▲《刹那芳华》
450cmX144cm
2002年作
▲ A Moment of Beauty
450cmX144cm
Created in 2002
令人略感诧异的是，这种语言始于与早期作品的断裂。如第一节所述，孙博文的早期作品与晚期作品之间的确存在着某种断裂的情况，两者之间似乎没有学理上、形式上的逻辑关系。从源头上讲，这种现象倒不难解释，其原因在于，早期作品语言更挚爱于前辈们所留下的遗产和由此而来的各种范式与规则，而后期的大泼彩则完全将语言美学立基于生命的超感知之上。由追索生命价值而开始的语言美学，无疑让孙博文晚期作品拥有了原创性艺术所具有的那种神秘而迷人的品质。正如我们在作品中所体验到的，从一开始，语言的建构就拥有了最高程度的自觉性，所有的语言元素不是听命于既有的艺术观，而是在某种神秘力量的驱动下，精灵般地划出了自己的轨迹。无法控驭的色墨流淌，不可捉摸的笔痕与线的运转，光斑的自由跳跃，以及那些莫可名状的造型，仿佛是在半醉半醒状态中汇聚为一个整体的。可以说，孙博文的大泼彩语言体系从创建之初，就是一个包括结构、构图、造型、色彩、光感、线条以及空间感在内的整体性建构。以生命感知为内在逻辑，图像各部分之间几乎密不可分，相互依赖，抽掉任何一个微小部分，即会破坏掉整个构造——这就是孙博文以“生命的超象”为表征的语言乌托邦。
Somewhat surprisingly, this language begins with a rupture with the earlier works. As mentioned in the first section, there is indeed a certain break between Sun Bowen's early works and his later works, and there seems to be no doctrinal and formal logical relationship between the two. From the source, this phenomenon is not difficult to explain, because the language of early works is more beloved to the legacy left by predecessors and the various paradigms and rules that are derived from it, while the later big splash color paintings are completely based the aesthetics of language on the super perception of life. The aesthetics of language, which begins with the search for the value of life, undoubtedly gives Sun Bowen's later works the mysterious and fascinating quality of original art. As we have experienced from his works, from the very beginning, the construction of language has the highest degree of consciousness, and all linguistic elements are not subject to the established art view, but are driven by some mysterious force, and elvishly mark out own trajectory. The uncontrollable flow of color and ink, the inscrutable movement of brush marks and lines, the free jumping of light spots, and those inexplicable shapes seem to converge into a whole in a half awake and half drunk state. It can be said that Sun Bowen's big splash color painting language system has been a holistic construction including structure, composition, shape, color, light, line and space from the beginning of its creation. With the perception of life as the internal logic, all parts of the image are almost inseparable and interdependent, and the removal of tiny part will destroy the entire structure—this is the linguistic utopia represented by Sun Bowen's “super image of life".
▲《霞照波心锦裹山》
237cmX97cm
2002年作
▲ Rosy Cloud Covers the Mountain
237cmX97cm
Created in 2002
泼墨、泼彩是两项古老的中国画技艺。或许感召于道家“解衣盘礴”的自由精神，唐代王洽创制了“泼墨”：“凡欲画图幛，先饮，醺酣之后，即以墨泼，或笑或吟，脚蹙手抹，或挥或扫，或浓或淡，随其形状，为山为石，为云为水，应手随意，倏若造化。”《唐朝名画录》中的这段文字，可被视为人类最早的行为艺术宣言，它意味着“泼墨”的创作方式，从一开始就内蕴着主体的自由创造精神。由唐至近代，关于泼墨的理念与技术实践，多有论述，其成果为孙博文的大泼彩作了一个理论铺垫。1990年代早期，孙博文即尝试用泼墨法作画，颇有心得，直到1990年代末期，孙博文才体系化地展开其泼彩艺术实验。与张大千等人的“依形而泼”不同的是，孙博文的泼彩是“由泼而形”，随泼彩的有机变化而赋形，更接近于王洽的泼墨精神；从泼彩的性质上讲，张大千的泼彩依托于构图的谋略与画面的设计，若隐若现地保持着文人艺术的教养与矜持，而孙博文的泼彩则来自于生命的率真与激情，处处绽放出“真人”精神遨游的辽远气象，有荒率旷达之风，所以被称之为“大泼彩”。从视觉美学与技术层面上看，孙博文的大泼彩以破为主，第一遍色墨尚处于湿润状态时，即以覆色破之，在冷暖色、互补色以及浓淡、枯润、色墨的互破中，达到色色渗化、色墨渗化之效果。尔后，泼绘结合，随形赋形，在激情与自由铺就的色底上塑形，以时如怒猊抉石，时如横风疾雨的多元表现形态，将作品推向笔与色会，氤氲不分，笔活色灵的语言美学高度。只有在大泼彩那里，孙博文才真正找到了通向“生命的超象”的方法、路径与图式：
Ink splashing and color splashing are two ancient Chinese painting techniques. Perhaps inspired by the Taoist spirit of “whole-hearted painting“, Wang Qia of the Tang Dynasty created "ink splashing": "Anyone who wants to draw a picture, drink first, and after getting drunk, splash with ink, laugh or chant, rub with feet and hands, wave or sweep, in thick or light. The shape is in mountains and stones, clouds and water, creating at will.” This text in the Famous Paintings of the Tang Dynasty can be regarded as the earliest manifesto of human performance art, which implies that the creative method of “ink splashing" has been embedded with the free creative spirit of the subject from the beginning. From the Tang Dynasty to modern times, there have been many discussions on the concept and technical practice of ink splashing, the results of which have paved the way for Sun Bowen's big splash color painting. In the early 1990s, Sun Bowen tried the ink splashing method, and it was not until the late 1990s that Sun Bowen systematically began his experiments in splashing color. Different from Zhang Daqian and others' "splashing according to the shape", Sun Bowen's splashing color is formed from "splashing to shape”. That is shaped with the organic changes of splashing color, which is closer to Wang Qia's spirit of ink splashing; In terms of the nature of splash color, Zhang Daqian's splash color relies on the strategy of composition and the design of the picture, and vaguely maintains the cultivation and reserve of literati art, while Sun Bowen's splash color comes from the frankness and passion of life with free and far-reaching spirit wandering of the "detached individual”and an absurdity style, so it is called "big splash color painting". From the perspective of visual aesthetics and technical level, Sun Bowen's big splash color painting is mainly about breaking. When the first color ink is still in a wet state, he breaks it with overlaying colors, and the effect of color permeation and color ink permeation is achieved in the mutual breaking of cold and warm colors, complementary colors, as well as intensity, dryness of color and ink. Then, the combination of splashing and painting, and form the shape from the shape. Shaping on the color background of passion and freedom, with the multifaceted expressions of sometimes furious rock, and sometimes a cross wind and rain, push the work to the height of the language aesthetics of the brush and the color. It was only in big splash painting that Sun Bowen really found the method, path and schema leading to the “super image of life”.
悬顶空中大泼彩，拖泥带水开情怀。
烟云万象白练出，引逗诗翁持杖来。
Smash color in the sky,
draw with ink and water in great emotions.
Then the smoke and clouds are born from this,
which attracts the poet to come with a staff.
▲《练水出山》
452cmX143cm
2002年作
▲ Water and Mountains are Born in the Painting
452cmX143cm
Created in 2002
立足于泼彩，以虚境专一之心，在感知宇宙、山川微茫惨淡之旨中，依生命的运动节律而赋予画面以弥散式结构，是孙博文建构宇宙图式的基本方法。所谓弥散式结构，指的是主体对空间的任意分割与配置，以至于画面失去了固有的主次地位，也超越了传统的“三远”法则，画面浑化一片，色光闪烁间，皆主体生命的呈现；线形周流处，皆主体精神的徘徊。在《烟云生万象》（2001）的猎猎长风中，荒荒油云，或低吟游动于山峦林川之上，或升腾虚化于太空的穹谷，云气升降飞扬，无始无终，无止无息。在孙博文的后期创作中，弥散式结构赋予主体的创作以无可比拟的自由性，使他能像“第二个上帝”那样，可以自由地支配宇宙、山川、日、月、云气以及那些飞旋于画面的“法轮”。这种胜景可见于《境随心转有乾坤》（2002）中的万象的高蹈独步，以及法轮飞旋所留下的鸣镝般的乐章；亦可见于《水底日升波自沸》（2000）中的物象纷呈中的灵气往来，形质动荡中的天籁自鸣。
Based on splashing color, with the heart of single-mindedness in the virtual realm, in the purpose of perceiving the universe and the bleakness of mountains and rivers, giving the picture a diffuse structure according to the rhythm of life's movement is Sun Bowen's basic method of constructing the cosmic schema. The so-called diffuse structure refers to the arbitrary division and configuration of space by the subject, so that the painting loses its inherent priority, and also surpasses the traditional "three distances" rule. In the blended structure and the flickering colors, the life of the subject represents; At the flowing lines, the spirit of the subject wanders. In the long wind of Smoke and Clouds Foster All Things (2001), the desolate clouds, either whispering and moving above the mountains, forests and rivers, or rising and vanishing in the domes of space, rise and fall, without beginning or end. In Sun Bowen's later works, the diffuse structure gives unparalleled freedom to the subject's creation, allowing him to freely dominate the universe, mountains, sun, moon, clouds, and the swirling dharma wheel in the painting like "second God". This kind of scenery can be seen in the unique all things in The Realm Turns with Your Heart (2002), and the roaring music left by the swirling dharma wheel; It can also be seen in Sun Rises from the Water like the Water is Boiling (2000), with the spiritual energy exchange in the variety of objects, and the heavenly sound in the turmoil of the form.
▲《烟云生万象》
496cmX143cm
2001年作
▲ Smoke and Clouds Foster All Things
496cmX143cm
Create in 2001
孙博文之造型，乃虚廓心灵，空诸一切，“一悟之后，万象冥会”之产物，其目的在于以“象”体证形而上之“道”，以形冥合宇宙之永恒秩序，因而它是超然于物质实象之上的“虚象”，即虚含万象之“象”，是幻化无端之象，是变动不居之象。以《凤舞九天》（1998）为例。在这件作品上，赤褐色、桔红色、钴蓝与翠绿等各种色线交织纠缠为“凤舞九天”的意象，其飞动回旋，时如孤凤轻飞，冥然于物；时如风行水上，自然成文。抬眼望，一派天机昭昭。另一件作品《山水四屏》（2000）的图像，则为华光四溢的宇宙景观：来自于大地的喷薄之“气”，似光的飞驰，似云的游移，似扶摇直上的“光柱”，又似湧动不已的岩浆。它们在天地间回旋、升腾、衍化，与万物混融相生，吞吐之间，囊括了廓远而圆融的宇宙精神。
Sun Bowen's painting shape is the product of the free mind, the emptiness of everything, and “things become clear after enlightenment”, whose purpose is to prove the metaphysical "Taoism" with "image", to form the eternal order of the universe with shape. So it is a "virtual image" that transcends the material reality, that is, the "image" that contains all the things, the image of illusion, and the image of change. Take Phoenix Dances in the Highest of Heavens (1998) as an example. In this work, various color threads such as russet, orange, cobalt blue and emerald green are intertwined and entangled into the image of Phoenix Dances in the Highest of Heavens, whose flying and swirling, like a lonely phoenix flying lightly; or like the wind on the water naturally. When you look at it, you can see a clear picture of heaven. Another work, Four Screens in Landscape (2000), is a cosmic landscape full of light: the eruption of "qi" from the earth, like the traveling of light, the wandering of clouds, the "pillar of light" rising upwards, and the surging magma. They rotate, rise, and evolve between heaven and earth, and live in harmony with all things, and contain the distant and merging cosmic spirit.
