In the classical-to-modern transformation process of Chinese poetry, the one-to-one word-reality mapping situ-ation has been broken, and is substituted by the ambiguous polysemy of words, and by the possibility of multiple interpretation and infinite openness.New Landscape Poetry by SUN Wenbo is a sound example of this new relationship.Words, once rid of the one-to-one mapping relationship with reality, represent only a possible way of, or a minimum entrance to the real world, lead-ing ultimately to infinite reality of an open space.The loss of one-to-one mapping function results in the fact that words have lost their absolute authority and naming competence.All utterances only unfold themselves within a relative category, bringing a-bout both ambiguity of words and complexity of the reality.The fundamental causes of word-reality entanglement and intricacy lie, not only in the complexity of reality, but also in the flexibility of words.Wording flexibility stimulates dynamics and vitality at the cost of self-discipline, debilitating poets’ enunciation and expressiveness.New problems arise throughout SUN Wenbo’ s efforts to reorient his poetic writing with clumsy forms.%在古典汉诗到现代汉诗的转换过程中，词语与现实一一映射局面被打破，取而代之的是词语的多义含混以及面对现实多重阐释的可能和无限敞开性。孙文波的诗集《新山水诗》是这种全新关系的有效例证：词语在摆脱与现实一一映射的关系之后，只是进入现实世界的一种可能或最小入口，并最终指向无限敞开的现实空间；词语对现实一一映射功能的丧失，导致词语失去绝对权威性和命名效力，一切言说只能在相对论的范畴中展开，并由此带来了词语多歧性和现实复杂性的双重含混；造成词语与现实纠缠复杂关系的根本原因，既在于现实本身的复杂性，又在于词语自身的柔韧性。词语的柔韧性在充满活力的同时，也缺少自律性，让诗人言说困难和表达无力。孙文波试图用“笨拙”的形式作为新的写作方向，但是形式运用本身又带来诸多问题。
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