似水年华·青蓝篇《一抹青蓝染时光》

母女情深

原创：倪捷儿 摄影：千喜

Original content: Ni Jie'er, Photography: Qianxi

说起江南水乡，眼前总浮现这般清润图景：秋阳斜斜铺展在青石板路上，带着水汽的暖意，漫过苔痕。身着蓝印花布斜襟袄的小女子，踩着斑驳光影，沿河埠头缓步走来，袄上“缠枝莲”纹样随步履轻晃，宛若刚从靛蓝染缸捞出的鲜活。她俯身舀水，指尖轻点河面，斜襟袄的青蓝与水面倒影交融，那抹纯粹靛蓝在澄澈水波中愈发清亮，竟分不清是布染了水，还是水浸了布。

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.

儿时记忆里，妈妈的四季，被一抹清雅的青蓝萦绕——那件蓝底白碎花的对门襟衣裳，被她穿得妥帖又温婉。每当夜色漫进窗棂，她总会坐在煤油灯旁穿针引线，细细缝补我们磨破的衣裤，指尖翻飞间，连时光都变得悠长舒缓。有时，她还会将裁剪剩下的蓝印花布边角料，巧思拼成小兔子、小蝴蝶的模样，那些带着草木染清香的小玩意儿，便是我们童年最珍贵的藏家宝。

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.

外婆的身影，早已与那方蓝印花布围裙定格在一起。每次回乡，远远望见巷口那抹熟悉的青蓝，便知是外婆在翘首盼我们归来。她总系着缀满素白花纹的蓝印花布围裙，见了我们，眼角的皱纹都笑成了形如褶皱的花，转身就往围裙兜里掏——几颗裹着糖霜的花生、一把酸甜的野果，或是刚蒸好的软糯糯米糕。那方蓝印花布围裙，恰似魔法口袋，藏着我的期待和惊喜，盛满了外婆最朴素绵长的疼爱。

The silhouette of Grandma has long been intertwined with the image of the blue-printed cloth apron. Every time we return home, as soon as we see that familiar shade of blue at the entrance of the alley, we know that Grandma is eagerly waiting for our arrival. She always wears a blue-printed cloth apron adorned with simple white patterns. When she sees us, the lines on her face turn into wrinkles that resemble petals, and she immediately reaches into the apron's pocket—picking out some peanuts wrapped in sugar glaze, a handful of tangy wild fruits, or freshly steamed soft and sticky glutinous rice cakes. That blue-printed cloth apron is like a magical pocket, containing my anticipation and surprises, overflowing with Grandma's most simple yet profound expressions of affection.

在儿时的眼里，穿蓝印花布的妈妈是最美的模样，能干又温婉，针针线线都织就着细腻温柔；系蓝印花布围裙的外婆满是慈祥可亲，兜兜转转间，都盛满了无尽牵挂。那抹清润的青蓝，早已不是寻常布料，而是亲情最温暖的底色，是岁月里最珍贵的印记，任凭时光流转，始终在记忆里鲜亮如初。原来，对蓝印花布的深爱与念念不忘，是藏在岁月深处的亲情密码，解读着外婆与妈妈沉甸甸的爱。

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.

蓝印花布历史悠久，距今已有一千三百年，宋代名为“药斑布”，明代改称“浇花布”。其工艺涵盖印染、扎染、蜡染三类，核心原理均为通过遮挡布料局部塑造花纹，需完成染色、固色等工序。印染采用模具或画笔直接施色，花纹规整统一；扎染通过绳线捆扎、折叠等物理防染方式，花纹自然晕染，肌理随性；蜡染以石（蜂）蜡绘制遮挡，蜡层开裂形成独特“冰裂纹”，花纹线条清晰，质感突出。

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.

蓝印花布始终以蓝白二色为核心主调，尽显清新质朴的韵味，氤氲着浓郁的江南水乡风情。其中，镂空版印刷而成的蓝印花布，无论是几何纹样还是花卉图案，都兼具鲜明的规整感与对称性；而扎染工艺制作的蓝印花布，则尽显灵动变幻之美——扎结的力度与方式各异，造就了独一无二的晕染效果，带着天然的随机性与自然意趣，常呈现出不规则的纹理与色块，每一件都是不可复制的匠心之作。

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.

乌镇扎染是流淌千年的中国传统非遗技艺。首先是选布，匠人只取棉麻材质，它们恰似江南女子的品性，柔软中自有筋骨，能牢牢吸纳靛蓝的精髓，染后更带着天然的肌理褶皱。紧接着是扎结工序：匠人以棉线为笔、布料为纸，匠心勾勒纹样——欲成雪花纹，便将布角捏作小团紧紧缠绕；想现波纹，就把布料如折扇般叠起，再用棉线一道道勒紧；若要留一方留白，甚至会将小石子包入布中扎牢。

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.

下一步是染色：染缸内的靛蓝由板蓝根叶子发酵制成，布料浸入时呈浅黄色，取出后在风中晾晒，颜色会从浅绿逐渐转为浓蓝，空气中飘散着草木的清苦味道。要得到更深的蓝色，必须反复浸染、晾晒，如同熬制江南浓汤，急不得半分。最后拆线时，轻轻抽出线头，展开布料的瞬间，未染色的留白与靛蓝相互映衬——可能是意外形成的星空纹，也可能是规整的菱形格，这便是扎染的独特惊喜。

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.

乌镇蓝印花布的纹样，是布里藏着的江南韵味。冰裂纹错落有致，宛如冬雪覆于乌篷船顶；水波纹鲜活灵动，恰似西市河涟漪在布上荡漾；田字格方正规整，酷似乌镇棋盘式的街巷；斜纹格简约舒展，仿若青石板路不断延伸，越品越有深意；云纹柔婉飘逸，如同清晨薄雾萦绕布面；牡丹纹花瓣边缘晕染渐变蓝，兼具富贵之气与水乡清雅。

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.

日头斜倚桑梢，秋光将乌镇晒场染得暖意融融。成排竹竿扎根松软泥地，刚褪浆的蓝印花布被绷得平展，如靛蓝旗帜，在微凉秋风中簌簌作响。抖落的水珠砸向地面，晕开细碎的湿痕，转瞬便被秋阳吸干。布面上的纹样，在澄澈秋光里愈发鲜明，湿布的靛蓝携着蓝靛草木的清润，混着秋日稻香与桂香，在空气中缓缓蒸腾，干爽清冽。

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.

晒场边，染坊师傅弯腰查验布的干湿，蓝布褂衣角沾着白浆，与晾晒的花布相映成趣。几只麻雀落在竹竿下，偶被布角晃动的影子惊起，扑棱棱掠过布面。远处河湾，乌篷船载着新收稻谷缓缓驶过，船桨搅碎的秋光，与晒场流动的蓝白光影交织。风卷布角轻扬，吉祥纹样的影子投在枯叶满地的地面，随秋风轻晃，构成江南秋日里最温润的非遗图景。

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.

《道德经》中的“物尽其用”，此非浮于纸面的哲理，而是浸润在烟火人间的修行真谛。将“废弃”缝作“新生”，把“将就”过成“讲究”——这布帘岂止是块料子？是把寻常岁月的细碎温柔，织进一寸寸蓝白之间，让每个推门人，都撞进一帘旧时光的暖意。旧时岁月大抵如此：一件物什从非一次性，新布裁衣，旧了打补丁，破得不能穿了，便拼作门帘——无关苛省，而是把“物”视作日子的伙伴。

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.

乌篷船穿镇而过，竹竿上的蓝印花布随风轻漾，一排排流动的青蓝倒映在水面，与白墙黛瓦、石桥古巷相映成趣。它藏于寻常烟火中：姑娘的衣袄和头巾、小儿的披风和肚兜、茶馆的桌布、店铺的幌子，每一寸布料都裹挟着手工的温度。风过染坊，草木清香与摇橹声缠绵交织，非遗传承人的双手被染料浸得发蓝，却将江南的素雅、怀旧与烟火气，尽数染化于千年时光的褶皱里。

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.

乌镇的秋黄昏，是被余晖浸软的诗。窄巷旁的河水漾着清冽凉意，船橹轻摇，漫开一河碎金；岸边林木尽被夕阳染透，叶尖坠着暖橘流光，风裹桂香漫来，连斑驳墙垣都浸得柔润。2020年的秋，我初踏乌镇，心底却莫名漫起似曾相识的温软——仿佛曾走过晨雾萦绕的巷弄，也曾倚过这河沿的石栏。快门定格下此刻，文字顺着暮色漫出，似水年华系列美篇的构思也悄然萌生。

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."

五载之约，千里奔赴。2025年的秋，终赴与乌镇“姐妹花”乌江寨的邀约。踏足此间方懂，何为“一眼即心安”——乌镇浸着江南烟雨的柔，乌江寨藏着黔地山水的灵，恰似久别重逢的姐妹。桥影摇波、灯笼映巷，每一处都熨帖着心底的执念。那些跨越时空距离的惦念，那些辗转反侧的期待，皆在眼前烟火与诗意中圆满，也促成了似水年华系列美篇《青蓝篇：一抹青蓝染时光》的诞生。

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."

乌江寨蜡染是苗族传统印染工艺，工艺独特、纹样丰富，尽显浓郁民族特色。先将白布平铺，蜂蜡熔至适宜温度，蜡刀蘸蜡在布上绘纹；再将蜡绘布料放入染缸，以蓝靛浸染，色匀后取出清洗；最后将染好的布放入热水煮沸，蜡融脱落，便呈现蓝底白花或白底蓝花的图案。浸染时，蜡层自然龟裂，染液顺势渗入，勾勒出独一无二的“冰纹”，纹路错落有致，成为蜡染最具辨识度的艺术印记。

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.

乌江寨蜡染纹样，表达了苗族先民对自然的敬畏与对生命的赞颂。动物纹样中，蝴蝶纹源自“蝴蝶妈妈”古老传说，或振翅欲飞，翅尖缀满细密花纹；或蜷曲相拥，姿态温婉灵动，寄托着对生命起源的崇拜。植物纹样里，荞花纹与蕨花纹质朴清新却饱含张力，恰似将山间清风、田埂绿意定格布上，藏着先民对土地的深情。几何纹样中的螺旋纹，双线缠绕盘旋，暗含生生不息、循环无限的哲理。

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.

风裹着草木的潮气漫进院子时，穿靛蓝旗袍的小女子，指尖正勾住那方三角纹染布，指腹顺着白纹棱边划过去——布料带着刚晾干的微潮，轻轻晃了晃，蹭得旁边淡紫格料子发出细碎的窸窣。“你这花纹最倔，”她对着三角纹布笑，“扎线时得紧三分，染出来才够利落。”又拍了拍淡紫格的软料子：“你就不一样啦，软性子，染缸里多浸半刻都要泛粉。”布幔晃得更欢，像应和似的卷住她的话音。

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.

日头向院角偏了偏，碎光漏过布幔的缝隙：左边那幅浓靛蓝上，白纹被晒得发亮，宛若撒了把细银；淡紫格料子沾了柔光，浅蓝里浸着粉调，恰似笼了层桃色的薄雾；三角纹布的棱边裹着光影，白纹的锐角处亮得清透，底色的蓝却沉在阴影里，凝作更浓的墨色；最右青白格被光一照，细格纹漾开朦胧光晕，触之仿佛沾了暖烘烘的日气。旗袍上的绣蝶，也随布幔晃动摇成细碎流光。

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.

秋暮将染坊晒场浸成暖橘色，风裹着蓝靛的淡香掠过晒布架。墙角的草丛被夕光筛成了金绒，穿靛蓝旗袍的小女子，膝头沾着星点苍耳。团扇半掩朱唇，扇面银绣蝴蝶微微颤动，恰与草间振翅的金蝶撞个正着——那蝶儿惊得一旋，带起半丛碎光，落进她鬓边碎发里。她指尖粉绒花轻颤，团扇缓缓放缓。其实不必赶工收布，染坊师父总说她性子慢，可这般柔暖的秋黄昏，哪舍得加快呢？

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?

蓝印花布经典纹样以全新姿态亮相时尚领域，东方美学的雅致与现代设计的先锋感在此完美交融。高定礼服裙摆上，缠枝莲纹经解构重组，青蓝底色衬以立体剪裁，古典纹样在光影下流转韵律，尽显复古雅致与高级质感；街头潮牌的卫衣、工装裤上，回字纹以极简线条为核心，撞色拼接与刺绣点缀打破传统庄重，满溢年轻活力与潮流气息。

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.

云纹的灵动飘逸，成为配饰设计的灵感源泉。设计师将其转化为金属饰品的轮廓，或印于丝巾、手包表面，青蓝渐变的纹样与皮革、金属材质碰撞，兼具东方意境的柔美含蓄与现代配饰的精致利落。蓝白格子纹这一基础纹样，经时尚改造后，亮相休闲西装、连衣裙，宽松版型搭配不规则剪裁，让传统草木染的质朴与都市时尚的随性相得益彰，演绎出传统与现代碰撞的精彩火花。

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.

总以为时光是握不住的沙，攥得越紧，流失得越快。抬眼望那悬挂在竹木架上的蓝印花布，经风沐日，褪去初染的青涩，沉淀出温润光泽，愈发沉稳雅致。人亦该这般与时光相融，不必为眼角的细纹叹息，那是阅尽日出日落的温柔印记。原来似水年华，是一场没有终点的时光旅程，将我们的经历、热爱与传承，合成另一种鲜活姿态，镌刻在年轮里，萦绕在古镇中，流淌在血脉间。

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.

似水年华的真谛，在于传承而非流逝。乌镇与乌江寨的蓝印花布，正是这一理念的生动诠释。它们没有在岁月中黯然失色，反倒将商旅的马蹄轻踏、孩童的嬉笑飞扬、染娘的足音轻响，都细细织入纹路深处。这“时光的双生花”——珍藏着旧日情愫的“江南文化活化石”和绽放着明日光彩的“山地文明新载体”，共同诉说着：古村活化从不是复现过往，而是让文化在当下绵延出既隽永又鲜活的诗意。

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.

编辑：倪捷儿 文字：倪捷儿 出镜人：倪捷儿 视频制作：倪捷儿 摄影：千喜 化妆：晨雪 审读：鄢祖锋 资料查阅：豆包 图书馆 服装：修奇品牌 拍摄时间地点：2020年秋桐乡乌镇东栅西栅，2025年秋遵义乌江寨

Editor: Ni Jie'er, Writer: Ni Jie'er, Presenter: Ni Jie'er, Video Production: Ni Jie'er, Photography: Qianxi, Makeup: Chenxue, Review: Yan Zuofeng, Research Assistance: Doubao, Library, Clothing: Xuchi Brand, Filming Time and Location: Dongzha and Xizha, Wuzhen Town, Qiantong County, in the autumn of 2020; and Qiuyi Jiangzhai, in the autumn of 2025.