▲ "Driving mountains and seas" 123*244 2001
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Sun Bowen's painting art is a long talk
As a Chinese painting art in the context of globalization, it is increasingly showing a secular and interesting tendency. Passion is frozen by desire, and spirit is suffocated by matter, which eventually leads to the abandonment of the spiritual home and spiritual position by artistic creation. Sun Bowen's paintings are almost all blended with scene and spirit, reflecting the mutual existence of nature and emotion, and it can be said that he follows the fundamental laws of life and art.
▲ "A Thousand Miles Away" 69*170 2001
▲《 General Youth》 122.5*122.5 2001
If you read Sun Bowen's works carefully, you will find that there is a strong desire for human beings to recognize the value of their own lives, and he writes the spirituality of nature with his almost absurd artistic language. Therefore, his pictures can allow nature to parallel with life, because if people lose their attention to the source of life, it is impossible to produce works that shock the world.
▲ "Nine Days of Phoenix Dance" 310*123, 1998
The expression of colors and lines in Sun Bowen's works is extremely strong, and even the tones of extreme reflection are often used to structure each other. With his spicy pen and ink, he showed the viewer a grand atmosphere that was both rich in oriental aesthetic sentiment and pen and ink realm. Through the aggregation, interweaving, overlapping and diffusion of various dynamic colors and light and shadow, he finally formed a picture full of rhythm and momentum, created a personalized artistic style by grasping the breath and atmosphere from sensibility, disintegrated the order of the image, abandoned the cold and cold of traditional painting, and let us experience the passionate collision between nature and the painter's heart.
▲ "Born of Fire" 416.2*96, 2000
On the other hand, Sun Bowen does not aim to pursue specific forms, but to express the essence of natural forms, emphasizing inner truth with inner emotions, which is different from the expression of external formal characteristics that only rely on copying objects. Then through his mysterious and poetic colors and brushstrokes to create an abnormal painting environment, there are layers of mountains, there are waterfalls and springs, pure colors make people feel the rhythm of air and light, and the fiery red sunset light that often appears in the picture is mysterious and wandering. Indeed, he is adept at using color to create the depth of space, to record the moment before everything awakens, and even to turn the moment before dawn into eternity, showing his love for life.
▲ "Danshan Ji Seming" 361*143, 2001
Originally, the human spirit is inherently contained in natural objects, and for the painter's performance, it stems from the discovery of nature; moreover, the reality of the appearance of nature itself is also short-lived and changeable, and the process of change is abstract. Therefore, painting can only form an understanding of the law of universality through the dynamic relationship between form and form, and take the expression of relationship as the main content of artistic expression, but the expression of this relationship is no longer an image shaping, but breaks the concept of figurative time and space. From the vivid and released original depictions of Sun Bowen's works, we can see more possibilities. As a result, a vigorous life also appeared, whether it was his own spirit in nature, or the chaos and mystery pervasive of nature itself could not be discerned, but whether Sun Bowen had ever known this way, it would not affect his understanding and expression of the meaning of life in the slightest.
▲ "Landscape into zen heart" 414*96, 2002
The expansion of modern civilization has eroded many of the original precious qualities of traditional local society, resulting in the decline of human life instincts. Sun Bowen's paintings are filled with passionate embrace of the chaotic branches and cracks, the clouds and mist between the mountains, showing the original vitality that is outside the norms of modern civilization. In my opinion, Sun Bowen's paintings are like a fantasy puzzle, and the human soul is difficult to find an outlet in his works, and even inadvertently lost. Even so, you can't refuse that Sun Bowen's paintings contain inviolable fortitude, and he even through the existence pain that people can't get rid of under certain pressures in society, and repeatedly amplify the sense of loneliness in life through painting, we can't avoid loneliness, not to mention loneliness is also the biggest space for human beings. But no matter how you look at it, the world created by Sun Bowen will be a dream that is about to come true.
▲ "Painting Zen Between Heaven and Earth" 742*144, 2002
Sun Bowen's creation is not premeditated, and he constantly gives the viewer boundless freedom and loneliness. He even emphasized that loneliness is a kind of freedom, but loneliness at the same time gives a clarity, an endless exile. The picture of everything is both unrestrained familiarity and mixed with subconscious escape, uncompromising but reflecting a kind of tenacity. At the same time, his spiritual world has a kind of vastness and upliftment, which emerge from time to time in his works, and in the empty world and the earth, Sun Bowen will not care about the position of the other, because everyone has a longing to return to the original self and let go of their own thoughts. I don't know what force made Sun Bowen feel this way, standing between the holy heavens and the earth, all suffering and pain became sublime.
▲ "The Heart Returns to Nature" 409*143.5, 2002
Sun Bowen's paintings allow us to gradually see the irreconcilability between "what it is" and "what it is not". The reason is that art can never fully express the concreteness of its own consciousness. Of course, these are not due to lack of attempts, the so-called expression of art is the sediment that silently burns in things, and the generation of art becomes more out of reach by virtue of its sensitivity to this sediment. Sun Bowen's creative process also expresses moments, and as a result of the internal development of this process, the tension and vitality in his creation determine the possibility of self-realization. In other words, his work tells us that no matter what the content and form, art has always wanted to manifest itself as a purpose: freedom of mind and body. He constantly amplifies freedom in the process of self-actualization, which gives substances that are particularly difficult to find in obscure times, namely that we can also create inner resources and organize ourselves to resist so-called loss and helplessness.
▲ "Spring Smoke With Cui Zi Fang Fei" 222*96 2002
Sun Bowen's creation is actually affirming the possibility of replacing reality and emphasizing construction. The seeming construction without any internal contradictions reflects the extreme pressure that can release everything in his life. For Sun Bowen's painting art, he has transcended all sensory cognition and plunged into the depths of the human soul, trying his best to make the audience see the interrogation and thoughts hidden in the picture. Moreover, his paintings are not depicting hidden nature, but constantly breaking through and trying to show another kind of reality outside of reality, which is the fit between the painter's mental state and natural scenes, and then obtaining abnormal spatial illusions through painting. It can also be said that the illusion of expressing the quality and weight of the natural image is expressed with the gradual change of brightness and the gradual change of color, so that the transformation of natural space to spiritual space can be realized. His subjective consciousness of shaping shape and color and even composition flashes an oriental philosophical meaning everywhere, flashing the wisdom of Eastern and Western cultures. This is the source of the vigorous vitality of Sun Bowen's works.
▲"Colored Ink Painting Zen in the Heart" 358*144, 2001
Sun Bowen glimpses what people ignore in their daily lives with a unique perspective, and in an extremely personalized language, he crosses the boundaries of time and space and different cultures, conveying the voice of pure essence. (Yang Dawei, Member of the Theory Committee of the China Artists Association, Professor of Zhejiang University of Media and Communication)
▲ "May the Pearl Circle of the World" 244.5*123, 2001
Appreciation of Sun Bowen's works
▲ "Iwaki Valley Hidden Heart Self-Leisure" 219.5*96.5 2002
▲ "Hui Feng Xiang Yun" 238*96 2002
▲ "Spring Smoke with Green Walking Green" 476*121 2000
▲ "Zen Landscape and Cloud Wrapping", 359*144, 2001
▲ "The Light of the Spirit of Sex" 795*144, 2000
▲ "Snow Floating Clouds" 361*143.5 2001
▲ "Qunfang Jingchun" 365*71, 2002
▲ "Ander's Great Thousand Complex Chaos" 228*96, 2002
▲ "Yunshui Zen Heart" 236.5*96, 2002
▲ "Everything in the Middle" 118.5 *118.5 Written in 1998
Painter Profile
Sun Bowen (1938-2003), known as Jiu xue, zi Bowen, Ruyang Shanren, was born in 1938 in Xifushan Village, Laiyang Cave Town, Shandong Province, the elderly man of the Xinhai Revolution and a librarian of the Central Research Museum of Literature and History, Sun (who served in the army of the Grand Marshal's Office), the great-grandson of Sun Tianmu, a master of landscape painting in the North School, and studied under Guan Yousheng, Hei Bolong, Wang Qihua and Chen Fengyuzhu. In 1958, he was admitted to shandong art college, graduated in 1963, and after graduation, he took the initiative to go to the Junan County Cultural Center to engage in grass-roots art and culture organization and education. In 1978, Sun Bowen left Junan and returned to his hometown of Laiyang, eventually settling in Qingdao. In 1979, Sun Bowen bailaiyang famous painter Cui Zifan as a teacher, Cui Zifan's stick figure freehand flower and bird painting technique was transferred to landscape painting, thus beginning to create a new landscape of his own. Later, he studied Mr. Zhang Daqian's splashing ink painting method, integrating innovation and becoming a unique family.
Mr. Sun Bowen devoted his life to the exploration and innovation of Chinese painting, collecting poems, calligraphy and painting in one. Whether it is a huge structure or a doufang sketch, the works are majestic and majestic; the picture is frank and free, and the light is overflowing; especially in his later years, he created a large number of macroscopic works, the size and the number of them, which completely broke through the normal viewing path and thinking mode; the richness of the subject matter and the brilliant use of color completely subverted the historical accumulation and traditional concepts of Chinese landscape painting. Mr. Sun Bowen's artistic achievements are very special, and he has made outstanding contributions to the development of the freehand tradition of Chinese painting.
In May 2002, Mr. Sun Bowen held a solo exhibition of calligraphy and painting at the Beijing Military Museum, which attracted the attention of the press and the art community.
On November 12, 2020, the "Li li Li Hua Zhang Sun Bowen Art Exhibition" opened at the National Art Museum of China, and a number of Sun Bowen's large-scale works were displayed. Let the audience further understand this painter who did not seek to be known before his death and did not know much in the painting world.
From June 6 to 17, 2021, the "Li li Hua Zhang Sun Bowen Art Exhibition" was presented again at the Shandong Art Museum, focusing on nearly 60 Chinese paintings in the late life of Sun Bowen, and held three consecutive academic seminars around the exhibition, and nearly 100 experts and scholars rushed to the Shandong Art Museum from all over the country to participate in this seminar, which is unprecedented in the Shandong Art Museum and even the whole country.