中央美术学院教授、博士生导师、中国美术家协会理事、理论委员会名誉主任

　　Professor at the Central Academy of Fine Arts，PhD supervisor，Director of the Chinese

　　Artists' Association，Honorary director of the academic committee

　　帛画是我国古老的画种之一，有三千余年的历史。在平面的真丝织品绢、纺、纱、绸、绫上绘制图画，有其独特的技巧和特殊的艺术表现力，但后来因纸质绘画的出现而逐渐衰落，以致使有些人产生误解，以为中国画的传统仅是纸上绘画一宗。传世帛画年代最早的，是在湖南长沙出土的战国时期楚墓帛画三幅。上个世纪70年代在湖南、山东等地的汉墓中，又陆续发现帛画，引起国内外学术界的关注并引起人们广泛的兴趣。除了学者们从艺术史的角度进行考察外，一些有志于发掘帛画传统并使之发扬光大的画家，也开始投入精力研究这种几乎失传的绘画品种，而其中穆益林近三十年来矢志不渝的努力和在现代帛画创作上取得的杰出成果，尤其值得我们钦佩和赞赏。

　　穆益林于1966年以优异成绩毕业于上海市美术专科学校，得到了吴大羽、颜文梁、张充仁、程十发、江寒汀、郑慕康、应野平等名师的指导和熏陶，系统地掌握了绘画的基本功和学习了绘画色彩方面的专业知识，并在中国画创作上取得了可喜的成绩。1979年，他创作的《台风季节》与著名画家陆俨少同时获“上海美术大展”一等奖，受到业界的好评。但基于对如何在艺术上独辟蹊径的思考，他有意放弃他熟悉的绘画媒材和表现方法，以寻找新的可能。1983年一次偶然的机会给他以艺术灵感，当他将绢蒙在一幅损坏的画上作“拷贝”时，绢上所产生的虚虚实实、变幻莫测的艺术效果，给予他以强烈的印象，驱使他对丝织品材质的特殊功能产生浓厚兴趣，从此走上帛画研究和创作之路。他发现，古代绘制帛画早有完整的技法系统，成熟地运用了勾、染、皴、擦、渹、渲、背衬等技法;他认识到，丝绸的透叠性、折旋光性以及色彩的饱和度等特点，能使帛画具有一种全然不同于宣纸水墨画的审美价值。

　　穆益林的艺术成就远不止对古代帛画技法的硏究上，而主要表现在他的帛画创新探索成果。他深知，古老帛画技法的复兴，必须结合新的艺术实践，做“以古开今”的努力，方能达到应有的社会影响。他从熟悉帛画质材、技能特性入手，不断发掘新的辅助性材料，尝试不同颜料混合使用或前后配合使用的方法，深入探索在帛的正反两面采用不同颜色、不同形象，以相互交叠的形式进行创作，使帛画随着观赏者的不同角度和光源的变化，显示出画面变化无穷的奇异色彩和帛的肌理色泽。在此基础上，他进一步从题材、技法品种和表现语言方面拓展帛画的表现范畴，使之不仅能自如地采用工笔、写意、没骨等方法描写人物、花鸟、山水，更从现代审美意识出发，广泛地从其它民族传统艺术、西方现代艺术和民间艺术中吸收营养，并发挥艺术创造中应有的潜意识功能，在缜密构思的“有意”和偶然效果的“无意”之间，在具象、抽象、意象语言的交错运用中，驰骋发挥出自己的才能，享受艺术探索的无限乐趣，创造出许多以色彩饱和度为特点的、富有强烈艺术表现力的现代帛画佳作，如《闹元宵》、《元宵印象》、《天涯客》、《天地皆诗系列》等。

　　穆益林在帛画创作上的卓越成就，向人们展示了这一古老画种的现代生命力和未来的光明远景，但他不会就此止步，他正在继续不断完善自己的创作方法和在推广帛画艺术方面做出努力。他在这一领域必将取得更大成功，我们是完全可以期待的!

　　Silk painting is a kind of ancient Chinese Painting，with ahistory of about 3000 years.Paints were drawn on the silk，gauze and muslin，with the use of unique skill sets，and result in special artistic expression.With the development of paper，especially Xuan paper，people changed the painting material from silk to paper，and the latter became popular.Therefore，it gradually produced a misunderstanding that paper painting is the only painting was inherited from the ancient Chinese painting.However，silk painting appeared as early as the Warring States period，.After some significant archaeological Discoveries in the Han tombs in Hunan and Shandong areas in the 1970s，scholars from all over the world started to pay attention to silk painting.Other than examining the works from pure art history prospect，some artists who aim at spreading the knowledge of such painting skill began to research and try to carry it forward.Mu Yilin is the most unshaken and successful one of them，whose persistency of over 30 years and achievement in this field are worthy of our admiration and appreciation.

　　Mu graduated from the Shanghai Arts Institute in 1966，with excellent academic records.When he was a student，he was taught by some well-known artists such as Wu Dayu，Yan Wenliang，Zhang Chongren，Cheng Shifa，and Jiang Handing.The experience of studying with masters helped Mu learn the basic skills of painting systematically and got him familiarized with the academic knowledge of chromatics，which led him to certain achievements in the Chinese painting area.In 1979，his work‘Typhoon Season’won the first prize at the Shanghai Art Exhibition，along with the famous printer Lu Yanshao.However，due to his wish of creating a new path to art，he intentionally abandoned the drawing media and the way of expression that he’s familiar with，and sought for new possibilities.In 1983，when Mu was‘copying’a painting by covering a piece of silk，he found the special illusionary and changable result on silk.It left him a strong impression and inspired his curiosity and passion towards this special characteristic of silk.The transmittance and reflection of silk can make color changing dramatically which is the biggest difference between ink painting and silk painting.At the same time，the ancient Chinese people already created a complete painting methodology.Combined with the silk’s transparent and refractive characteristic，painting on silk gives the work a total different artistic value than painting on paper.

　　Mu Yilin’s artistic achievements are not only on the research of silk painting methodology，but on the innovation of modern silk painting.He realized that to revive the silk painting，he has to combine the modern elements with the old art.He has focused on two parts： the painting material and painting method.On one hand，Mu has continued to explore new auxiliary materials，trying to remix the different pigments and drawing on both front and back sides.On the other hand，Mu has tried to overlap different shapes.Because of the characteristics of silk，the painting will show different colors if the light or viewing angel is changed.In addition，Mu has tried to draw in different styles，such as Xieyi and Gongbi，on silk.He has been inspired by some traditional festivals such as Spring Festival and Lantern Festival and made some silk paintings accordingly.The most famous are the Series of Lantern Festival，the Impression of Lantern Festival，the Cosmopolitan Crane and the World is a Poem.Mu’s tireless efforts and achievements mak the dream of reviving old silk painting come true and create the bright prospects for modern silk painting.Even through，he would never stop his steps to explore the new possibility.He’s constantly improving his own drawing skills and working on spreading the influence of silk paintings.Given his effort，Mu will surely create a more remarkable achievement in this field.