这种画法没见过!与悬挂在其左右的中国书画太格格不入。这种色调在中国绘画作品中也未曾出现过!绚烂的桃红色调富有张力却又莫名的淡定。

　　这是中国画吗?怎么这样眼生?这不是中国画吗?画的气息是中国的，风格是民族的!凑近一看，中国帛画!这世界上，除了迄今为止马王堆出土的那几件，帛画原来还存活着。

　　史书记载，自从宣纸被发明后，越来越多的画家把智慧重心放到探索水、墨及发掘宣纸的渗化特性上，乐此不疲地在水破墨、墨破水、淡破浓、浓破淡、墨破色、色破墨中孜孜以求，为艺术史的书写留下了丰厚的史料，也让我们看到前人在水墨画上的卓越变革与创新。与此同时，作为中国，叫源头的帛画却由于历史上种种原因渐渐被打人冷宫，成为如今我们在长沙博物馆中见到的艺术标本。但是，不同于马王堆的这件帛画却活生生地悬挂在大厅中，就在我的眼前。我不禁深呼一口气，试图从画面中找到中国帛画何以如何焕发新生命的答案。画面中的各种形象时隐时现，当赏画的角度稍有不同，原先清晰的形状瞬间变得朦胧变幻，而原先含蓄的色块却张扬起来，这让人觉得非常新奇，我逐渐加大左右移动的幅度与速度，附近观画的人因为我另类的观看举动也围拢过来，跟着我左看看有看看、前看看后看看并啧啧称奇：“这颜色会变哦!” “门神，财神……咦，现身啦?” “是个老虎耶。” “是狮子是狮子，哦哦，这里有个……马!” “哪里啊，我怎么看不见啊?” “你要到我这个角度来看的。” “哦，对哦，还藏着个大彩灯笼……”这些原本互不相识的人在这件帛画作品前突然热络起来，嘿!还真神。在周围七嘴八舌中，我看到了越来越多的内容，每转换一个角度就会有新的惊喜，当我的发现逐渐累积到能基本读懂画画大意时，竟然有种成就感，这种成就感记得曾在读八大和毕加索的作品时出现过。这是一种发现与回馈惊喜的乐趣。

　　贴门神、剪窗花、红灯笼、换新衣、压岁钱……记得很小的时候，人们都特认真地过大年，腊月里就开始准备年货，大人为孩子们扎各种形状的灯笼，并一起画上好看的图案，制作具有年味吉祥的玩具。孩子们也特盼望能过大年，有平时吃不到的各色糖果零食，小嘴塞得满满的，心里的快乐更是满满的。街上还有扮成财神等各路神仙的、舞狮舞龙的、捏面人的、吆喝叫卖的、放鞭炮的，直到正月十五元宵节过好，新的一年就红红火火正式开始了。这些大多只有在查阅非遗资料时得以重温了。据父母辈说起他们小时候还要热闹，会有更丰富的仪式和节目。这种热闹没有经历过的人是无法真正体会的，但眼前的这件“过大年”的现代帛画作品中，似乎能隐约感受到那种热闹和红火，各种图案和物象互相交叠，层层叠叠的是一个又一个过年的场景，绵延的则是浓浓的中国特有的传统年味。整件作品不仅仅是一个有关过年的记忆的定格，更像是一部由无数定格组成的电影，能唤起中国人集体回忆的怀旧电影。这种由点及面、多景域的思维方式在中国画中是非常罕见的。而能把一连串过去的记忆用如此陌生又如此新鲜的绘画语言表现，则让人恍若时空交错感，这是用特殊的表现形式演绎着过去的情怀!恍惚间，这更像是一件来自未来的艺术作品。

　　在人类艺术史上留下痕迹的大师往往都是引领了一个时代。八大山人和毕加索的作品在他们所属的时代是另类的，只因为他们太超前，是属于未来的，但也为后人的创作提供了更多可能性，哪怕现在看这两位艺术大师的作品仍然觉得常看常新。

　　创作这件作品的是上海的一个画家叫穆益林，在有幸与画家本人交谈之后得知，早在1979年他就在纸本水墨上取得了瞩目的成绩，在当年的“上海美术大展”上获得了一等奖，与之并列的是著名国画大师陆俨少先生，获得二等奖的是陈逸飞先生。然而穆益林在艺术上的追求并未因此止步，而是不满足地渴望走㈩一条独属于自己的艺术道路。在帛上经过近三十年的反复创作试验，终于有了如今独特的艺术面貌，使中国帛，叫焕发了生机。中国帛画不再仅仅是陈列着的艺术标本，不再是过去的传说，而是拥有了鲜活生命的中国现代帛画.

　　在读了穆益林的其他系列的作品后，惊叹一个哪家如何能创作比如此迥异的作品，且不论绘画题材的多变，连表现形式、分朱布白、色彩调度都不像是一个人所能容纳的。他创造的不止是一种全新的绘，邱道路，而是挑战了人类想象力和创造力的高度。看着目前已诞生的这几个系列，你实在无法捉摸他的底线，无法预计接下来他又将引领中国现代帛画走向何样的别开生面。

　　当把这些疑问抛给穆益林后，他说： “希望中国现代帛画有更多的人来参与，我只是尽可能开发帛画的可能性，为后来人多提供一些可行之路以供参考，至于接下来的创作已在酝酿之中，届时再请各位多多指教。”这是一位极其谦逊低调的画家，埋头近三十载潜心创作与不断超越，使他不仅走㈩了自己的路，也让更多的人有路可走。

　　我们期待属猴的穆益林，在中国现代帛画的道路上继续七十二变。

　　Interpreting the Past with Future

　　Thoughts on Silk Painting Celebrating the Spring Festival by Mu Yilin

　　I have never seen this way of painting! It is totally incompatible with Chinese paintings and calligraphies hung on its left and rights. Thetone in it never occurred on Chinese paintings! The gorgeous tone of pink red, however, makes people feel calm and easy.

　　Is it Chinese painting? Why is it so unfamiliar? Isn't it Chinese painting? The artistic conception it reveals belongs to China and its style is indeed of China. When l draw near to it. l see it is named Chinese silk painting! Are there any other existing silk paintings except those unearthed from Mawangdui?

　　According to historic documents, more and more artists began to focus their energy to explore ink, water and the penetration and blur features of rice paper since rice paper was invented and tirelessly study about the relations among ink, water and the different color effects generated by the two, leaving abundant historic materials which showed to us the superior innovation and reform on ink paintings. Meanwhile, as the source of Chinese painting, silk painting, however, was gradually forgotten by people for many reasons historically and became the Art specimens in Changsha Museum.

　　But the silk painting quite different from those from Mawangdui was really hung in the hall, right before my eyes. I had to take a deep breath and tried to find the answer why silk paintings were revived from it. The images in it came out or disappeared now and then. Some originally clear shapes may suddenly blur themselves and something originally unclear emerged when changing the watching it in different angles. It was so amazing and for this I began to move around near it. Some people who saw my weird behaviors crowded around the silk painting and move around along with me. They also felt it amazing. "See, the color can change!““Door God, God of Wealth, what? Appeared?" "It's a tiger!““It is a lion, a lion, oh. there is a_horse""Where? How can I see it?""oh , yes, a big colorful lantern is hidden..."These unfamiliar people began to have good talk with each other before the silk painting. From their words I found more and more images in it and got a new surprise every time I changed an angle. When I realized that I was able to read the main idea of this painting, I generated a sense of accomplishment, which ever turned out when watching the works of Zhu Dan and Picasso. It is a pleasure about discovery and surprise.

　　To paste paintings of Door God, paper cut for window decoration, red lanterns, new clothes and lucky money...l remember that people treated Spring Festival very seriously when was a child. People began to make special purchases for Spring Festival: adults made various lanterns and auspicious toys for kids; kids all looked forward to the coming of Spring Festival when they can eat a lot of candies and snacks: some people acted God of Wealth or other gods, some playing lion dance or dragon dance, some making dough figures, some selling goods, some vfiring firecrackers until Lantern Festival when a new year started. All of the above can be only reviewed when referring to materials about intangible cultural heritage. My parents told me they had more jolly time on Spring Festival than us when they were kids. The jolly time could not be truly appreciated by those who had never experienced, but this silk painting before me seemed to recreate that kind of jolly time. All types of images or scenes in it overlapped each other turning on the thick flavor of Chinese traditional Spring Festival. This work is not a stop-action of memory about celebrating the Spring Festival, but a film made up of numerous stop-actions, a nostalgic film that drives all Chinese people to recall. The expression way of this silk painting is rarely to see. To display the series of memories about past with so fresh and so strange a drawing language may make people generate a sense of time and space crisscross. It is to interpret the feelings about the past in a form of future. You may feel it likely to come from the future.

　　Every great master that has left his mark in the history of human's art always leads an era. The works of Zhu Da and Picasso is special in his times, because they are too advanced, belonging to the future. But their works provide more possibilities for later generations to create. Even now you can still get new ideas when seeing their works every time.

　　This silk painting belongs to a painter named Mu Yilin from Shanghai. After a lucky talk with him, I know that he had been successive in ink paper painting in 1979 and won the first prize in Shanghai Fine Arts Exhibition standing side by side with Lu Yanshao, a famous master of Chinese painting when Mr. Chen Yifei got the second prize. Mu Yilin, however, didn't stop at the road to art for that and was eager to find a road exclusive to him. After 27 year's practices on silk, he finally reached to this height, renewing the Chinese silk painting. Chinese silk painting is no longer an exhibit, or a past legend, but a modern Chinese silk painting full of life.

　　After reading other series of works by Mu Yilin, I wondered how a painter could create so many totally e person's brain. He not only created a brand new drawing road, but he also challenges the height of human's imagination and creation. Seeing the currently born series of works, you will have no idea what glories he would lead modern Chinese silk painting to create.

　　When I ask him these questions, he said,"I hope more people will participate in modern Chinese silk painting. All I can do is to develop the possibilities of silk painting and provide more ways for successors to refer to. My next work is already in process, and I hope I can get more suggestions or advices when it comes out." He is so modest a painter who spent 27 years in creation and continuingly exceeds himself. He not only finds his own road to art, but he also makes more people have road to go.

　　We hope Mu Yilin, the painter born in the year of monkey can show his 72 changes of Monkey King in the way of modern Chinese silk painting.

2010年4月7日