孙博文的和合之力与色彩之舞

Core Viewpoint - The article discusses the artistic contributions of Sun Bowen, particularly in the context of modern Chinese ink painting, highlighting his innovative use of color and methodology in addressing the anxieties of modernity in Chinese art [1][4][8]. Group 1: Concept of "Hehe" (Harmony) - "Hehe" is presented as a core strategy for Sun Bowen's response to the modernity anxiety in 20th-century Chinese painting, addressing the dual concerns of "loss of tradition" and "otherness" [4]. - Sun Bowen's approach is characterized by a synthesis of traditional Chinese techniques and Western influences, avoiding the binary of either realism or abstraction [4]. - The concept of "Hehe" allows for a higher-dimensional balance of contradictions, providing a non-Western solution to the modern transformation of ink painting [4]. Group 2: Color Development - Sun Bowen's color practice is analyzed in three stages: "pattern - symbol - culture," representing a "triple jump" in his artistic evolution [5][7]. - The first stage involves transitioning from traditional blue-green landscapes to "bounded color painting," where color begins to define form rather than merely filling it [5]. - The second stage sees the development of his unique "color dot system," influenced by techniques from other art forms, creating a distinctive visual language [6]. - The third stage marks a shift from "visual stimulation" to "psychological symbolism," where color increasingly expresses emotional states and philosophical reflections [7]. Group 3: Artistic Legacy - In just five years, Sun Bowen elevated color from a secondary role to a primary focus in expressive landscapes, using "Hehe" to reconcile traditional and modern, Eastern and Western elements [8]. - His work suggests that the modernization of Chinese painting does not require the abandonment of traditional techniques or complete Westernization, but can be achieved through a harmonious integration of media, imagery, and spirit [8]. - Sun Bowen's legacy offers a valuable "Chinese solution" for the increasingly diverse yet fragmented global art scene, emphasizing the need for ongoing theoretical and educational engagement with his work [8].