使观赏鱼进入新加坡建国二十五周年的庆典表达。

Begging (1954) and Malay Fan Dancer (1960s) turn the same print medium toward poverty and cultural life. Read across the years around Singapore’s independence, the pairing asks how an artist’s account of society changes with the public images of a new nation.

1954年的《乞丐》与1960年代的《马来西亚扇子舞者》，分别以木刻呈现贫困与文化生活。把两件作品放回新加坡独立前后的历史，可以进一步追问：艺术家记录社会的方式，如何与新国家公共图像的形成相互关联？