▲《秋水长天》
228cmX 96 cm
2002年作
▲The Autumn-Water and the Faraway Sky
228cmX 96cm
Created in 2002
从世俗艺术家到超越性主体，孙博文对世界的感知与呈现方式发生了根本变化。从艺术史上看，艺术家们无论采用什么样的创作方法，其感知世界的方式和由此而形成的艺术形态无非两类：第一类可以称作“客体感知”，即艺术家的感知与表达以客观世界的再现为旨归，由此形成以写实性为特征的艺术形态；第二类为“主体感知”，即对客观世界的感知与呈现是在主体心理活动层面上形成的，因而，其表现形态为“意象”或“心象”。很显然，这里不是讨论这类理论问题的地方，在此只能略作交代。
From a secular artist to a transcendent subject, Sun Bowen's perception and presentation of the world has undergone fundamental changes. From the perspective of art history, no matter what kind of creative method artists adopt, the way they perceive the world and the art form formed by it are nothing more than two categories: the first can be called "object perception", that is, the artist's perception and expression are aimed at the reproduction of the objective world, thus forming an art form characterized by realism; the second is "subject perception", that is, the perception and presentation of the objective world are formed at the level of the subject's psychological activity, so its manifestation form is "image" or "mental image". Obviously, this is not the place to discuss such theoretical issues, and I can only briefly explain them here.
可以明确的是，上述两种感知世界的方式及艺术观都无法涵盖、描述孙博文的大泼彩创作。考虑到孙博文后期感知系统因疾病而发生异变，且达到了超常的或半疯癫的程度，我们不妨用一个全新的概念来加以描述，这个概念就是“超感知”。何谓超感知？依我们的理解，它有三个维度：首先它以精神遨游的方式来体察、认知世界，因而，其感知领域之寥廓玄远，可谓穷尽宇宙天体、四荒八极；同时，这种感知是全觉型的，在视觉之外，还包括了听觉、触觉、嗅觉乃至整个身心的感觉，可谓全息性地体味可视性物象以及不可见之物，其触角可以自由地到达灵异、虚无的世界；最终，这种感知是心与物、精神与客体高度融合性的感知。也就是说，在创作中，孙博文的身体、生命乃至灵魂与宇宙万物是以互渗的方式而融为一体的。从这个意义上讲，孙博文大泼彩作品即是其生命与灵魂的在场。
It is clear that neither of the above two ways of perceiving the world nor artistic views can cover and describe Sun Bowen's big splash color paintings. Considering that Sun Bowen's later perceptual system was mutated due to disease and reached a supernormal or half-delirious level, we might as well describe it with a completely new concept, which is “super perception". What is super perception? According to our understanding, it has three dimensions: first, it perceives and recognizes the world in the way of spiritual wandering, so its field of perception is vast and far-reaching, which can be described as the whole universe and each corner of it; At the same time, this perception is comprehensively holographic, in addition to vision, it also includes hearing, touch, smell and even the entire body and mind senses, which can be described as holographic taste of visible objects and invisible objects, and its tentacles can freely reach the supernatural and void world; Ultimately, it is a perception that is highly integrated between mind and matter, spirit and object. In other words, in his creation, Sun Bowen's body, life and even soul are integrated with everything in the universe in an interpenetrating way. In this sense, Sun Bowen's big splash color works are the presence of his life and soul.
▲《霜青枫老丹成树》
89 cmX 231cm
2000年作
▲ Green Frost, Old Maple and Tree
89 cmX 231cm
Create in 2000
释文：江南九月霜暗飞，秋光春色两依稀。万树欲丹疑湿雾，千山如醉带斜晖。
Commentary:
Frost flies in September in the south of the Yangtze River.
Autumn and spring are both faint.
Thousands of trees sway in the wet mist.
Hundreds of mountains are drunk in the sunset.
从上述描述中，我们可以得出这样的结论：“超感知”是一种殉道式感知，由这种感知所生成的图像，理所当然地成为“生命的超象”。
From the above description, we can conclude that “Super Perception" is a martyrdom perception, and the images generated by this perception naturally become “Super Image of Life".
殉道式对超验世界的凝神观照，不仅让孙博文晚期创作中“异像”纷沓而至，而且赋予绘画图像以某种宗教感。从性质上讲，大泼彩绘画在孙博文那里，与其说是一种艺术样式，不如说是用超感知幻象所建立起来的生命祭祀的殿堂，或者说，一种生命向自然、上帝、宇宙回归的方式。
The martyrdom-type contemplation on the transcendent world not only brought forth the "visions" in Sun Bowen's late works, but also endowed the paintings a certain sense of religion. In nature, in Sun Bowen's view, big splash color painting is not so much an artistic style as a palace of life sacrifice built up by super perception illusions, or a way for life to return to nature, God, and the universe.
以超感知幻象所构建起来的“生命的超象”图式，可依据其题材的不同而细分为三个类型：1、山水幻象。其作品包括《万象生辉》（2001）、《去留肝胆两昆仑》（2000）、《岩栖谷隐心自闲》（2002）、《朝云春梦》（2002）等；2、灵魂幻象。其作品有《但愿人间意珠圆》（2001）、《涅槃》（2001）、《凤舞九天》（1998）、《山高禅意浓》（2001）、《性灵之光》（2000）、《观世》（2001）、《禅意直上锦山顶》（2001）等； 3、宇宙幻象。其代表作有：《挥笔御乾坤》（2002）、《山水四屏》（2000）、《星空》（2000）、《境随心转有乾坤》（2002）、《无极而生》（1998）、《开天辟地》（2002）、《袖卷红云水上生》（2001）等。
“The Super Image of Life" schema constructed with the illusion of super perception can be subdivided into three types according to its different themes: 1. Landscape illusion, includes The Brilliance of All (2001), The Heroic Heart is As Majestic as Kunlun Mountain (2000), Hidden Leisurely in Yanqi Valley (2002), Clouds in the Early Morning and Dreams in the Spring (2002), etc.; 2. Soul illusion, includes May the Completeness in the World (2001), Nirvana (2001), Phoenix Dances in the Highest of Heavens (1998), Deep Zen Spirit in High Mountains (2001), and The Light of Soul (2000), The View of the World (2001), Zen Spirit Goes Straight to the Top of Jinshan (2001), etc.; 3. Universe illusion, includes Universe in Control Under My Brush (2002), Four Screens in Landscape (2000), Starry Sky (2000), The Realm Turns with Your Heart (2002), and Born in Infinity (1998), Break up New Situation (2002), Red Clouds Wound up by the Sleeve Rising from the Water (2001), etc.
▲《但愿人间意珠圆》
245cmX123cm
2001年作
▲ May the Completeness in the World
245cmX123cm
Created in 2001
1990年代末期，孙博文不动声色地调整了自己与自然山川之间的关系——由实景写生转向冥造山川。这一调整，带来了山水画观念及图式的一系列变化：由实景到虚景，由实象到幻象，由再现山水到心与物游。在山水幻象类作品中，山水画完全超越视觉审美之羁绊，一跃成为对个体生命解放与精神自由的承诺。在滉漾夺目的幻象世界里，孙博文身与风化，恰如飞蓬，醉入山水之间。其生命情态，正如庄子所说的“游心于物之初”者，方能臻于至美之境。从这里开始，在山川幻象所构成的叙事逻辑中，来完成生命的漫游，便成为孙博文山水创作的主要维度。作于2001年的《万象生辉》与其说是一幅山水图景，不如说是主体与山水优游卷舒中所随心组合的生命符号：悠然的桔黄色长云、静默的孤山、刚峭的巨石、蓬勃的丛树与回旋的碧浪，在不知由来的相遇中，以光影游动与形态变幻，低吟出生命自由而无常的旋律。在这类创作中，赋予画面以更为丰盈的人伦精神，从而在山水幻象层面上生成人格化特征，是孙博文最为喜爱的创作方式。
In the late 1990s, Sun quietly adjusted his relationship with real natural mountains and rivers, from realistic sketching to contemplative mountains and rivers. This adjustment has brought a series of changes in the concept and schema of landscape painting: from real scenes to virtual scenes, from real images to illusions, from reproducing landscapes to mind and object integration. In landscape illusion works, landscape painting completely transcends the bonds of visual aesthetics and has leapt into a commitment to the liberation of individual life and spiritual freedom. In the dazzling fantasy world, Sun Bowen's body has been transformed into the wind like bitter fleabane, enchanted among mountains and rivers. His life modality, as Zhuangzi said, “only those who stay true to the original self”, can achieve the most beautiful state. From here, in the narrative logic composed of landscape illusions, completing the wandering of life becomes the main dimension of Sun Bowen's landscape creation. Created in 2001, The Brilliance of All is not so much a landscape painting, but rather a symbol of life in the random combination of the main body and the landscape: the leisurely orange clouds, the silent lonely mountains, the rigid boulders, the vigorous trees and the swirling blue waves, in the unknown encounter, with light and shadow flowing and form changing, hum the free and impermanent melody of life. In this kind of creation, it is Sun Bowen's favorite way of creation to endow the paintings with a richer human spirit, so as to generate personified characteristics at the level of landscape illusion.
▲《万象生辉》
145cmX716cm
2001年
▲ The Brilliance of All
145cmX716cm
Created in 2001
作于2000年的《去留肝胆两昆仑》，是一幅高达8米的巨作。在这幅作品中，孙博文不是以画家而是以“主宰者”的身份出现的，如王阳明所说：“我的灵明，便是天地鬼神的主宰。”在孙博文“灵明”的引导下，人们的视线在色墨波涛的汹湧中，穿越孤崖绝壁，直抵云霄之上的昆仑顶峰，在那里领略天问式的诗篇：“吾截昆仑两三段，将余抛在云雾间。敢问苍天不罪我，能劈喜马拉雅山！”刹那间，在诗书画相互编织的叙事逻辑中，孙博文之“灵明”仿佛闪烁于皑皑白雪的昆仑山顶，又或沉隐于桔红色的暮霭，最终在大泼彩狂野的迸发中化生为主宰天地山川的人格神。
Created in 2000, The Heroic Heart is As Majestic as Kunlun Mountain is a masterpiece with a height of 8 meters. In this work, Sun Bowen appears not as a painter but as a "master", as Wang Yangming said, ”My spirit is the master of heaven and earth, ghosts and gods." Under the guidance of Sun Bowen's "spirit", people's eyes go through the lonely cliff in the turbulence dark color, to reach Kunlun Summit above the sky, where we enjoy the Asking God style poem: "I cut Kunlun into two or three sections, and throw the rest in the clouds. Dare to ask the God not to sin me, because I can split the Himalayas!” In an instant, in the narrative logic woven by poetry, calligraphy and painting, Sun Bowen's “spirit” seems to shine on the top of the snowy Kunlun Mountain, or sink into the orange twilight mist, and finally transform as a personality god who dominates the heavens, earth, mountains and rivers in the burst of wild big splash color painting.
