<p class="ql-block">原創(chuàng)：倪捷兒 攝影：千喜</p> <p class="ql-block">Original content: Ni Jie'er, Photography: Qianxi</p> <p class="ql-block">【美篇導(dǎo)語(yǔ)】：藍(lán)，是時(shí)光的底色。它從媽媽的衣襟、外婆的圍裙上走來(lái)，裹著草木香與舊日暖意。穿越千年染缸，在烏鎮(zhèn)的秋風(fēng)與烏江寨的蠟刀下，開(kāi)成兩朵搖曳的“時(shí)光雙生花”。藍(lán)白之間，藏著親情的密碼、匠心的溫度，以及——讓古老紋樣在現(xiàn)代生活里重新呼吸的巧妙哲學(xué)。這抹青藍(lán)，從未褪色，它只是換了一種方式，繼續(xù)染透我們的歲月?！肚嗨{(lán)篇：一抹青藍(lán)染時(shí)光》——似水年華系列美篇，敬請(qǐng)品鑒。</p> <p class="ql-block">[Meipian Introduction]Blue is the natural color of time. It emerges from the hem of a mother’s dress and the apron of a grandmother, wrapped in the fragrance of plants and the warmth of old days. Through the millennia-old dye vats, under the autumn breeze in Wuzhen and the wax knives in Wujiang Zha, it blossoms into two swaying “timeless twin flowers.” Between blue and white, there lies the code of familial bonds, the warmth of craftsmanship, and the ingenious philosophy of allowing ancient patterns to breathe anew in modern life. This shade of green and blue has never faded; it has simply taken on a different form, continuing to permeate our lives. “The Blue and Green Tale: A Shade of Blue Dyeing Time” – a series of Meipian pieces from the “Like Water Years” collection. Please enjoy.</p> <p class="ql-block">說(shuō)起江南水鄉(xiāng)，眼前總浮現(xiàn)這般清潤(rùn)圖景：秋陽(yáng)斜斜鋪展在青石板路上，帶著水汽的暖意，漫過(guò)苔痕。身著藍(lán)印花布斜襟襖的小女子，踩著斑駁光影，沿河埠頭緩步走來(lái)，襖上“纏枝蓮”紋樣隨步履輕晃，宛若剛從靛藍(lán)染缸撈出的鮮活。她俯身舀水，指尖輕點(diǎn)河面，斜襟襖的青藍(lán)與水面倒影交融，那抹純粹靛藍(lán)在澄澈水波中愈發(fā)清亮，竟分不清是布染了水，還是水浸了布。</p> <p class="ql-block">When talking about the riverside towns of the Jiangnan region, the following serene scene always comes to mind: The autumn sunlight gently spreads across the cobblestone paths, carrying the warmth of moisture that permeates the moss-covered stones. A young woman dressed in a blue-printed, wide-collar jacket walks slowly along the riverbank, her footsteps casting intricate patterns of light and shadow. The "winding lotus" motifs on her jacket sway gently with each step, as if they were freshly plucked from an indigo dye vat. She bends down to scoop water, her fingertips lightly touching the surface, and the interplay between the blue-green color of her jacket and the reflection on the water creates a harmonious blend. This pure indigo shade becomes even more vivid against the clear water, making it difficult to discern whether the fabric has been dyed by the water or if the water has imbued the fabric with its color.</p> <p class="ql-block">兒時(shí)記憶里，媽媽的四季，被一抹清雅的青藍(lán)縈繞——那件藍(lán)底白碎花的對(duì)門(mén)襟衣裳，被她穿得妥帖又溫婉。每當(dāng)夜色漫進(jìn)窗欞，她總會(huì)坐在煤油燈旁穿針引線(xiàn)，細(xì)細(xì)縫補(bǔ)我們磨破的衣褲，指尖翻飛間，連時(shí)光都變得悠長(zhǎng)舒緩。有時(shí)，她還會(huì)將裁剪剩下的藍(lán)印花布邊角料，巧思拼成小兔子、小蝴蝶的模樣，那些帶著草木染清香的小玩意兒，便是我們童年最珍貴的藏家寶。</p> <p class="ql-block">In the memories of my childhood, the seasons experienced by my mother were surrounded by a serene and elegant shade of blue—that piece of clothing with white floral patterns on a blue background, which she wore with grace and poise. Whenever darkness crept into the window frames, she would sit by the kerosene lamp, threading a needle and carefully mending our worn-out clothes. As her fingers moved deftly, even time seemed to slow down and become more leisurely. Sometimes, she would also use the scraps of blue printed fabric left over from the cutting process to cleverly create small images of rabbits and butterflies. These delightful trinkets, imbued with the fragrance of natural dyes, were the most treasured possessions of our childhood.</p> <p class="ql-block">外婆的身影，早已與那方藍(lán)印花布圍裙定格在一起。每次回鄉(xiāng)，遠(yuǎn)遠(yuǎn)望見(jiàn)巷口那抹熟悉的青藍(lán)，便知是外婆在翹首盼我們歸來(lái)。她總系著綴滿(mǎn)素白花紋的藍(lán)印花布圍裙，見(jiàn)了我們，眼角的皺紋都笑成了花，轉(zhuǎn)身就往圍裙兜里掏——幾顆裹著糖霜的花生、一把酸甜的野果，或是剛蒸好的軟糯糯米糕。那方藍(lán)印花布圍裙，恰似魔法口袋，藏著我的期待和驚喜，盛滿(mǎn)了外婆最樸素綿長(zhǎng)的疼愛(ài)。</p> <p class="ql-block">The image of my grandmother has long been intertwined with the blue-printed apron. Every time I return home, as soon as I see the familiar shade of blue at the entrance of the alley, I know that she is eagerly awaiting our arrival. She always wears a blue-printed apron adorned with simple white patterns. When she sees us, the wrinkles around her eyes light up with joy. She turns and reaches into her apron pocket – there are a few peanuts covered in sugar glaze, a handful of tangy wild fruits, or freshly steamed soft glutinous rice cakes. That blue-printed apron is like a magical pocket, containing my hopes and surprises, filled with my grandmother’s most simple and enduring affection.</p> <p class="ql-block">在兒時(shí)的眼里，穿藍(lán)印花布的媽媽是最美的模樣，能干又溫婉，針針線(xiàn)線(xiàn)都織就著細(xì)膩溫柔；系藍(lán)印花布圍裙的外婆滿(mǎn)是慈祥可親，兜兜轉(zhuǎn)轉(zhuǎn)間，都盛滿(mǎn)了無(wú)盡牽掛。那抹清潤(rùn)的青藍(lán)，早已不是尋常布料，而是親情最溫暖的底色，是歲月里最珍貴的印記，任憑時(shí)光流轉(zhuǎn)，始終在記憶里鮮亮如初。原來(lái)，對(duì)藍(lán)印花布的深?lèi)?ài)與念念不忘，是藏在歲月深處的親情密碼，解讀著外婆與媽媽沉甸甸的愛(ài)。 </p> <p class="ql-block">In the eyes of a child, a mother dressed in blue-printed cloth is the most beautiful figure, capable and gentle, with every stitch weaving a sense of delicacy and tenderness; the grandmother wearing a blue-printed apron is full of kindness and warmth, and everywhere she goes, there is an endless sense of concern. That refreshing shade of blue has long ceased to be just any ordinary fabric; it has become the warmest foundation of familial bonds, the most precious mark of time. No matter how much time passes, it remains vividly present in memory. It turns out that the deep love and unwavering fondness for blue-printed cloth are the hidden family codes that reveal the profound love between the grandmother and the mother.</p> <p class="ql-block">藍(lán)印花布?xì)v史悠久，距今已有一千三百年，宋代名為“藥斑布”，明代改稱(chēng)“澆花布”。其工藝涵蓋印染、扎染、蠟染三類(lèi)，核心原理均為通過(guò)遮擋布料局部塑造花紋，需完成染色、固色等工序。印染采用模具或畫(huà)筆直接施色，花紋規(guī)整統(tǒng)一；扎染通過(guò)繩線(xiàn)捆扎、折疊等物理防染方式，花紋自然暈染，肌理隨性；蠟染以石（蜂）蠟繪制遮擋，蠟層開(kāi)裂形成獨(dú)特“冰裂紋”，花紋線(xiàn)條清晰，質(zhì)感突出。</p> <p class="ql-block">The blue-printed cloth has a long history, dating back over 1,300 years. During the Song Dynasty, it was known as "Yao Bang Bu," and during the Ming Dynasty, it was renamed "Jiao Hua Bu." The production process involves three types of techniques: dyeing, tie-dyeing, and wax dyeing. The core principle of these techniques is to create patterns by blocking certain areas of the fabric. The process involves completing steps such as dyeing and fixing the color. The dyeing process uses molds or brushes to apply colors directly, resulting in uniform and well-defined patterns. Tie-dyeing employs physical methods such as binding with cords and folding, which naturally create patterns with varied textures. Wax dyeing involves creating patterns using stone (or bee) wax, with the wax layer cracking to form unique "ice crack" patterns. The resulting patterns have clear lines and a distinct texture.</p> <p class="ql-block">藍(lán)印花布始終以藍(lán)白二色為核心主調(diào)，盡顯清新質(zhì)樸的韻味，氤氳著濃郁的江南水鄉(xiāng)風(fēng)情。其中，鏤空版印刷而成的藍(lán)印花布，無(wú)論是幾何紋樣還是花卉圖案，都兼具鮮明的規(guī)整感與對(duì)稱(chēng)性；而扎染工藝制作的藍(lán)印花布，則盡顯靈動(dòng)變幻之美——扎結(jié)的力度與方式各異，造就了獨(dú)一無(wú)二的暈染效果，帶著天然的隨機(jī)性與自然意趣，常呈現(xiàn)出不規(guī)則的紋理與色塊，每一件都是不可復(fù)制的匠心之作。</p> <p class="ql-block">The blue-printed cloth has always centered around the primary colors of blue and white, embodying a fresh and rustic charm, with a strong atmosphere reminiscent of the lush waterways of southern China. Among these, the blue-printed cloth produced through a technique involving a carved-out design, whether featuring geometric patterns or floral motifs, combines a clear sense of order and symmetry. In contrast, the blue-printed cloth created using the tie-dye technique showcases a dynamic and ever-changing beauty – the tension and method of tying create unique shading effects, imbued with a natural sense of randomness and spontaneity. These effects often result in irregular textures and color blocks, making each piece a one-of-a-kind creation that reflects meticulous craftsmanship.</p> <p class="ql-block">烏鎮(zhèn)扎染是流淌千年的中國(guó)傳統(tǒng)非遺技藝。首先是選布，匠人只取棉麻材質(zhì)，它們恰似江南女子的品性，柔軟中自有筋骨，能牢牢吸納靛藍(lán)的精髓，染后更帶著天然的肌理褶皺。緊接著是扎結(jié)工序：匠人以棉線(xiàn)為筆、布料為紙，匠心勾勒紋樣——欲成雪花紋，便將布角捏作小團(tuán)緊緊纏繞；想現(xiàn)波紋，就把布料如折扇般疊起，再用棉線(xiàn)一道道勒緊；若要留一方留白，甚至?xí)⑿∈影氩贾性巍?lt;/p> <p class="ql-block">Wuzhen tie-dyeing is a traditional Chinese non-material cultural heritage technique that has been passed down for thousands of years. The first step is selecting the fabric, where artisans only use cotton and linen materials. These materials embody the character of the women from the south of the Yangtze River, possessing a combination of softness and firmness that allows them to effectively absorb the essence of indigo dye, resulting in a natural texture and creases after the dyeing process. The subsequent step is the tying process: artisans use cotton threads as their tools and the fabric as their canvas, skillfully creating patterns – to achieve a snowflake pattern, the corners of the fabric are pressed into small balls and tightly bound together; to create waves, the fabric is folded like a fan and then tightly bound with cotton threads; if a specific area is to remain blank, even small stones can be enclosed within the fabric and securely tied. </p> <p class="ql-block">下一步是染色：染缸內(nèi)的靛藍(lán)由板藍(lán)根葉子發(fā)酵制成，布料浸入時(shí)呈淺黃色，取出后在風(fēng)中晾曬，顏色會(huì)從淺綠逐漸轉(zhuǎn)為濃藍(lán)，空氣中飄散著草木的清苦味道。要得到更深的藍(lán)色，必須反復(fù)浸染、晾曬，如同熬制江南濃湯，急不得半分。最后拆線(xiàn)時(shí)，輕輕抽出線(xiàn)頭，展開(kāi)布料的瞬間，未染色的留白與靛藍(lán)相互映襯——可能是意外形成的星空紋，也可能是規(guī)整的菱形格，這便是扎染的獨(dú)特驚喜。</p> <p class="ql-block">The next step is dyeing: the indigo used in the dye vat is made from the fermented leaves of the Chinese indigo plant. When the fabric is immersed, it appears as a light yellow color. After it is removed and air-dried, the color transitions from a light green to a deep blue, and the air is filled with the faint, bitter scent of herbs and plants. To achieve a deeper blue hue, repeated immersions and air-drying are necessary, akin to simmering a rich broth in the style of Jiangnan cuisine. There is no room for haste in this process. When the fabric is finally removed from the dye bath, gently pulling out the thread reveals the contrast between the uncolored areas and the indigo dye – this could result in an unexpected pattern resembling the stars in the night sky or a neatly arranged diamond pattern. This is the unique charm of tie-dyeing.</p> <p class="ql-block">烏鎮(zhèn)藍(lán)印花布的紋樣，是布里藏著的江南韻味。冰裂紋錯(cuò)落有致，宛如冬雪覆于烏篷船頂；水波紋鮮活靈動(dòng)，恰似西市河漣漪在布上蕩漾；田字格方正規(guī)整，酷似烏鎮(zhèn)棋盤(pán)式的街巷；斜紋格簡(jiǎn)約舒展，仿若青石板路不斷延伸，越品越有深意；云紋柔婉飄逸，如同清晨薄霧縈繞布面；牡丹紋花瓣邊緣暈染漸變藍(lán)，兼具富貴之氣與水鄉(xiāng)清雅。</p> <p class="ql-block">The patterns on the blue-printed fabrics from Wuzhen carry the essence of the Jiangnan region. The ice-like cracks are arranged in a harmonious manner, resembling winter snow covering the tops of the boats; the water-like waves are lively and dynamic, akin to the ripples on the river in the Western Market district; the square grid patterns are neat and orderly, resembling the grid-like layout of the streets in Wuzhen; the diagonal grid patterns are simple and flowing, reminiscent of the continuous extension of a stone path, revealing deeper meanings upon closer inspection; the cloud patterns are graceful and ethereal, similar to the morning mist surrounding the fabric; the petals of the peony patterns have a gradual transition from blue, embodying both the opulence and the serene elegance of the water-rich environment.</p> <p class="ql-block">日頭斜倚桑梢，秋光將烏鎮(zhèn)曬場(chǎng)染得暖意融融。成排竹竿扎根松軟泥地，剛褪漿的藍(lán)印花布被繃得平展，如靛藍(lán)旗幟，在微涼秋風(fēng)中簌簌作響。抖落的水珠砸向地面，暈開(kāi)細(xì)碎的濕痕，轉(zhuǎn)瞬便被秋陽(yáng)吸干。布面上的紋樣，在澄澈秋光里愈發(fā)鮮明，濕布的靛藍(lán)攜著藍(lán)靛草木的清潤(rùn)，混著秋日稻香與桂香，在空氣中緩緩蒸騰，干爽清冽。</p> <p class="ql-block">The sun slants against the tops of the mulberry trees, and the autumn light imbues the drying area of Wuzhen with a warm ambiance. Arranged rows of bamboo poles are anchored in the soft, muddy ground. The newly unspun blue-printed cloth is stretched flat, resembling an indigo flag, rustling slightly in the cool autumn breeze. The water droplets that fall onto the ground create delicate, scattered wet marks, which are quickly absorbed by the autumn sun. The patterns on the cloth become even more vivid under the clear autumn light. The indigo hue of the wet cloth, combined with the freshness of the blue-dyed plants, mingles with the autumn scents of rice and osmanthus, slowly rising into the air and leaving a crisp, refreshing sensation.</p> <p class="ql-block">曬場(chǎng)邊，染坊師傅彎腰查驗(yàn)布的干濕，藍(lán)布褂衣角沾著白漿，與晾曬的花布相映成趣。幾只麻雀落在竹竿下，偶被布角晃動(dòng)的影子驚起，撲棱棱掠過(guò)布面。遠(yuǎn)處河灣，烏篷船載著新收稻谷緩緩駛過(guò)，船槳攪碎的秋光，與曬場(chǎng)流動(dòng)的藍(lán)白光影交織。風(fēng)卷布角輕揚(yáng)，吉祥紋樣的影子投在枯葉滿(mǎn)地的地面，隨秋風(fēng)輕晃，構(gòu)成江南秋日里最溫潤(rùn)的非遺圖景。</p> <p class="ql-block">By the drying area, the dyeing workshop master bent down to inspect the dryness of the cloth. The edges of his blue-colored garment were stained with white paste, creating a charming contrast with the cloths being dried. A few sparrows perched under the bamboo poles, occasionally startled by the movement of the cloth's edges, which caused them to flutter and dart across the surface. In the distance, a boat with an umbrella-shaped sail was slowly passing by, carrying newly harvested rice. The autumn light disrupted by the boat's paddles merged with the flowing blue and white patterns on the drying area. The edges of the cloth were gently lifted by the wind, casting a shadow of auspicious patterns on the ground covered with withered leaves. This shadow swayed lightly with the autumn breeze, creating the most serene and traditional scene typical of autumn in the Jiangnan region.</p> <p class="ql-block">《道德經(jīng)》中的“物盡其用”，此非浮于紙面的哲理，而是浸潤(rùn)在煙火人間的修行真諦。將“廢棄”縫作“新生”，把“將就”過(guò)成“講究”——這布簾豈止是塊料子？是把尋常歲月的細(xì)碎溫柔，織進(jìn)一寸寸藍(lán)白之間，讓每個(gè)推門(mén)人，都撞進(jìn)一簾舊時(shí)光的暖意。舊時(shí)歲月大抵如此：一件物什從非一次性，新布裁衣，舊了打補(bǔ)丁，破得不能穿了，便拼作門(mén)簾——無(wú)關(guān)苛省，而是把“物”視作日子的伙伴。</p> <p class="ql-block">The concept of "making full use of every item" in the "Tao Te Ching" is not just a philosophical idea on paper but a profound spiritual practice that permeates everyday life. Transforming "discarded" items into "new" ones, and making "frugal" living into "refined" living – this simple curtain is more than just a piece of fabric; it embodies the gentle care and attention woven into the fabric of ordinary days. This is how life used to be: an item would not be used just once; clothes would be made from new fabric, patches would be added when worn out, and when it became too tattered to wear, it would be repurposed as a curtain – not out of necessity, but as a way of treating "items" as companions in daily life.</p> <p class="ql-block">烏篷船穿鎮(zhèn)而過(guò)，竹竿上的藍(lán)印花布隨風(fēng)輕漾，一排排流動(dòng)的青藍(lán)倒映在水面，與白墻黛瓦、石橋古巷相映成趣。它藏于尋常煙火中：姑娘的衣襖和頭巾、小兒的披風(fēng)和肚兜、茶館的桌布、店鋪的幌子，每一寸布料都裹挾著手工的溫度。風(fēng)過(guò)染坊，草木清香與搖櫓聲纏綿交織，非遺傳承人的雙手被染料浸得發(fā)藍(lán)，卻將江南的素雅、懷舊與煙火氣，盡數(shù)染化于千年時(shí)光的褶皺里。</p> <p class="ql-block">The bamboo-framed boats glide through the town, with the blue-printed cloths swaying gently on the bamboo poles. One row after another, the flowing shades of green and blue reflect on the water surface, creating a picturesque contrast with the white walls, dark-colored tiles, ancient stone bridges, and narrow lanes. It is embedded within the ordinary daily life: the dresses and headscarves of the girls, the cloaks and loincloths of the children, the tablecloths of the teahouses, the awnings of the shops. Every inch of fabric carries the warmth imparted by handcraftsmanship. As the wind passes through the dyeing workshop, the fragrance of plants mingles with the sound of the oars, and the hands of the inheritors of this traditional craft are stained with the color of the dyes. Yet, they have managed to infuse the simplicity, nostalgia, and everyday charm of the Jiangnan region into the folds of time spanning thousands of years.</p> <p class="ql-block">烏鎮(zhèn)的秋黃昏，是被余暉浸軟的詩(shī)。窄巷旁的河水漾著清冽涼意，船櫓輕搖，漫開(kāi)一河碎金；岸邊林木盡被夕陽(yáng)染透，葉尖墜著暖橘流光，風(fēng)裹桂香漫來(lái)，連斑駁墻垣都浸得柔潤(rùn)。2020年的秋，我初踏烏鎮(zhèn)，心底卻莫名漫起似曾相識(shí)的溫軟——仿佛曾走過(guò)晨霧縈繞的巷弄，也曾倚過(guò)這河沿的石欄?？扉T(mén)定格下此刻，文字順著暮色漫出，似水年華系列美篇的構(gòu)思也悄然萌生。</p> <p class="ql-block">The autumn dusk in Wuzhen is a poem bathed in the lingering light of the setting sun. The water by the narrow alleys ripples with a refreshing coolness. The boat oars gently move, spreading a river of glittering fragments; the trees by the shore are all suffused with the hues of the setting sun, with the tips of the leaves shimmering with a warm, orange light. The fragrance of osmanthus wafts through the air, making even the weathered walls appear tender and smooth. In 2020, when I first visited Wuzhen, a peculiar sense of familiarity and warmth filled my heart – as if I had already walked through the alleys shrouded in morning mist and leaned against the stone railing by the riverbank. The moment was captured by the camera, and as the twilight deepened, words began to flow, hinting at the concept of a series of beautiful essays titled "Like Water Years."</p> <p class="ql-block">五載之約，千里奔赴。2025年的秋，終赴與烏鎮(zhèn)“姐妹花”烏江寨的邀約。踏足此間方懂，何為“一眼即心安”——烏鎮(zhèn)浸著江南煙雨的柔，烏江寨藏著黔地山水的靈，恰似久別重逢的姐妹。橋影搖波、燈籠映巷，每一處都熨帖著心底的執(zhí)念。那些跨越時(shí)空距離的惦念，那些輾轉(zhuǎn)反側(cè)的期待，皆在眼前煙火與詩(shī)意中圓滿(mǎn)，也促成了似水年華系列美篇《青藍(lán)篇：一抹青藍(lán)染時(shí)光》的誕生。</p> <p class="ql-block">A five-year commitment led to a journey spanning thousands of miles. In the autumn of 2025, I finally fulfilled the invitation to visit the "sisterly duo" of Wujiang Zha in Wuzhen. Upon arriving, I understood what it meant to feel a sense of peace at first sight – Wuzhen exudes the gentle charm of Jiangnan's misty landscapes, while Wujiang Zha encapsulates the essence of the mountains and waters of the Qian region. It was as if reuniting with long-lost sisters. The reflections on the bridges, the lanterns illuminating the alleys, each element resonates with the deep-seated desires in one's heart. The feelings of longing that transcend temporal boundaries, the restless anticipation, all find fulfillment in the harmonious blend of daily life and poetic beauty. This experience culminated in the creation of a series of captivating posts titled "Qinglan Chapter: A Tinge of Green and Blue Transforming Time."</p> <p class="ql-block">烏江寨蠟染是苗族傳統(tǒng)印染工藝，工藝獨(dú)特、紋樣豐富，盡顯濃郁民族特色。先將白布平鋪，蜂蠟熔至適宜溫度，蠟刀蘸蠟在布上繪紋；再將蠟繪布料放入染缸，以藍(lán)靛浸染，色勻后取出清洗；最后將染好的布放入熱水煮沸，蠟融脫落，便呈現(xiàn)藍(lán)底白花或白底藍(lán)花的圖案。浸染時(shí)，蠟層自然龜裂，染液順勢(shì)滲入，勾勒出獨(dú)一無(wú)二的“冰紋”，紋路錯(cuò)落有致，成為蠟染最具辨識(shí)度的藝術(shù)印記。</p> <p class="ql-block">The wax-dyed fabrics from Wujiang Zhaou are a traditional dyeing technique among the Miao people. This technique is unique and features a wide variety of patterns, showcasing a strong ethnic identity. First, white fabric is laid out flat. Beeswax is melted to the appropriate temperature, and a wax knife is dipped into the wax to draw patterns onto the fabric. The wax-patterned fabric is then placed in a dye vat, where it is soaked in blue indigo dye. After the color has evened out, the fabric is removed and washed. Finally, the dyed fabric is boiled in hot water, causing the wax to melt and detach, resulting in patterns with a blue background and white flowers or white backgrounds with blue flowers. During the dyeing process, the wax layer naturally cracks, allowing the dye solution to seep in and create the distinctive "ice-like patterns." These patterns are arranged in a way that gives the wax-dyed fabrics their most recognizable artistic features.</p> <p class="ql-block">烏江寨蠟染紋樣，表達(dá)了苗族先民對(duì)自然的敬畏與對(duì)生命的贊頌。動(dòng)物紋樣中，蝴蝶紋源自“蝴蝶媽媽”古老傳說(shuō)，或振翅欲飛，翅尖綴滿(mǎn)細(xì)密花紋；或蜷曲相擁，姿態(tài)溫婉靈動(dòng)，寄托著對(duì)生命起源的崇拜。植物紋樣里，蕎花紋與蕨花紋質(zhì)樸清新卻飽含張力，恰似將山間清風(fēng)、田埂綠意定格布上，藏著先民對(duì)土地的深情。幾何紋樣中的螺旋紋，雙線(xiàn)纏繞盤(pán)旋，暗含生生不息、循環(huán)無(wú)限的哲理。</p> <p class="ql-block">The wax-resist patterns in Wujiang Zha express the reverence of the ancient inhabitants of the Miao ethnic group towards nature and their praise for life. Among the animal patterns, the butterfly pattern originates from an ancient legend of the "Butterfly Mother." These butterflies either spread their wings as if about to take flight, with intricate patterns at the tips of their wings; or they curl up and embrace each other, displaying a graceful and lively posture, embodying the worship of the origins of life. In the plant patterns, the buckwheat flower and fern patterns are simple yet full of vitality, much like capturing the mountain breeze and the verdant fields on fabric, symbolizing the deep affection of the ancient inhabitants for the land. The spiral patterns in the geometric designs, with two lines intertwining and spiraling, convey the philosophical idea of endless renewal and cyclical infinity.</p> <p class="ql-block">風(fēng)裹著草木的潮氣漫進(jìn)院子時(shí)，穿靛藍(lán)旗袍的小女子，指尖正勾住那方三角紋染布，指腹順著白紋棱邊劃過(guò)去——布料帶著剛晾干的微潮，輕輕晃了晃，蹭得旁邊淡紫格料子發(fā)出細(xì)碎的窸窣?！澳氵@花紋最倔，”她對(duì)著三角紋布笑，“扎線(xiàn)時(shí)得緊三分，染出來(lái)才夠利落。”又拍了拍淡紫格的軟料子：“你就不一樣啦，軟性子，染缸里多浸半刻都要泛粉。”布?；蔚酶鼩g，像應(yīng)和似的卷住她的話(huà)音。</p> <p class="ql-block">As the humid air from the surrounding vegetation permeated the courtyard, a young woman dressed in an indigo-colored cheongsam skillfully manipulated a piece of fabric with a triangular pattern. Her fingertips traced along the edges of the fabric, which had a slight dampness from being freshly dried. The fabric swayed gently, causing the adjacent fabric with its light purple check pattern to emit a faint rustling sound. "Your pattern is particularly stubborn," she remarked with a smile directed at the triangular-patterned fabric. "It requires a bit more tension during the weaving process to ensure a crisp finish when dyed." She then patted the soft fabric of the light purple check pattern: "You, on the other hand, are quite different. You have a more delicate nature, so even a short additional soak in the dye bath can cause the color to become uneven." The fabric curtains swayed even more vigorously, almost as if they were responding to her words.</p> <p class="ql-block">日頭向院角偏了偏，碎光漏過(guò)布幔的縫隙：左邊那幅濃靛藍(lán)上，白紋被曬得發(fā)亮，宛若撒了把細(xì)銀；淡紫格料子沾了柔光，淺藍(lán)里浸著粉調(diào)，恰似籠了層桃色的薄霧；三角紋布的棱邊裹著光影，白紋的銳角處亮得清透，底色的藍(lán)卻沉在陰影里，凝作更濃的墨色；最右青白格被光一照，細(xì)格紋漾開(kāi)朦朧光暈，觸之仿佛沾了暖烘烘的日氣。旗袍上的繡蝶，也隨布?；蝿?dòng)搖成細(xì)碎流光。</p> <p class="ql-block">The sun shifted slightly towards the corner of the courtyard, and the scattered light seeped through the gaps between the fabric curtains: on the left-hand side, the white patterns shone brightly, almost as if sprinkled with fine silver; the light-colored, purple-striped material absorbed the gentle glow, with a subtle pink hue interwoven within the light blue, resembling a thin veil of peach-colored mist; the edges of the triangular-patterned fabric shimmered with light and shadow, with the sharp corners of the white patterns appearing exceptionally bright, while the underlying blue tone remained subdued in the shadows, taking on a deeper, more intense shade; when illuminated, the most right-hand section of the blue-and-white striped fabric exhibited a faint, shimmering glow, as if imbued with the warmth of the sun. The embroidered butterflies on the qipao also swayed with the fabric curtains, creating a delicate, shimmering effect.</p> <p class="ql-block">秋暮將染坊曬場(chǎng)浸成暖橘色，風(fēng)裹著藍(lán)靛的淡香掠過(guò)曬布架。墻角的草叢被夕光篩成了金絨，穿靛藍(lán)旗袍的小女子，膝頭沾著星點(diǎn)蒼耳。團(tuán)扇半掩朱唇，扇面銀繡蝴蝶微微顫動(dòng)，恰與草間振翅的金蝶撞個(gè)正著——那蝶兒驚得一旋，帶起半?yún)菜楣?，落進(jìn)她鬢邊碎發(fā)里。她指尖粉絨花輕顫，團(tuán)扇緩緩放緩。其實(shí)不必趕工收布，染坊師父總說(shuō)她性子慢，可這般柔暖的秋黃昏，哪舍得加快呢？</p> <p class="ql-block">As autumn approaches, the dyeing workshop's drying area takes on a warm, orange hue. The breeze carries the faint fragrance of blue indigo as it brushes past the drying racks. The grass at the corner of the wall is illuminated by the setting sun, casting a golden glow. A young woman dressed in an indigo-colored cheongsam has a few scattered thistles on her knees. Half-covering her lips with a fan, the silver-embroidered butterflies on the fan's surface seem to quiver slightly, almost colliding with the golden butterflies fluttering in the grass – these butterflies are so startled that they spin around, creating a scattering of light particles that fall into the loose strands of hair at her temples. Her fingertips brush against a delicate, powdery flower, causing the fan to slow down gradually. In fact, there's no need to rush the process of collecting the cloth; the dyeing master often comments that she has a leisurely nature. However, with this gentle and warm autumn dusk, how could one bear to speed up the work? </p> <p class="ql-block">藍(lán)印花布經(jīng)典紋樣以全新姿態(tài)亮相時(shí)尚領(lǐng)域，東方美學(xué)的雅致與現(xiàn)代設(shè)計(jì)的先鋒感在此完美交融。高定禮服裙擺上，纏枝蓮紋經(jīng)解構(gòu)重組，青藍(lán)底色襯以立體剪裁，古典紋樣在光影下流轉(zhuǎn)韻律，盡顯復(fù)古雅致與高級(jí)質(zhì)感；街頭潮牌的衛(wèi)衣、工裝褲上，回字紋以極簡(jiǎn)線(xiàn)條為核心，撞色拼接與刺繡點(diǎn)綴打破傳統(tǒng)莊重，滿(mǎn)溢年輕活力與潮流氣息。</p> <p class="ql-block">The classic patterns of blue-printed cloth have made their debut in the fashion industry in a brand-new form, seamlessly blending the elegance of Eastern aesthetics with the avant-garde feel of modern design. On high-end custom gowns, the intertwined lotus patterns have been deconstructed and reconfigured, with the blue-green background enhanced by three-dimensional cutting techniques. These classical patterns exhibit a dynamic rhythm under the interplay of light and shadow, embodying a blend of vintage elegance and high-end sophistication. On street-style clothing such as hoodies and work-style pants, the "hui" pattern, with its minimalist lines at its core, is combined with contrasting colors and embroidery, breaking away from traditional solemnity to exude youthful vitality and contemporary flair.</p> <p class="ql-block">云紋的靈動(dòng)飄逸，成為配飾設(shè)計(jì)的靈感源泉。設(shè)計(jì)師將其轉(zhuǎn)化為金屬飾品的輪廓，或印于絲巾、手包表面，青藍(lán)漸變的紋樣與皮革、金屬材質(zhì)碰撞，兼具東方意境的柔美含蓄與現(xiàn)代配飾的精致利落。藍(lán)白格子紋這一基礎(chǔ)紋樣，經(jīng)時(shí)尚改造后，亮相休閑西裝、連衣裙，寬松版型搭配不規(guī)則剪裁，讓傳統(tǒng)草木染的質(zhì)樸與都市時(shí)尚的隨性相得益彰，演繹出傳統(tǒng)與現(xiàn)代碰撞的精彩火花。</p> <p class="ql-block">The dynamic and flowing nature of cloud patterns has become a source of inspiration for accessory design. Designers have translated these patterns into the contours of metal accessories or have printed them on the surfaces of scarves and handbags. The gradual blue-to-green pattern, when combined with leather and metal materials, embodies a blend of the delicate and restrained elegance of Eastern aesthetics and the refined and streamlined quality of modern accessories. The basic pattern of blue and white checkerboard designs, after undergoing a fashion transformation, appears in casual suits and dresses. The relaxed fit paired with irregular cuts creates a harmonious blend of the rustic simplicity of traditional plant-dyed fabrics and the casual urban style, resulting in a captivating interplay between tradition and modernity.</p> <p class="ql-block">總以為時(shí)光是握不住的沙，攥得越緊，流失得越快。抬眼望那懸掛在竹木架上的藍(lán)印花布，經(jīng)風(fēng)沐日，褪去初染的青澀，沉淀出溫潤(rùn)光澤，愈發(fā)沉穩(wěn)雅致。人亦該這般與時(shí)光相融，不必為眼角的細(xì)紋嘆息，那是閱盡日出日落的溫柔印記。原來(lái)似水年華，是一場(chǎng)沒(méi)有終點(diǎn)的時(shí)光旅程，將我們的經(jīng)歷、熱愛(ài)與傳承，合成另一種鮮活姿態(tài)，鐫刻在年輪里，縈繞在古鎮(zhèn)中，流淌在血脈間。</p> <p class="ql-block">It is always believed that time is like sand that cannot be grasped; the tighter one tries to hold it, the faster it slips away. Looking up at the blue-printed cloth hanging on the bamboo and wooden frame, it has weathered the elements, losing its initial freshness and developing a warm, radiant glow, becoming even more composed and elegant. Similarly, one should integrate with time, without lamenting the fine lines on the eyes—these are gentle marks of having witnessed countless sunrises and sunsets. The years, like flowing water, represent an endless journey through time. It brings together our experiences, passions, and legacies, creating a new, vibrant form that is etched into the annals of time, lingering within the ancient town, and flowing through the veins of the descendants.</p> <p class="ql-block">似水年華的真諦，在于傳承而非流逝。烏鎮(zhèn)與烏江寨的藍(lán)印花布，正是這一理念的生動(dòng)詮釋。它們沒(méi)有在歲月中黯然失色，反倒將商旅的馬蹄輕踏、孩童的嬉笑飛揚(yáng)、染娘的足音輕響，都細(xì)細(xì)織入紋路深處。這“時(shí)光的雙生花”——珍藏著舊日情愫的“江南文化活化石”和綻放著明日光彩的“山地文明新載體”，共同訴說(shuō)著：古村活化從不是復(fù)現(xiàn)過(guò)往，而是讓文化在當(dāng)下綿延出既雋永又鮮活的詩(shī)意。</p> <p class="ql-block">The essence of a life as fluid as water lies in its ability to be passed down rather than simply passing away. The blue-printed fabrics from Wuzhen and Wujiang Zha are a vivid embodiment of this concept. These fabrics have not faded with the passage of time; instead, they have intricately woven into their patterns the gentle tread of travelers, the joyous laughter of children, and the soft footfalls of the dyers. These "twins of time"—the "living fossils of Jiangnan culture" that preserve the sentiments of the past and the "new carriers of mountain civilization" that embody the promise of the future—together convey a message: the revitalization of ancient villages is not about recreating the past but about allowing culture to continue in a manner that is both enduring and vividly poetic in the present.</p> <p class="ql-block">編輯：倪捷兒 文字：倪捷兒 出鏡人：倪捷兒 晨雪 視頻制作：倪捷兒 攝影：千喜 化妝：晨雪 審讀：鄢祖鋒 參考文獻(xiàn)：《烏鎮(zhèn)志》等 服裝：修奇品牌 拍攝時(shí)間地點(diǎn)：2020年秋桐鄉(xiāng)烏鎮(zhèn)東柵西柵，2025年秋遵義烏江寨</p> <p class="ql-block">Editor: Ni Jie’er. Text: Ni Jie’er. Presenters: Ni Jie’er, Chen Xue. Video Production: Ni Jie’er. Photography: Qianxi. Makeup: Chen Xue. Review: Yan Zu-feng. References: “Wuzhen Chronicles” et al. Clothing: Xiuqi brand. Filming Time and Location: Dongzha and Xizha areas of Wuzhen, Tongxiang County, in autumn 2020 and autumn 2025 in Yujiang Village, Yiwu.</p>