【遊鱗入絹，墨韻生絲】

此幅「錦鬣圖」刺繡掛屏，以清代「揚州八怪」之一李方膺傳世水墨畫作為藍本，棄筆墨而取針線，化水韻為絲光，於絹帛之上重現揚州畫派獨有的寫意精神與淋漓生氣。作品不囿於原作的紙本水墨，而是憑藉絲線的天然光澤與肌理，將一尾遊魚的靈動、水草的飄搖、墨色的枯濕濃淡，演繹出另一種溫潤而深邃的維度。這不僅是技藝的移植，更是對「離形得似」寫意美學的一次絲繡闡釋。

【揚州風骨，雅室餘韻】

李方膺作畫，主張“自立門戶”，筆下物象往往寄託性情。此魚不似尋常工筆遊鱗，而更具一份恣意、灑脫甚至孤傲的神氣，這正是揚州畫派文人精神的寫照。繡者以揚繡與平針捕捉此神，不追求工細的魚鱗畢現，而著力於氣韻的流動與性情的傳達，使「仿古山水繡」超越技術模仿，抵達藝術共鳴。整幅作品以素絹為底，僅以黑白灰及少許淡赭為主色調，構圖疏朗，意境幽遠，完美承襲了原作的文人畫氣息。懸於書房雅室，不僅寓意「年年有餘」的吉祥，更營造出一方靜觀自在、心遊物外的精神天地。

「不藉漁人理釣絲，且看錦鬣荇邊遲」

——中藝（香港） 謹呈

[Fish Amidst Silk, Ink Charm Lives in Threads]

This embroidered hanging panel, “Brocade-Scaled Carp,” takes as its prototype an extant ink-wash painting by Li Fangying, one of the Qing Dynasty’s “Eight Eccentrics of Yangzhou.” Abandoning brush and ink for needle and thread, it transforms the charm of water-ink into the sheen of silk, recreating on fine silk the unique freehand spirit and vibrant vitality characteristic of the Yangzhou School. Unconfined by the original paper-and-ink medium, the work utilizes the natural luster and texture of silk threads to interpret the liveliness of a swimming fish, the sway of aquatic plants, and the dry and wet, light and heavy nuances of ink tones, expressing them in another, more mellow and profound dimension. This is not merely a transplantation of technique, but an interpretation in silk embroidery of the freehand aesthetic principle of “transcending form to capture likeness.”

[The Spirit of Yangzhou, An Elegant Ambiance]

Li Fangying advocated “establishing one’s own school” in painting, often imbuing his subjects with personal temperament. This fish, unlike the meticulously rendered carp of typical gongbi style, carries a sense of unconstrained freedom, even an air of proud aloofness—precisely reflecting the literati spirit of the Yangzhou School. The embroiderer captures this essence using Yangzhou embroidery and plain stitching techniques, not striving for a detailed, scale-by-scale representation, but focusing on conveying the flow of energy and the expression of character. This elevates the “landscape embroidery after an ancient painting” beyond technical imitation to the realm of artistic resonance. Using plain silk as the base and employing primarily black, white, gray, and a touch of pale ochre, the composition is sparse and open, the mood tranquil and far-reaching, perfectly inheriting the original’s literati painting aura. Hung in a study or refined chamber, it not only symbolizes the auspicious wish for “abundance year after year” but also creates a spiritual space for quiet contemplation and mental transcendence.

“No need for the fisherman to tend his line, Just watch the brocade-scaled one linger by the duckweed.”

— Presented by Chinese Arts & Crafts (Hong Kong)