申偉光藝術(shù)的生命形式：字字如命

夏可君

漢字的神奇在于，一個個字不僅僅有著語義的具體所指，而且其能指符號還有著多重的表達，這是其它文字都沒有的開放性與可變性，并且在歷史中獲得了豐富的表達：漢字，既有著文字“字體”形式的漫長變化（從甲骨金文到篆書隸書楷書等等），也有著書法“書體”形態(tài)學書法性的審美表達（魏晉開始的書法個體化開啟不同時代的藝術(shù)風格），還有著生命個體或“命體”的生存信念表達或指向救贖的宗教式訴求（從道教符箓到抄寫佛教經(jīng)文直到禪宗書法）。

正是這個“字體-書體-命體”的三一體同時表達，讓我們可以重新審視中國現(xiàn)代性書法轉(zhuǎn)換以及當代書寫的格局，不同藝術(shù)家在不同的維度上突破，比如徐冰就是以字體為主，走向“假字”筆劃；比如各種流行書風或丑書是試圖在書體上延續(xù)與突破，乃至于走向抽象繪畫，如同日本的單字或少字的突破；而命體上來看，弘一法師的素體簡拙風格，就是一個修行者生命清供的個體化表達。

我們提出“命體”的新范疇，就在于認識到漢字-書法書寫的深度，不僅僅是文字使用與審美表達，還與個體命運的“生命形式”（form of life）相關(guān)，命體的古代表達是命理學，現(xiàn)代表達則是“生命形式”，傳統(tǒng)書法書寫雖然也會傳達個體的性情與情志，但主要還是審美的意趣，但命體的書寫則直指生命自身的“氣質(zhì)變化”與“生命救治”。在疫情之后，在人性生命能量減弱與世界災(zāi)變又頻發(fā)之際，命體的書寫更為具有直指救治的價值。

當我們來到北京上苑申偉光老師的美術(shù)館，我們可以看到申老師把不同的漢字字體與書體風格——都指向命體的生命形式書寫。申老師從之前的職業(yè)繪畫，因為個體生命的突變，走向佛教修行，就開始書寫佛經(jīng)，從單子的“佛”到“南無阿彌陀佛”的經(jīng)咒，從《心經(jīng)》到《金剛經(jīng)》，直到幾十米長的經(jīng)文，讓人肅然起敬，也望而生畏，這需要什么樣的“心力”或一心之力，才可能寫出如此堅忍不拔的作品啊！

從書體上看，申老師吸收了漢隸與碑體的瘦硬，但沒有更多的裝飾筆劃，而是帶入了生命刺痛感的尖銳，具有生命骨感的疼痛質(zhì)感，如同荊棘。比如“放下”這幾個字，看著就讓人心悸，又讓人心痛，似乎文字是可觸的，這就激發(fā)了觀看者的生命感知。

我相信，這是申偉光對弘一法師的隱秘繼承，但又具有了申偉光自己的生命形式，這是真正個體生命“風骨”的再造，書體就是字體，而字體乃是生命形式的表達，就是要重塑漢字的“金剛體”。

申老師其實是在寫字，而主要不是寫書法，因為一旦寫書法，審美意趣的誘惑就會迫使藝術(shù)家走向個體得意的風格炫耀與裝飾性效果，但申老師就是要回到寫字上，回到一個個的字上，認識這個字的原初含義與生長形式，讓一個個字重新獲得生命，是獲得從未有過的生命質(zhì)感，這是讓一個個漢字重新出生，如同生命在疫情之后需要“重活”（revivre）。字，就成為了生命，字體與書體都轉(zhuǎn)化為生命體，成為心靈書寫的表達，是“一心體”，是一心一意的書寫，是指向生命救贖的書寫，是“心經(jīng)式”的轉(zhuǎn)念書寫。

申偉光的生命書寫，乃是用一個個的字，在重復(fù)書寫中，重構(gòu)一個新生命。此新生命的書寫，有著幾種生成方式，我們暫且如此提煉如下：

其一，“圣字體”， 直接書寫與佛教相關(guān)的大字“佛”，單行的“南無阿彌陀佛”，指向“神圣”莊嚴與生命祈愿的命體。尤其是當我們在亞麻布上寫出的一行“南無阿彌陀佛”，尖銳的筆觸就在刺痛我們麻木的心靈與神經(jīng)，大片的空白就是念叨的回響空間。寫字就是在念經(jīng)，就是在祈禱，進入心咒的能量場。

其二，“重字體”，就是重復(fù)寫一個字，在重復(fù)中，形成不同的字體形式——如同繪畫形態(tài)，用重復(fù)的單一字體形成某種相似性的形態(tài)，這是申老師最為明確的生命形式。比如寫光明的“光”，在重復(fù)書寫中形成寫一個“佛塔”的形狀，也可以形成蠟燭光焰點燃的形態(tài)。

其三，“菩提體”或“反成體”，還有一種更為獨特的生命形式，就是活用了“煩惱即菩提”的佛理，以“相反相成”的方式讓字體具有生命轉(zhuǎn)換的形式自覺，也是采取重復(fù)書寫的方式，但我們認為可以獨立出來，成為一種筆法。比如，以“煩”這個字在重復(fù)書寫中形成一個“不”的整體形式，“煩惱即菩提”與“菩提即煩惱”就得到了充分的當代表達。再比如，以“有”字的重復(fù)書寫來建構(gòu)一個“無”，比如重復(fù)書寫“慧”而形成一個“空”的形態(tài)，就把“空慧”的佛教原理轉(zhuǎn)化生命書寫的形式。

其四，“面孔體”，漢字如生命，每一個漢字都是一個個自我投射的面貌，見字如人，人如其字，因此一個個字就是一個個人的面孔，是去除了面具的生命本相，書寫漢字就是把生命的本來面目暴露出來，又得到佛力的呵護。申老師寫貧困的“困”，那一個個“困”字就像一個生命被捆綁在那里而成為了囚徒，處于掙扎的痛苦之中，宛如一個人面孔活生生的寫照。以“足”書寫出一個生命自由昂揚行走的姿態(tài)，以真理的“真”重構(gòu)一個面孔臉型，就是用文字來重塑面孔，這是另一種“成佛”的藝術(shù)表達。

其五，“淡墨體”，作為畫家的申偉光不僅僅改造了形式，對于色彩或墨色也有著沁人心脾的微妙表達，即對于墨的處理非常細微，會用干凈的淡墨清水來書寫神圣的“圣”這個字，非常的淡，非常的輕柔，進入了一種靜默的呼吸狀態(tài)，寫“清涼”兩個字也是用一種極干凈的淡水淡墨來寫就。文字與字形就進入到了生命體的呼吸感知，以及潔凈化的感受之中。

在申偉光老師這里，漢字在書寫中重新獲得了語義和形式的合一，但都指向生命形式的合一，指向生命轉(zhuǎn)化的合一。寫字，寫書法，就是寫命，就是重新書寫自己的生命，這就是書寫還原到生命的內(nèi)在關(guān)聯(lián)上，寫命也是寫心，寫出內(nèi)心一以貫之的虔誠信念，自我見證與自我質(zhì)變的時空！這也是為什么他反復(fù)書寫“一心”——這就是一顆心的真切經(jīng)驗，就是一顆心的精煉。如同所有的文學書寫都指向某種自我或他者的生命書寫（bio-graph），一切的書寫都是生命書寫的痕跡，也是生命重塑與改變的訴求，是生命重活的祈愿。

寫字就是寫命，寫命就是改命，就是命運的改造，這是另一種的自由書寫。字，就獲得了生命，文字自身開始自由行走，不再是固定的語義與形式，文字就是生命，文字就是形體。如同“坐”這個字，既是一個字，也是一棵樹，還是一個人，立在那里，長在那里，這就是把文字與生命完美合一，也是重塑一個生命的金剛體。因此，當我們再來看那一個個帶有尖銳刺感與骨感的字體，其實就不再只是觸發(fā)刺痛的覺醒，而是浸透著清俊的爽利，乃至于“仙風道骨”的通脫，似乎我們終于可以卸下人生的重負，去掉多余的脂肪，而僅僅剩下干凈又純粹的骨頭。

就如同申老師的繪畫，實際上就是在建構(gòu)一個原初的生命體，就像一個個活的細胞，就像孕育生命的卵巢或蜂巢，回到生命最初毛茸茸與繁殖時的生長狀態(tài)，回到生物體的原生狀態(tài)，重新開始，這是生命“重活”的創(chuàng)世記。或者把曼陀羅的元素加以個人的提煉，形成一個環(huán)狀，一個內(nèi)在的循環(huán)，又像花朵，其實就是萬物生長的因子或生命的基因，藝術(shù)形式才可能成為“元圖型”或元圖像，這是可以與整個西方的精神分析，尤其是與榮格受到衛(wèi)禮賢翻譯的《金花的秘密》的影響而改寫了弗洛伊德的精神病理學對話，走向魂魄轉(zhuǎn)化的能量美學。生命修煉的心魂書寫，都是要把生命還原到萬物生長的共通因子，如同細菌與植物擺動的纖毛，在我們這個生物學基因重構(gòu)生命的時代，修行的藝術(shù)與改變生命形式的藝術(shù)，就與之產(chǎn)生了共感與共振，而申偉光的繪畫，還賦予了一種活力，一種光力，畫面上有光在回旋，形成金剛體式的鉆石感與結(jié)晶體。

正是書法與繪畫的內(nèi)在想通，申偉光的創(chuàng)作實際上是用佛教的金剛體轉(zhuǎn)化了漢字與書體，讓生命與植物與萬物的生長融合在一起，一道道筆劃就如同一根根的纖毛，帶著鮮活與鮮嫩的觸角，生物性的觸角與生命書寫的筆觸就內(nèi)在觸感的融合起來，如同生物細胞的生長，自然的算法與佛力的算法，在一筆一劃的書寫中，在幾十米長佛經(jīng)的虔誠書寫中，塑造出一個成佛的生命，漢字就獲得了舍利子一樣的神凝之力。

申偉光老師，可以被定義為一個居士書家，或居士的靈性書家，形成了自己獨特的“一心書法”，看這些字，既可接納世俗之心，也可以轉(zhuǎn)向靈心，還可以成就佛心，都是道心的轉(zhuǎn)換媒介。漢字是身位，是生命形式的空間化，這也是為什么申偉光的藝術(shù)工作室如同佛堂與教堂，生命書寫從來都來自于一個能量巨大的場所，如同莫奈的花園與塞尚的圣維克多山，以及馬蒂斯與羅斯科晚期的教堂畫，這也是可以給當代藝術(shù)以啟發(fā)的發(fā)生方式。

申偉光老師接續(xù)曹洞宗的精神理念，讓生命能夠安寧的坐下來，水月充盈，空慧滿照，持續(xù)打坐三小時才可能寫出巨幅作品，修出清俊而光潔的面容，無論書法還是繪畫，其實都是在說：汝皆是佛！如此，才可能“由藝入道”，這是我們這個時代最為需要的藝術(shù)療愈與生命醫(yī)治之道。

The Life Form of Shen Weiguang's Art: the Vajra Body where Each Character is as Precious as Life Itself

Xia Kejun

It is precisely this simultaneous expression of the trinity of "script form - calligraphy form - life form" that allows us to reexamine the transformation of Chinese modern calligraphy and the landscape of contemporary writing. Different artists make breakthroughs in different dimensions. For instance, Xu Bing focuses primarily on script form and moves towards "pseudo-characters" strokes. Various popular calligraphy styles or so-called "ugly calligraphy" attempt to extend and break through in calligraphy form, even moving towards abstract painting, such as the breakthroughs in Japanese single-character or few-characters calligraphy. From the perspective of life form, the simple and unadorned style of Master Hongyi’s calligraphy represents an individualized expression of a practitioner's purified life offering for spiritual cultivation.

We propose the new category of "life form" to recognize the profound depth of “Chinese character-calligraphy writing”. It is not merely about the use of words and aesthetic expression, but also related to the "form of life" of an individual's destiny. The ancient expression of life essence is numerology, while the modern expression is the "form of life". Although traditional calligraphy can also convey an individual's temperament and emotions, its main focus lies in aesthetic appeal. However, the writing of “l(fā)ife form” directly points to the "transformation of temperament" and "healing of life" inherent to existence itself. After the pandemic, amidst the weakening of human life energy and the frequent occurrence of global disasters, the writing of “l(fā)ife form” holds even greater value in direct healing. Reinventing oneself marks the beginning of a second birth or a “new lease on life”!

When we visit Shen Weiguang Art Gallery in Shangyuan, Beijing, we can see that Mr. Shen has integrated script form and calligraphy form of different Chinese characters, all pointing towards the form of life- the writing of the life form. Due to a sudden change in his personal life, Mr. Shen shifted from his previous career as a professional painter to Buddhist practice, and began writing Buddhist scriptures, ranging from the single character "佛"（Buddha） to the holy name "南無阿彌陀佛"（Namo Amitabha）, from the "Heart Sutra" to the "Vajracchedika Sutra", and even to dozens of meters of scriptures. This commands deep respect and evokes awe. What kind of "mental strength" or single-mindedness is required to produce such persevering and unyielding works!

From the perspective of calligraphy form, Mr. Shen has absorbed the lean and rigid characteristics of Han Dynasty clerical script and stele inscriptions, yet avoids excessive decorative strokes. Instead, he has incorporated a sharpness that evokes a sense of life's sting, giving the calligraphy a skeletal, painful texture akin to thorns. For instance, the characters "放下" (Let go) seem to give one a sense of palpitation and heartache just by looking at them. It seems as if the words are tangible, stirring the viewer's visceral connection to life.

I believe this is Shen Weiguang’s subtle inheritance of Master Hongyi’s spirit, yet it has taken on a style uniquely his own—a true re-creation of the individual’s "character and integrity". The calligraphy form is the script form, and the script form is an expression of the life form, which is about reshaping the "vajra body" of Chinese characters.

In truth, Mr. Shen is writing characters, not merely practicing calligraphy. This is because once one delves into calligraphy, the allure of aesthetic appeal can compel the artist to showcase individual stylistic flamboyance and decorative effects. But Shen insists on returning to the act of writing, to the characters themselves—to rediscover their original meanings and their forms of growth, to breathe new life into each character, to endow them with a texture of life that they’ve never possessed before. It is akin to giving birth to each Chinese character anew, much like life itself needing to "revive" after the pandemic. Characters become life, their form and style transform into living entities, becoming expressions of the soul’s writing—a "one-heart style", a wholehearted act of writing, a script that points toward the redemption of life, a "Heart Sutra" style of transformative writing.

Shen Weiguang's life writing is the act of reconstructing a new existence through repetitive writing of individual characters. This writing process of life reconstruction manifests several generative modes, which we tentatively summarize as follows:

First, the "Sacred Script Form" （圣字體）, which involves directly writing large Buddhist characters such as "佛" (Buddha) or single line of "南無阿彌陀佛" (Namo Amitabha), points to a solemn and sacred embodiment of life and spiritual aspiration. Particularly when we write a line of "南無阿彌陀佛" on linen, the sharp strokes pierce our numb hearts and nerves, while the vast blank spaces become resonant chambers for the chanting. Writing here is akin to reciting scriptures, to praying, as we enter the energy field of the sacred mantra.

Second, the "Repeated Characters Form" (重字體). It is about repeatedly writing a single character to generate diverse calligraphic forms, akin to painterly structures. The repeated inscription of a single character generates a coherent visual pattern, embodying what Shen Weiguang considers the most definitive form of life. For example, repeatedly writing the character "光" (light) can shape the form of a "Buddhist pagoda", or resemble the flickering flame of a candle.

Third, the "Bodhi Script Form" (菩提體) or "Paradoxical Formation Style" (反成體), which embodies a more unique life form by activating the Buddhist axiom "Affliction is but Bodhi" (煩惱即菩提). Through the method of "opposites complementing each other", this script imbues characters with a self-aware transformation of life. While it also employs repeated writing, we believe it deserves to stand alone as a distinct style. For example, by repeatedly writing the character "煩" (affliction), one can form the overall shape of "不" (not), providing adequately a contemporary expression of the Buddhist principle that "Affliction is Bodhi" and "Bodhi is Affliction". Similarly, repeating the character "有" (existence) can construct the form of "無" (non-existence), and the iterative writing of the character "慧" (wisdom) can form a shape of the character "空" (emptiness), transforming the Buddhist principle of "emptiness-wisdom" into a living form of calligraphy.

Fourth, "Face Script Form"（面孔體）. Chinese characters are like life itself—each character is a self-projected visage. The calligraphy reflects the person, and the person is like his calligraphy. Thus, each character becomes a human face stripped of masks—revealing the true essence of life. Writing Chinese characters exposes the raw, unadorned countenance of life, while simultaneously receiving the protective embrace of Buddha’s power. When Mr. Shen writes the character "困" (trapped), each iteration of "困" resembles a life bound and imprisoned, writhing in agony—a vivid portrayal of a human face. By writing "足" (foot), he captures the spirited stride of a free and vibrant life. He reconstructs facial contours with the character "真" (truth)—this is the art of reshaping visages through characters, another artistic expression of “attaining Buddhahood”.

Fifth, "Light Ink Script Form"（淡墨體）. As a painter, Shen Weiguang not only reinvents form but also exudes a delicate and refreshing subtlety in his treatment of colors and ink tones. His handling of ink is extraordinarily refined—he writes the character "圣" (holy) with clean, diluted ink and clear water, achieving an ethereal lightness and softness that embodies a state of meditative breath. When writing the characters "清涼" (coolness), he uses the same pure, light ink and water, immersing the text and its form in the rhythm of life's breath and a feeling of purification.

In the hands of Shen Weiguang, Chinese characters regain the unity of semantic meaning and form through the act of writing—yet this unity ultimately points to the unification of life forms, and the unification of life transformations. To write characters, to practice calligraphy, is to write one’s life—to rewrite one’s existence. This is writing restored to its intrinsic connection with life itself: Writing life is writing heart, expressing an unwavering inner devotion, a moment of self-witnessing and self-transformation in time and space. This is why he repeatedly writes “一心” (one heart)—it is the genuine experience of a single heart, the refinement of a single heart. Just as all literary writing points to the act of writing about one’s own or other’s life (bio-graph), all writing becomes a trace of life’s inscription, a plea for life’s reshaping and renewal, and a prayer for life’s rebirth.

To write characters is to write life; and to write life is to transform life—it is the remaking of destiny, a form of free expression in its own right. Characters thus come to life, beginning to walk freely on their own, no longer confined to fixed meanings or forms. Characters become life, and become physical forms. Take for example, the character “坐” (sit)—it is not merely a word but also a tree, a person, standing there, growing there. This represents the perfect fusion of characters and life, the reshaping of a life into a “vajra body”. Therefore, when we look at those characters with their sharp, piercing, and bony forms, they no longer merely provoke a stinging awakening but are imbued with a crisp clarity, even a transcendent freedom of “sage-like type”, as if we could finally shed life's heavy burdens, strip away excess fat, and be left with nothing but clean, pure bones.

Just like Mr. Shen's paintings, they are essentially constructing a primordial life form, akin to living cells, resembling the ovaries or honeycombs that nurture life, returning to the initial fuzzy and reproductive growth state of life, reverting to the primitive state of organisms, and starting anew. This is the genesis of life's "rebirth". Alternatively, by personally refining the elements of the mandala, forming a circular, or a inner cycle, resembling flowers, it becomes the very factor of universal growth or the gene of life. Only through this can artistic forms become "archetypal forms" or meta-images, capable of engaging in dialogue with the entirety of Western psychoanalysis, particularly with Jung, who, influenced by Richard Wilhelm's translation of The Secret of the Golden Flower, redefined Freud's psychopathology, moving toward an energy aesthetics of soul transformation. The soul-writing of life cultivation aims to restore life to the common factors of universal growth, like the swaying cilia of bacteria and plants. In our era of biological gene-reconstructed life, the art of spiritual cultivation and the art of altering life forms resonate and harmonize with this, and Shen Weiguang's paintings further imbue this with a vital energy, and a luminous force. Light swirls on the canvas, creating a diamond-like and crystalline effect akin to the vajra form.

It is precisely the intrinsic connection between calligraphy and painting that Shen Weiguang’s creations transform Chinese characters and calligraphic forms through the Buddhist vajra body, merging life, plants, and the growth of all things. Each stroke is like a strand of cilia, carrying a vivid and tender antennae. The biological antennae and the brushstrokes of life-writing fuse through an inner tactile sensation, akin to the growth of biological cells. The natural algorithm and the algorithm of Buddhist power intertwine in each stroke, in the devout transcription of tens of meters of Buddhist scriptures, shaping a life that attains Buddhahood. In this process, Chinese characters acquire a condensed, sacred power akin to "?arīra" (relics).

Mr. Shen Weiguang can be defined as a lay Buddhist calligrapher, or a lay Buddhist spiritual calligrapher, who has formed his unique "One-Heart Calligraphy". Looking at these characters, one can embrace the secular heart, shift to the spiritual heart, and even cultivate the Buddha's heart, as they all serve as mediums for the transformation of the Dao-heart. Chinese characters are embodiments, and the spatializations of life forms—this explains why Shen Weiguang's art studio resembles a Buddhist temple or a church. The act of life-writing always originates from spaces of immense energy, akin to Monet's garden, Cézanne's Mont Sainte-Victoire, and the chapel paintings of Matisse and Rothko in their later years. This is also a way to inspire contemporary art.

Mr. Shen Weiguang inherits the spiritual essence of the Pure Land Sect’s Buddha-recitation practice and the Caodong Zen, allowing life to settle into tranquility, where the moon’s reflection fills the water and the wisdom of emptiness shines brightly. Only after three hours of continuous meditation can he produce grand-scale artwork and cultivate a serene and radiant countenance. Whether in calligraphy or painting, his art ultimately proclaims, “You are all Buddhas!” In this way, it becomes possible to "enter the Dao through art". This is the path of artistic healing and life therapy that our era needs most, allowing life to experience a second birth or be truly lived anew!

展出時間:

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號院8號樓)

(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)于華北理工大學藝術(shù)學院。1988年結(jié)業(yè)于南京藝術(shù)學院。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、“文脈當代中國版本”大型綜合藝術(shù)展、超驗藝術(shù)展、2008奧林匹克美術(shù)大會等藝術(shù)大展，并于北京今日美術(shù)館、南京藝術(shù)學院美術(shù)館等地多次舉辦大型個人畫展，其藝術(shù)成就在中國當代藝術(shù)中獨樹一幟。

已出版作品集《申偉光作品》《申偉光藝術(shù)20年》《超驗藝術(shù)》《申偉光超驗繪畫》《申偉光水墨》《申偉光書法作品集》《申偉光書寫圣號作品集》《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《申偉光超驗藝術(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)家群落修學與生活紀實》。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，中國當代著名藝術(shù)家、水墨畫家、書法家，居士。自上世紀80年代起，即以其作品獨特的藝術(shù)語言與圖式蜚聲藝壇，從而確立了他在當代藝術(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，獨超眾類，自成一家，其藝術(shù)成就在當代藝術(shù)史上獨樹一幟。

申偉光美術(shù)館是以其個人名字命名的現(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)作及文獻資料為宗旨，主要學術(shù)工作包括策劃舉辦展覽、組織學術(shù)研討會與座談會等活動，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)及個人的權(quán)威交流平臺。

“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，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號院8號樓，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)殿堂與清凈莊嚴的修學道場，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

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號院8號樓