▲《星罗云布》
785cmX144cm
2002年作
▲ Scattered Stars and Clouds
785cmX144cm
Created in 2002
在孙博文的宇宙图式中，静穆观照所带来的生命体验与终极追问，已自由地幻化为天体的蒸腾与跃动。换言之，天体飞动与遨游的力量，全部来自于主体对形而上世界的观照与内省。这一点，准确地体现出中国艺术的内在逻辑与辩证关系，如宗白华所说：“静穆的观照与飞跃的生命是中国艺术的两元。”
In Sun Bowen's cosmic schema, the life experience and ultimate inquiry brought about by contemplation have been freely transformed into the transpiration and leap of celestial bodies. In other words, the power of celestial bodies flying and roaming all comes from the subject's contemplation and introspection of the metaphysical world. This accurately reflects the inner logic and dialectical relationship of Chinese art, as Zong Baihua said: "Quiet contemplation and leaping life are the dualities of Chinese art."
总之，将生命的终极追问与对宇宙、山川充满幻想的憧憬结合在一起，在徜徉于寥廓宇宙中，将其幻化为生命演绎的空间，以此为生命寻求一个栖息之地，并在那里完成生命的彻悟，赋予生命以永恒感，既是孙博文晚期创作的方法论，也是其目的论。正是基于艺术对生命的这种承诺，我们才将孙博文晚期的作品称为“生命的超象”。从本质上讲，“生命的超象”就是集审美与哲理为一体的生命哲学图像。
In short, combine the ultimate inquiry of life with the fantasy vision of the universe, mountains and rivers, wander in the vast universe, transform it into a space for life interpretation, seek a habitat for life, and so as to complete the enlightenment of life and endow life a sense of eternity, which is not only the methodology of Sun Bowen's late creation, but also his teleology. It is on the basis of art commitment to life that we refer Sun Bowen's late works as "the super image of life." In essence, the "super image of life" is a philosophical image of life that integrates aesthetics and philosophy.
▲《境随心转有乾坤》
806cmx144cm
2002年
▲ The Realm Turns with Your Heart
806cmx144cm
Created in 2002
由上述分析我们可以看出，在将现实感知导向抒情的诗意幻觉方面，在将内心的生命追问生成为超越性的宇宙图式方面，在想象力自由地重构宇宙、山川的大美至境方面，孙博文的创造力已达到了同时代艺术家所难以企及的高度。而围绕着“生命超象”所表现出的情感，同日常的人伦之情相比，是一种更高级、更博大的范畴——这是意识到生命价值并由此产生救赎意识的那种神圣的宗教性情感，这是灵魂弥散于宇宙中并在那里获得永恒存在的终极情感。在这种情感的引导下，所有人对孙博文作品的阅读，已无碍地转换为对宇宙的叩问，对生命的叩问。
From the above analysis, we can see that Sun Bowen's creativity has reached a height unparalleled by his contemporaries in terms of directing realistic perception into lyrical poetic illusions, in terms of generating inner life inquiry into transcendent cosmic schemas, and in terms of imaginative freely reconstructing the universe and the beauty of mountains and rivers through imagination. And the emotions shown from the “super image of life" are in a higher and broader category than daily human feelings—the divine religious emotion that recognizes the value of life and thus generates a sense of redemption, the ultimate emotion for the soul to diffuse in the universe and acquire eternal existence. Guided by this emotion, everyone's appreciation towards Sun Bowen's works has been transformed into an inquiry of the universe and life without hindrance.
这里将触及一个关键性问题：孙博文对当代中国画的贡献表现在哪些方面？虽然现在回答这类问题还显得过于匆忙，但亦不妨作一个简单的梳理。在图像、境界层面，孙博文以其宇宙、山川新图像与超验世界的建构而完成了双重超越：以生命飞动的图像以及雄浑、激荡、热烈之境界，完成了对传统文人画苍古、荒寒、萧瑟之冷寂境界的超越，以奇诡的想象力与幻觉性图式完成了对写实主义中国画体系的超越；在创作观及方法论层面，孙博文以对宇宙、山川的全方位观照方式、全觉型思维方式、全息化视觉结构方式，为当代中国画提供了全新的创作观与生产逻辑；在价值取向方面，孙博文以生命为核心所构建的超象体系与宏大叙事，准确地诠释了当代中国画的应有之义与价值所在，重新激活了当代中国画图像及语言的精神维度。
A key question will be touched upon here: what are the aspects of Sun Bowen's contribution to contemporary Chinese painting? Although it may seem too hasty to answer such a question at this time, we might as well make a simple sorting out. In terms of image and realm, Sun Bowen has completed a double transcendence with his construction of new images of the universe, mountains and rivers and the transcendent world: with the image of vivid life and the majestic, stirring and passionate realm, he has transcended the cold and desolate realm of traditional literati painting, which is ancient, desolate and sluggish, and transcended the realist Chinese painting system with his strange imagination and illusionistic schema; In terms of creative concept and methodology, Sun Bowen provides a new creative concept and production logic for contemporary Chinese painting with his all-round view of the universe and mountains and rivers, holistic thinking mode and holographic visual structure; in terms of value orientation, Sun Bowen's super image system and grand narrative constructed with life as the core accurately interpret the proper meaning and value of contemporary Chinese painting, and reactivate the spiritual dimension of contemporary Chinese painting in images and language.
▲《水底日升波自沸》
797cmX144cm
2000年作
▲ Sun Rises from the Water like the Water is Boiling
797cmX144cm
Created in 2000
三、生命的语言
III. Language of Life
如果用一个词来描绘20世纪中国画之性格的话，那一定是“创新”，或者是“实验”——20世纪中国画语言、体格、样式变革之巨，是其他画种所无法比拟的，由此所导致的多元化版图几可用“精神分裂症式的图景”来加以形容。其原因正如人们所了解的那样，近代以来，中国社会以步入现代为鹄的历史性力量，在中国画体格内植入了不可逆的变革逻辑，以至于“创新”“实验”逐渐内化为其性格。这一情形，迫使不同主张的艺术家们达成了这样的共识：语言的“创新”与“实验”，是他们通向现代社会的唯一方式，也是他们从中国画沉沦中自我拯救的唯一方式。因此，我们有理由说，“语言的焦虑”是20世纪中国画最大的焦虑。那些彪炳着20世纪中国画进程的大家们，无一例外地都是语言焦虑症患者——只要看看他们持续一生、到死方休的语言探索就够了。以此而论，孙博文与他所景仰的前辈并无二致，区别在于，语言的创新对孙博文而言，早已超越艺术变革的范畴而成为心灵归宿的宗教——语言是灵魂之翼，只有乘着语言的翅膀，灵魂才能翱翔至超验的廖廓世界。
If there is one word to describe the character of Chinese painting in the 20th century, it must be "innovation" or "experimentation"—the language, physique, and style of Chinese painting in the 20th century have undergone tremendous changes, which are unparalleled by other types of painting, and the resulting diversified layout can almost be described as a "schizophrenic picture". The reason for this, as is well known, is that since modern times, the historical forces of Chinese society of stepping into the modern era have implanted an irreversible logic of change in the body of Chinese painting, so that "innovation" and "experimentation" have gradually internalized in its character. This situation forces artists with different propositions to reach a consensus that the "innovation" and "experimentation" of language is the only way for them to enter modern society, and the only way for them to save themselves from the sinking of Chinese painting. Therefore, it is reasonable to say that the “language anxiety" is the greatest anxiety of Chinese painting in the 20th century. Those masters who have been involved in the process of Chinese painting in the 20th century are all language anxiety sufferers without exception —just look at their lifelong and non-stopped language explorations. In this regard, Sun Bowen is no different from his predecessors he admires, the difference lies in that the innovation of language for Sun Bowen has long transcended the scope of artistic change and has become a religion of spiritual destination—language is the wing of the soul. Only on the wings of language can the soul soar to the transcendent vast world.
▲《无极而生》
122cmX122cm
1998年作
▲ Born in Infinity
122cmX122cm
Created in 1998
因而，从作品语言的性质上讲，孙博文与前辈们相比，有着根本的不同。在前辈们那里，无论是从传统中化出，还是在跨文化基础上的重构，语言的探索与创新都是在视觉层面上展开的，而孙博文晚期的大泼彩，则是艺术家在半清醒半癫狂、半人半魔状态下的精神化书写，是从生命中喷薄而出的语言，每一幅图像，每一块色彩，每一束光以及每一根线条，都是其清魂幽魄所在。在这个语言体系里，生命与形式美学是无间性的。从历史上看，语言能与生命同质的艺术家只有寥寥数人，比如梵高、高更，晚年的林风眠、石鲁等。石鲁晚年创作的华山图像，其钉头鼠尾描所勾勒出的造型，颤抖着生命的痉挛，读起来动人心魄。在这一点上，孙博文与石鲁是如此地接近。孙博文晚期作品的图像、结构、线条、光与色，与石鲁一样，完全由生命的超感知所提供，因而，它是一种具有生命质感的语言。
Therefore, in terms of the nature of the language of his works, Sun Bowen is fundamentally different from his predecessors. In the predecessors’ works, whether from tradition or reconstruction on the basis of cross-culture, the exploration and innovation of language is carried out on a visual level, while Sun Bowen's late big splash color painting is the artist's spiritual writing in a half-awake, half-delirious, half-human and half-demon state, which is a language that erupts from life. Every image, every color, every light and every line is his soul. In this language system, life and the aesthetics of form are inseparable. Historically, only a few artists whose language could be homogeneous with life, such as Van Gogh, Gauguin, Lin Fengmian and Shi Lu in their later years. The image of Mount Huashan created by Shi Lu in his later years, whose shape outlined by Nail-head and Rat-tail Drawing, trembling the spasms of life, are so breath taking to read. At this point, Sun Bowen and Shi Lu are so similar. The images, structures, lines, light and color of Sun Bowen's late works, like those of Shi Lu, are completely provided by the super perception of life, and thus it is a language with the texture of life.
