都錦生的錦繡江南

虎年的立春，杭城下了一場鵝毛大雪，白絨絨的雪花漫天飛舞，將西湖的山山水水裹上了銀色的素裝。

那一天，鬼使神差，我沒來由地想起了自己人生第一份工作的所在——都錦生絲織廠，突然有一種想在春雪里尋故覓舊的沖動。細想想，沖動其實是有原因的。辭舊迎新，又長一歲，未免會產(chǎn)生老之將至的惆悵，在惆悵中懷舊，似乎是自然而然的事情。

1972年，我剛滿18歲，高中畢業(yè)后被分配到都錦生絲織廠。記憶中，廠區(qū)里綠蔭濃密，鮮花盛開。印象最深刻的是周恩來總理1957年視察工廠時說的一段話 ：都錦生織錦是中國工藝品中的一朵奇葩，是國寶，要保留下去，要后繼有人。如今這段話還陳列在都錦生故居內。

當時，我為自己能成為都錦生絲織廠的工人而自豪的。后來，我因為熱愛文學而離開工廠，去了一家文學刊物做編輯，但卻從來沒有忘記過都錦生。

多年以后，我聽說都錦生絲織廠的老廠房要拆遷，心里很是失落了一陣。工廠舊址地處杭州市區(qū)核心地段，那是多少商業(yè)大亨垂涎欲滴的黃金寶地。我曾去過那兒幾次，廠房已不復存在，從前不絕于耳的織機聲也早就喑啞，我還能到哪里去尋找當年那座美麗的花園工廠呢？

虎年開春，尋故覓舊的念頭再一次冒出來，而且拂之不去，我在那一瞬間明白，都錦生依舊住在我的心里。老工廠雖然沒了，老工廠的創(chuàng)始人都錦生的故居還在，我決定踏著春雪去尋訪這位和我生命歷程有過交集的先人舊蹤。

我找出了自己珍藏的一枚都錦生藏書票，那位戴著眼鏡，眉眼和我非常崇敬的翻譯家傅雷先生有幾分神似的愛國實業(yè)家靜靜地看著我，仿佛在問：為什么找我？而書票中，都錦生肖像的下方，正是先生故居的黑白門墻，素樸肅穆，似乎在我耳邊說：我在等你。

立春那天故居閉館。我只好等到第二天再去。沒想到，僅僅隔了一晚，鵝毛大雪裹卷的銀白蹤影全無。江南的春雪見水消融，留不住，能永恒的，只有西湖山山水水中淡泊的綠。

都錦生故居就藏匿在這片淡泊的綠中，它坐落在杭州綠意最濃的茅家埠。茅家埠位于西湖以西，東望楊公堤，西接龍井路。據(jù)《武林舊事》記載，從前居住在這一帶的人家大多姓茅，他們以采茶養(yǎng)蠶為生。而“茅家埠”之名的由來，按當?shù)卮迕竦恼f法，不過是明清時村口船埠頭茅草叢生，村里人隨口叫叫沿襲至今罷了。由于這里舊時是前往靈隱和天竺寺上香拜佛的香客們棄舟登岸的碼頭，也是著名的“上香古道”起點，香客們常常在茅家埠吃了素齋，小憩片刻，然后沿著“上香古道”直奔天竺、靈隱，因此，歷史上的茅家埠，曾經(jīng)商鋪云集，酒肆茶樓林立，熱鬧非凡。

而今天的茅家埠，反倒成為游人如織的西湖邊難得的清幽之地，除了了解杭州的本地人會來此疏竹叢葦間漫步徜徉，或坐湖邊石頭上聽風觀水，一般游客很少到此打卡。

我坐公交車在龍井路的“五峰草堂”下車，穿過古色古香的“醉白樓”，沿著湖邊的褐石小徑往前走。這里長滿了水杉、棕櫚、野樹雜草，雖然一眼望去，仍是殘冬過后的滿目凋零，但遍地新綠已經(jīng)抵擋不住地冒出來，蓬蓬勃勃地舒筋展骨，將春意蔓延開來。在這樣美妙的小徑上行走，你會不由自主地放慢腳步，看看不遠處湖面上青山的倒影，偶爾有一兩只野鴨游過，剪開水波，蕩起漣漪，卻不會發(fā)出一丁點兒的聲音。

獨步大約幾百米后，我看到一條銹紅色的畫舫靜臥湖中，旁邊一大片木板地應該就是船埠頭了。我想象著，當年的香客在湖濱下船，一路劃到這里，從這里的船埠頭登岸，一抬眼就能看到茅家埠的石牌坊，看到石牌坊前的老樟樹。我不知道，多少年前，都錦生有沒有站在這棵老樟樹下向香客們展示自己的第一幅織錦，但他在距此一步之遙的故居里開辦自己的織錦作坊，并在此第一次讓都錦生織錦亮相，卻是有文字記載的。

穿過石牌坊，再往前走幾十米，黑瓦白墻的都錦生故居就出現(xiàn)在眼前。這一路，我?guī)缀鯖]碰到一個人，走進故居，在庭院里站了一會兒，也沒見第二個來故居參觀的人。

在清幽的庭院一角，都錦生雕像靜靜地佇立著，身后有幾竿蒼翠修竹，像他的身姿一樣挺拔。都錦生眼睛里射出的具有穿透力的目光，仿佛在向你講述久遠的故事，讓你覺得他似乎并沒有走遠。我想，來此參觀的游人那么稀少，都錦生肯定是寂寞的，我不知道，這種寂寞有沒有給他的內心帶來荒涼，但我相信，他內心是不甘的。

春天是萬物生靈蘇醒的日子，也是樹木花草欣欣向榮的時節(jié)，都錦生的一生和春天溫暖纏繞，他在春天里降生，也在春天里成長;他在春天里綻放，也在春天里凋謝。這座普普通通的江南民居，陪伴都錦生經(jīng)歷了將近半個世紀的坎坷歲月，也見證了這位織錦大王執(zhí)著追求的精彩人生。

1897年早春二月，都錦生降生在這里。父親都宗祁既不種茶養(yǎng)蠶，也不開店經(jīng)商，而是做了一名職業(yè)軍人。他畢業(yè)于河北保定軍官學校炮兵科，先后在清末新軍和國民黨軍隊中任下級軍官。他養(yǎng)育了八個孩子，個個聰慧有才，而出類拔萃的都錦生，最得父親的寵愛。

出生在如詩如畫的茅家埠，都錦生自幼受到湖光山色的洇染和熏陶，熱愛藝術，擅畫風景，尤其喜愛攝影。19歲生日那天，父親送他的生日禮物是一臺照相機，都錦生背著這臺照相機走遍了西湖的山山水水。那時候，他和父親都沒有意識到，這臺照相機會在不知不覺中奠定了他的人生志向。

1919年，22歲的都錦生從浙江省甲種工業(yè)學校機織科畢業(yè)，留校任美術老師，兼做學校藝徒班的織制工場管理員。在教學實踐中，都錦生很快就掌握了從設計到織造的絲織工藝全過程，與此同時，他拍下了很多幅西湖山水美景圖。閑暇時，愛動腦筋的都錦生常常在心里琢磨，能不能將自己拍攝的西湖山水美景，用織錦技術制造出絲織工藝品呢？

在自己拍攝的眾多西湖山水美景圖中，都錦生尤愛那張“九溪十八澗”。其實，杭州的風景名勝中，九溪十八澗是相對偏遠和冷僻的，它既沒有平湖秋月的嫵媚秀美，也不如柳浪聞鶯的風姿綽約;既缺少斷橋殘雪的婉約纏綿，更難及雷峰夕照的雄偉壯觀……但九溪十八澗是獨特的，它擁有別處無法替代也不可能效仿的氣質。清末著名學者俞曲園曾在《春在堂隨筆》中盛贊“九溪十八澗乃西湖最勝處”，他寫下的詩句：“重重疊疊山，曲曲環(huán)環(huán)路，叮叮咚咚泉，高高下下樹”，將九溪十八澗的幽深美妙作了最好的詮釋，給世人留下了深刻的印象。

也許是九溪十八澗骨骼清新非俗流的氣質，契合了都錦生內心深處崇尚和追求的東西，又或許是九溪十八澗淡定曠達的從容，深得都錦生的喜愛，他研創(chuàng)的第一幅風景黑白織錦，即為“九溪十八澗”。

傳統(tǒng)的絲綢錦緞，其紋樣均由手工或寫生或寫意直接繪畫而成，紋樣結構變化比較簡單，多為平紋、斜紋或五枚緞紋。都錦生覺得，這樣陳舊的工藝，無法生動還原和表現(xiàn)出攝影圖像的生動和逼真，必須進行改革創(chuàng)新。他經(jīng)過刻苦鉆研，反復試驗，大膽擺脫老祖宗沿用了兩千多年的絲綢錦緞常規(guī)設計畫法，改成先以照相機拍攝好的風景照片為原本，再按照一定比例放大，然后做成紋版，并根據(jù)照片所呈現(xiàn)的溪澗風景自身特點，改用八枚緞的點子，以三十五種不同的色階來表現(xiàn)明暗的光影層次，運用經(jīng)絲緯線上跳動的半點、全點，構成了畫面上的老樹、小橋、溪澗流水，使織物圖案凸顯出與黑白照片幾近一致的風景，細膩、生動、逼真、傳神?？梢哉f，都錦生研制的中國第一幅黑白風景織錦圖《九溪十八澗》，做工精細，美妙絕倫，為中國近代絲綢技術史添上了一筆濃墨重彩。

1921年春天，都錦生時年23歲。“九溪十八澗”織錦圖的試織成功，一炮打響，讓年輕的都錦生信心大增，他進一步認清了自己的人生理想。當時，風雨如磐的舊中國正處于半封建半殖民地狀態(tài)，國家的貧窮和落后，讓中國人在世界上更是沒有地位，相比在書齋里教書育人，都錦生覺得，實業(yè)救國也許是更值得做的事情！

不久，都錦生辭去了學校的教職，回到茅家埠，在自己家老宅的房子里籌建織錦作坊。

翌年，這幢坐落在茅家埠的普通江南民居，居然掛出了“都錦生絲織廠”的牌子。誰也不會想到，后來聞名全國、享譽世界的都錦生織錦，竟然由此啟航。

一開始，都錦生只購置了一臺織機，雇了一名工人，大部分的時間他都是自己上機梭織，雇來的工人只是給他打打下手。由于都錦生既是學機織科班出身，又有直接上機的反復實踐，其工藝手段和制造技術爐火純青，織出的風景圖十分新穎別致、精美絕倫，更關鍵的是，價格非常親民便宜，投放市場后很受大眾歡迎。

小小的作坊不負“都錦生絲織廠”大大的名聲，辦得紅紅火火，產(chǎn)能迅速擴大。原來的茅家埠舊居已經(jīng)容納不了生產(chǎn)規(guī)模的擴大，都錦生又在杭州艮山門外置地建廠。幾年后，都錦生絲織廠已擁有百余臺織機、百余名工人，軋花機5臺、意匠8人，產(chǎn)品也從單一的風景圖像擴大到人像、名畫、臺毯、靠墊、床罩披肩、頭巾、提花窗簾、室內裝飾面料、旗袍和名族服裝原材料等，生產(chǎn)經(jīng)營檔次不斷提升。當然，在都錦生眾多產(chǎn)品中，最經(jīng)典的，仍然是各式各樣的織錦圖。

1926年，都錦生絲織廠生產(chǎn)的織錦遠赴美國，參加費城的世界博覽會，其中一幅彩色古畫織錦《宮妃夜游圖》引起轟動，一舉榮獲金獎，讓中國人在國際上揚眉吐氣。從此，“都錦生”名揚四海，為全世界矚目。

然而，一家民族企業(yè)的興衰，必定和國家的盛衰休戚相關。1931年“九一八事變”到1937年“七七事變”，這一年歲末，杭州淪陷。都錦生親眼目睹國破家亡，悲憤欲絕，健康狀況急劇下降。而侵略者卻企圖借助都錦生的名望和他曾東渡日本的經(jīng)歷，要其為偽政府效力。一身錚錚傲骨的都錦生堅決回絕，侵略者惱羞成怒，不僅一把火燒了艮山門外的都錦生大部分廠房和引進的新式織機，還洗劫了茅家埠老宅，就連遠在廣州、重慶等地的都錦生門市部，也難逃劫數(shù)，先后被戰(zhàn)爭的炮火炸毀。

都錦生不堪忍受騷擾破壞，工廠不斷搬遷，每況愈下，最終還是難以維持。都錦生眼見自己的企業(yè)面臨倒閉，心急如焚。但一介儒生無力反抗，無奈之下，他離開杭州，舉家遷居上海。在上海期間，都錦生雖然也試圖建造廠房，重新恢復生產(chǎn)，但終是內憂外患，積重難返，都錦生再也沒有恢復元氣。1941年12月，太平洋戰(zhàn)爭爆發(fā)，上海租界被占領，搖搖欲墜的都錦生絲織廠被迫倒閉，這給了都錦生致命一擊。

1943年春末，都錦生憂郁成疾，病逝于上海，年僅45歲。

一代織錦魂駕鶴西去，但他發(fā)明創(chuàng)造的織錦技術卻留給了后人，他曾經(jīng)創(chuàng)造的輝煌與凝聚其畢生心血的燦爛織錦，也永遠駐存在溫柔美麗的西子湖畔。解放后，國家沒有忘記這家老牌的民族企業(yè)，公私合營時，由政府投資在杭州市中心的鳳起路重新建造了廠房，購置了機器，招聘了工人，都錦生絲織廠終于以國有企業(yè)的身份涅槃重生，亮相于世人面前。

待到我進都錦生絲織廠時，工廠規(guī)模已經(jīng)與當年的老字號企業(yè)不可同日而語：一座座車間高大壯觀，一臺臺新式織機操作簡便，生產(chǎn)的花色品種層出不窮，高達上千種。當年周總理陪外賓到杭州參觀，農(nóng)必“梅家塢”，工必“都錦生”。曾經(jīng)讓創(chuàng)始人都錦生痛惜不已，瀕臨滅亡的都氏織錦工藝，不僅滿血復活，重放異彩，而且不斷改進，推陳出新！

我不知道，如今的都錦生絲織廠遷移去了哪里，但鳳起路上依然保留著的都錦生織錦博物館，記載了都錦生織錦及都錦生絲織廠跌宕起伏的前世今生，都錦生織錦門市部依然以其產(chǎn)品的獨特魅力，吸引著來往的中外游客。都錦生織錦，還被原浙江省文化廳列為第一批國家非物質遺產(chǎn)名錄上報國務院。2003年，在西湖綜合保護工程中，都錦生故居作為楊公堤重要景觀之一，更是得到了全面修復，并作為名人故居對游人開放。

我相信，歷史不會忘記都錦生，這位為祖國絲綢織造工業(yè)作出巨大貢獻的愛國實業(yè)家，親手繪制的茅家埠的春天，是杭州一道亮麗的風景，而這道風景，無論到什么時候都不會消亡。

袁敏，女，作家、編輯、出版人。畢業(yè)于北京大學中文系，曾任《江南》雜志主編、浙江省作協(xié)副主席。1976年開始文學創(chuàng)作，現(xiàn)已創(chuàng)作發(fā)表小說、散文、報告文學等數(shù)百萬字。尤其以長篇紀實文學《興隆公社》《燃燈者》等引起讀者和社會的廣泛關注。

Du Jinsheng’s Splendid Brocade

By Yuan Min

The Year of the Tiger brought a heavy snow in Hangzhou， when an uncanny impulse came to me： I would like to pay a visit to my former work place — Du Jinsheng Silk Weaving Factory.

In 1972， at the age of 18， fresh from high school， I was assigned to work at Du Jinsheng Silk Weaving Factory， which I remember was full of trees and flowers. I was impressed by a placard bearing Premier Zhou Enlai’s instruction， made when he inspected it in 1957： “Du Jinsheng’s brocade is an exquisite gem of traditional Chinese handicrafts， and we should conserve it and train young people to inherit the techniques.”

I was so proud to be an employee there， although I left later to become a literary editor. Still， I miss it all the time.

Years later， I felt so lost as I heard that the factory was relocated. Originally situated in the busiest place of the city， it was so coveted by big businesses that even the time-honored brand was expected to be squeezed out in the tide of market economy. I was so sad for a while.

I returned there several times. The factory buildings were gone and most of the workers found other jobs. The deafening looms were no more. Where could I find the old garden-like factory？

While the factory is gone， I could still visit the former residence of its founder Du Jinsheng （1897-1943）， hidden in a large piece of green at Maojiabu. One of the greenest places in Hangzhou， Maojiabu sits in the west of the West Lake， facing the Yanggong Causeway to its east and the Longjing Road to the west. According to Wulin Jiushi， or Ancient Matters from the Wulin Garden， most of the people， surnamed Mao （meaning “thatch”）， used to live in this area by picking tea leaves and raising silkworms. But some local villagers believed it was so named just because several hundred years ago the area was overgrown with grass.

Since this place was the pier where Buddhist pilgrims landed， it was also the starting point of the famous “Ancient Road for Pilgrims”. Here pilgrims ate vegetarian meals and took a rest before going straight to the Tianzhu and Lingyin Temples. Therefore， Maojiabu was historically a prosperous place bustling with shops， restaurants and tea houses.

Today’s Maojiabu has become rather quiet， next to the tourists-filled West Lake. Except for local people， who will come here to stroll among the sparse bamboos and reeds， or sit on the rocks by the lake to listen to the wind and watch the water， tourists rarely drop by.

I got off my bus at the “Wufeng Thatched Cottage” on the Longjing Road， passed through the quaint “Drunken White House”， and walked along the brownstone path by the lake.

After walking alone for a few hundred meters， I saw a rust-red pleasure boat lying quietly in the lake and the wooden pier beside it. I imagined pilgrims embarking at the east lakeside and rowed all the way here. They landed from the pier here， looking up to the stone archway at Maojiabu， with an old camphor tree in front of it. I wondered if Du Jinsheng had stood under this old tree to show his first brocade to the pilgrims， though written record indicates that he started his own brocade workshop in his former residence nearby.

A few dozen meters beyond the stone archway， the Former Residence of Du Jinsheng， in black tiles and white walls， appeared. Along the way， I hardly encountered a single person， and standing in the courtyard for a while， I did not see a second visitor.

In a corner， Du’s statue stood quietly， with a few bamboo trees behind him， as green and tall as his figure. The penetrating gaze in his eyes seemed to be telling you a long story， as if he had not gone far. I thought that so few tourists coming here must have made him lonely. I didn’t know if this loneliness had brought desolation to his heart， but I believed that he wouldn’t accept this.

Du Jinsheng’s life was intertwined with the warmth of spring. He was born in spring and grew up in spring. He bloomed in spring and withered in spring. This ordinary of a Jiangnan （south of the Yangtze River） style dwelling accompanied him during half a century of ups and downs and witnessed the wonderful life that this king of brocade persistently pursued.

Du Jinsheng was born here in the early spring of 1897. His father， Du Zongqi， was a professional soldier who graduated from the Artillery Division of Baoding Military Academy， Hebei province， and served as a junior officer in the New Army during the late Qing dynasty （1616-1911） and the Kuomintang army. He begot eight children， all of whom were talented， and Jinsheng， who was outstanding， was most favored by his father.

Growing up in the picturesque Maojiabu， Du Jinsheng was influenced by lakes and mountains since childhood. He loved art， especially photography and he was good at painting landscapes. His father gave him a camera as his 19th birthday present. At that time， neither he nor his father realized that the camera would unknowingly change his life.

In 1919， the 22-year-old Du Jinsheng graduated from the Machine Weaving Department of Zhejiang Jiazhong Industrial School， serving as an art teacher and managed the weaving workshop for apprentice classes in the school. In teaching practice， Du quickly mastered the whole process of silk weaving from design to weaving; at the same time， he took many pictures of the beautiful West Lake. In his spare time， he often wondered whether he could use the brocade technique to create silk handicrafts from the beautiful scenery in his photos.

Among his pictures， Du Jinsheng loved the “Nine Brooks and Eighteen Dales” best. In fact， this scenic spot is relatively remote and secluded， not as charming， magnificent or graceful as other famous sites. But it is unique， with a temperament that cannot be imitated anywhere else. Yu Quyuan （1821-1907）， a famous scholar in the late Qing dynasty， once praised “Nine Brooks and Eighteen Dales” as the most beautiful place in the West Lake”.

Perhaps it was the fresh and refined temperament of the “Nine Brooks and Eighteen Dales”， which was in line with what Du Jinsheng advocated and pursued in his heart， or perhaps it was the broad-minded calmness of the scene， which was deeply loved by Du， that the first landscape black-and-white brocade created by Du was the scenery of the “Nine Brooks and Eighteen Dales”.

The patterns of traditional silk brocade were all drawn by hand， sketch or freehand in style. The pattern structure varied not much， mostly executed in plain weave， twill weave or five-heddle satin weave. Du felt that such an outdated process could not restore and express the vividness and fidelity of photographic images， so it had to be renovated. After assiduous study and repeated experiments， he boldly got rid of the conventional silk design and drawing method that his ancestors had used for more than 2，000 years. Instead， he used the scenery in the photo as the original and enlarged it in proportion to make the plate. Then the features of the water scenes were converted into dots of eight-heddle satin， and thirty-five different color scales were used to express levels of light and shade， with jumping half-dots and full-dots on the warps and wefts to represent the old trees， small bridges and streams so that the fabric pattern highlighted the scenery that was almost the same as a monochrome photo， delicate， vivid， lifelike and expressive. It was the first black and white landscape brocade developed in China. The “Nine Brooks and Eighteen Dales” was exquisite and wonderful in workmanship， one of the representative silk works in China’s history of modern silk technology.

It was the spring of 1921， when Du was 23 years old. The successful trial weaving of the brocade “Nine Brooks and Eighteen Dales” was an instant hit， which greatly boosted the confidence of the young man， and he further recognized his ideals in life. At that time， the stormy old China was in a semi-feudal and semi-colonial status. The poverty and backwardness of the country rendered the Chinese people no place in the world. Compared with teaching， Du Jinsheng felt that saving the country through industry might be more important. Something worth doing！

Soon， Du resigned from his teaching position and returned to Maojiabu to build a brocade workshop. The following year， this ordinary Jiangnan dwelling actually bore the sign of “Dujinsheng Silk Weaving Factory”. No one would have thought that the Dujinsheng brocade， which was later famous all over the country and the world， would set sail from such a humble beginning.

At first， Du only possessed one loom and hired one worker. Most of the time he wove himself， and the worker just helped him. Because Du was a student in a weaving class with repeated practice directly on the machine， his craftsmanship and technology were very sophisticated， and the woven landscapes were novel， unique and exquisite. More importantly， the price was affordable. It was very popular on the market.

The small workshop earned the great reputation for “Dujinsheng Silk Weaving Factory”， and its production capacity expanded rapidly. The original residence could no longer accommodate the production， so Du Jinsheng set up a plant outside the Genshan Gate in Hangzhou. A few years later， Dujinsheng Silk Weaving Factory owned more than 100 looms， with more than 100 workers， five cotton gins， and eight designers. Their products expanded from simple landscape brocades to portraits， famous paintings， table rugs， cushions， bedspreads and shawls， headscarves， jacquard curtains， interior decoration fabrics， materials for cheongsam and ethnic clothing， etc. The production and operation level continuously improved. Among the many products， the classic ones were still various brocades with pictures.

In 1926， the brocade produced by Du Jinsheng traveled to the World Fair in Philadelphia. One exhibit， a colorful ancient brocade， The Night Tour of the Palace Consorts， caused a sensation and won a gold medal. “Du Jinsheng” has since become a famous brand all over the world.

However， the fate of a national enterprise was closely related to the prosperity of the country. In the Second World Word， the Japanese invaded China. Hangzhou fell to the invading forces in 1937， when Du Jinsheng‘s health failed him. However， the Japanese tried to use Du’s fame and his prior experience in Japan to recruit him in the puppet government. The proud Du resolutely refused， and the angry Japanese invaders not only set fire to most of Du Jinsheng’s workshops and the new-style looms outside the Genshan Gate， but also ransacked his old house at Maojiabu， even destroying his sales departments as far away as in Guangzhou， Chongqing by artillery fire.

Du Jinsheng couldn’t bear the harassment and destruction of the Japanese invaders， and constantly relocated his factory. He was devastated as he saw his company facing bankruptcy， but a businessman like him was unbale to put up much resistance. He left Hangzhou and moved his family to Shanghai， where his attempt to rebuild the factory was frustrated. In December 1941， the Japanese occupied the Shanghai International Settlement， and dealt the final and fatal blow to the crumbling Dujinsheng Silk Weaving Factory. In May 1943， Du Jinsheng died in Shanghai at the age of 45.

After the founding of the People’s Republic of China， the government invested in rebuilding the factory on Fengqi Road in the center of Hangzhou. Dujinsheng Silk Weaving Factory finally reappeared as a state-owned enterprise.

When I joined Dujinsheng Silk Weaving Factory， the scale of the factory had already grown to be much bigger than that of the old enterprise. The workshops were grandiose， and the new looms were easy to operate. There were thousands of varieties of designs and colors. When Premier Zhou Enlai accompanied foreign guests to visit Hangzhou， they saw tea farmers at Meijiawu and workers at Dujinsheng. The Du brocade craft， which was on the verge of disappearing， was not only resurrected， but also revived with splendor！

I don’t know where the Dujinsheng Silk Weaving Factory moved to today， but the Dujinsheng Brocade Museum still stands on the Fengqi Road， which records the ups and downs of the Dujinsheng brocade and Dujinsheng Silk Weaving Factory. The Du’s Brocade stores still attract Chinese and foreign tourists with the unique charm of its products. The Dujinsheng brocade was also inscribed in the first batch of national intangible heritage list. In 2003， in the comprehensive protection project of the West Lake， the Former Residence of Du Jinsheng， as one of the important cultural landscapes of Yanggong Causeway， was fully restored and opened to tourists.

I believe that history will not forget Du Jinsheng， a patriotic industrialist who made great contributions to the silk weaving industry of China. The spring at Maojiabu painted with his own hand is a beautiful scene in Hangzhou， which will be forever alive.