▲《凤舞九天》
310cmX123cm
1998年作
▲ Phoenix Dances in the Highest of Heavens
310cmX123cm
Created in 1998
在孙博文晚期创作的语言逻辑中，光色体系占据着举足轻重的位置。在这一领域，即便从直觉出发，也能感受到孙博文与梵高之间一脉相承的关系。梵高擅用的三对互补色蓝与橙、红与绿、黄与紫，均被孙博文转换为大泼彩的主色调。如果说梵高从作画之始就赋予色彩以精神象征意味，从而控制了色彩的属性的话，那么，孙博文则是在泼彩的自由流动与物性变异中确立了色彩的精神指向。换言之，色彩是在孙博文的泼彩行为与点染、敷绘、书写的笔法实践中，被充分释放而达到精神高度的。“平生野然无拘束，万里长空自在天，彩墨倒于宣纸上，任其纵横任其染。”孙博文的这首诗，准确地诠释了贯穿于泼彩全过程的自由精神。
In the linguistic logic of Sun Bowen's late works, the light and color system occupies a pivotal position. In this field, even from the intuitive point of view, you can feel the relationship between Sun Bowen and Van Gogh. Van Gogh's three pairs of complementary colors blue and orange, red and green, yellow and purple were all transformed by Sun Bowen into the main colors of big splash color painting. If Van Gogh gave color a spiritual symbolism from the beginning of his painting, thereby controlling the properties of color, then Sun Bowen established the spiritual orientation of color in the free flow and physical variation of splash color. In other words, color is fully released and reaches spiritual heights in Sun Bowen's splashing behavior and the practice of staining, painting, and writing. "Life is unrestrained, people feel free like the vast sky, colored ink is poured on rice paper, and it is allowed to be dyed in any way." Sun Bowen's poem accurately interprets the spirit of freedom that runs through the whole process of splashing colors.
光的奕奕照耀，不仅让色调和每块色彩自燃起生命的力量，也让它们超拔为宇宙、山川的固有色。一如《奥义书》所描绘的：“火燃炽，日赫照，明月流辉，闪电煌掣，悠悠大梵光明，笼盖宇宙万有。”有论者以为，《但愿人间意珠圆》（2001）、《天地增气象》（2000）、《练水出山》（2002）、《霞照波心锦裹山》（2002）、《秋水长天》（2002）《刹那芳华》（2002）等作品像“上帝”的调色板，此论甚妙，的确，在这些作品中，黄橙色、朱紫色、墨色、深蓝、青绿、鹅黄、墨绿等，诸色相互叠加、在冲撞中互融，于氤氲流荡中熠熠生辉。尤其是青绿在橙红色与墨韵的簇拥下，晶莹剔透，发散出宝石般细腻而深邃的光芒。最终，光在画面上发挥了神灵般的作用，它让图像重要的部分从色调的黝暗处凸显出来，于夭矫飞动中，卷起桔红色、橙黄色的火舌；或于朱紫色、墨色退隐的晦冥中，脱落出一个宝石蓝或乳白色的幻相——这便是孙博文的光色艺术。
The splendor of light not only makes the hue and each color spontaneously ignite the power of life, but also makes them transcend into the inherent color of the universe, mountains and rivers. As depicted in the Upanishads, "The fire blazes, the sun shines, the moonlight flows, the lightning flashes, the light of the great Brahma covers all things in the universe." Some commentators believe that May the Completeness in the World (2001), The Increasing Momentum of Heaven and Earth (2000), Water and Mountains are Born in the Painting (2002), Rosy Cloud Covers the Mountain (2002), The Autumn-Water and the Faraway Sky (2002) and A Moment of Beauty (2002) are like the color palette of "God", which is terrific. Indeed, in these works, yellow-orange, vermilion, ink, dark blue, cyan, goose yellow, dark green, etc., all colors are superimposed on each other, blending in collision, and shining in the turmoil. In particular, the cyan is crystal clear under the cluster of orange-red and ink color, giving off a delicate and deep glow like a gem. In the end, light plays a divine role on the painting, allowing important parts of the image to stand out from the darkness of the hue, and roll up the orange-red and orange-yellow tongues of fire in the movement; Or in the obscurity of vermilion purple and inky retreat, a sapphire blue or milky white illusion is appeared—this is Sun Bowen's art of light and color.
▲《天地增气象》
236cmX96 cm
2000年作
▲ The Increasing Momentum of Heaven and Earth
236cmX96 cm
Created in 2000
尽管我们毫不怀疑孙博文的大泼彩绘画是在中国画变革的历史逻辑中展开的，但我们依然要强调这一点，即大泼彩绘画是建立在一个生命觉者对“生命的超象”塑造的理想与激情之上的。理想在前，语言的创新便尾随而至。如果说孙博文的大泼彩新体改变了当代中国画的版图、格局、语言体系，从而在某种程度上修正了其定义的话，那么，这或许是孙博文对当代中国画的最大贡献。具体而言，可从两点看：其一，孙博文以大泼彩之全要素、体系化的革故鼎新，丰富了当代中国画技术体系；其二，孙博文的大泼彩来源于内在的生命觉悟，而非单纯的视觉感知，因而，它为当代中国画提供了一套高度精神化的语言体系，而这恰恰是当代中国画乃至中国当代艺术所缺少的。
Although we have no doubt that Sun Bowen's big splash color painting is unfolded in the historical logic of the transformation of Chinese painting, we still want to emphasize that the big splash color painting is based on the ideal and passion of a living consciousness person to shape the “super image of life". Ideal is followed closely by language innovation. If Sun Bowen's new style of big splash color painting has changed the map, pattern, and language system of contemporary Chinese painting, thereby modifying its definition to some extent, then this may be Sun Bowen's greatest contribution to contemporary Chinese painting. Specifically, it can be discussed from two points: first, Sun Bowen has enriched the technical system of contemporary Chinese painting with all the elements of the big splash color painting and systematic revolution; Second, Sun Bowen's big splash color painting comes from inner life consciousness, rather than simple visual perception, so it provides a highly spiritual language system for contemporary Chinese painting, which is precisely what is lacking in contemporary Chinese painting and even Chinese contemporary art.
▲《乘月天水合》
144cmX361cm
2001年作
▲A Scene Under the Moon
144cmX361cm
Created in 2001
释文：高树晓还密，远山晴更多。淮南一叶下，自觉洞庭波。
Commentary:
The tall trees do not seem to have faded at dawn,
and the layers of distant mountains are extraordinarily clear in the sunlight.
There is a saying in Huainanzi that from the falling leaves we know the end of the year.
I realized the meaning through the leaves of Dongting Lake.
稍具吊诡意味的是，孙博文的精神虽然屹立于时代的最前沿，但身上仍执拗地保持传统文人的品质。比如，他毕生都坚守诗书画印一体化的创作观，作品形制上亦多用卷轴、长卷、手卷、扇面等。站在其作品前，恍然觉得有三个孙博文重叠而立：传统文人的、现代知识分子的、超越性“真人”的。
Paradoxically, although Sun Bowen's spirit stands at the forefront of the times, he still stubbornly maintains the qualities of traditional literati. For example, he has adhered to the creative concept of integrating poetry, calligraphy, painting and printing throughout his life, and his works are mostly in the form of scrolls, long scrolls, hand scrolls, fans, etc. Standing in front of his works, we can feel that there are three Sun Bowen overlapping: a traditional literati, a modern intellectual, and a transcendent "detached individual".
就精神生活的本质而言，晚年的孙博文走的是一条回归之路：向自然、宇宙回归，向上帝、道回归，向生命的本真回归，而这正是他的大泼彩艺术的出发点与终极归宿。在那里，孙博文彻底完成了生命与灵魂的重塑。
In terms of the essence of spiritual life, Sun Bowen in his later years took a path of return: a return to nature and the universe, a return to God and Taoism, and a return to the true nature of life, and this is the starting point and ultimate destination of his big splash color painting art. There, Sun Bowen has completely reshaped life and soul.
从孙博文开始，我们学会了仰望星空。（文/张晓凌，中国国家画院院委，中国美术家协会理事、理论委员会副主任，华东师范大学美术学院院长）
From Sun Bowen, we have learned to look up to the starry sky.
▲《浩瀚星河》
96cmX229cm
2002年作
▲Vast Star River
96cmX229cm
Created in 2002
