《申伟光“一心体”论》正式出版发行
近日，《申伟光“一心体”论》由中国国际出版社正式出版发行。
《申伟光“一心体”论》是继《申伟光超验艺术评论集》《纠结与超脱——申伟光油画作品评论集》《申伟光艺术精神评论集》后第四本申伟光先生艺术评论文集。
全书由申伟光美术馆策划，主编：张维（诗人、策展人），特邀编辑：申思（申伟光先生助理，申伟光美术馆副馆长）。全书为中英文双语版，文末并附录申伟光先生作品，以及申伟光先生年表。
文中共收录张维（诗人、策展人）、夏可君（哲学家、批评家、策展人）、丁剑（书法家、独立艺术家、中国书法家网总编辑）、杨键（汉语新诗代表性诗人之一)、韩少玄(现供职于国务院参事室中央文史研究馆研究中心，中央文史研究馆馆刊《中华书画家》杂志编辑部主任)、姜丰（诗人、批评家、策展人）等六位当代批评家学者学术文章，对申伟光先生“一心体”书法进行全面细致的梳理，为研究申伟光先生提供重要的专业论述。
展开剩余96%点击下方链接阅读全文张维：面对本身——申伟光当代书法的启示
夏可君：申伟光艺术的生命形式——字字如命的金刚体
丁剑：还至本处：申伟光的一心书
杨键：写字救人
韩少玄：于庄严之余影伏地而书——申伟光“一心书”别谈
姜丰：东方书写的超验拓扑学——申伟光书法的“微分”与精神语法
实拍书影文章选读面对本身
——申伟光当代书法的启示
文 / 张 维
传统书法如何进行当代性转型，这一直是我近年来思考的问题。当下中国书坛，大部分是以传统的书“法”之“法”为中心的模写，无非真草隶篆，碑帖，以及各种合体的取巧之法。书法成为非遗，成为养生炼气的工艺，成为“书法”的方法，而不是艺术，与自身失去了关系，与生命和灵魂失去了联系，所书之字词失去了体温，是死字，是躯壳。于是在书法实践中出现“乱书”“吼书”的实践，让书法活起来，有生命体温和力量，这就是所谓目前一些当代书法的转型模态。其来源，主要是用西方现当代艺术的构成方式，对传统书法的结体进行改变，或用各种观念艺术的主张进行生搬硬套，自诩为当代艺术，比如重复书写，抄《兰亭序》一千篇等。前者就是现代书象的一系列实践，成功的有井上有一，他把生命的当下性即时性体验，融入书写，生命的个人困境和力量得以抒发。曾翔的“吼书”应是明显受井上有一的影响；王冬龄的乱书实践上，也有系列书法来源于此，更多的是构成上考量，表面乱，实际上是用现代视觉的构成改造传统书法中板结的结体，试图乱中突破，乱中取胜，看似乱，实为整体章法上的实验。也属难能可贵，困兽犹斗。
我在看到申伟光近年来的书法实践时，眼睛一亮，我觉得申伟光的当代书法，是另一条道路，一条面对生命本身，面对当下众生存在处境，用慈悲心写字度人的当代书法之路。这条路是从个人存在真实处境出发，从汉字象形本身出发，并非借西法之力的改变，而是一条当代书法自我裂变的道路。
讨论当代书法的问题，我们再往上追问，就应该思考两件事；什么是当代？什么是中国的当代？隐藏的问题是，我们的当代与西方的当代是否是同一个当代？当代书法的真实处境如何？
当代并不玄虚，当代就是我们身处时代的真实处境及困境，当代艺术就是我们这些艺术家如何用艺术的方式思考并解决这些困境。东西方的当代处境有相同的地方，也有不同的地方。相同的地方，比如我们都面对人与自然的环境的冲突，都面对AI的方便和未来对人类控制的焦虑；不同的地方更多，比如过度内卷，身心倦怠的躺平，不同体制下的人心的反应等。所以我们的当代不等同于西方的当代，我们面对当代的问题，应该有自己的思路，自己解决之道，对一个个个体艺术家而言，就是思考并提供出个人的艺术方案，不同于他人，不同于西方，不同于古人！
申伟光是一个诚直率真的人，他坦然面对自身及时代的处境，他早期的那些类似管道的抽象作品，直面生命中的烦、纠缠、郁结状态，并试图在＂游＂＂逃脱＂的努力中，拯救它。其后他的超验系列作品，处理的是破碎心灵，残剩的山水，断裂的神灵，如何通过愿力，使残断的凤凰肢体重获飞翔，使揉碎的花蕾，重新活色生香，仿佛天堂递来的花朵。他的这两类油画作品，奠定了他作为中国当代杰出艺术家的地位，但，似乎仍与本身和众生有着一些距离，直到他重新拿起了毛笔，重新面对日常鲜活的汉字，本身、众生、佛心合而为一了，书、艺、道合而为一，本身即众生，自性即佛心，每一个字、词，即我、他、它，每一个字词即本身、众生、佛心，手、笔墨也合而为一，汉字、水墨的天然性可能是汉文化的内在血液，在我看来，申伟光在通过书法表达艺术感觉时，信手拈来，更得心应手了，写字度人，更合其发愿菩提心。我和夏可君博士在讨论他书法作品特点时，原想直接名为“申伟光体”，但这一般是后世人称谓，交给后人。最后我们把申伟光的系列书法作品，根据书写状态，及其生命形态，命名为“一心书”，既合他的修行状态，也合他的创作状况。
李叔同（弘一法师）和申伟光（法名：悟光）都是佛弟子，弘一修律宗，申伟光修净土宗。弘一体庄重圆拙，温润恬静。但其圆寂前留下的“悲欣交集”，与弘一体有较大区别，弘一体是弘一所修境界体现，“悲欣交集”四字所书时是其直心呈现，是生命本真状态的体现，有着激动与颤栗，是佛心与本心合一的状态，这个状态，弘一与李叔同是合一的，而弘一体，弘一是与李叔同分开的。申伟光的书法恰恰是从弘一最后“悲欣交集”的状态出发的。申伟光、悟光法师，本身、佛心，直心、深心，大悲心合一，如《南无阿弥陀佛》《了》《是》等作品。
直心即本心。坦然面对生命处境，五常之苦，正觉困与难，申伟光用顿笔，写出如荆棘的笔触，如《泪》《自作自受》《了》，好像生命在人世间正受着荆棘的鞭打，又像锯齿，割着身心，有时他的笔触如刀斧，又如尖针，诚正面对个体在我们这巨变世间的苦难。直面这苦难，佛弟子悟光，生大悲心，一种愿力如金刚灌注申伟光的笔端，使他的笔线干净、果断，静穆而又庄严。也许与其修净土有关吧。申伟光的书法作品，目前分三类，一类是《圣号书写系列》《独字书系列》《重字书系列》。这只是外在形式的分类，《圣号书系列》，是其修行的日常，更庄严圣洁些；《重字书系列》《独字书系列》作品，多了率真朴质且诙谐的元素，更生动具有亲和力。《重字书系列》，应受启于净土修行的重诵，这样，修行的日常性与艺术的日常性，在申伟光这里是合一的。有一个共同特点，他把其油画作品中现代视觉经验的结构，用于这几个系列的构成中，使其书象具有当代视觉的形象。这也是其作品具有当代性的一个因素。
我要说的是申伟光系列书法作品当代性的另一个源头，返回书法艺术的开端：汉字。人类文字至今仍保留象形特征的成熟语言，只有汉字，中国书法之所以成为人类语言书写艺术的独特形态，显然与汉字的象形特征有关，汉语诞生之初即惊天地泣鬼神，其次才是毛笔的使用与水墨的渗化参与。所以面对每一个汉字的原初形态，感发心应，也是当代书法开辟道路的一条途径。申伟光的许多书法作品，就是从每一个字词原初性出发，呈现出生命的当下状态。比如《困》《是》等作品。“是”字，是一种存在肯定的状态，在申伟光这里，每一个“是”，就是一个人，是禅悟了的人，是佛光照耀的个体，他们个个呈现出率真、坚定、勇敢的生命状态，意气风发，没有什么能摧毁他们的金刚之心。《困》的重字书，每一个字都是众生被束缚的囧境，困难的形态，然后因慈悲心及愿力的加持，我们体察到，他们每一个字都有突围的勇气，静穆正积蓄着力量。我们不担心，申伟光不担心，观者不担心，每一字的神态告诉我们，他知道困难所在，他正解决它。这对于倦怠躺平时代的人群而言，是由“困”而“是”的一条解救之路。也是申伟光写字度人的菩萨心肠。由单个字的神态，到众生的状态，作者个人的心态，愿力进入后的佛性，在他的书法作品中，此刻是合一的，天人合一，天地神人合一，本身、众生、本心、菩提心合一。
由此，我们观看申伟光的书法作品，他从本身的直心出发，从存在的本相出发，从汉字最初的源头出发，开辟了中国当代书法的另一道路，具有启示性和本原性。在愿力和慈悲心的加持下，他的书法，面对本身，本心，众生，佛心，终于天心月圆，成就了其一心体洁净清凉、静穆庄严、质朴率真的风貌。
2025.4.20 于快饮慢哉亭
张维，常用虞山张维，诗人、策展人、虞山当代美术馆馆长，北京虞·空间主持。“虚派艺术”理论的建设与推动者。新人文画的倡导者。著有《灵性的时代》《生的超越》《向》《母亲的编年》《寂静之诗》《虚派艺术》等，主编《海子骆一禾作品集》《江南七子诗选》等。
FACING THE SELF
——The Revelation of Shen Weiguang’s Contemporary Calligraphy
Zhang Wei
How can traditional calligraphy undergo a contemporary transformation? This has been a question I have pondered in recent years. In today’s Chinese calligraphy scene, most works revolve around imitating traditional “rules” of calligraphy—scripts like regular, cursive, clerical, and seal styles, or techniques derived from steles and rubbings. Calligraphy has become an intangible cultural heritage, a craft for cultivating health and energy, a method of “calligraphy” rather than art. It has lost connection with the self, with life and the soul. The written characters lack warmth, becoming dead forms, hollow shells. Hence, practices like “chaotic script” and “roaring script” have emerged in calligraphy experimentation, attempting to revitalize the art with life, warmth, and power. These so-called contemporary transformations primarily borrow from Western modern and contemporary artistic composition to alter traditional calligraphic structures or mechanically apply conceptual art theories, self-proclaiming as contemporary art—such as repetitive writing or copying the Orchid Pavilion Preface a thousand times. The former, exemplified by modern calligraphic experiments, finds success in artists like Inoue Yuichi, who integrates immediate, lived experiences into his writing, channeling personal struggles and vitality. Zeng Xiang’s “roaring script” clearly reflects Inoue’s influence, while Wang Donglin’s “chaotic script” series similarly draws from this approach, emphasizing compositional innovation. Superficially disordered, these works strategically deconstruct rigid traditional structures through modern visual composition, seeking breakthroughs in chaos. Though seemingly erratic, they are experiments in holistic layout—a commendable effort, like a cornered beast fighting fiercely.
When I encountered Shen Weiguang’s recent calligraphic works, my eyes lit up. Shen’s contemporary calligraphy represents a different path: one that faces life itself, confronts the existential plight of sentient beings in the present, and uses compassion to “ferry” people through writing. This path arises from the artist’s authentic existential condition and the pictographic essence of Chinese characters, rather than relying on Western methods. It is a self-generating, transformative route for contemporary calligraphy.
To discuss contemporary calligraphy, we must first ask two questions: What is “contemporary”? And what is “Chinese contemporary”? The hidden inquiry is: Is our “contemporary” the same as the West’s? What is the true condition of contemporary calligraphy?
The “contemporary” is neither abstract nor elusive. It is the real predicaments of our time. Contemporary art is how artists use art to reflect on and resolve these dilemmas. East and West share some contemporary challenges—conflicts between humanity and nature, anxieties about AI’s convenience and potential domination—but diverge in many ways: excessive societal competition, spiritual exhaustion, reactions under differing political systems. Thus, our “contemporary” is not equivalent to the West’s. We must address contemporary issues with our own logic and solutions. For individual artists, this means devising artistic approaches distinct from others, from the West, and from antiquity.
Shen Weiguang is a man of sincerity and candor. He confronts his own and his era’s realities head-on. His early abstract “pipeline” works directly engaged life’s vexations, entanglements, and suppressed states, attempting salvation through “wandering” and “escape.” His later transcendental series addressed fragmented souls, residual landscapes, and fractured deities, exploring how vow-power (pranidhana) might reanimate dismembered phoenix limbs or revive crushed flower buds, as if blossoms delivered from heaven. These two bodies of oil painting established Shen as a leading Chinese contemporary artist, yet they retained some distance from the self and the sentient beings—until he reclaimed the brush, re-engaging the living pulse of Chinese characters. Here, self, sentient beings, and Buddha-nature merged; calligraphy, art, and Dao became one. Each character embodies self, other, and object; each word integrates self, all beings, Buddha-mind, hand, ink. The innate nature of Chinese characters and ink may be the lifeblood of Han culture. To me, Shen’s calligraphy flows effortlessly. His art now fully aligned with his bodhicitta vow to “save beings through writing.” When Dr. Xia Kejun and I discussed naming his calligraphic style, we initially considered “Shen Weiguang Script,” but such titles are usually bestowed posthumously. Ultimately, we named his series One-Heart Calligraphy, reflecting both his spiritual practice and creative state.
Li Shutong (Master Hongyi) and Shen Weiguang (Master Wuguang) were both Buddhist practitioners—Hongyi of the Vinaya school, Shen of Pure Land. Hongyi’s calligraphy is solemn, rounded, and serene, yet his final work, Sorrow and Joy Intermingled, diverges sharply from his established style. The Hongyi style embodies the spiritual and artistic cultivation achieved by Master Hongyi. The latter, written with raw immediacy, trembles with life’s truth—a unity of Buddha-mind and original heart, where Hongyi and Li Shutong became one, yet in the context of the Hongyi style(calligraphy), Hongyi stands apart from Li Shutong. Shen’s calligraphy begins precisely from this state of Sorrow and Joy Intermingled. In works like Namo Amitabha Buddha, Realization, and Is, Shen Wuguang, Master Wuguang—the self, Buddha-mind, direct heart, profound heart, and great compassion—merge completely.
The direct heart is the original heart. Frankly confronting life’s sufferings and awakenings amid hardship, Shen uses abrupt brushstrokes to create thorn-like textures in works like Tears, Self-Made Suffering, and Realized, as if life were being lashed by brambles or sawn by jagged teeth. His strokes sometimes resemble axes or needles, unflinchingly portraying individual agony in our turbulent world. Facing this pain, the Buddhist disciple Wuguang generates great compassion. A diamond-like vow-power infuses Shen’s brush, rendering his lines clean, resolute, solemn, and dignified—perhaps influenced by Pure Land practice. Shen’s calligraphy currently falls into three categories: Sacred Name Series, Single-Character Series, and Repeated-Character Series. While externally classified, they share an inner thread: Sacred Name reflects daily spiritual practice, more sacred and solemn; Repeated-Character and Single-Character works embrace spontaneity, simplicity, and wit, radiating vivid warmth. The Repeated-Character Series likely draws from Pure Land recitation practices, merging spiritual and artistic dailyness. Notably, Shen integrates structural insights from his oil paintings into these series, endowing them with contemporary visuality—a key aspect of their modernity.
Another source of Shen’s contemporary calligraphy lies in returning to the origin of writing: Chinese characters. Among human scripts, only Chinese retains mature pictographic vitality. Calligraphy’s uniqueness stems from this pictographic essence—its birth “startled heaven and earth, moved gods and ghosts,” followed by the brush’s dance and ink’s permeation. Reconnecting with each character’s primal form, stirring the heart’s resonance, offers another path for contemporary calligraphy. Many of Shen’s works, such as Trapped and Is, begin from this primordiality, revealing life’s immediate state. The character shi (“is”) embodies affirmative existence. For Shen, each shi (“is”) is a person—a Zen-awakened individual illuminated by Buddha-light, radiating sincerity, resolve, and indestructible diamond-like courage. In Trapped, repeated characters depict beings bound by hardship, yet through compassion and vow-power, each glyph pulses with breaking siege courage, quietly gathering strength. Shen, the viewer, and the characters themselves share no anxiety—the characters’ expressions assure us: he knows the difficulty and is resolving it. For an era of exhaustion and resignation, this is a path from trapped to is. Shen Weiguang’s calligraphic practice of guiding others through writing also embodies the compassionate heart of a bodhisattva.
In Shen’s calligraphy, the spirit of individual characters, the condition of sentient beings, the artist’s mindset, and post-vow Buddha-nature merge into oneness—heaven and human united, self and sentient beings integrated, original heart and bodhicitta as one.
Thus, Shen Weiguang’s calligraphy—originating from the direct heart, existential truth, and the primal source of Chinese characters—pioneers a revelatory, primordial path for Chinese contemporary calligraphy. Under the grace of vow-power and compassion, his art faces the self, original heart, sentient beings, and Buddha-mind, achieving a moon-round celestial purity: clean, cool, solemn, simple, and unadorned.
April 20, 2025
Kuaiyin Manzai Pavilion
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申伟光先生简介
Introduction to Mr. Shen Weiguang中国当代著名艺术家、水墨画家、书法家，居士。
1959年生于河北邯郸市。1981年毕业于华北理工大学艺术学院 。1988年结业于南京艺术学院。1994年入住北京圆明园画家村。1997年定居北京上苑艺术家村。2021年8月30日，申伟光美术馆（北京）成立。2022年3月17日，申伟光美术馆邯郸分馆成立，2025年4月16日申伟光美术馆朝阳分馆成立。
作品曾参加第六届全国美展、第八届全国美展、广州首届九十年代艺术双年展、首届中国艺术三年展、上苑艺术家工作室开放展、今日美术大展、“ 文脉当代·中国版本”大型综合艺术展、超验艺术展、2008奥林匹克美术大会等艺术大展，并于北京今日美术馆、南京艺术学院美术馆等地多次举办大型个人画展，其艺术成就在中国当代艺术中独树一帜。
已出版作品集《申伟光作品》《申伟光艺术20年》 《超验艺术》 《申伟光超验绘画》 《申伟光水墨》《申伟光书法作品集》 《申伟光书写圣号作品集》 《申伟光书法集》 《申伟光重字书书法作品集》《申伟光写生作品集》。出版艺术研究文献 《申伟光超验艺术评论集》 《纠结与超脱——申伟光油画作品评论集》 《申伟光艺术精神评论集》 《净行——一艺术家群落修学与生活纪实》。《申伟光“一心体”论》。出版个人著述《申伟光谈话录》 《申伟光谈话录（二）》 《申伟光谈话录（三）》 《申伟光谈话录（四）》 《申伟光的话与画》 《申伟光谈艺录》 《申伟光谈艺录（二）》《墨尽，光临——申伟光谈艺录》。
Introduction to Mr. Shen Weiguang
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 Weiguang's Discourse on the One-Mind Substance.
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.The Ink Ends,the Dawn Begins:Shen Weiguang's Reflections on Art.
申伟光美术馆简介Introduction to Shen Weiguang Art Museum申伟光先生，中国当代著名艺术家、水墨画家、书法家，居士。自上世纪80年代起，即以其作品独特的艺术语言与图式蜚声艺坛，从而确立了他在当代艺术界不可替代的地位。申伟光先生从事艺术创作50余载，多艺并举，跌宕昭彰，独超众类，自成一家，其艺术成就在当代艺术史上独树一帜。
申伟光美术馆是以其个人名字命名的私立美术馆，2021年8月30日，“申伟光美术馆（北京）”成立。2022年3月17日，“申伟光美术馆邯郸分馆”成立。2025年4月16日，“申伟光美术馆朝阳分馆”成立。
申伟光美术馆以收藏、陈列、研究申伟光先生的艺术创作及文献资料为宗旨，主要学术工作包括策划举办展览、组织学术研讨会与座谈会等活动，以及整理、编辑、出版其画册及著述。美术馆致力于推广和传播申伟光先生的艺术精神与作品，是全方位了解其艺术及个人的权威交流平台。
“申伟光美术馆”位于北京上苑艺术家村，建筑面积2000平方米，长期陈列展出申伟光先生油画、水墨、书法等作品共计300余幅。
“申伟光美术馆邯郸分馆”位于河北省邯郸市邯山区中华南大街231号，建筑面积500余平方米，长期陈列展出申伟光先生油画、水墨、书法等作品共计200余幅。
“申伟光美术馆朝阳分馆”位于北京市朝阳区红军营路23号院8号楼，建筑面积500余平方米，长期陈列展出申伟光先生油画、水墨、书法等作品共计200余幅。
申伟光美术馆作为申伟光先生精神人格与艺术精神的延续与载体，将始终秉承先生上求下化的慈悲愿力，致力于成为神圣高贵的艺术殿堂与清净庄严的修学道场，广结艺缘，广结法缘。
Introduction to Shen Weiguang Art Museum
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.
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