作者：心尘

短发银白，中式短衫，70岁的赵亦军精神矍铄，讲起话来慢条斯理，一副手艺人的沉静气质扑面而来。说起他自己，他有点儿自嘲，因为男人刺绣，很少； 但是他又很骄傲，曾经杭州宫廷绣，传男不传女。

Short silver hair with Chinese short gown, the 70-year-old Zhao Yijun looks as fit as a fiddle, speaking unhurriedly, where there comes the calm and quiet temperament of the craftsmen. When talking about his experience, he was self-mocking because few men works on embroidery; he was also proud of himself because the feudal palace embroidery in Hangzhou only passed to male at that time.

杭秀起源于吴越，极盛于南宋。那时有三股势力，一是“宫廷绣”，以男工绣为主，主要是用金银线盘出图案，也有以盘带绣，亦称之为“金银绣”、“盘金绣”。为帝王官宦、达贵显族们的袍服、细软用品上绣制装饰图案；二是“民间秀”，作品以花鸟鱼虫为主，民间女子的闲情爱好；三为“闺阁秀”，一些待嫁姑娘的闺中消遣品。最鼎盛时期，掌握“宫廷绣”这门技艺的人数不过三百人，到如今会这门技艺的就只剩下赵亦军一人了。

Hangzhou embroidery started from Wuyue and prevailed in the Southern Song Dynasty. The first one is the “palace embroidery” which mainly relies on the male craftsmen to sew the images with golden and silver threads, and there are also images filled with threads, which are called “ golden and silver embroidery” or “Panjin embroidery”. The second one is “folk embroidery” whose image mainly about fish-bird-flower things for women’s leisure and carefree. The third one is “boudoir embroidery” which are things about girls’ dowries. At the most prevailing time there were less than 300 people who could master this craft, and now only Zhao Yijun can make it.

杭秀是彩线绣和盘金绣的结合，讲究金碧辉煌，雍容大气，用色相对鲜艳，但艳而不俗。而男工的绣品柔中带刚，刚柔并济，形成了杭州独有的艺术气息。

Hangzhou embroidery is the combination of “Caixian embroidery” and “Panjin embroidery”, which is perfectly splendid with glorious design in rich colors, rich but not vulgar. While the male embroidery has temper force with grace embodied that forms the particular artistic feature of Hangzhou.

杭秀工艺极为繁琐，一幅作品要经过画稿、配线、描稿、盘金、盘银等数道工序。在刺绣过程中，几乎是没有稿子的，虽然有一个白描稿，但是色彩、针法，完全是靠个人技艺发挥绣上去的。古稀之年的赵亦军坐在绣桌前，绣针飞舞，那姿态不像是刺绣，更像是一场表演。

The process of the Hangzhou embroidery is complex. There are processes like drawing the draft, sewing, painting the lines, weaving the gold, weaving the silver and so on. In the embroidery, there’s no reference that people have to do the sewing, coloring, weaving by their own skills and spirits. Xhao Yijun has arrived at the stage of 70 years old, sitting in front of the table, needles flying, which is more like a performance than embroidering only.

《观经图》高1.84米，宽1.67米，正面有532尊佛教人物，背面是《佛说观无量寿佛经》全文，总共7221个字，这部作品耗尽赵亦军十几年心血，他却谦虚的说，这是他有生之年做的比较认真的一部作品。

Guan Jing Tu is one of his most serious works which spent years of his effort. It is 1.84 meters’ high, 1.67 meters’ width, in front are 532 images of Buddha, the back is the text of AmitayurdhyanaSutraof 7221 words in total.

目前，赵亦军被列入非物质文化遗产传承人，但是他的这门手艺，却一直没人来继承。找到一个合适的传承人，是他目前最迫切的事情。想要学杭秀，必须要有耐心，而且还要有绘画、色彩、造型等方面的基础，最重要的，是要有一颗坚持的心。他说：“杭秀，是一个非常细致的活，即使很小的一幅作品，也需要花上两三年的时间，我每天都要绣上八个小时，现在的年轻人根本坐不住。”

At present, Zhao Yijun is one of the national tangible cultural heritage bearers, but this craft hasn’t been inherited by a proper one, and to find the inheritors is his first priority. Learning embroidery needs patience, and the ability of drawing, painting, designing are all necessary. However, the spirit of perseverance is the most importance. He said: “Hangzhou embroidery is delicate work, even a tiny work needs two or three years’ effort, and I do it at lest 8 hours a day, which is really hard for the modern young people.”

我们经常在网上看到一些关于匠心的文章，像日本的”寿司之神“，小野二郎用四十年时间做出最美味的饭团的煮饭仙人，这篇文章曾刷遍我们的朋友圈。但是，我们中国几千年的传统文化积淀，历来都不缺少这样的匠心，像赵亦军这样的手工艺人对文化传承所付出的心血，更值得我们去铭记，去推广。

We usually read passages on the internet about workmanship like Jiro Dreams of Sushiwhich tells the story that Jiro spent 40 years in making the best sushi. However, thousands of years’ traditional Chinese culture never lacks of this craftsmanship. People like Zhao Yijun who devote themselves to inheriting the cultural treasures deserve our admiration.