2012年4月，從聯(lián)合國(guó)教科文組織總部傳來(lái)讓所有杭州手工藝人都大為振奮的好消息——杭州成為以“工藝與民間藝術(shù)之都”加入“全球創(chuàng)意城市網(wǎng)絡(luò)”的城市。這意味著，杭州傳統(tǒng)的手工藝和民間藝術(shù)有了新的發(fā)展空間。

兩個(gè)月以后的6月上旬，我們迎來(lái)了自2006年來(lái)，中國(guó)第七個(gè)“文化遺產(chǎn)日”?！笆止ぜ妓嚒弊匀怀闪私衲晡幕z產(chǎn)日系列活動(dòng)的關(guān)鍵詞之一。6月8日，在位于西湖文化廣場(chǎng)的浙江自然博物館里，我現(xiàn)場(chǎng)領(lǐng)略了專門為文化遺產(chǎn)日舉辦的“吳越天工”杭州都市經(jīng)濟(jì)圈民間手工技藝展盛況。

現(xiàn)場(chǎng)的火爆情景出人意料。主辦方在現(xiàn)場(chǎng)安排了十多個(gè)項(xiàng)目的藝術(shù)家或傳承人進(jìn)行技藝表演，每個(gè)表演點(diǎn)都被前來(lái)觀看的市民擠滿。

本土藝人：傳承地方特色

杭州本土藝人是此次大展挑起大梁的一支隊(duì)伍。被稱為“最后的男工繡”的杭繡藝人趙亦軍，是現(xiàn)場(chǎng)人氣最旺的大師?，F(xiàn)場(chǎng)展出趙亦軍的作品《觀經(jīng)圖》，高1.8米，寬1.6米，作品正面有532個(gè)人物，背面7721個(gè)字，充分展示南宋宮廷繡的風(fēng)采。

杭繡，起源于漢代，南宋時(shí)為鼎盛時(shí)期，清末民初杭州的后市街、天水橋、三元坊、弼教坊一帶有刺繡作坊近20處，刺繡藝人200余人，以男工為主，行業(yè)中有只收男工不收女、只傳媳婦不傳女兒的規(guī)矩，并一直沿傳到民國(guó)，成為杭繡的一大特色。

但如今，杭州從事男工繡的只剩下趙亦軍一人。

在攀談中，我得知，趙亦軍生于1946年，是土生土長(zhǎng)的杭州人。他的師傅叫張金法，是一個(gè)非常有名的杭繡老藝人，曾經(jīng)為京劇大師周信芳繡過(guò)戲服。趙亦軍從13歲開始學(xué)刺繡，一枚繡花針拿了整整半個(gè)世紀(jì)，從英俊少年到滿頭華發(fā)。

“1960年，我考入杭州首屆工藝美術(shù)學(xué)校刺繡班，當(dāng)時(shí)的30多位同學(xué)中有6位男生；1964年畢業(yè)分配到杭州市工藝美術(shù)研究所從事刺繡工作；1999年因病提前退休，一直在家搞創(chuàng)作?！壁w亦軍話不多，簡(jiǎn)簡(jiǎn)單單幾句，就總結(jié)了整個(gè)藝術(shù)人生。旁人告訴我，這些年，他每天除了吃飯、睡覺外，幾乎都在忙著刺繡，每天都要坐在繡架前十來(lái)個(gè)小時(shí)。

不過(guò)，即使?fàn)幏謯Z秒地做，趙亦軍積累的作品也不太多。他說(shuō)，從1999年到現(xiàn)在只做了3件作品，一幅《大日如來(lái)》他繡了整整3年。這次現(xiàn)場(chǎng)展出的《觀經(jīng)圖》用了8年，是他最新完成的，也是最得意的作品之一。

在一本畫冊(cè)里，我看到了很多趙亦軍之前的作品。內(nèi)容大多是佛教題材。他說(shuō)：“我對(duì)杭繡有感情，總想把杭繡最有特色的一面推廣出去。杭州男工繡最典型的就是彩線繡和盤金繡相結(jié)合的一種針法，就像工筆畫，一橫一劃都交代得很清楚，就是柔中有剛，結(jié)構(gòu)非常嚴(yán)謹(jǐn)。內(nèi)容方面，過(guò)去在龍袍上繡，光彩奪目，現(xiàn)在不繡龍袍了，用什么載體才能把這一特色充分表現(xiàn)出來(lái)呢？想來(lái)想去想到了繡佛像，我覺得杭繡與佛教題材有天然的共通之處，用歷史悠久的杭繡來(lái)創(chuàng)作金碧輝煌的佛像，這種表現(xiàn)形式是最適合不過(guò)了，所以就創(chuàng)作了一系列佛教題材的作品，推出后反響果然不錯(cuò)?！?/p>

現(xiàn)在，趙亦軍是浙江省非物質(zhì)文化遺產(chǎn)項(xiàng)目代表性傳承人。他告訴我，學(xué)杭繡是件苦差事，對(duì)學(xué)生的要求又高，又沒有什么經(jīng)濟(jì)效益。創(chuàng)作一幅杭繡作品，成本高，成效慢，一件東西要做好幾年，像他做一輩子都可能辦不了一個(gè)展覽，更談不上發(fā)財(cái)，所以當(dāng)年一起在杭州工藝美校學(xué)杭繡的5個(gè)男同學(xué)都陸續(xù)改行了，只剩他一個(gè)人堅(jiān)持了下來(lái)。所以，他現(xiàn)在最想要做的事，就是把杭繡的技藝傳下去，“如果有人真心愿意學(xué)，我非常愿意教?！?/p>

周邊藝人：融入大杭州藝術(shù)

如果說(shuō)趙亦軍和他的杭繡，讓杭州人對(duì)本土工藝分外自豪的話，那么姚秀林手底的蘇繡，則讓觀眾大開眼界，了解了周邊藝人的高超水平。

今年46歲的姚秀林是江蘇吳縣人。她的家鄉(xiāng)是蘇繡之鄉(xiāng)，母親、奶奶、外婆都是繡花女?！半m然出身于蘇繡之家，但是我想學(xué)藝時(shí)正趕上‘文化大革命’，那時(shí)候誰(shuí)也不敢繡牡丹、龍鳳、波斯貓之類的東西，因?yàn)檫@些都是‘資產(chǎn)階級(jí)情調(diào)’?！币π懔只貞?。

“文革”結(jié)束后，姚秀林才開始拜師學(xué)藝。有母親、外婆的指點(diǎn)，加上自己努力，幾年功夫她就練就了手藝。1987年余杭黃湖鎮(zhèn)辦起了工藝雕刻廠，雕刻廠到吳江招聘師傅，姚秀林就應(yīng)聘來(lái)到黃湖，之后正式落戶余杭。

姚秀林說(shuō)，她的作品被人接受，也是融入大杭州的藝術(shù)圈帶來(lái)的好處。就在幾年前，著名服裝企業(yè)“斯凱菲爾”的芬蘭籍總經(jīng)理JoukoVesalaineu先生來(lái)杭州考察時(shí)，偶然看到了姚秀林的作品，大加褒揚(yáng)之后，才被更多的人知曉。杭州市工藝研究所所長(zhǎng)陳水琴最為推崇姚秀林繡的牡丹花，她說(shuō)姚秀林一枚針、一縷線，竟能繡出508種不同姿態(tài)、栩栩如生的牡丹，堪稱“蘇繡第一枝”。

這幾年，姚秀林繡的牡丹花遠(yuǎn)銷澳大利亞、韓國(guó)、日本等國(guó)家，近銷全國(guó)各地，被北京、上海、天津等許多大都市的星級(jí)賓館購(gòu)買。目前，有幾名年輕的農(nóng)家女拜姚秀林為師，潛心學(xué)習(xí)蘇繡技術(shù)，繡花產(chǎn)業(yè)在黃湖漸成氣候。

看姚秀林繡花，是一種樂趣。工作臺(tái)蠻簡(jiǎn)陋，是用幾條木棍做的，中間緊繃著一塊綢緞，綢緞上已經(jīng)畫上了牡丹花的底紋。姚秀林身邊擺著一縷縷絲線，五顏六色的，僅紅色絲線就有30多種。姚秀林穿針走線極快，但不一會(huì)就要換絲線，換絲線的時(shí)間要多于走線時(shí)間，就在十分的耐心中，她繡出了天姿國(guó)色。

集體創(chuàng)作：讓藝術(shù)走出去

在現(xiàn)場(chǎng)，68歲的房金泉制作油紙傘，引來(lái)了許多市民的圍觀。

有人告訴我，正是這位老藝人制作的余杭紙傘，去年夏天在米蘭工藝展上大放異彩，成為第一批成功“走出去”的杭州本土藝術(shù)品之一，也讓一直在尋求傳統(tǒng)保護(hù)和延續(xù)油紙傘生命的幾個(gè)余杭老藝人破繭成蝶。

很多人都覺得，似乎所有與油紙傘相關(guān)的影像，比如煙柳畫橋、斷橋相會(huì)、長(zhǎng)亭相送……都與那讓人難以忘懷的情感有關(guān)。隨著歷史的發(fā)展，油紙傘不可避免地成為一種記憶。

可是，正是老藝人房金泉的雙手，把記憶變成了貨真價(jià)實(shí)的真金白銀。

房大師很謙虛，他說(shuō)，紙傘的手藝，是集體智慧的結(jié)晶。上世紀(jì)50年代后期，隨著市場(chǎng)上鋼制骨架的晴雨兩用傘的出現(xiàn)，代表著傳統(tǒng)制傘工藝的“余杭紙傘”慢慢退出了歷史舞臺(tái)，手工制傘師傅們也紛紛改行換業(yè)。

家住瓶窯鎮(zhèn)塘埠村的制傘師傅劉有泉、房金泉他們，在當(dāng)時(shí)就萌生了把這種傳統(tǒng)手藝留下來(lái)的念頭，這幾位手藝人不聲不響地買回了100把竹傘骨架，藏在家里。因?yàn)橹谱饕话褌鹘y(tǒng)的油紙傘，需要好幾個(gè)工種幾十道工序，另外也迫于生計(jì)，這100把傘骨架在幾位老藝人的家里，一放就是30多年。

直到2007年，已近退休之年的劉有泉找到了幾位志同道合的老朋友—當(dāng)時(shí)63歲的房金泉和62歲的陳月祥老師傅，準(zhǔn)備“重操舊業(yè)”；他們各自分工負(fù)責(zé)鋸竹、刮青、平頭、劈骨、鋸槽、削骨……60歲的沈麗華負(fù)責(zé)排傘骨、穿傘……73歲的孫水根則負(fù)責(zé)糊傘、裝柄……衣食無(wú)憂的幾位老人家，這一次是真想把這傳統(tǒng)的油紙傘制作工藝復(fù)活，并傳承下去。

一把“余杭紙傘”要?dú)v經(jīng)70多道工藝，而且每一道都是手工，尤其是精密度極高。

四位老師傅都是10歲出頭便開始學(xué)藝，70多道工藝各有所精，幾經(jīng)揣摩、改良、完善，終于，一把鋪滿歷史韻味的油紙傘呈現(xiàn)在大家面前。

盡管每把傘都嚴(yán)格按照傳統(tǒng)工序制作，價(jià)格也只能賣到一兩百元，完全不夠人工成本。可即便如此，一年也只賣了20把，還是上海世博會(huì)上來(lái)的訂單，大家忙了一個(gè)月，最后發(fā)現(xiàn)虧本。房金泉說(shuō)，虧賺他倒是不太在乎，只要“余杭紙傘”能打響名堂，他也愿意?？墒?，一年才賣出去20把，這個(gè)打擊夠大，幾位老師傅都悶悶不樂，“這手藝，恐怕遲早要丟掉了”。

走出去，成了幾位老師傅共同的目標(biāo)，就在去年夏天米蘭展示時(shí)，他們終于找到了機(jī)會(huì)。有不少歐洲人對(duì)中國(guó)傳統(tǒng)的手工紙傘愛不釋手。房金泉說(shuō)，余杭紙傘當(dāng)時(shí)就出口到歐洲，一把傘能賣100歐元，比在國(guó)內(nèi)高了四五倍，之前遇到的很多問題都能解決，而且也能吸引更多人來(lái)學(xué)制紙傘，對(duì)于“余杭紙傘”未來(lái)傳承非常有幫助。

其實(shí)，除了刺繡、紙傘之外，這次從6月8日到6月10日的展會(huì)，還展出了杭州都市經(jīng)濟(jì)圈內(nèi)的多項(xiàng)傳統(tǒng)手工技藝的精品佳作，其中既有杭州本地的西泠印社金石篆刻、杭羅、杭繡、杭州銅雕、西湖綢傘、蕭山花邊、南宋官窯瓷、桐廬剪紙、臨安農(nóng)民畫等充滿杭州歷史風(fēng)情的傳統(tǒng)手工藝術(shù)品，也展示了杭州都市經(jīng)濟(jì)圈內(nèi)嘉興、湖州、紹興三城市具有當(dāng)?shù)靥厣膫鹘y(tǒng)手工技藝項(xiàng)目，如嘉興灶畫、硤石燈彩、平湖西瓜燈；湖州風(fēng)箏、制筆、紫砂工藝；紹興的花雕、嵊州竹編、根雕等作品，加強(qiáng)了杭州都市經(jīng)濟(jì)圈非遺保護(hù)工作的交流，實(shí)現(xiàn)了都市經(jīng)濟(jì)圈的非遺資源共享。

Crafts and Folk Art Show on Cultural Heritage Day in Hangzhou

By Xiao Jie

On April 2012， Hangzhou was named UNESCO City of Crafts and Folk Art. The inscription means that Hangzhou is now a member of the Creative Cities Network， which connects cities who want to share experiences， ideas and best practices for cultural， social and economic growth. For artisans and folk artists in Hangzhou， the membership opens a door for new development and opportunities.

June 8 through 10， 2012 saw the city hold celebrations on China’s seventh Cultural Heritage Day since 2006. It was only natural that the city’s artisans and folk artists celebrated the day by showing off their best. The gala took place at Zhejiang Natural Museum at West Lake Cultural Square near Beijing-Hangzhou Grand Canal.

The organizers had arranged for more than ten masters or their disciples to demonstrate the beauty of the city’s best-known and most valuable crafts and arts. Every demonstration spot was surrounded by crowds of adults and children.

Hangzhou embroidery， a local art that is on the verge of extinction， was the major attraction at the celebration. Zhao Yijun is the city’s last master of the art. On display on the spot was a masterpiece he embroidered. The 1.8-meter-tall and 1.6-meter-wide double-sided embroidery shows 532 figures on the front side and 7，721 characters of a Buddhist scripture on the reverse side. The Hangzhou-styled art started about 2，000 years ago and climaxed in the Southern Song Dynasty (1127-1279) when the city was home to the royal house. In the last years of the Qing Dynasty (1644-1911) and the early years of the Republic of China (1911-1949)， Hangzhou had about 20 embroidery workshops with 200 embroidery artists in total. Most of these embroidery artists were men， as the industry followed the rule strictly: only males and daughter-in-laws were supposed to learn from masters. This was one of the distinctive characteristics of the embroidery art.

Zhao Yijun， born in 1946， started learning embroidery at the age of 13. In 1960， he was enrolled into the first embroidery course at a craft and art school in Hangzhou. Of the 30 some classmates， 6 were male. Upon graduation， he entered Hangzhou Institute for Crafts and Arts as a specialist of embroidery. He retired in 1999. He has never stopped making embroidery. Nowadays， he spends more than 10 hours per day doing the embroidery. Embroidering is a painfully slow process. Since 1999， he has completed only three pieces and they are all about Buddhism. Zhao explains that the techniques and colored silk threads used in the embroidery are best for making dragon robes for emperors and Peking Opera costumes and that Buddhism-related subjects are therefore next best for the art.

Of the six male students at the city’s first public embroidery education course， he is the only one that has taken the embroidery as his lifetime career. The rest have defected from embroidery to other jobs over years. Zhao thinks it is understandable. It is extremely difficult to master the art and carry it on as a career， largely because it requires talent， total dedication， input of time and resources， but it produces little economic return. It usually takes years to create a piece. He has been expecting someone young and willing to learn the art. He does not care if a future disciple would have to be a male.

The 68-year-old Fang Jinquan was another eye-catching master at the demonstration fair. Fang is a master of oiled paper umbrella， which used to be a household piece in the past. He is a resident of Yuhang， now a district of growing city of Hangzhou. For years， Fang made oiled paper umbrellas for a living. In the late 1950s， the oiled-paper bamboo-rib umbrella was gradually replaced by the umbrella that used steel ribs. Fang Jinquan and his colleague Liu Youquan thought it worthwhile to retain the craft. They bought 30 bamboo skeletons for oiled paper umbrellas and stored them at home. In 2007， Liu Youquan was about to retire. Liu Youquan and his four former colleagues decided to make the traditional umbrella again. The umbrella takes more than 70 steps to make. One umbrella can sell no more than 200 yuan on the domestic market. The comeback proved to be difficult.

In 2010， they sold only 20 to an order for 2010 Shanghai Expo. They worked for a month to produce all the 20. At the end of the month， they calculated costs and there was a loss. They were unhappy about the numbers， but they decided to carry on.

In 2011， the umbrella attracted attention at Design Week in Milan， Italy. One umbrella sells for 100 Euro. Orders come their way. The masters believe the future export prospect might attract some young people to learn the craft and carry it on.