The wonders of life
——I read Sun Bowen's paintings
Video loading...
At first glance at Sun Bowen's (1938-2003) paintings, the canvas is huge and preemptive, leaving you confused and unable to speak. Then, a reporter interviewed, and I can only say to the camera that Sun Bowen's painting is difficult to locate. In other words, Sun Bowen's paintings are difficult to classify, because the existing evaluation criteria and classification principles have failed before Sun Bowen's paintings. I have a hard time finding the right words, or the right concepts, to describe Sun Bowen's paintings.
▲ "Nine Days of Phoenix Dance", 310*123cm, 1998
In any case, Sun Bowen is a wizard. He is not conventional, not common sense, but "Bo" to collect the family, cast his own style. Sun Bowen's paintings, it seems that "pen and brush have provenance", there are many phenomena that can be compared, such as Van Gogh's starry sky and swirling brush tone, burning wheat fields; and Zhang Daqian's splashing ink, mountains and water; and his paintings of flowers and birds, which can be seen in the traces of Wu Changshuo, Qi Baishi, Pan Tianshou or Li Kuchan and Cui Zifan. As for his study experience, the influence of his teachers and friends can also be traced back to the corresponding teacher-inheritance relationship and the genealogy of painting. But what does all this mean? I thought that the only thing that could be proved was his erudition, which could not be separated from his academic education. He was not a painter and let his nature paint. Although Sun Bowen's paintings are also like imaginative, random works, spontaneous action, rather than relying on knowledge to construct his own art, he uses knowledge, he is dealing with various knowledge relations at the ideological level.
▲ "Seeking Zen Heaven and Earth", 405*95cm, 2002
Looking at Sun Bowen's paintings, the most important thing that comes to mind is the concept of "mentality" or "spirit", which is not descriptive, but leads us to further explore the situation when Sun Bowen paints, trying to find its hidden meaning between the images. Because of this role, we can establish a certain sense of identity between some phenomena with continuity, so as to enter its spiritual world and know its people and their paintings. Everyone has their own spiritual world, and for artists, we value their specificity, their creativity, and the radiation of their meaning. Only in this way can its historical influence be said.
▲ "Flying Spring Splash Zen Stone" 316.5*123.5cm, 2002
Sun Bowen's "odd" and "bo" are "one" and "many". Bo and then surprising, more and then single-minded, its "one" is the self. Therefore, he was late and uncontrollable. Before November 22, 2020, the art critics knew almost nothing about him. After that, two consecutive exhibitions attracted attention, and there were many opinions, but there were many knowledge points to talk about, but it was difficult to focus. His paintings arouse our curiosity, and the reason for this is that there are many mysteries and unclear meanings. Among them, I want to clarify two questions: First, what causes the mutation of his art? Second, what factors contributed to the success of his art?
▲ "Red Cloud When the Head of Vientiane Sheng", 411*143cm, 2002
Judging from the available information, Sun Bowen's painting style suddenly changed in 1999, when he was sixty-one, settled in Qingdao, and there are four works worth noting, namely "Bai Lian Fei Xiang Falling on the Earth", "Gao Ren Language in the Mountains Across the Creek", "Zen In the Mountains and Rivers" and "Distant Mountains Verdant Ink Dyeing". Its dimensions are consistent (361×72 cm), all have trekking, from the compositional form, these four paintings are independent, and there is no tendency to carry on and turn; as far as its trek is concerned, the intention of painting is different, and it is difficult to formulate a painting. If you look closely at the text, the first two are related. For example, "a curtain of white practice goes down the hill, and there are eight feet of makeup for tall people"; "across the creek, there are tall people living, and the sound of books is heard to the passenger ship". The former looks at the waterfall and imagines the image of the tall man, and the kui kuiran knows its greatness; the latter imagines the recitation of the high man with the sound of the stream flowing water, and its sound seems to be endless. Between before and after, although there is the author's imagination of "tall people", one shape and one sound, there is no obvious correspondence on the picture. As for "Heaven makes Kuang Lu Lu for the case" and "Ten Thousand Miles of Sky and Freedom in the Sky", the painting is also a mountain flowing water, the composition is standing on top of the sky, and "Zen" and "freedom" are said, which is the norm of Sun Bowen's later paintings. The reason why I pay attention to these four works is because of their free-spirited mind and style, especially between the upper and lower levels, there is a consistent momentum, forming a new style of painting.
▲ "Four Screens of Landscape and Water", 361*72cm*4, 1999
In addition, there are several works of Doufang, such as "A Mountain Wind And Waves" and "Spring Mountain Fragrance Listening to the Wind and Waves", which appear to be decent, the lump structure, and the painting style is relatively calm. The coexistence of old and new styles is a phenomenon peculiar to the transition period of painting, but for Sun Bowen, this phenomenon was still the same as in 2003, and there may be market factors.
▲ "A Mountain wind and waves" 50 *50cm, 1999
▲ "Spring Comes to the Mountains and Listens to the Wind and Waves", 50*50cm, 1999
How do I tell the difference between the two? One looks at the size of the painting, and the other looks at the freedom of the painting. Whether it is flower and bird painting or landscape painting, whether it is splashed ink or splashed color, paintings that pay attention to pen and ink and chapter methods, the canvas is not too large, and the large-scale people are almost all debauched paintings, highly free, that is, painting, no other, the idea is very simple, there is no distraction. There are not many people who specialize in painting. One is more understanding, within for me, and on the outside for the Tao. From me, looking at the world, the sea and the sky. The thinker is the enlightened, and the enlightened is the painter. The new meaning lies in me and not in him, and the other returns to tradition. For Sun Bowen, tradition is to take it, whether it is ancient or modern, Chinese or foreign, and use it. The significance of Sun Bowen's painting lies in the reshaping of his self, and then seeking new changes.
▲ "A River of Autumn Water and Clouds", 451*144cm, 2002
"Splash" is the behavioral motivation for the transformation of Sun Bowen's painting, and it is also the main opportunity to trigger the transformation of his painting style. Look at Sun Bowen's 1999 "First Primrose Spring Early" (86×219 cm), green and green attack, dyed all over the mountains, "wailing in mid-air howling Wanmu Spring"; then look at Sun Bowen's paintings in 1998, such as "Layers of Mountains and Mountains Paving Splendid Embroidery" (70× 138 cm), a large piece of stone blue cover dyeing, its image is almost the same. In 1997, there was "The Sound of Birds and Birds Spring Mountain New", and in 1996 there was "Ink Flowers Dripping Clear and Wet". This is the vein of the development of its new style, with 1999 as the boundary, the first three years as the gestation period, the last three years as the development period, and reaching the peak of creation in 2002. Indulge yourself by "splashing", open your mind, open your horizons, and "confuse and cut to chance". Sun Bowen summed this up to "Zen into the painting", which is actually the painter into the Zen.
▲ "Primrose First" 86*219cm, 1999
▲ "The Sound of Birds and Quail Sounds Spring Mountain New", 412*144cm, 1997
▲ "Ink Flowers Dripping Clear and Wet", 59.5*82.5cm, 1996
What does Zen have to do with "splashing"? Many of his paintings have inscriptions, indicating his mentality, brushwork and behavior at the time of creation. "Try dragging mud with water pens, it's when Zen comes into the painting." In 1998, this verse appeared successively in "Splendid Embroidery of Layered Mountains and Mountains" and "Mountains Across Clouds and Water Times Clear", and in 2002, it was re-titled in "Yunshui Zen Heart" and "Flying Spring Splash Zen Stone". The so-called dragging mud with water pen, that is, when the ink is splashed, the pen is straight in, one after another, covering the sky, generating everything. Southern Song Dynasty Xia Gui, once bald pen with water as an axe splitter, also known as dragging mud with water or falling eggplant method, this method has been seen in rice.
▲ "Layered Mountains and Mountains" 70*138cm, 1998
Explanation: Ordinary life is wild and unrestrained, and the sky is free for thousands of miles. Try dragging mud with a water pen, which is when Zen is enlightenment.
▲ "Mountains Across Clouds and Water Times Clear", 137*69cm, 1998
Interpretation: There is a high master in the depths of the white clouds, and the confusion is like a chance. Try dragging mud with water pens, which is when Zen comes into the painting.
Mi Fu, a self-proclaimed Lumen resident, studied Buddhism and practiced Meditation. The path of Zen Buddhism emphasizes emptiness and avoids complexity. "Say a Buddha word, drag the mud with the water." The Tao is a Zen word, full of shame. ([Song] Yuan Wu Keqin's "Biyan Record") Sun Bowen did the opposite, seeking the way in the midst of the complexity, chopping wood and carrying water, living and sitting, and everywhere was a dojo. Obviously, Sun Bowen's paintings take Zen as the body and the secret as the use. "Know its white, keep its black" (Tao Te Ching), let the door of secrecy open to freedom. His "splashing" is a free act that drives the use of the brush in painting, and his brushwork becomes more and more intense. At this point in painting, Sun Bowen has entered the realm of freedom, and it does not matter what he paints, nor how he paints.
▲ "Falling Pen Life Zen" 457*144cm, 2002
In 2002, he had a series of representative works. For example, "Want to Send Zen Heart to This Mountain", "Yunshui Zen Heart", "Falling Pen Life Zen", "Seeking Zen Heaven and Earth", "Landscape and Water Zen", "Red Clouds As the Head of Vientiane Life", etc., almost all of them are hanging shafts, up to more than 4 meters. More importantly, in 2002 he painted "Phoenix Nirvana" (555×123 cm), entitled: "Heaven makes Kuang Lu Lu for the case, and it is rare for the old man to write and paint." The title is to learn Li Du from poetry, don't work hard and only seek Zen. "How grand it is, how clear its goals are. He paints all the way to writing, both flamboyant and domineering, leaving no time for idleness, burying his head in painting, no matter what things, in the way of lying down, asking about heaven and earth. In 1998, Sun Bowen had a painting "Nine Days of Phoenix Dance" (310×123 cm), which is also titled this poem, and the whole picture is a phoenix with wings spread, which only shows the yearning in his heart - "I am a phoenix".
▲ "Phoenix Nirvana", 555*123cm, 2002
Interpretation: Heaven makes Kuang Lu lu for the case, and the old man rarely has time to write and paint. The title is to learn Li Du from poetry, don't work hard and only seek Zen.
In 2001, he also had a painting of Nirvana, measuring 358 ×143 centimeters, with the text: "The skyline shines into the water, and the sky in the water is red for a while." After Naosu Nichikan Sangen, the first send of Jinwu on the blue sky. "The picture is threefold up and down, the phoenix that is burning in the fire, living to death, transcending everything and flying to the top. It is grand and ambitious. Looking back at 2002's "Phoenix Nirvana", the mood of the picture is very peaceful, that is, the fire phoenix that has ascended to heaven, spreading its wings and comforting sentient beings. At this time, less than a year after Sun Bowen's death, did he already have a premonition, or did he know that he had also been enlightened.
▲"Nirvana", 358.5*143.5cm, 2001
Interpretation: The skyline light enters the water, and the skyline in the water is red for a while. After Naosu Nichikan Sangen, the first send of Jinwu on the blue sky.
As a result, Sun Bowen gladly painted a number of extraordinarily large paintings, such as "Spring Colors Full of Gardens" (786×144 cm), "Yunfeng Surprise" (787×144 cm), as well as "Jihou Xiaguang" (787×143 cm) and "Daofa Nature" (786×144 cm), the size of which is similar, although not necessarily in terms of four screens, but the imagery between each other is surprisingly close. On color, red, yellow and blue three primary colors, coupled with orange and purple, high purity, warm and high-key; on brushstrokes, galloping and releasing, high rolling, vigorous hair; on the artistic conception, cloud steaming Xiawei, such as the earth fire galloping, the sky fire burning - "the floating air must change, the peaks are illusory.". Heaven and earth were all dissolved by a cloud of vitality.
▲"Four Screens of Landscape and Water", 787*143cm, 2002
The unsolved image of Yuan Qi, "Imperial Qiankun" (785×144 cm), the signifier of this image is floating and uncertain, and cannot be explained in his paintings. This image can be traced back to 2000, such as "The Rising Wave of the Sun Underwater Boiling" (796.5 ×144 cm), and the fire wheel is a formal symbol.
▲ "Stroke Of Imperial Qiankun", 785*144cm, 2002
▲ "Underwater Sunrise Wave Self-Boiling", 796.5*144cm, 2000
However, in 2002, Sun Bowen also painted a painting of "Bishan Other Heavens" (421×96 cm), and he was going into hiding. "Ask Yu He Yi to perch on Bishan Mountain, laughing but not answering." The peach blossoms flowed away, and there was no heaven and earth. "The wind and the sun are beautiful, a detachment, which seems to be a spiritual portrayal of it.
▲ "Bishan Has a Different Sky", 421*96cm, 2002
Sun Bowen is to draw zen, to zen enlightenment, to obtain the tao is the goal. Because of his Zen intentions, his painting life is so suddenly open, he accepts everything with emptiness, and he is determined to do his own thing, and finally he can achieve great success. Talking about Sun Bowen, it is inseparable from Zen and painting, and he is through the practice of painting to confirm the wonderful state of life that he has understood. Therefore, sometimes his paintings seem jerky and clumsy; sometimes his paintings seem bizarre and strange. You may be amazed by his imagination, but inadvertently ignore his free expression and understanding and pursuit of nature. Sun Bowen is a painter with a special temperament and a cultural person based on tradition. (Zheng Gong, Director and Professor, Center for Fine Arts Research, Guangzhou Academy of Fine Arts)
▲ "Yunshui Zen Heart", 236.5*96cm, 2002
▲ "Landscape and Water Are Zen", 426*144cm, 2000
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.