▲《开天辟地》
228cmX96cm
2002年作
▲ Break up New Situation
228cmX96cm
Created in 2002
让我们再从心理学的角度作一点探讨。对艺术史而言，一个基本常识是：艺术史从来都是天才们书写的，而天才们的共同特征便是一生都充满对平庸的恐惧。也就是说，平庸是天才们最可怕的敌人。这方面有一个著名的例子：达利7岁时便被成名的野心之火燃烧得无法入睡，一生视平庸为天敌。虽然我们缺乏对孙博文心理研究的临床数据，然而，无论从其创作中表现出的强烈的创新性*，以及在这种*压迫下自我挣扎的状态看，还是从其诗文、题跋中透露出的试图以精神的自我解放来超越世俗的愿望看，他都是一个达利式的平庸恐惧症的患者。1997年的那场手术后，死神的追逐显然加剧了这种恐惧症。被死神扼住生命的窒息感，与由此而被放大的对平庸的恐惧感，让孙博文在生理、心理上同时经历了一场脱骨换胎式的改造，在精神的基因突变中完成了自我超越。由此，我们可以断定，孙博文后期创作中的那些神秘图像的背后，有一条平庸恐惧症的古老根源。
Let's explore a little more from a psychological perspective. For art history, a basic common sense is that art history has always been written by geniuses, and the common characteristic of geniuses is the lifelong fear of mediocrity. That is, mediocrity is the most terrible enemy of geniuses. There is a famous example of this: Dali was burned by the fire of fame at the age of 7 and could not sleep, and regarded mediocrity as his natural enemy throughout his life. Although we lack clinical data on Sun Bowen's psychological research, however, he is nevertheless a sufferer of Dali-style mediocrity phobia, whether from the strong desire for innovation shown in his creation, and the state of self-struggle under the oppression of this desire, or from the desire to transcend the world with spiritual self-liberation revealed in his poems and inscriptions. After the 1997 surgery, the chase of death apparently exacerbated the phobia. The sense of suffocation of being strangled by death, and the magnified fear of mediocrity allowed Sun Bowen to undergo a bone-changing transformation both physically and psychologically, and completed self-transcendence in the genetic mutation of the spirit. From this, we can conclude that behind the mysterious images in Sun Bowen's later creations lies an ancient root of mediocrity phobia.
▲《万古长空》
361cmX144cm
2001年作
▲ Long Live the Vast Sky
361cmX144cm
Created in 2001
如果在艺术史上为孙博文寻找一个同类的话，那只能是梵高。仅仅从精神层面上考量，梵高可谓孙博文唯一的偶像。对梵高的崇仰之情，在孙博文向梵高致敬的诸多作品中，几乎达到了宗教般的高度。创作于2001年的《云隐青山》，其原型即为梵高1889年的油画《阿尔皮耶山为背景的橄榄树》。至于孙博文后期作品图式中神秘的“旋转”之造型，则与梵高“旋转”的星空结构一脉相承。在孙博文那里，梵高在灵魂的自我纯化方面，在以生命的感知而重构自然、宇宙万物方面，无疑是一个伟大的牧师。因而，两人在精神生活与行为上是如此地相似：皆以半癫狂、半清醒的状态，在精神无尽的遨游中完成自我超越，由此将艺术提升为灵魂的事业。不同的是，梵高的遨游是嗅着大地蓬勃气息与无限生机的孤傲的自我漫游，他的每一幅画面都是自我精神的游记与标识；而孙博文的遨游则是死亡追逐下的生命与宇宙、自然的摩荡、嬉戏与相融，其画面更为幽渺、旷达、超迥，不可言说，所洋溢的是生命开悟的幸福感与自由性，亦有弃世而去的低沉与哀婉。
If one were to find a similar artist for Sun Bowen in the history of art, it could only be Van Gogh. From a spiritual point of view alone, Van Gogh can be described as Sun Bowen's only idol. The admiration for Van Gogh has reached almost religious heights in many of Sun Bowen's works paying tribute to Van Gogh. Created in 2001, Clouds Hidden among Green Mountains is based on Van Gogh's 1889 oil painting The Olive Trees in the background of Mount Alpilles. As for the mysterious "rotation" shape in the schemas of Sun Bowen's later works, it is in line with Van Gogh's "rotating" starry sky structure. According to Sun Bowen, Van Gogh is undoubtedly a great priest in the self-purification of the soul and in reconstructing nature and everything in the universe with the perception of life. Therefore, the two are so similar in spiritual life and behavior: both complete self-transcendence in the endless wandering of the spirit in a half-delirious and half-awake state, thereby elevating art to the cause of the soul. The difference is that Van Gogh's traveling is a lonely self-roaming journey sniffing the vigorous breath and infinite vitality of the earth, and each of his pictures is a travelogue and logo of his own spirit; While Sun Bowen's journey is the friction, playfulness and integration between life and the universe and nature under the chase of death, and his paintings are more secluded, expansive, transcendent, ineffable, full of the happiness and freedom of life enlightenment, as well as the lowness and sorrow of abandoning the world.
无论是感动于生命的觉悟，还是基于“禅”修的业绩，无论是恐惧于日常的平庸，还是听从于20世纪历史逻辑的召唤，孙博文都在其生命的后期，以生理疾病向形而上世界跃迁的方式，生成为一个生命的觉者，一个超越性的主体。对此，前面已有所描述，在这里，不妨再从概念层面作一点粗略的归纳：其一，所谓“生命的觉者”，是一个主体不断脱意识形态化、脱日常状态的过程。在这一过程中，生命以纯化的方式而返向本原，并在那里重新聚拢自己的本体价值；其二，所谓“超越性主体”，是一个多重超越者：从艺术惯例系统、从日常生活、从既有的教条与信念中全方位超拔而出，其宇宙观、艺术观及方法论在超越中得以全面重建；其三，生命去蔽的过程，也是主体创造力生成的过程。一个澄澈无蔽的生命，才能真正获得建构超越性艺术图像的智识与能力。
Whether moved by the enlightenment of life, or based on the achievements of "Zen" practice, whether fearing daily mediocrity, or heeding the call of historical logic in the 20th century, Sun Bowen was born into a perceiver of life, a transcendent subject, in the way of the leap from physical disease to the metaphysical world in the later stage of his life. This has been described earlier, and here, we might as well make a rough summary from the conceptual level: First, the so-called "perceiver of life" is a subject who is constantly de-ideologized and detached from daily life state. In this process, life returns to its origin in a purified way, where it regathers its ontological values; Second, the so-called "transcendent subject" is a multiple transcendentalist: from the system of artistic conventions, from daily life, from existing dogmas and beliefs, its cosmology, artistic outlook and methodology are comprehensively reconstructed in transcendence; Third, the process of life aletheia, also the process of generating the subject's creativity. Only a clear and aletheia life can truly acquire the intellect and ability to construct transcendent artistic images.
▲《云隐青山》
69cmX171cm
2001年作
▲ Clouds Hidden among Green Mountains
69cmX171cm
Created in 2001
释文：天忽作晴山卷幔，云犹含态石披衣。青山隐隐泛中流，洞天云霄何处生？
Commentary:
The sky is suddenly clear and the mountains roll up their curtains.
The clouds are still in the shape and the stones are in the coating.
Green mountains are hidden in the cloud stream.
Where do the clouds in the vast sky come from?
从精神进化的角度讲，步入创作晚期的孙博文已成为潘天寿所说的“慧眼慧心人”，称得上“胸次洒脱，中无障碍，如冰壶澄澈，水镜渊渟”。在晚期创作中，生命的觉悟，精神的超越性以及由此而来的想象力的彻底解放，已成为孙博文创作灵感与图像建构的全部来源，而以生命的本明、灵魂的虚静去观照万物，冥合宇宙，则成为他创作的方法论。作为一个通体发散出超越性品质的创作主体，孙博文的灵魂既是光明澄澈的、虚壹而静的，又是热烈飞动的。唯其光明，方能化生万物，在朝日初启的“朝彻”中悟通“道”之所在；唯其虚静，才能以玲珑之心体味宇宙的微茫澹然，而不为表象所乱；唯其热烈，方见出生命与宇宙相融的恍惚迷离，雄浑飘摇，气象万千。如李日华所说：“必须胸中廓然无一物，然后烟云秀色与天地生生之气自然湊泊，笔下幻化奇诡。”
From the perspective of spiritual evolution, Sun Bowen, who has entered the late stage of creation, has become what Pan Tianshou calls "a man with wise eyes and a wise heart", which can be called “a free mind is as clear as an iceberg and just as still water can reflect things". In his later works, the enlightenment of life, the transcendence of the spirit and the complete liberation of imagination that came from it have become all the sources of inspiration and image construction for Sun Bowen's creation, and contemplating all things and the universe with the essence of life and the clearness of the soul has become the methodology of his creation. As a creative subject that radiates transcendent qualities throughout, Sun Bowen's soul is both bright and clear, void and quiet, but also passionate and dynamic. Only with his brightness can all things be reborn and understand the "Taoism" in the sudden enlightenment when morning sunshine spreads everywhere; only with his void and quietness can he experience the vagueness of the universe with a delicate heart, and not be confused by appearances; only with his enthusiasm can he see the trance, confusion and majestic and precarious vistas of the integration of life and the universe. As Li Rihua said: “Only with free mind and chest, can the scenery be blended with the vitality of the earth, then we will have the grotesque and amazing works.”
历史上，那些以生命的觉悟而拥抱宇宙、自然和人生的艺术家，往往会以殉道的方式而升华为艺术的圣哲，梵高如此，孙博文亦如此。他们的离去的地方，往往是信仰、生命本原的分崩离析之处。一个形而上世界关闭了，一个喧嚣的社会连同它的*、机巧、名利蜂拥而至——这就是孙博文身后的世界。
Historically, artists who embrace the universe, nature and life with the enlightenment of life often sublimate into the sages of art in the form of martyrdom, as did Van Gogh and Sun Bowen. The place where they leave is often the place where faith and the origin of life fall apart. When a metaphysical world closes down, a noisy society swarms in with its desires, ingenuity, fame and fortune—this is the world behind Sun Bowen.
▲《北冥有鱼》
123cmX244cm
2001年作
▲ Fish in the North
123cmX244cm
Created in 2001
二、生命的超象
II. Super Image of Life
在世俗意识泛滥的当代社会中，艺术还能重返形而上世界吗？在大多数情况下，回答当然是否定的，直到人们发现了孙博文，才找到了肯定性的答案。在孙博文后期作品中，人们意外地看到，艺术的形而上触角是被乡野力量所修复的，这对混迹于都市的当代艺术而言，多少有些讽刺。事实上，无论从哪个角度看，孙博文晚期的创作都是当代绘画性质及方位的再定位——它以生命信仰的方式重返超验世界，并在那里开始了以艺术终极关怀为核心的，包括创作方法、艺术感知方式、题材与图像结构、语言美学及技术在内的体系化建构——一种不同于既有艺术观及方法论的大泼彩绘画体系由此诞生。
In a contemporary society where secular consciousness is flooding, can art return to the metaphysical world? In most cases, the answer is of course no, and it was not until people discovered Sun Bowen that they found a positive answer. In Sun Bowen's later works, people unexpectedly see that the metaphysical tentacles of art are repaired by the power of the countryside, which is somewhat ironic for contemporary art muddled in the city. In fact, from any perspective, Sun Bowen's late creation is a reorientation of the nature and orientation of contemporary painting—it returns to the transcendent world in the way of life belief, and there begins the ultimate concern of art as the core, including the systematic construction of creative methods, artistic perception ways, subject matter and image structure, language aesthetics and technology, and a big splash color painting system different from the existing artistic concept and methodology was born.
在孙博文晚年的创作中，一个令人惊诧的事实是，自1997年手术后，1998年到2003年离世的短短5、6年间，孙博文的巨幅大泼彩作品数量竟达上千幅。人们或许会暗自赞叹：与死神的博弈究竟产生了多么强大的生命之力，才使得孙博文的创作喷薄出如此峻烈、如此绚烂的乐章？从性质上讲，这批作品是以生命殉道的方式来完成的超级图像，因而，可称之为“生命的超象”。
In Sun Bowen's later creations, a surprising fact is that in just 5 to 6 years from 1998 to his death in 2003, after his surgery in 1997, Sun Bowen's created thousands of large-format big splash color works. People may marvel at how powerful the life force is produced by the fight with death, which makes Sun Bowen's creation spew out such a fierce and gorgeous movement? By nature, these works are super images completed in the form of martyrdom of life, so they can be called “Super Images of Life".
