孙博文大泼彩绘画让抽象艺术惊艳世界

　　孙博文与这个时代的相遇多少有些意外，因其意外，他与这个时代所碰撞出的火花才格外地眩目。2020年中国美术馆、2021年山东美术馆的两次展览后，向来与美术界、学术界并未有太多交集的孙博文，依托其大泼彩绘画而引起了广泛的社会反响，其声名日隆，甚至超过了1980年代对黄秋园、陈子庄的发现。与此形成巨大反差的是孙博文生前的孤寂——终其一生，孙博文都是孤悬于美术界之外的“基层艺术家”。其情形与他的偶像梵高有些类似：一个在南法阳光照耀下的旷野与麦田中孤守；一个在山东的乡野与岱岗之间游走。两人皆可用勃兰兑斯评价拜伦的话来加以描述一颗没有氛围的“星星”。

　　Sun Bowen’s encounter with this era is somewhat unexpected, so the sparks generated by his collision with this era are particularly dazzling. After two exhibitions at National Art Museum of China in 2020 and Shandong Art Museum in 2021, Sun Bowen, who had never had much interaction with the art or academia fields, aroused strong social responses with his big splash color paintings; his reputation is ever rising and even has surpassed the discoveries to Huang Qiuyuan and Chen Zizhuang in the 1980s. In contrast, Sun Bowen was lonely - in all his life, he was always a “grassroots artist” isolated from the art world. His situation is somehow similar to his hero - Van Gogh: The latter lived lonely in the open countries and wheat fields in southern France and the former wandered between the countries and hillocks in Shandong Province of China. They both can be described by Brandes’ comment on Byron – “A Star Without Atmosphere”.

　　▲《山高禅意浓》

　　358cmX143cm

　　2001年作

　　▲ Deep Zen Spirit in High Mountains

　　358cmX143cm

　　Created in 2001

　　从结构上讲，两次展览均有一个明显的缺陷，那就是早期花鸟、山水作品的缺席。显而易见，这个缺陷让观众无法了解孙博文早期创作的面貌，更无法理解其早期作品与晚期作品之间的逻辑关系。为了弥补这一缺憾，在这里必须强调：依早期与晚期作品的性质而论，事实上存在着两个不同的孙博文：日常的、世俗的、作为文人画家的孙博文；半清醒的、半癫狂的、作为精神遨游者的孙博文。前者是虚静的、入世的，以寄情花鸟、山水来完成自己的艺术理想；后者则是狂狷的、超世的，飘渺如孤鸿，在遨游形而上世界无尽的历程中，探寻生命的归宿。

　　In terms of structure, there was an obvious defect in both exhibitions, i.e., there were no early works of flowers, birds and landscapes. Obviously, this defect makes it impossible for the audiences to understand the profile of Sun Bowen’s early works, and not even the logical relationship between his early and later works. In order to make up for this defect, it must be emphasized here that, in terms of the natures of early and late works, there are actually two different Sun Bowen profiles: the ordinary and secular Sun Bowen as a literati painter and the half-awake and half-delirious Sun Bowen as a spiritual wanderer. The former is quiet, secular, and entrusting his artistic pursuits on the paintings of flowers, birds and landscapes, and the latter is arrogant, transcendental, wandering like a lonely swan goose, and exploring the destination of life in his endless journey in the metaphysical world.

　　孙博文晚年所作，多巨幛大幅。观者置身于其中，犹如梭巡于精神的密林。在他们的感受中，那些弥散着神秘气息的、连续性的、非现实的宇宙图像，不再是通常意义上的美术作品，而更像是对宇宙、对生命终极归宿的叩问。很显然，这种感受从本质上讲，是反日常的，更接近于某种宗教情感。因而，与通常的美术展览相比，孙博文展览的现场更像是一个巨大的精神道场。

　　The works of Sun Bowen in his later years are mostly large and massive, in which the audiences are always immersed, as if they are traveling through a spiritual forest. In their perception, those mysterious, continuous and non-realistic images of the universe are no longer art works in the common sense, but more like a questioning about the universe and the ultimate destination of life. It is clear that, in essence, this feeling is unusual and closer to some religious emotion. Therefore, compared with the common art exhibitions, Sun Bowen’s exhibition is more like a huge spiritual ashram.

　　展览带来的一个质疑值得关注：在一个乡土文化尽毁，文化土壤充分盐碱化的地域中，如何生长出了孙博文这样参天的乔木？众所周知，许多年来，曾诞生过齐白石、黄宾虹的丰厚腴润的民间文化生态已被破坏殆尽。从这个角度上讲，孙博文的人生、艺术就成了一个难以破解的谜题。有趣的是，其巨大的诱惑力也正在于此。

　　The exhibition brings up a question that deserves attention: How did such a towering tree as Sun Bowen grow in a region where local culture was completely destroyed and the cultural soil was fully deteriorated? As we all know, over the years, the rich and fertile folk culture ecology that gave birth to Qi Baishi and Huang Binhong has been destroyed. From this point of view, Sun Bowen’s life and arts have become a difficult puzzle to solve. Interestingly, this is where its great allure lies.

　　▲《袖卷红云水上生》

　　143cmX360cm

　　2001年作

　　▲ Red Clouds Wound up by the Sleeve Rising from the Water

　　143cmX360cm

　　Created in 2001

　　一、生命的觉者

　　I. The Perceiver of Life

　　近些年来，即便对中国当代艺术一知半解的人亦可看出其问题所在：除了市场上那些弄虚作假的数字，以及艺术家们在财富榜上相互攀比的欲望外，当代艺术在其他方面——比如，在价值建构和原创性方面，则一无是处。自从资本、利己主义哲学和科技理性剪断当代艺术的超验性脐带后，艺术家们似乎再也没有兴趣仰望星空，为信仰而战了。主体的俗化，作品的矫饰化、技术化，已成为当代艺术的基本表征。然而，“现代艺术的真正问题是信仰问题”，当代艺术亦如此。倘若以此为坐标，孙博文出道即巅峰这一现象便变得可以理解，在某种程度上，他本人及其作品满足了知识阶层、公众对当代艺术家及当代艺术的集体想象：以主体生命的纯真性去感知与生成形而上的世界，让灵魂重返艺术真理的位置，并在那里建构信仰体系与救赎功能。

　　In recent years, the problem with Chinese contemporary art has become apparent even to those with a rudimentary understanding of it: apart from the falsified numbers in the market and the desire of artists to compete with each other in terms of wealth, contemporary art has failed in other aspects—for example, in terms of value construction and originality. Since capital, egoistic philosophy and technological rationality have cut the transcendental umbilical cord in contemporary art, artists no longer seem to be interested in looking up to the vast galaxy and fighting for their faith. The vulgarization of the subject and the pretentious and technicalization of the works have become the basic features of contemporary art. However, "the real problem of modern art is the problem of faith," and this is also true of contemporary art. If we take this as a coordinate, the phenomenon of Sun Bowen's debut at the peak becomes understandable. To a certain extent, he and his works fulfill the collective imagination of the intellectual class and the public for contemporary artists and contemporary art: to perceive and generate the metaphysical world with the purity of the subject's life, to bring the soul back to the artistic truth, so as to construct the belief system and redemption function.

　　毕竟，对世俗社会的芸芸众生而言，一个浑沦博大、空明无执的超验世界，既能在视觉上提供前所未有的美感，又能在精神上为心灵寻觅到栖息之地。同时，一个超验性主体远比一个世俗的利己主义者更符合他们对“艺术家”的期待。只要我们简单回顾一下自1990年代以来，那些具有超越性品质的艺术家如何在消费主义社会中整体性崩溃的事实，便可理解公众对理想主义人格的渴望。

　　After all, for all beings in the secular society, a transcendental world that is vast, empty, and non-attached can not only provide an unprecedented aesthetic feeling visually, but also a spiritual habitat for the soul. At the same time, a transcendent subject is far more in line with their expectations of an "artist" than a secular egoist. As long as we briefly review the fact that since the 1990s, how those artists with transcendent qualities have collapsed in the consumerist society as a whole, we can understand the public's desire for idealistic personalities.

　　如此一来，中国当代艺术的全部问题可以归结于此：如何重建以生命纯真性感知为核心的超越性主体？

　　In this way, all the problems of Chinese contemporary art can be summed up as follows: how to rebuild the transcendent subject with the perception of the purity of life as the core?

　　如果孙博文的人格、作品能提供一个答案甚至标准答案的话，毫无疑问，那将是对中国当代艺术的一个嘲弄——尽管是无意的。

　　If Sun Wenbo's personality and works can provide an answer or even a standard answer, it will undoubtedly be a mockery of Chinese contemporary art—although it is unintentional.

　　▲《远烧入穹》

　　441cmX144cm

　　2002年作

　　▲Far Burning Red Into the Sky

　　441cmX144cm

　　Created in 2002

　　孙博文20世纪60年代入山东美专学习，师从于关友声、黑伯龙、王企华诸师。在这里研习中西画法并不是孙博文的唯一所获，比这更重要的，是他从黑伯龙等人那里领悟到了变革旧法、鼎力维新的艺术精神。作为上海美专的毕业生，黑伯龙不仅将海派的现代中国画技术体系带到了齐鲁，并把作为“新兴艺术策源地”上海美专的核心理念如“国魂”“个性”植入了齐鲁中国画体系，而且为山东美专提供了以“闳约深美”为内在逻辑的教学理念。细究起来，甚至可以说，孙博文的成长，完全符合“闳约深美”所规约的路径——在语言学家、国学家、书法篆刻家蒋维崧那里，孙博文完成了传统哲学、古文字、诗词及书法篆刻的修习，尔后由“闳”趋“约”，集中于花鸟、山水的创作。在同乡花鸟画大家崔子范的引导下，日益向花鸟、山水的纵深领域推进，究本穷源，辉光日新，渐趋至美圣境。“‘美’指的是一种理想境界，求学的人只能处于永恒的探索之中。美的疆域阔大无限。”

　　Sun Bowen entered Shandong University of Arts in the 1960s to study under Guan Yousheng, Hei Bolong, and Wang Qihua. Studying Chinese and Western painting methods here is not the only thing Sun Bowen has gained. What is more important than this is that he has learned from Hei Bolong and others the artistic spirit of reforming the old methods and vigorously restoring the new. As a graduate of Private Shanghai Academy of Fine Arts, Hei Bolong not only brought the Shanghai-style modern Chinese painting technology system to Shandong, but also implanted the core concepts of "source of emerging art”, namely Private Shanghai Academy of Fine Arts, the “national soul" and "personality", into Shandong Chinese painting system, and provided Shandong University of Arts with a teaching concept based on the internal logic of “broad knowledge; careful choices on the basis of extensive collection; intensive study; perfect state”. Looking at it carefully, it can even be said that Sun Bowen's growth is fully complied with the path stipulated by “broad knowledge; careful choices on the basis of extensive collection; intensive study; perfect state” —from Jiang Weisong, a linguist, sinologist and calligraphy seal carver, Sun Bowen completed the practice of traditional philosophy, ancient characters, poetry and calligraphy seal carving, and then moved from “broad knowledge” to “careful choices on the basis of extensive collection”, focusing on the creation of flowers, birds and landscapes. Under the guidance of Cui Zifan, a master of flower-and-bird painting in the same hometown, he has gradually advanced into the in-depth field of flowers, birds and landscapes, and has gradually reached the sacred realm of beauty. “‘Beauty’ refers to an ideal state in which those who study can only be in eternal exploration. The territory of beauty is vast and infinite.”

　　▲《朝云春梦》

　　222cmX96cm

　　2002年作

　　▲Clouds in the Early Morning and Dreams in the Spring

　　222cmX96cm

　　Created in 2002

　　释文：春烟含翠贯山川，墨游石上流清泉。声声鶗鴂报芳菲，柳拂红云遂微寒。

　　Commentary:

　　Green spring smoke arouses in the mountains.

　　Clear spring streams around the ink rocks.

　　The songs of the cuckoo show the arrival of spring.

　　And blowing willows in the red clouds bring the slightly coldness.

　　即便不考虑孙博文与上海美专的师承关系，刘海粟所言的“美的疆域阔大无限”，也几可视为对孙博文大泼彩绘画的预言。

　　Even without considering Sun Bowen's relationship with Private Shanghai Academy of Fine Arts, Liu Haisu's statement that "The territory of beauty is vast and infinite" can almost be regarded as a prophecy of Sun Bowen's big splash color paintings.

　　孙博文的花鸟脱胎于崔子范，多以廉悍而烂漫的笔意表现日常的景观，如夏荷、秋鸭、翠鸟等。其境界，于古朗高雅中，冲然而澹，弥散出活泼的感性生命之美。与此同时，孙博文的山水创作亦独开畦径。以沂蒙山区写生为基础，以花鸟笔意结构山水图像，于沂蒙山岱崮地貌的生拙朴厚中，见出秀拔超迥的意象，大体上构成了孙博文早期山水的样貌。如果给这一时期的孙博文勾划出了一个人生轮廓的话，那么，它应该是简洁而日常的：作为创作主体，他与乃师们并无二致，是一位有理想情怀的画家；而其作品，则是南北兼济齐鲁画风的一部分。简而言之，早期的孙博文是一位有日常属性、地域属性与文化传统属性的文人艺术家。

　　Sun Bowen's flowers and birds are born from Cui Zifan, and most of them express daily landscapes with steep and romantic brushwork, such as summer lotus, autumn duck, kingfisher, etc. The realm is indifferent in the ancient elegance, rushes and exudes the beauty of lively and sensual life. At the same time, Sun Bowen's landscape creation has also opened up a unique path. Based on the sketches in the Yimeng Mountains, the landscape images are constructed with the brushwork of flowers and birds. In the raw and simple Daigu landform in Yimeng Mountains, there are elegant and extraordinary images, which generally constitute the appearance of Sun Bowen's early landscapes. If we outline Sun Bowen’s life in this period, then it should be simple and daily: as a creative subject, he is no different from his masters for he is a painter with ideals; while his works are part of the painting style of the northern and southern and Shandong styles. In short, the early Sun Bowen is a literati artist with daily attributes, regional attributes and cultural tradition attributes.

　　▲《鸭嬉春水》

　　178cmX95cm

　　2000年作

　　▲ Ducks in the Spring Water

　　178cmX95cm

　　Created in 2000

　　如果孙博文的艺术止步于此，那么，其价值不过是臃肿的当代文人画队伍中的一名优秀的画家而已。然而，1990年代末期，孙博文的绘画无论是风格、语言，还是理念都发生了一个断裂式的转向：由传统的文人写意花鸟、山水转向了以超越性宇宙图式为表征的大泼彩绘画。之所以将孙博文的转向称之为断裂性转向，是因为无论在图像上，还是在观念上，大泼彩绘画与此前的风格都缺乏必要的学理关系。这种情形有点像福柯所说的“历史的断裂性”，只不过是个人版的“历史的断裂性”。

　　If Sun Bowen's art stops there, then his value is nothing more than a good painter in the bloated ranks of contemporary literati painting. However, in the late 1990s, Sun Bowen's paintings underwent a fractured turn in style, language, and concept: from traditional literati freehand brushwork of flowers, birds, and landscapes to big splash color paintings characterized by transcendent cosmic schemas. The reason why Sun Bowen's turn is called a fractured turn is because both in terms of image and concept, because there is no necessary academic and theoretical relationship between big splash color and the previous style. This situation is a bit like what Foucault called "the rupture of history", but it is a personal version of “the rupture of history”.

　　▲《山水四屏》

　　361cmX144cm

　　2001年作

　　▲ Four Screens in Landscape

　　361cmX144cm

　　Created in 2001

　　如何解释这一转向的原因始终是批评家、艺术史家们的兴趣所在。在这里，也许我们应该意识到，正如艺术史的拐点往往不是依循惯例系统中那些可见的因素，而是基于某种意外的力量一样，艺术家由庸常跃升为天才也同样如此。在所有的“意外的力量”中，疾病往往扮演着重要的角色。对艺术史稍有了解的人均知道，以生理疾病的方式而跃升至超越性精神状态，并由此实现创作的跨越性转向，是艺术天才们一再上演的剧情。这方面的例子可谓比比皆是。梵高晚年的眩晕症是其旋转性星空图式的来源，而石鲁晚年之疯癫，则带来了其图像中的神秘符号与华山图式。这种现象，我们不妨称之为“精神的基因突变”。

　　How to explain this turn has always been of interest to critics and art historians. Here, perhaps, we should realize that just as the turning point in art history is not often based on the visible elements of the conventional system, but on some unexpected forces, so is the leap of the artist from mediocrity to genius. Of all the "unexpected forces”, disease often plays an important role. Anyone who knows a little about art history knows that the leap to a transcendent mental state by means of a physical illness, and thus achieving a leapfrog turn in creation, is a drama that artistic geniuses have repeatedly staged. There are abound examples. Van Gogh's vertigo in his later years was the source of his rotating starry sky schema, while Shi Lu's madness in his later years brought with him the mysterious symbols and Huashan schema in his images. This phenomenon may as well be called "genetic mutation of the spirit".

　　与梵高、石鲁相似，由生理疾病所导致的精神基因突变，或许是孙博文晚年人格变异与创作风格转向的原因。1997年，孙博文在一场几乎致命的脑垂瘤手术后，人格一分为二：清醒的、具有日常意识形态属性的人；半清醒的、半癫狂的、具有形而上属性的艺术家。如果我们稍加辨析，不难发现，对孙博文的人格与艺术观而言，所谓的精神基因突变，其意涵是多重的：首先，来自于死亡的追逐，迫使孙博文重新思考生命的价值与本原意义，在内省中成为一个生命的觉者。其觉悟的鲜明标志是人格上的由“老”返“童”，即由复杂的、成熟的、世俗的人格不断向纯真的人格与生命状态还原；其次，由生命、人格的本真状态向形而上世界的跃迁与升华，不仅构成孙博文晚年精神生活的主要内容，也使其从世俗画家状态飞升至超越性主体的状态。无论批评家们在这方面存在多少争议，都无法否认这样的事实：疾病已成为精神超越的方法与路径。疾病的发生、疗愈以及对死亡拒绝的过程，就是孙博文升华为生命的觉者与超越性主体的过程。

　　Similar to Van Gogh and Shi Lu, mental gene mutations caused by physiological disease may be the reason for Sun Bowen's personality variation and creative style shift in his later years. In 1997, after surgery for a nearly fatal pituitary tumor, Sun Bowen's personality was split in two: a sober person with daily ideological attributes; a half-awake and half-delirious metaphysical artist. If we analyze it a little, it is not difficult to find that for Sun Bowen's personality and artistic outlook, the so-called spiritual gene mutation has multiple meanings: First, the chase from death forces Sun Bowen to rethink the value and original meaning of life, and to become a perceiver of life in his introspection. The clear sign of his consciousness is the return of personality from “old" to "childish", that is, from a complex, mature, and secular personality to a pure personality and life state; Secondly, the transition and sublimation from the true state of life and personality to the metaphysical world has not only constituted the main content of Sun Bowen's spiritual life in his later years, but also has made him soar from the state of a secular painter to the state of transcendent subject. No matter how much critics dispute in terms of this, it is impossible to deny the fact that illness has become the method and path of spiritual transcendence. The process of disease occurrence, healing, and rejection of death is the process by which Sun Bowen is sublimated into a perceiver of life and transcendent subject.

　　▲《禅意直上锦山顶》

　　123cmX245 cm

　　2001年作

　　▲ Zen Spirit Goes Straight to the Top of Jinshan

　　123cmX245 cm

　　Created in 2001

　　准确地讲，生命的觉者与超越性主体，是孙博文晚期新艺术观的人格基石与精神源泉。以此为始，对生命价值与生命本原的觉悟与思考，并在形而上世界中追寻其意义，已成为孙博文晚期创作的主要价值皈依——其神秘的山水、宇宙图像与大泼彩所发散出的生命意识，均来自于此。

　　To be precise, the perceiver of life and transcendent subject are the cornerstone and spiritual source of Sun Bowen's late new art view. Starting from this, the awareness and contemplation on the value of life and the origin of life, and the search for its meaning in the metaphysical world, have become the main value conversions of Sun Bowen's late works—from which the consciousness of life emanating from his mysterious landscapes, cosmic images and big splash color paintings come from.

　　考虑到疾病的作用是在神秘主义层面上发生的，犹如来自于冥漠的启示，难以获得终极性解释，所以，我们可将之视为“神启”——一种开启人类智识与灵感的，引导人格、灵魂进化方向的，不可见的精神力量。从高更、梵高、石鲁、孙博文的实例来看，“神启”并非无处不在，它只对那些非凡的、有慧根的、心中理想主义之火永不熄灭的天才们感兴趣。因而，在此有必要对孙博文的修为、慧根以及理想主义作一点必要的描述。

　　Considering that the effects of disease occur at the level of mysticism, like revelations from the underworld, and it is difficult to obtain ultimate explanations, we can think of them as "divine revelation"—an invisible spiritual force that enlightens human wisdom and inspiration and guides the evolution of personality and soul. Judging from the examples of Gauguin, Van Gogh, Shi Lu, and Sun Bowen, "divine revelation" is not ubiquitous, it is only interested in those extraordinary, intelligent geniuses whose idealistic fire will never be extinguished. Therefore, it is necessary to make a necessary description of Sun Bowen's cultivation, wisdom, and idealism.

　　众所周知，中国画之根基、之高度，在于儒释道多元一体所构成的人文主义体系。从诗文、题跋、印章诸方面透露出的信息，可大体勾勒出孙博文人文修养的轮廓：以“禅”修为统领，其中既内蕴着“充实之谓美”“格物致知”的儒家进取精神，又包含着道家道法自然的理念。其诗文中不断出现的道家仙山，如峨眉、云隐、西极、罗浮、南溟、昆仑等，鸟瞰式地勾划出孙博文精神遨游的廓然图景。至于释家之观，多呈现于《涅槃》《一念般若生》诸作品中。“禅”修是孙博文的日课，其“虚静”“万法皆空”与“人格化自然”之旨，高度合成了孙博文创作的哲学基础与宇宙观，也是其主体意识不断丰盈的思想源泉。在一个艺术家主体普遍俗化的时代，孙博文不退反进，从人格精神到创作理念彻底完成了自我超越，端赖于其深厚的人文修养。

　　As we all know, the foundation and height of Chinese painting lies in the humanist system composed of the pluralistic integration of Confucianism, Buddhism and Taoism. The information revealed from poems, inscriptions, and seals can roughly outline Sun Bowen's humanistic cultivation: with "Zen" practice cultivation as the rule, it not only contains the Confucian enterprising spirit of "enrichment means beauty" and "investigation of things to knowledge", but also contains Taoist philosophy of following nature's course. The Taoist immortal mountains that constantly appear in his poems, such as Emei, Yunyin, Xiji, Luofu, Nanming, Kunlun, etc., depict a bird's-eye view of Sun Bowen's spiritual journey. As for the concept of Buddhism, it is mostly presented in works such as Nirvana and Prajna Born in Thought. "Zen" practice is Sun Bowen's daily lesson, and its aims of "void and quiet", "all laws are empty" and "personified nature" highly synthesize the philosophical foundation and cosmology in Sun Bowen’s creations, and also the source of thought for the continuous enrichment of his subjective consciousness. In an era where artists' subjects are generally vulgarized, Sun Bowen has not retreated but forged ahead, and completely realized self-transcendence from personality spirit to creative concept, relying on his profound humanistic cultivation.

　　▲《一念般若生》

　　123cmX123cm

　　2001年作

　　▲Prajna Born in Thought

　　123cmX123cm

　　Created in 2001

　　倘若从20世纪中国画变革的角度来评估孙博文，我们可以毫不犹豫地讲：孙博文是20世纪之子。以内心湧动的创新性渴望，以及图像、笔墨方面的维新实践，来回应20世纪中国画现代形态的建构，是孙博文持之以恒的创作姿态。20世纪是中国画由旧入新，体系化建构现代形态的世纪。在孙博文的认知中，20世纪中国画变革的图景一直在暗示这样的真理：只有在“自我优化”与“跨文化融合”的双重坐标中，中国画才能获得自己的历史属性与现实价值。传统之所以成为传统，正在于它不断地从创新动力与成就中获取绵延至未来的合法性，传统从来都不喜欢自己的复制品。如果我们仔细地梳理一下孙博文不同时期的作品，便可意识到，上述认知已在岁月的变迁中内化为一种生命诉求，它决定了孙博文作品的创新性品格。因此，我们没有理由在下述的看法上含糊其辞：孙博文及其作品都是20世纪中国画变革逻辑的产物。

　　If we evaluate Sun Bowen from the perspective of the transformation of Chinese painting in the 20th century, we can say without hesitation: Sun Bowen is the son of the 20th century. Responding to the construction of modern forms of Chinese painting in the 20th century with the creative desire surging in his heart, as well as the innovative practice in images and brush and ink, is Sun Bowen's persistent creative posture. The 20th century is a century in which Chinese painting systematically constructs its modern form from the old into the new. In Sun Bowen's cognition, the phenomenon of the transformation of Chinese painting in the 20th century has always implied the truth that only in the dual coordinates of "self-optimization" and "cross-cultural integration" can Chinese painting acquire its own historical attributes and realistic value. What makes a tradition a tradition is that it constantly derives legitimacy from innovative impetus and achievements into the future, and tradition has never liked its own copies. If we carefully sort through Sun Bowen's works in different periods, we can realize that the above cognition has been internalized as a life appeal in the changes of the years, which determines the innovative character of Sun Bowen's works. Therefore, there is no reason to be ambiguous about the idea that Sun Bowen and his works are the products of the transformative logic of the 20th -Century Chinese painting.

　　创新性冲动一直是孙博文诗歌的主题：

　　The creative impulse has always been the theme of Sun Bowen's poetry:

　　山 水

　　浮生长恨新意少，提笔规矩老一套。

　　绿杨烟外晓云轻，且向花间留晚照。

　　Landscapes

　　I hate the lack of new ideas,

　　and I always have the same old rules.

　　When I see the green poplar trees and light clouds being surrounded by the smoke,

　　the flowers at dusk are also kept in my memory.

　　用笔随想

　　大破大立画家胆，删繁就简诗人魂。

　　提笔方知功夫浅，落笔静思情不深。

　　Random Thoughts

　　Painters should have the boldness in disruptive breakthrough.

　　Deleting the complexity and leaving the simplicity is the poet’s soul.

　　When you pick up a pen, you know that your skill is shallow.

　　When you settle the pen, you know your emotion is not deep enough.

　　▲《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欲望，以及在这种欲望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欲望、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".

　　▲《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.

　　▲《去留肝胆两昆仑》

　　796cmX144cm

　　2000年作

　　▲ The Heroic Heart is As Majestic as Kunlun Mountain

　　796cmX144cm

　　Created in 2000

　　释文：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。

　　Commentary:

　　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!

　　在《岩栖谷隐心自闲》中，“主宰者”的狂妄已遁形为文人式的闲适。此境于逍遥中，不粘不脱，似实若虚，生意满满，主体心灵犹如沐浴在岚光烟霞中。其意如何？孙博文答曰：“问余何意栖碧山，笑而不答心自闲，桃花流水窅然去，别有天地非人间。”正所谓虚灵之景，已脱天地牢笼之手而归于自然。

　　In Hidden Leisurely in Yanqi Valley, the arrogance of the "master" has been transformed into literati-style leisure. This state is detached and attached, real and illusory, also vibrant. And the subject's mind seems to be bathed in haze and light. What does it mean? Sun Bowen replied, “Ask me why I want to live in Yanqi Valley, I smile in silence. Peach blossoms and running water are flowing away, just like another world." This scene has been freed from the cages of heaven and earth and returned to nature.

　　▲《岩栖谷隐心自闲》

　　220 cmX97 cm

　　2002年作

　　▲ Hidden Leisurely in Yanqi Valley

　　220 cmX97 cm

　　Created in 2002

　　在孙博文的晚期创作中，如果说山川幻象是其超感知与客体世界关系的产物的话，那么，灵魂幻象则是其超感知面对内心世界的结果。如前所述，禅修是孙博文返回灵魂与生命本原的最好路径，也是他洞见灵魂与生命本质的最佳方式。为此，孙博文写了多首象征意味浓厚的“禅诗”。如“白云深处有高师，糊涂切相任天机。试看拖泥带水笔，正是禅意入画时。”禅修不仅让灵魂幻象总是若隐若现地浮动着“虚静”的意味，或显现出“万法皆空”的色彩，还为灵魂幻象提供了多种图像生成的方式：或借助于具有集体无意识认同的象征符号，或从心灵感知中获取那些不可名状的隐秘之形——这类图像更像是灵魂的分泌物，飘飘渺渺，杳杳冥冥，幽远而深邃。至于灵魂幻象的意涵，则指向更为复杂含混，我们只能尝试着加以诠释。1997年的大病之后，与死神擦肩而过的孙博文，在创作中充满了对“重生”主题的向往，这一向往的表达，完美地落实在《凤舞九天》（1998）、《涅槃》（2001）等作品中。《涅槃》的凤凰造型似生命分解、离散前的剪影，又似重生之际的昂扬之姿。烈焰燃炽所映射的太空，化作桔红色的幻景，似生命涅槃的隆重仪式，又似生命复活后冲上九霄的盛大典礼——这或许是孙博文参透生死之谜后，从灵魂深处幻化出的心象，也是他对生命最为神秘的理解与写照。与“凤凰”幻象相比，来自于灵魂、生命感知的隐秘之形更加幽深难测。

　　In Sun Bowen's later works, if the landscape illusion is the product of his relationship between the super perception and the object world, then the spirit illusion is the result of his super perception facing the inner world. As mentioned earlier, Zen practice is Sun Bowen's best way to return to the origin of spirit and life, and the best way for him to gain insight into the nature of spirit and life. To this end, Sun Bowen wrote a number of "Zen poems" with strong symbolic meaning. For example, "There are masters in the depths of the white clouds, and they are discussing freely. When they see the brush, it is when Zen comes into painting”. Zen practice not only allows the illusion of the spirit to always float with the meaning of "void" or reveal the color of "all laws are empty", but also provides a variety of ways to generate images of spirit illusion: either by means of symbols with collective unconscious identity, or of obtaining those indescribable hidden forms from the perception of the mind—such images are more like the secretions of the spirit, ethereal, obscured, distant and deep. As for the meaning of the illusion of the spirit, it is more complex and ambiguous, and we can only try to interpret it. After a serious illness in 1997, Sun Bowen, who encountered with death, was full of yearning for the theme of "rebirth" in his creations. And this expression of yearning was perfectly expressed in Phoenix Dances in the Highest of Heavens (1998) and Nirvana (2001) as well as other works. The phoenix shape of Nirvana looks like the silhouette of life before its decomposition and separation, but also the vigorous posture of rebirth. The sky reflected by the blazing flames turns into an orange-red illusion, resembling a grand ceremony of life nirvana, and also a grand ceremony of life resurrection rushing to the highest heaven— this may be Sun Bowen's mental image from the depths of his soul after understanding the mystery of life and death, and it is also his most mysterious understanding and portrayal of life. Compared with the "phoenix" illusion, the hidden image from the perception of soul and life is more profound and unfathomable.

　　▲《涅槃》

　　359cmX144cm

　　2001年作

　　▲ Nirvana

　　359cmX144cm

　　Created in 2001

　　释文：天际霞光入水中，水中天际一时红。直须日观三更后，首送金乌上碧空。

　　Commentary:

　　The sun glow reflects in the water.

　　The sky and also its reflection in the water are connected in red.

　　As long as you wait until the third night shift on Riguan Peak in Mount Tai,

　　you will be the first to see the red sun being sent up into the blue sky.

　　《但愿人间意珠圆》（2001）、《性灵之光》（2000）中的色彩、线条以及不可捉摸的节奏，似可理解为孙博文在超感知中对灵魂轨迹的寻觅与捕捉——它的每个部分都洋溢着从灵魂深处升腾出的神秘之力；但同时它又似孙博文所编织的隐喻性结构，密布着对灵魂诠释的词汇。每一位阅读者都会从自己的角度获取其意义，却又无法窥测其全貌——这就是灵魂幻象的秘密法则。

　　The colors, lines, and inscrutable rhythms in May the Completeness in the World (2001) and The Light of Soul (2000) seem to be understood as Sun Bowen's search for and capture of the soul trajectory in super perception —each part of it is filled with mysterious power rising from the depths of the soul; But at the same time, it resembles the metaphorical structure woven by Sun Bowen, densely packed with words for the interpretation of the soul. Each reader will take its meaning from his own point of view, but cannot get a glimpse of its full picture—this is the secret law of the illusion of the soul.

　　▲《性灵之光》

　　795cmX144 cm

　　2000年作

　　▲ The Light of Soul

　　795cmX144cm

　　Created in 2000

　　在孙博文的晚期创作中，一个值得瞩目的现象是：万象森罗、长风浩荡的太空世界逐渐占据了主导地位。在他的笔下，太空天体、旋转的星河、飞旋的法轮以及那些难以言说的神秘之物，构成了一个了无际涯的、幽渺恍惚的幻象世界，画面也由此生成为一个宏大的宇宙图式与叙事逻辑。在那里，万象弥纶，光明朗照，烟霞明灭。经由这些图式，一个老子所言的静默的“道”的世界，一个庄子所说的无言的“大美”至境，正缓缓地向芸芸众生展开。如果说在山水幻象的创作中，孙博文的精神是驾驭于山林之外的，那么，在宇宙图式的建构中，孙博文则将生命意识、生命价值的追索引向了只有心灵方可到达的宇宙深处，并试图在那里完成对生命的终极追问。

　　In Sun Bowen's late creation, a remarkable phenomenon is the gradual dominance of the space world with its all-embracing and vast features. Under his brush, space celestial bodies, rotating galaxies, swirling dharma wheel and those unspeakable mysteries constitute a boundless, vague and faint world of illusions, and the painting is thus born into a grand cosmic schema and narrative logic. There, everything is shining brightly. Through these schemas, a silent world of "Taoism" as mentioned by Lao Zi, and a silent state of “the greatest beauty" as mentioned by Zhuang Zi, are slowly unfolding to all living beings. If in the creation of landscape illusions, Sun Bowen's spirit is beyond the mountains and forests, then in the construction of the cosmic schema, Sun Bowen traces the consciousness and value of life to the depths of the universe that only the soul can reach, and tries to complete the ultimate inquiry of life there.

　　如果我们有足够的静观能力与慧识，便可以在《万古长空》（2001）、《挥笔御乾坤》（2002）、《境随心转有乾坤》（2002）、《水底日升波自沸》（2000）、《烟云生万象》（2001）等作品中领略这样的胜境：长空寂寥、星云璀璨、天风浩荡间，孙博文的精神已幻化为庄子意义上的“真人”，“乘云气，驭飞龙，而游乎四海之外”，在返虚入浑中，与天体摩荡，与法轮共舞，与风云嬉戏，与星河相拥。生命的精灵，或在垂天的云翼中巡游，并在沉沉暮霭中点亮桔红色的长云，或以令人惊骇的速度与旋转的法轮共同奔驰于山河与丛林；在混沌空濛、变幻莫测的万古长空上，生命的精灵时而与五彩斑斓的云气共舞于灿灿分明的光亮中；时而，它又以凤舞九天之姿，回旋着升入苍穹的迷远空灵处，重新为太空妆扮……在那一刻，太空已完全升华为生命演绎的舞台，浑沦无迹中，它似乎提供了这样的暗示：生命的终极价值就是在与天地、宇宙的相拥中回归虚无。

　　If we have enough contemplative ability and wisdom, we can experience such realm in such works as Long Live the Vast Sky (2001), Universe in Control Under My Brush (2002), The Realm Turns with Your Heart (2002), Sun Rises from the Water like the Water is Boiling (2000), Smoke and Clouds Foster All Things (2001) and other works: in the vast and lonely sky, in the splendid nebula, and in the mighty wind, Sun Bowen's spirit has been transformed into a "detached individual" in the sense of Zhuangzi, "riding on the clouds, driving the flying dragon, and traveling beyond the whole world”. In the void, rub against the celestial bodies, dance with the dharma wheel, play with the wind and clouds, and embrace the galaxy. The elf of life, either parades in the wings of the clouds, lighting up the long orange clouds in the dull twilight, or gallops with the swirling dharma wheel at an astonishing speed through the mountains, rivers and jungles; In the chaotic and unpredictable eternal sky, the elf of life sometimes dances with the colorful clouds in the brilliant light; sometimes, it dances like a phoenix-dancing in the highest heaven, spiraling into the mysterious and ethereal sky, and re-dressing for space… At that moment, space has been completely sublimated into the stage of life interpretation, and in void, it seems to provide such a hint that the ultimate value of life is to return to void in the embrace with heaven, earth and the universe.

　　▲《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