“我想让外国人见识一下中国百姓中的能工巧匠!”这个目标其实不是陈波峰一开始就设定的,而是在创作麦秸画《清明上河图》时慢慢形成的。房间太小,说是两室一厅,但当6米长的画卷徐徐展开时,那上千个人物和牲畜便浩浩荡荡喧闹着从陈波峰儿子的卧室径直越过中厅进入主卧,横贯了三个房间。我们趴在地上,凑近了看,看那些北宋的茶楼、酒馆、作坊,看那些挑担赶路的、驾牛车送货的、赶着毛驴拉货车的、 “I want foreigners to see the skilled workers in the Chinese people!” The goal is not actually set by Chen Bofeng at the very beginning but gradually formed when he created the wheat-straw painting “The Riverside Picture of Qingming.” The room is too small, said to be two rooms and one hall, but when the 6-meter-long scroll slowly started, then thousands of animals and animals will be the mighty noisily Chen Bo-feng son’s bedroom across the hall into the master bedroom, Three rooms. We lie on the ground, leaned to see those North Song restaurants, pubs, workshops, to see those picky hurry, delivery of carts, and pulling the donkey cart,