『2025中国书画艺术焦点人物』——沈克榮专题报道

摘要：沈克榮，1961年生于南京，南京藝術學院油畫專業畢業；獨立藝術家、教育家，江蘇油畫研究會會員，首屆江蘇省美術教育研究會秘書長，中國藝術科技研究所教授。曾參與八五江蘇青年藝術周，南北方青年藝術家藝術作品展，八五“曬太陽”藝術展，首屆江蘇油畫大展，首屆中國藝術名家

沈克榮，1961年生于南京，南京藝術學院油畫專業畢業；獨立藝術家、教育家，江蘇油畫研究會會員，首屆江蘇省美術教育研究會秘書長，中國藝術科技研究所教授。曾參與八五江蘇青年藝術周，南北方青年藝術家藝術作品展，八五“曬太陽”藝術展，首屆江蘇油畫大展，首屆中國藝術名家右玉邀請展，美麗印跡—南京油畫作品學術交流展，美在江蘇藝術名家七人藝術邀請展，建軍六十週年美術作品展等多項展覽，其各類作品以獨特的抒情寫意風格著稱。其作品被國內外美術館及私人藏家收藏。

《记忆切片》600X800mm

心象的映现：

沈克荣油画艺术中的感知结构与精神书写

——评《记忆切片》

史峰｜书画评论家、当代艺术研究者

The Perceptual Structure and Spiritual Expression in Shen Kerong’s Oil Painting**

On Viewing Memory Slice

Shi Feng | Art Critic and Contemporary Art Researcher

在当代视觉文化语境下，沈克荣先生的油画创作以其独具内省气质的图像语言，展示出一种既具东方哲思又融合西方绘画传统的复杂美学结构。他的作品不仅延续了古典油画在光影组织与色彩层次上的语言范式，更在当代写实主义的基础上发展出一种富有“心象性”的视觉抒写方式，这使得他的艺术具有超越视觉真实的精神穿透力。

In the context of contemporary visual culture, Mr. Shen Kerong’s oil painting practice distinguishes itself with an introspective visual language and a poetic sensibility that bridges Eastern philosophical thinking and Western painterly traditions. His work not only inherits the classical techniques of European oil painting—especially in its mastery of light, space, and color—but also evolves a unique mode of “mental imagery,” imbuing the surface with an expressive depth that transcends visual realism.

沈克荣的绘画常常选取城市边缘地带或日常生活的静谧片段为创作母题。此种“去中心化”的取景策略，实际上构建出一个心理化的观看视角——画面不再仅仅是现实场景的再现，而是心灵经验与情绪记忆的外化与显影。正如法国哲学家梅洛-庞蒂（Maurice Merleau-Ponty）所言：“绘画是感知的再创造，是使‘可见者’显现的过程。”（Merleau-Ponty, Eye and Mind, 1964）沈克荣正是通过这种感知—再构的方式，使他的图像富含情绪张力与精神深度。

Shen often selects marginal urban scenes or tranquil fragments of everyday life as his visual subjects. This strategy of “decentralized framing” constructs a psychological mode of viewing: the picture is no longer a direct representation of reality, but rather a projection of inner experience and emotional memory. As French philosopher Maurice Merleau-Ponty observed, “Painting is the re-creation of perception, the making visible of the invisible” (Eye and Mind, 1964). Shen’s work reflects precisely this reconstruction of perception, producing imagery laden with emotional resonance and psychological nuance.

《记忆切片》作为其代表性作品之一，呈现了一种似曾相识却又无法确指的空间感。画面被温润的色调和氤氲的光感所覆盖，物象边缘被有意模糊，使得观者的注意力更多地转向画面中“不可见”的心理维度。其视觉经验仿佛是一种梦境的回响，在现实与幻象之间游移不定，构成了一种“不确定的真实”。艺术家以克制的笔触与分层的绘画语法，将个体记忆转化为一种集体感知经验，从而赋予画面一种普遍的情感共鸣。

Memory Slice, one of Shen’s representative works, presents a spatial impression that is familiar yet elusive. The surface is suffused with gentle tones and diffused light, and the contours of objects are deliberately softened. Rather than focusing the viewer’s gaze on the physicality of the scene, the painting invites engagement with its interior dimension. The visual experience resembles the echo of a dream, shifting between the real and the imagined, forming what could be described as an “uncertain reality.” With restrained brushwork and layered visual syntax, Shen transforms personal memory into a collective perceptual experience, thus allowing for universal emotional resonance.

从图像学（iconology）角度来看，沈克荣的作品虽不执着于象征或叙述，但其图像结构本身即是一种情绪的构型。他在作品中营造的“宁静”与“优雅”，不仅源于构图与色彩控制上的高度修为，更体现了他对“人文精神”与“审美秩序”的深层把握。这种气质上的优雅，正是文艺复兴以来西方绘画精神与中国文人艺术理念在当代表达中的一次深度交汇。

From an iconological perspective, Shen’s works may not rely on overt symbolism or narrative, yet the compositional structure itself becomes a configuration of emotion. The “serenity” and “elegance” that permeate his paintings are not merely products of technical mastery in composition and color, but reflections of a profound grasp of humanistic spirit and aesthetic order. This elegance—more than stylistic refinement—embodies a fusion of Renaissance ideals and the ethos of Chinese literati painting, interpreted through a contemporary lens.

更值得注意的是，沈克荣的油画实践在方法论层面上体现出对“心源图像”的有意识建构。他并不满足于视觉经验的表层捕捉，而是致力于将绘画转化为精神介质，使图像成为心灵抒情与哲思承载的场域。这种艺术立场也呼应了当代艺术理论中“去物象化”的趋势——图像不再作为现实的映照，而成为意识的显现、存在的痕迹（Gombrich, Art and Illusion, 1960）。

What is particularly notable in Shen’s methodology is his conscious construction of what might be called “mental-source imagery.” He is not content with simply capturing external appearances; rather, he endeavors to transform painting into a spiritual medium, making the image a site for lyrical introspection and philosophical reflection. This artistic stance resonates with contemporary theoretical discourse on “de-objectification,” where imagery is no longer a mirror of reality but a manifestation of consciousness and trace of existence (Gombrich, Art and Illusion, 1960).

沈克荣的油画艺术，在“真实”与“情感”、“视觉”与“意识”之间搭建起一条隐秘的通道。他以图像为引，以情感为轴，以精神为旨，使绘画超越技法，成为观看者心灵自我识别的一种方式。这种艺术策略不仅回应了当前艺术界对于“内在真实”与“观看伦理”的深层探讨，也为中国当代油画的发展提供了新的可能路径。

In this light, Shen Kerong’s oil painting becomes a subtle conduit between “truth” and “emotion,” “vision” and “consciousness.” His work uses image as entry point, emotion as axis, and spirit as destination, ultimately transcending technical execution to provide viewers with a path toward self-recognition through visual contemplation. This artistic strategy not only engages with ongoing debates around “inner truth” and the “ethics of viewing” in contemporary art, but also suggests a new developmental trajectory for Chinese oil painting in the global context.

参考文献

1. Merleau-Ponty, Maurice. Eye and Mind. Trans. Carleton Dallery. Northwestern University Press, 1964.

2. Gombrich, E.H. Art and Illusion: A Study in the Psychology of Pictorial Representation. Princeton University Press, 1960.

3. Didi-Huberman, Georges. Confronting Images: Questioning the Ends of a Certain History of Art. Penn State University Press, 2005.

2025年5月25日书于览艺斋

References

1. Merleau-Ponty, Maurice. Eye and Mind. Trans. Carleton Dallery. Northwestern University Press, 1964.

2. Gombrich, E.H. Art and Illusion: A Study in the Psychology of Pictorial Representation. Princeton University Press, 1960.

3. Didi-Huberman, Georges. Confronting Images: Questioning the Ends of a Certain History of Art. Penn State University Press, 2005.

Written at Lanyi Studio, May 25, 2025