1) The document contains sketches from Gao Jianfu's travels through South Asia from 1930-1932, including landscapes, structures, and customs he observed. 2) One sketch depicts a Parsi sky burial ground in Mumbai, where corpses are left for birds to consume, leaving only bones. 3) Gao took detailed notes of what he sketched to serve as valuable references for his work.

2. 西藏廟宇
Temple in Tibet
無年款Undated
水墨紙本
Ink on paper
高：21 厘米闊：13 厘米
H： 21 cm W：13 cm
寫生稿標記「西藏山嶺之廟，形式甚多，類如炮台式，喜馬拉雅山畔」、
「石」、「一級之谷，小城基」字樣」
With artist’s annotations
黎明．黃詠賢伉儷藏品
Collection of Mr Lai Ming and Ms Wong Wing-yin

4. 孟買波斯鳥葬場
Parsee Sky Burial Ground in Mumbai
高：11 厘米闊：19.5 厘米
H： 11 cm W：19.5 cm
寫生稿標記「孟買波斯鳥葬場，男屍、女屍、小孩屍，貯骨之井，
運屍入場之步級、去水渠共四個，30 ft cir，
150 ft central、三百尺、徑一百尺」等字樣。
With artist’s annotations
黎明．黃詠賢伉儷藏品
Collection of Mr Lai Ming and Ms Wong Wing-yin
如很多近代畫家隨身攜帶速寫簿以備旅遊時隨時寫生的習慣一般，高劍父
也帶備速寫本子作素描寫生之用。1930至1932年他遊印度、孟買、喜馬拉
雅山等國家及地區，沿途寫生，描畫各地風物以為參考。本圖便是這時期
的寫生冊之一頁，描繪孟買波斯鳥葬場。在古代，一批波斯人移遷印度，
在文獻上被稱為「巴斯」人，後英國人接管孟買後，大批巴斯人再遷至孟
買。這幀作品記錄了巴斯人的葬俗：「以磚石砌成大圈，中有鐵柵分隔，
每柵置一屍，一任群鳥啄食，候血肉盡，其骨即由鐵柵落下。」高氏並詳
細標記葬場結構及尺寸。圖版16至18，均是這時期遊南亞時記錄孟買、喜
馬拉雅山、尼泊爾等地風景、吊橋、動物等，極具參考價值，可見其寫生
的認真態度。
Similar to many modern painters, Gao Jianfu’s had the habit of bringing
along a sketchbook when travelling so he could sketch and draw anytime.
From 1930 to 1932, when he travelled to Bombay in India and countries in
the Himalayan region, he sketched the scenery and customs along the
way for future reference. This work is a page from this period, portraying
a typical Persian funeral ground in Bombay. In ancient times, a group of
Persians, called “Parsees” in historical documents, migrated to India.
After India came under the governance of the British, a large number of
Parsees moved further on to Bombay. This work shows the funeral
custom of the Parsees. “A big circle is built with bricks divided by iron
railings in the centre. A corpse is placed in each railing; birds came to eat
the corpse until a skeleton is left and the bones fall down from the
railing.” Gao made detailed notes of the funeral ground, its structure and
measurement. Exhibits No. 16 to 18 are works recording scenes such as
landscapes, a hanging bridge and animals during his journey in Bombay,
Nepal and the Himalayan region. These pieces not only serve as valuable
references but also reveal the serious practice of the artist when doing
his sketches.
虎山觀日處 索橋
Sunrise Lookout in Tiger Hill Rope Bridge
高：21 厘米闊：12.5 厘米 高：19.5 厘米闊：11 厘米
H： 21 cm W：12.5 cm H： 19.5 cm W：11 cm
寫生稿標記「虎山觀日處（八千五百尺），遠峰為愛菲拉士峰。」 寫生稿標記「喜馬拉雅山之索橋，長二百七十尺，下臨大河，
水流湍急。」
With artist’s annotation
With artist’s annotation
黎明．黃詠賢伉儷藏品
Collection of Mr Lai Ming and Ms Wong Wing-yin 黎明．黃詠賢伉儷藏品
Collection of Mr Lai Ming and Ms Wong Wing-yin

6. 高劍父於1930 - 1931年遍遊印度各省及南亞錫蘭（斯里蘭卡）、緬甸、不
丹、尼泊爾等地，並登喜馬拉雅山、亞真達諸山洞，臨摹造像壁畫，於
大吉嶺會晤泰戈爾，又在錫蘭舉辦展覽，另於孟買舉辦中印第一次美術
展覽會。此為當年（1931）《錫蘭日報》為其展覽所作的報導。
Gao Jianfu traveled extensively in India and various South Asian countries and
regions, including Ceylon (Sri Lanka), Burma, Bhutan and Nepal. He visited the
Himalayas and the ancient Ajanta Caves in India where he sketched and copied
the Buddhist images and murals, and met with Rabindranath Tagore in Darjeeling.
Gao also held exhibitions in Ceylon and the first Sino-Indian art exhibition in
Bombay (Mumbai). This is a press report on his exhibition published in the
Ceylon Daily News in 1931.