還至本處

——申偉光的一心書

中國書法在文化感上，在今天帶有反思意味的言說中，往往指向個(gè)體的修身行為。這方面的舉例也多是從歷代名家法書代表作的形成上找到依據(jù)，比如王羲之的《蘭亭序》、顏真卿的《祭侄文稿》、或者蘇東坡的《寒食帖》。它們都是文心所托外化的書寫形態(tài)或文書并美的典范。因此，“書為心畫”無疑是中國書法最核心的人與藝術(shù)的關(guān)系。

當(dāng)然，從個(gè)體到群體也會(huì)找到另一條線索，即對于書法史的所有優(yōu)秀個(gè)體的觀照，也自然能總結(jié)出群體精神面貌。比如儒釋道以及“士”的筆墨形態(tài)，這也是中國書法的文明展開和獨(dú)立自在的內(nèi)蘊(yùn)邏輯。

今天，中國發(fā)生了深刻變化。世界和中國的聯(lián)系更加緊密而不可分割。藝術(shù)的理念與中國文化形式相蕩相激，專業(yè)化進(jìn)一步加劇了這樣的形勢。書法被視作藝術(shù)而成為藝術(shù)。藝術(shù)既觀照中國書法文化的部分，也分析和構(gòu)建書法的技術(shù)專業(yè)形態(tài)。而后者日趨成為一般大眾認(rèn)識(shí)和判斷書法的依據(jù)。

意大利學(xué)者畢羅在其文章《中國書法在西方的傳播：歷史經(jīng)驗(yàn)與未來發(fā)展》一文中引述說：“因?yàn)楦S多國家一樣，近幾十年中國也接受了西方書寫工具如圓珠筆和鉛筆，中國傳統(tǒng)的日常書寫習(xí)慣受到了極大的沖擊，把原來自然書寫的“毛筆字”變成有一定藝術(shù)創(chuàng)作目的或修養(yǎng)的“藝術(shù)”，導(dǎo)致西方經(jīng)常提及的“calligraphy”一詞指的并不是以王羲之、歐陽詢等名家為代表人物的書法藝術(shù)，而是用毛筆寫字而已?！倍钚∩皆诙嗄昵啊段覍?shí)驗(yàn)水墨的看法》的文章中指出：從“中國畫”變?yōu)椤八?，是從“文化”逃避到“材料”，大大縮小了其文化內(nèi)涵。

這些都在證明著，人們對于中國傳統(tǒng)藝術(shù)正在從最內(nèi)在的文化的、精神的、哲學(xué)的訴求向最外在的形式的、材料的、技術(shù)的形態(tài)認(rèn)同過度。

站在新的歷史境遇的當(dāng)下，我們既無法回到傳統(tǒng)的修養(yǎng)生態(tài)氛圍中，也不滿足于僅對以往經(jīng)典的書寫回憶。各種關(guān)于書法的使命般的堅(jiān)持或決絕，現(xiàn)象般的幾乎與整個(gè)中國改革開放的時(shí)間同步，在藝術(shù)可以先行自由的時(shí)代，各種思潮如春潮帶雨般聚集，躍躍欲試，競相成為風(fēng)氣現(xiàn)象。

實(shí)際上，無論傳統(tǒng)還是現(xiàn)代，無疑，都是從圖式通往心靈的路徑。

在北京一個(gè)寒冷冬日有陽光的午后，當(dāng)我們來到藝術(shù)家申偉光在京郊上苑的藝術(shù)館，目之所及的是他獨(dú)自展開的不同尋常，別有意味的書寫畫卷。

我驚異于他對于書寫的一門心思的狀態(tài)以及一意孤行的勇氣魄力。這在一個(gè)皈依者而言，或可叫做愿力。

申偉光的書寫首先是一種舍棄，他的所有書寫都是有明確的精神或宗教指向，很難見到他如一般書法家那樣的抄錄古詩文式的慣常圖式。也就是說，他舍棄了作為一般意義的書法家的世俗狀態(tài)，而進(jìn)入一種來自宗教召喚“修行”式的方便法門。

然而，他的書寫也不同于傳統(tǒng)的文人情趣或志向的表達(dá)。相反，有一種現(xiàn)代意義生成。他的“重字書”所呈現(xiàn)出的各種字的擺布運(yùn)動(dòng)，既指向文字意義，又深具一種意義圖式。他的這一類創(chuàng)作比如作品《足》，除了極具“行走”狀態(tài)，更在于它表達(dá)了一種現(xiàn)代境遇。這從藝術(shù)的角度來看，就是當(dāng)代性，就是藝術(shù)捕捉到當(dāng)代的某一類狀態(tài)并呈現(xiàn)出來，意義自然生成。

觀眾可以多方面的解讀，但不會(huì)陌生，總會(huì)有那么一點(diǎn)似曾相識(shí)和心契。這在藝術(shù)家，表面上是自己對于世態(tài)的觀照，內(nèi)在的乃是從己心出發(fā)，對他心的觀照而抵達(dá)他心。禪宗所謂“心心相印”，即是如此。

又如作品《困》，字型的扭曲變化和狀態(tài)呈現(xiàn)，每一個(gè)“困”字都像一個(gè)現(xiàn)實(shí)困境，并且排布出來的整體也是一個(gè)巨大的困境，讓人頓感“困惑”，極強(qiáng)的帶入感，好像現(xiàn)實(shí)就在眼前，觸發(fā)觀者聯(lián)系自身，佇足長思，浩嘆難息。困的另一面是解脫，是尋求解脫方法。那么，由文字狀態(tài)獲得感觸引發(fā)思考、覺醒，也就是解脫的一種方式。

再如，作品《光》，將若干個(gè)光字組合書寫成燈塔狀或圓形圍繞狀，則每一個(gè)光字皆是一尊佛菩薩，譬如法會(huì)現(xiàn)場的盛況，佛與大比丘眾千二百五十人倶，飯食訖，收衣缽，洗足已，敷座而坐。這種將文字生發(fā)成圖式場景，是文字生相的實(shí)踐實(shí)證，單字生相，組合亦生相，即可以有文字意義，也可以是組合后的圖式場景意義。

申偉光的另一類創(chuàng)作，是其“圣號(hào)”書寫。在他藝術(shù)館的二樓所呈現(xiàn)出的巨制，令人肅敬生畏，嘆為觀止。他通篇將“南無阿彌陀佛”反復(fù)書寫，整齊排布，雖有大小變化，但致密統(tǒng)一，儼然法幛般莊嚴(yán)神圣，這非有愿力和勇猛心者不能為也。此類作品所體現(xiàn)出的是一種修行和愿力實(shí)現(xiàn)。據(jù)申偉光先生自己講，他作此類書，是要閉關(guān)數(shù)日甚至數(shù)月，恭敬為之。

把書寫當(dāng)作修行，古已有之，但真正能恒心不二去做的，絕少。所以，當(dāng)觀者真能面對這樣的作品，首先是一種敬畏心油然而生。其次，依字而誦也是自然而然的，“一句彌陀作大舟” ，無數(shù)無邊無量功德，隨緣化度，在在處處。

當(dāng)然，除了佛號(hào)，還有咒語、乃至經(jīng)文全篇，他都恭敬力行?？梢韵胍娡瓿蛇@么巨大的如工程般的作品，是何等艱辛？！然而，作品既成帶來的震撼力，我以為是開創(chuàng)了一種適合現(xiàn)代場景的新模式。在昔，譬如四山摩崖，像《泰山經(jīng)石峪》那樣的鴻篇巨制的意義，是佛法與傳統(tǒng)山林的因緣際會(huì)，是天地精神相往來。今天，如申偉光這樣的主題巨制，是現(xiàn)代環(huán)境之下，佛法與美術(shù)館與現(xiàn)代道場的適應(yīng)，是在局限的現(xiàn)代生態(tài)中的弘法利生，是放大光明。

由申偉光的書寫可以想及，一種新的書寫圖式的產(chǎn)生，是由于其對于佛法的皈依，經(jīng)過精思熟慮，開辟一條時(shí)代與個(gè)體契合的方便路徑，亦可謂遷想妙得。那么， 他的書寫就不只是或不是傳統(tǒng)意義的書法，也不同于現(xiàn)代書法。中國書法在外在技法上是基于漢字的書寫藝術(shù)。因此，對于漢字本身有著技術(shù)規(guī)定性，也行成了經(jīng)典文本。申偉光的書寫，很難從某一個(gè)或某一類經(jīng)典法帖中去比較詮釋。他的單字狀態(tài)雖然是成熟意義的漢字（楷書），卻有著某種造字之初的萌動(dòng)和意態(tài)。比如他那些看似尖刻的筆畫起收，很容易讓人聯(lián)想起甲骨契刻，而扭動(dòng)的筆畫線條，又像大地上旺盛茂密的野草被火燒過后的新生，在春風(fēng)中的堅(jiān)韌掙扎與搖曳，是不盡的希望所在。

如此，申偉光的書寫緣起，隱含著一種本源的回歸，這種回歸可以是主體的也可以是客體的。即作為生命體的人的回歸，也是對于文字或一類文化緣起的探尋。在造物之初，在生命之初，從蒙昧到文明轉(zhuǎn)換的剎那間，“一畫開天”是人心和天地萬物文明聯(lián)系之始。

然而，申偉光還不止于此，這些都還只是一般知識(shí)邏輯。作為一位藝術(shù)家，一位居士，一位虔誠的佛法皈依者，申偉光所從事的這項(xiàng)書寫工作，是對佛法的踐行。他一心于此，每一個(gè)字的落實(shí)，是要盡數(shù)恒河沙數(shù)，是要從每一個(gè)字的書寫中豎起信念，堅(jiān)忍不拔，是要為自己和有緣人脫離苦海筑基修路。因此，他的字與弘一不同，弘一在今天被放大的仍然是書法美學(xué)的意義所帶來的宗教啟示。而申偉光的書寫則是將文字本來與圖式融合構(gòu)筑成一種更為普世的更為直接的現(xiàn)代意義，是當(dāng)下生態(tài)的實(shí)相描述，是欲將人與當(dāng)下境遇統(tǒng)統(tǒng)打回原形，從而找到自我，找到原來，并且在這種找尋中，建立依靠，樹立信心以及解脫。而這些，在申偉光看來，只有大乘佛法是唯一不二之選。宗教本質(zhì)上就是人心的學(xué)問，是修心之學(xué)，是人心到佛心的體認(rèn)和轉(zhuǎn)變。因此，任何一項(xiàng)藝術(shù)的本質(zhì)也是一門心學(xué)，書寫更是一種通心的實(shí)踐。

這之于申偉光，除卻修行與愿力，更是一種使命，而付諸實(shí)施，則是因緣際會(huì)。譬如著衣持缽，往這現(xiàn)實(shí)的人間城市……

申偉光的書寫有謂之“一心書”，即從外向內(nèi)，這既是尋求內(nèi)圣，也是在心靈歸處，心地下種，而信念所持，是一心一意，一心無二。是次第乞已，還至本處，飯食訖，收衣缽，洗足已，敷座而坐，是與大比丘眾千二百五十人倶的盛大相會(huì)。

因此，一心書的書寫，即回到本源，在申偉光，或曰：還至本處。

甲辰冬月廿七日 丁大網(wǎng)于京師臨尼山房

Returning to the Origin

-Shen Weiguang’s Single-Minded Calligraphy

In today's reflective discourse, Chinese calligraphy often points to individual self-cultivation practices from a cultural perspective. Examples in this aspect are often drawn from the formation of the canonical masterpieces by historical luminaries, such as Wang Xizhi’s Preface to the Orchid Pavilion Collection, Yan Zhenqing’s Manuscript of Mourning for My Nephew, or Su Dongpo’s Cold Food Observance Scroll. These works are the calligraphic form which externalizes the literary consciousness, and they exemplify the fusion of literary spirit and aesthetic form. Therefore, “writing as the reflection of the heart” is undoubtedly the core philosophy defining the relationship between humanity and art in Chinese calligraphy.

From the individual to the collective, another thread emerges: The study of all exceptional figures in calligraphic history naturally reveals the shared cultural ethos, such as the brushwork traditions of Confucianism, Buddhism, Daoism, and the literati class. This interplay forms the intrinsic logic of Chinese calligraphy as both a cultural expression and an autonomous art form.

Today, profound changes have taken place in China. The connection between the world and China has become closer and inseparable. The concept of art resonates with Chinese cultural forms, and professionalization has further intensified this trend. Calligraphy is regarded as art and becomes art. Art not only reflects Chinese calligraphy’s cultural dimensions, but also analyzes and constructs its technical professional form. The latter is increasingly becoming the basis for the general public to understand and judge calligraphy.

Italian scholar Pietro De Laurentis, in his essay The Dissemination of Chinese Calligraphy in the West: Historical Experiences and Future Prospects, notes: “Like many nations, China’s adoption of Western writing tools—ballpoint pens and pencils—has eroded traditional daily writing practices. What was once the natural act of ‘brush writing’ has been reframed as ‘a(chǎn)rt,’ tied to creative intent or cultivation. Consequently, the Western term ‘calligraphy’ no longer evokes masters like Wang Xizhi or Ouyang Xun, but merely the act of writing with a brush.” Years earlier, art critic Li Xiaoshan argued in My Views on Experimental Ink Art that reducing “Chinese painting” to “ink art” diminishes its cultural essence greatly, retreating from “culture” to “material.”

These demonstrate that people's engagement with traditional Chinese art is transitioning from the innermost cultural, spiritual, and philosophical pursuits to the outermost recognition of formal, material, and technical aspects.

In our current historical moment, we can neither return to the traditional cultivation ecosystem, nor settle for nostalgic reproductions of past classics. Various mission-driven persistence or resoluteness regarding calligraphy have emerged, almost synchronizing with the entire period of China's reform and opening up. In an era where art can take the lead and be free, diverse intellectual currents surge like spring tides nourished by rains, eagerly competing to become a trending phenomenon.

Whether traditional or modern, all art ultimately charts a path from form to spirit.

On a cold, sunlit winter afternoon in Beijing’s outskirts, when we arrived at the Shen Weiguang Art Gallery located in Shangyuan, what caught our eyes were the unusual and meaningful writing scrolls he had independently created. I am amazed by his single-minded focus on writing and his courage to follow his own path. For a convert, this might be called the power of vow.

Shen’s writing begins with renunciation. All his works carry explicit spiritual or religious intent, devoid of the classical poetry-copying conventions typical of calligraphers. In other words, he has abandoned the secular state of a typical calligrapher and embraced a convenient method of "cultivation" inspired by religious callings.

However, his writing also differs from traditional expressions of literati sentiment or aspirations. Instead, it generates a modern meaning. The dynamic arrangements of various characters presented in his "Repeated Characters Calligraphy" not only point to the textual meaning, but also embody deeply a meaningful pattern. His creations in this category—like Foot—depict not just the act of “walking” but articulate a contemporary condition. Artistically, this is modernity: capturing and presenting a facet of the present, allowing meaning to emerge naturally.

Viewers may interpret his works variously, yet never feel estranged - there will always linger a faint sense of familiarity and spiritual resonance. For the artist, this is ostensibly their reflection on the world, but internally, it reflects an inner journey: observing the world through self-awareness to connect with others’ hearts—a Chan Buddhist “mind-to-mind transmission.”

Take Trapped: each twisted iteration of the character “trapped” embodies a real-life dilemma, and their collective arrangement form a huge predicament, leaving one feeling "confused" at once. It has a strong immersive effect, as if the reality is right before your eyes, prompting the viewer to consider themselves, pause and ponder, and sigh deeply. The other side of being trapped is liberation, seeking ways to liberate oneself. Therefore, if one could gain feelings, trigger thoughts and achieve awakening from the state of characters, it would also be a way of liberation.

In Light, clusters of the character “l(fā)ight” radiate like lighthouses or encircling halos. Each “l(fā)ight” becomes a Buddha or bodhisattva, evoking the sacred assembly described in sutras: the Buddha, accompanied by 1,250 bhikkhus, having finished their meal, put away their robes and bowls, washed their feet, arranged their seats and sit in meditation. This transformation of characters into graphic scenes is a practical demonstration of “images emerging from characters”. Each character and their combination all generate images, which has not only textual meaning but also the meaning of the combined graphic scenes.

Another category of Shen Weiguang's creations is his "Sacred Name" writing. The large-scale works presented on the second floor of his art gallery are awe-inspiring and breathtaking. Panels of meticulously arranged “Namo Amitabha Buddha” inscriptions—varying in size yet unified in density—resemble sacred Buddhist banners. Such works demand vow-power and courage, and embody a kind of spiritual practice and the realization of willpower. As Shen explains, each piece requires days or months of secluded, reverent labor.

Treating writing as spiritual practice is ancient, yet few sustain it. Confronting these works, viewers first feel reverence, then an urge to chant. "A single utterance of Amitabha becomes a great vessel", with boundless merits, it is salvation at will, everywhere.

Beyond Buddha’s names, Shen transcribes mantras and sutras in full with reverence. One can imagine how arduous it is to complete such a massive project! However, the impact brought by the completed work, I believe, has created a new model suitable for modern settings. Historically, monumental Buddhist rock carvings like those at the Four Mountains and Stone Sutra Valley of Mount Tai embodied the karmic convergence of Dharma and traditional mountains, a cosmic communion between celestial and terrestrial energies. Today, Shen's thematic masterpieces represent the adaptation of Buddhism to modern environments. Within the constrained ecology of modernity, this promotes the Dharma and benefits life, amplifying the light.

From Shen's calligraphic works, one can perceive that the emergence of this new writing paradigm stems from his conversion to Buddhism. Through profound contemplation, he has pioneered an expedient path that harmonizes individuality and this period, which might be described as "transcendent imagination yielding wondrous attainments." His works transcend traditional and modern calligraphy. Chinese calligraphy is an art based on the writing of Chinese characters in terms of external techniques. Therefore, there are technical prescriptions for Chinese characters themselves, which have also formed classic texts. It is difficult to compare and interpret Shen Weiguang's calligraphy with any one or a certain type of classic model. Although his individual characters are mature Chinese characters (regular script), they possess a certain initial sprout and intention of word-making. Sharp strokes recall oracle bone carvings; sinuous lines mimic scorched grasslands reborn—tenacious sprouts trembling in spring winds, embodying inexhaustible hope.

Thus, Shen’s practice implies a return to origins, which can be either subjective or objective. It represents the return of human beings as living entities and the exploration of the origin of characters or a certain culture. At the dawn of creation and the emergence of life, in the instant of transition from ignorance to civilization, "one stroke opens the heavens" marks the beginning of the civilized connection between human hearts and all things in heaven and earth.

Yet Shen goes further. As an artist, lay Buddhist, and devout practitioner, his work enacts Dharma. He devotes his entire being to this endeavor. The writing of each character is a step across the Ganges’ sands, to cultivate an unwavering faith, to lay the foundation and pave the way for liberating himself and others from suffering. Therefore, his calligraphy differs from that of Hongyi. What is amplified today about Hongyi's calligraphy is still the religious inspiration brought by the aesthetic significance of calligraphy. Shen fuses text and form into universal, immediate modern metaphors. It is a realistic description of the current ecology, aiming to return people and the current situation to their original form, thereby finding oneself, discovering the origin, establishing reliance, confidence, and liberation in this search. In Shen Weiguang's view, only Mahayana Buddhism is the viable option for these purposes. At its core, religion constitutes the study of human consciousness—a discipline of mind cultivation, embodying the recognition and transformation from mortal mentality to Buddha-nature. Likewise, all art is a study of the heart; writing, especially, bridges minds.

For Shen Weiguang, this transcends spiritual practice and vow-power—it is a mission, realized through the confluence of causes and conditions. Like donning robes and holding an alms bowl, he steps into the bustling human realm of cities.

Shen’s writing, termed Single-Minded Calligraphy, turns inward in pursuit of inner sagehood. It plants seeds in the soil of the heart, anchoring belief in unwavering conviction—a focus singular and undivided.

Thus, the writing of Single-Minded Calligraphy, that is, returning to the source. For Shen Weiguang, it is: Returning to the Origin.

Written by Ding Dawang at Lin Ni Studio, Capital City,

On the 27th day of the winter month, Jiachen Year (2024).

展出時(shí)間:

2025.5.24~2025.7.24

展出地址:

申偉光美術(shù)館朝陽分館

(北京市朝陽區(qū)來廣營鄉(xiāng)紅軍營路23號(hào)院8號(hào)樓)

(導(dǎo)航搜索:申偉光美術(shù)館朝陽分館)

申偉光先生簡介

Introduction to Mr. Shen Weiguang

申偉光，中國當(dāng)代著名藝術(shù)家、水墨畫家、書法家，居士。

1959年生于河北邯鄲市。1981年畢業(yè)于華北理工大學(xué)藝術(shù)學(xué)院。1988年結(jié)業(yè)于南京藝術(shù)學(xué)院。1991年篤信佛教。1994年入住北京圓明園畫家村。1997年定居北京上苑藝術(shù)家村。2021年8月30日，申偉光美術(shù)館（北京）成立。2022年3月17日，申偉光美術(shù)館邯鄲分館成立，2025年4月16日申偉光美術(shù)館朝陽分館成立。

作品曾參加第六屆全國美展、第八屆全國美展、廣州首屆九十年代藝術(shù)雙年展、首屆中國藝術(shù)三年展、上苑藝術(shù)家工作室開放展、今日美術(shù)大展、“文脈當(dāng)代中國版本”大型綜合藝術(shù)展、超驗(yàn)藝術(shù)展、2008奧林匹克美術(shù)大會(huì)等藝術(shù)大展，并于北京今日美術(shù)館、南京藝術(shù)學(xué)院美術(shù)館等地多次舉辦大型個(gè)人畫展，其藝術(shù)成就在中國當(dāng)代藝術(shù)中獨(dú)樹一幟。

已出版作品集《申偉光作品》《申偉光藝術(shù)20年》《超驗(yàn)藝術(shù)》《申偉光超驗(yàn)繪畫》《申偉光水墨》《申偉光書法作品集》《申偉光書寫圣號(hào)作品集》《申偉光書法集》《申偉光重字書作品集》《申偉光寫生作品集》。出版藝術(shù)研究文獻(xiàn)《申偉光超驗(yàn)藝術(shù)評論集》《糾結(jié)與超脫——申偉光油畫作品評論集》《申偉光藝術(shù)精神評論集》《凈行——一藝術(shù)家群落修學(xué)與生活紀(jì)實(shí)》。出版?zhèn)€人著述《申偉光談話錄》《申偉光談話錄（二）》《申偉光談話錄（三）》《申偉光談話錄（四）》《申偉光的話與畫》《申偉光談藝錄》《申偉光談藝錄（二）》。

Shen Weiguang is a famous artist, ink painter and calligrapher in contemporary China. He is also a lay Buddhist.

In 1959, he was born in Handan City, Hebei Province. He graduated from the college of Art, North China University of Science and Technology in 1981. In 1988, he completed his studies in Nanjing University of the Arts. He sincerely believed in Buddhism since 1991. In 1994, he moved to the Old Summer Palace Artists Village. He settled down in Beijing Shangyuan Artists Village as a professional artist since 1997. Shen Weiguang Art Museum in Beijing was established on August 30, 2021. This was followed by the opening of the Handan Branch of the Museum on March 17, 2022. Then, the Chaoyang Branch of the Museum opened on April 16, 2025.

His works have been exhibited in major art exhibitions such as the 6th and 8th National Art Exhibitions, the First Guangzhou Art Biennale of the 1990s, the First China Art Triennale, the Open Exhibition of Shangyuan Artist Studios, the Today's Art Exhibition, the "Contemporary Cultural Heritage·Chinese Edition" Large-scale Comprehensive Art Exhibition, the Transcendental Art Exhibition, and the 2008 Olympic Art Conference. He has also held large-scale solo exhibitions many times, such as Beijing Today Art Museum and Art Museum of Nanjing University of the Arts and so on. His artistic achievements stand out uniquely in contemporary Chinese art.

His published works include the following titles: Shen Weiguang's Works, Shen Weiguang's Art Over the Past 20 Years, Transcendental Art, Shen Weiguang's Transcendental Paintings, Shen Weiguang's Ink Paintings, The Collection of Shen Weiguang's Calligraphy Works, Shen Weiguang's Calligraphy Works about the Holy Name of Buddha and Bodhisattva, Shen Weiguang's Calligraphy, Shen Weiguang's Calligraphy Works About Repeated Characters, Shen Weiguang's Sketches.

He has published studies in art research such as Shen Weiguang Transcendental Art Review Collection, Tangled and Detached: Shen Weiguang Oil Paintings Review Collection, Shen Weiguang Art Spirit Review Collection, and Journey of Purity: A Documentary of the Cultivation and Life of an Artist Community.

Shen has also published transcriptions of his conversations with students and lectures: Shen Weiguang's Conversations Volumes 1-4, Shen Weiguang's Words and Paintings, Shen Weiguang's Notes on Art Volumes 1 and 2.

申偉光美術(shù)館簡介

Introduction to Shen Weiguang Art Museum

申偉光先生，中國當(dāng)代著名藝術(shù)家、水墨畫家、書法家，居士。自上世紀(jì)80年代起，即以其作品獨(dú)特的藝術(shù)語言與圖式蜚聲藝壇，從而確立了他在當(dāng)代藝術(shù)界不可替代的地位。申偉光先生從事藝術(shù)創(chuàng)作50余載，多藝并舉，跌宕昭彰，獨(dú)超眾類，自成一家，其藝術(shù)成就在當(dāng)代藝術(shù)史上獨(dú)樹一幟。

申偉光美術(shù)館是以其個(gè)人名字命名的現(xiàn)代化私立美術(shù)館，2021年8月30日，“申偉光美術(shù)館（北京）”成立。2022年3月17日，“申偉光美術(shù)館邯鄲分館”成立。2025年4月16日，“申偉光美術(shù)館朝陽分館”成立。

申偉光美術(shù)館以收藏、陳列、研究申偉光先生的藝術(shù)創(chuàng)作及文獻(xiàn)資料為宗旨，主要學(xué)術(shù)工作包括策劃舉辦展覽、組織學(xué)術(shù)研討會(huì)與座談會(huì)等活動(dòng)，以及整理、編輯、出版其畫冊及著述。美術(shù)館致力于推廣和傳播申偉光先生的藝術(shù)精神與作品，是全方位了解其藝術(shù)及個(gè)人的權(quán)威交流平臺(tái)。

“申偉光美術(shù)館”位于北京上苑藝術(shù)家村，建筑面積2000平方米，長期陳列展出申偉光先生油畫、水墨、書法等作品共計(jì)300余幅。

“申偉光美術(shù)館邯鄲分館”位于河北省邯鄲市邯山區(qū)中華南大街231號(hào)，建筑面積500余平方米，長期陳列展出申偉光先生油畫、水墨、書法等作品共計(jì)200余幅。

“申偉光美術(shù)館朝陽分館”位于北京市朝陽區(qū)紅軍營路23號(hào)院8號(hào)樓，建筑面積500余平方米，長期陳列展出申偉光先生油畫、水墨、書法等作品共計(jì)200余幅。

申偉光美術(shù)館作為申偉光先生精神人格與藝術(shù)精神的延續(xù)與載體，將始終秉承先生上求下化的慈悲愿力，致力于成為神圣高貴的藝術(shù)殿堂與清凈莊嚴(yán)的修學(xué)道場，廣結(jié)藝緣，廣結(jié)法緣。

Mr. Shen Weiguang is a renowned artist, ink painter, and calligrapher in contemporary China. He is also a lay Buddhist. Since the 1980s, he has been celebrated in the art world for his unique artistic language and patterns, thereby establishing his irreplaceable position in the contemporary art circles. Mr. Shen has dedicated over five decades to artistic creation, and his works in multiple art forms are unconstrained, outstanding, and distinctive. His artistic achievements hold a unique and iconic position in the history of contemporary art.

Shen Weiguang Art Museum is a private art institution named after the artist himself. Shen Weiguang Art Museum (Beijing) was established on August 30, 2021. This was followed by the opening of the Handan Branch of the Museum on March 17, 2022. Then, the Chaoyang Branch of the Museum opened on April 16, 2025.

Shen Weiguang Art Museum is based on the fundamental purpose of collecting, displaying, and studying Mr. Shen Weiguang's artistic creations and documentation. Its main academic works include planning and holding exhibitions; organizing seminars, symposiums, and other academic activities; collating, editing, and publishing art portfolios and writings of Mr. Shen. It focuses on promoting and disseminating Mr. Shen's artistic spirit and artworks, and is an authoritative exchange platform for a comprehensive understanding of Mr. Shen and his art.

Shen Weiguang Art Museum, located in Beijing's Shangyuan Artist Village, spans a floor area of 2,000 square meters. It permanently exhibits over 300 works by Mr. Shen, including oil paintings, ink paintings, and calligraphy pieces.

The Handan Branch of Shen Weiguang Art Museum is located in Building 231, Zhonghua South Street, Hanshan District, Handan City, Hebei Province, with a floor area of over 500 square meters. It permanently displays over 200 works by Mr. Shen, including oil paintings, ink paintings, and calligraphy pieces.

The Chaoyang branch of Shen Weiguang Art Museum is located in Building 8, No. 23 Hongjunying Road, Chaoyang District, Beijing, with a floor area of over 500 square meters. It permanently exhibits more than 200 works by Mr. Shen, including oil paintings, ink paintings, and calligraphy pieces.

As the continuation and carrier of Mr. Shen Weiguang's spiritual personality and artistic spirit, Shen Weiguang Art Museum will always adhere to Mr. Shen's compassionate vow of seeking enlightenment for self and others, is dedicated to making art and Dharma connections with people, and is committed to becoming a sacred and noble art palace, a pure and solemn place for learning and practicing.

申偉光先生更多資訊

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北京申偉光美術(shù)館

地址：北京市昌平區(qū)興壽上苑藝術(shù)家村東路171號(hào)

北京申偉光美術(shù)館朝陽分館

地址：北京市朝陽區(qū)紅軍營路23號(hào)院8號(hào)樓