还至本处——申伟光的一心书

摘要：中国书法在文化感上，在今天带有反思意味的言说中，往往指向个体的修身行为。这方面的举例也多是从历代名家法书代表作的形成上找到依据，比如王羲之的《兰亭序》、颜真卿的《祭侄文稿》、或者苏东坡的《寒食帖》。它们都是文心所托外化的书写形态或文书并美的典范。因此，“书为心

还至本处
——申伟光的一心书

中国书法在文化感上，在今天带有反思意味的言说中，往往指向个体的修身行为。这方面的举例也多是从历代名家法书代表作的形成上找到依据，比如王羲之的《兰亭序》、颜真卿的《祭侄文稿》、或者苏东坡的《寒食帖》。它们都是文心所托外化的书写形态或文书并美的典范。因此，“书为心画”无疑是中国书法最核心的人与艺术的关系。

当然，从个体到群体也会找到另一条线索，即对于书法史的所有优秀个体的观照，也自然能总结出群体精神面貌。比如儒释道以及“士”的笔墨形态，这也是中国书法的文明展开和独立自在的内蕴逻辑。

今天，中国发生了深刻变化。世界和中国的联系更加紧密而不可分割。艺术的理念与中国文化形式相荡相激，专业化进一步加剧了这样的形势。书法被视作艺术而成为艺术。艺术既观照中国书法文化的部分，也分析和构建书法的技术专业形态。而后者日趋成为一般大众认识和判断书法的依据。

意大利学者毕罗在其文章《中国书法在西方的传播：历史经验与未来发展》一文中引述说：“因为跟许多国家一样，近几十年中国也接受了西方书写工具如圆珠笔和铅笔，中国传统的日常书写习惯受到了极大的冲击，把原来自然书写的“毛笔字”变成有一定艺术创作目的或修养的“艺术”，导致西方经常提及的“calligraphy”一词指的并不是以王羲之、欧阳询等名家为代表人物的书法艺术，而是用毛笔写字而已。”而李小山在多年前《我对实验水墨的看法》的文章中指出：从“中国画”变为“水墨”，是从“文化”逃避到“材料”，大大缩小了其文化内涵。

这些都在证明着，人们对于中国传统艺术正在从最内在的文化的、精神的、哲学的诉求向最外在的形式的、材料的、技术的形态认同过度。

站在新的历史境遇的当下，我们既无法回到传统的修养生态氛围中，也不满足于仅对以往经典的书写回忆。各种关于书法的使命般的坚持或决绝，现象般的几乎与整个中国改革开放的时间同步，在艺术可以先行自由的时代，各种思潮如春潮带雨般聚集，跃跃欲试，竞相成为风气现象。

实际上，无论传统还是现代，无疑，都是从图式通往心灵的路径。

在北京一个寒冷冬日有阳光的午后，当我们来到艺术家申伟光在京郊上苑的艺术馆，目之所及的是他独自展开的不同寻常，别有意味的书写画卷。

我惊异于他对于书写的一门心思的状态以及一意孤行的勇气魄力。这在一个皈依者而言，或可叫做愿力。

申伟光的书写首先是一种舍弃，他的所有书写都是有明确的精神或宗教指向，很难见到他如一般书法家那样的抄录古诗文式的惯常图式。也就是说，他舍弃了作为一般意义的书法家的世俗状态，而进入一种来自宗教召唤“修行”式的方便法门。

然而，他的书写也不同于传统的文人情趣或志向的表达。相反，有一种现代意义生成。他的“重字书”所呈现出的各种字的摆布运动，既指向文字意义，又深具一种意义图式。他的这一类创作比如作品《足》，除了极具“行走”状态，更在于它表达了一种现代境遇。这从艺术的角度来看，就是当代性，就是艺术捕捉到当代的某一类状态并呈现出来，意义自然生成。

观众可以多方面的解读，但不会陌生，总会有那么一点似曾相识和心契。这在艺术家，表面上是自己对于世态的观照，内在的乃是从己心出发，对他心的观照而抵达他心。禅宗所谓“心心相印”，即是如此。

又如作品《困》，字型的扭曲变化和状态呈现，每一个“困”字都像一个现实困境，并且排布出来的整体也是一个巨大的困境，让人顿感“困惑”，极强的带入感，好像现实就在眼前，触发观者联系自身，伫足长思，浩叹难息。困的另一面是解脱，是寻求解脱方法。那么，由文字状态获得感触引发思考、觉醒，也就是解脱的一种方式。

再如，作品《光》，将若干个光字组合书写成灯塔状或圆形围绕状，则每一个光字皆是一尊佛菩萨，譬如法会现场的盛况，佛与大比丘众千二百五十人倶，饭食讫，收衣钵，洗足已，敷座而坐。这种将文字生发成图式场景，是文字生相的实践实证，单字生相，组合亦生相，即可以有文字意义，也可以是组合后的图式场景意义。

申伟光的另一类创作，是其“圣号”书写。在他艺术馆的二楼所呈现出的巨制，令人肃敬生畏，叹为观止。他通篇将“南无阿弥陀佛”反复书写，整齐排布，虽有大小变化，但致密统一，俨然法幛般庄严神圣，这非有愿力和勇猛心者不能为也。此类作品所体现出的是一种修行和愿力实现。据申伟光先生自己讲，他作此类书，是要闭关数日甚至数月，恭敬为之。

把书写当作修行，古已有之，但真正能恒心不二去做的，绝少。所以，当观者真能面对这样的作品，首先是一种敬畏心油然而生。其次，依字而诵也是自然而然的，“一句弥陀作大舟” ，无数无边无量功德，随缘化度，在在处处。

当然，除了佛号，还有咒语、乃至经文全篇，他都恭敬力行。可以想见完成这么巨大的如工程般的作品，是何等艰辛？！然而，作品既成带来的震撼力，我以为是开创了一种适合现代场景的新模式。在昔，譬如四山摩崖，像《泰山经石峪》那样的鸿篇巨制的意义，是佛法与传统山林的因缘际会，是天地精神相往来。今天，如申伟光这样的主题巨制，是现代环境之下，佛法与美术馆与现代道场的适应，是在局限的现代生态中的弘法利生，是放大光明。

由申伟光的书写可以想及，一种新的书写图式的产生，是由于其对于佛法的皈依，经过精思熟虑，开辟一条时代与个体契合的方便路径，亦可谓迁想妙得。那么，他的书写就不只是或不是传统意义的书法，也不同于现代书法。中国书法在外在技法上是基于汉字的书写艺术。因此，对于汉字本身有着技术规定性，也行成了经典文本。申伟光的书写，很难从某一个或某一类经典法帖中去比较诠释。他的单字状态虽然是成熟意义的汉字（楷书），却有着某种造字之初的萌动和意态。比如他那些看似尖刻的笔画起收，很容易让人联想起甲骨契刻，而扭动的笔画线条，又像大地上旺盛茂密的野草被火烧过后的新生，在春风中的坚韧挣扎与摇曳，是不尽的希望所在。

如此，申伟光的书写缘起，隐含着一种本源的回归，这种回归可以是主体的也可以是客体的。即作为生命体的人的回归，也是对于文字或一类文化缘起的探寻。在造物之初，在生命之初，从蒙昧到文明转换的刹那间，“一画开天”是人心和天地万物文明联系之始。

然而，申伟光还不止于此，这些都还只是一般知识逻辑。作为一位艺术家，一位居士，一位虔诚的佛法皈依者，申伟光所从事的这项书写工作，是对佛法的践行。他一心于此，每一个字的落实，是要尽数恒河沙数，是要从每一个字的书写中竖起信念，坚忍不拔，是要为自己和有缘人脱离苦海筑基修路。因此，他的字与弘一不同，弘一在今天被放大的仍然是书法美学的意义所带来的宗教启示。而申伟光的书写则是将文字本来与图式融合构筑成一种更为普世的更为直接的现代意义，是当下生态的实相描述，是欲将人与当下境遇统统打回原形，从而找到自我，找到原来，并且在这种找寻中，建立依靠，树立信心以及解脱。而这些，在申伟光看来，只有大乘佛法是唯一不二之选。宗教本质上就是人心的学问，是修心之学，是人心到佛心的体认和转变。因此，任何一项艺术的本质也是一门心学，书写更是一种通心的实践。

这之于申伟光，除却修行与愿力，更是一种使命，而付诸实施，则是因缘际会。譬如著衣持钵，往这现实的人间城市……

申伟光的书写有谓之“一心书”，即从外向内，这既是寻求内圣，也是在心灵归处，心地下种，而信念所持，是一心一意，一心无二。是次第乞已，还至本处，饭食讫，收衣钵，洗足已，敷座而坐，是与大比丘众千二百五十人倶的盛大相会。

因此，一心书的书写，即回到本源，在申伟光，或曰：还至本处。

甲辰冬月廿七日丁大网于京师临尼山房

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 ‘art,’ 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 “light” radiate like lighthouses or encircling halos. Each “light” 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).

展出时间:

2025.5.24~2025.7.24

展出地址:

申伟光美术馆朝阳分馆

(北京市朝阳区来广营乡红军营路23号院8号楼)

(导航搜索:申伟光美术馆朝阳分馆)

申伟光先生简介
Introduction to Mr. Shen Weiguang

申伟光，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。1991年笃信佛教。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》。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）》。

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现代化私立美术馆，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。

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.