▲《朝云春梦》
222cmX96cm
2002年作
▲Clouds in the Early Morning and Dreams in the Spring
222cmX96cm
Created in 2002
释文：春烟含翠贯山川，墨游石上流清泉。声声鶗鴂报芳菲，柳拂红云遂微寒。
Commentary:
Green spring smoke arouses in the mountains.
Clear spring streams around the ink rocks.
The songs of the cuckoo show the arrival of spring.
And blowing willows in the red clouds bring the slightly coldness.
即便不考虑孙博文与上海美专的师承关系，刘海粟所言的“美的疆域阔大无限”，也几可视为对孙博文大泼彩绘画的预言。
Even without considering Sun Bowen's relationship with Private Shanghai Academy of Fine Arts, Liu Haisu's statement that "The territory of beauty is vast and infinite" can almost be regarded as a prophecy of Sun Bowen's big splash color paintings.
孙博文的花鸟脱胎于崔子范，多以廉悍而烂漫的笔意表现日常的景观，如夏荷、秋鸭、翠鸟等。其境界，于古朗高雅中，冲然而澹，弥散出活泼的感性生命之美。与此同时，孙博文的山水创作亦独开畦径。以沂蒙山区写生为基础，以花鸟笔意结构山水图像，于沂蒙山岱崮地貌的生拙朴厚中，见出秀拔超迥的意象，大体上构成了孙博文早期山水的样貌。如果给这一时期的孙博文勾划出了一个人生轮廓的话，那么，它应该是简洁而日常的：作为创作主体，他与乃师们并无二致，是一位有理想情怀的画家；而其作品，则是南北兼济齐鲁画风的一部分。简而言之，早期的孙博文是一位有日常属性、地域属性与文化传统属性的文人艺术家。
Sun Bowen's flowers and birds are born from Cui Zifan, and most of them express daily landscapes with steep and romantic brushwork, such as summer lotus, autumn duck, kingfisher, etc. The realm is indifferent in the ancient elegance, rushes and exudes the beauty of lively and sensual life. At the same time, Sun Bowen's landscape creation has also opened up a unique path. Based on the sketches in the Yimeng Mountains, the landscape images are constructed with the brushwork of flowers and birds. In the raw and simple Daigu landform in Yimeng Mountains, there are elegant and extraordinary images, which generally constitute the appearance of Sun Bowen's early landscapes. If we outline Sun Bowen’s life in this period, then it should be simple and daily: as a creative subject, he is no different from his masters for he is a painter with ideals; while his works are part of the painting style of the northern and southern and Shandong styles. In short, the early Sun Bowen is a literati artist with daily attributes, regional attributes and cultural tradition attributes.
▲《鸭嬉春水》
178cmX95cm
2000年作
▲ Ducks in the Spring Water
178cmX95cm
Created in 2000
如果孙博文的艺术止步于此，那么，其价值不过是臃肿的当代文人画队伍中的一名优秀的画家而已。然而，1990年代末期，孙博文的绘画无论是风格、语言，还是理念都发生了一个断裂式的转向：由传统的文人写意花鸟、山水转向了以超越性宇宙图式为表征的大泼彩绘画。之所以将孙博文的转向称之为断裂性转向，是因为无论在图像上，还是在观念上，大泼彩绘画与此前的风格都缺乏必要的学理关系。这种情形有点像福柯所说的“历史的断裂性”，只不过是个人版的“历史的断裂性”。
If Sun Bowen's art stops there, then his value is nothing more than a good painter in the bloated ranks of contemporary literati painting. However, in the late 1990s, Sun Bowen's paintings underwent a fractured turn in style, language, and concept: from traditional literati freehand brushwork of flowers, birds, and landscapes to big splash color paintings characterized by transcendent cosmic schemas. The reason why Sun Bowen's turn is called a fractured turn is because both in terms of image and concept, because there is no necessary academic and theoretical relationship between big splash color and the previous style. This situation is a bit like what Foucault called "the rupture of history", but it is a personal version of “the rupture of history”.
