沈克榮，1961年生于南京，南京藝術(shù)學(xué)院油畫專業(yè)畢業(yè)；獨立藝術(shù)家、教育家，江蘇油畫研究會會員，首屆江蘇省美術(shù)教育研究會秘書長，中國藝術(shù)科技研究所教授。曾參與八五江蘇青年藝術(shù)周，南北方青年藝術(shù)家藝術(shù)作品展，八五“曬太陽”藝術(shù)展，首屆江蘇油畫大展，首屆中國藝術(shù)名家右玉邀請展，美麗印跡—南京油畫作品學(xué)術(shù)交流展，美在江蘇藝術(shù)名家七人藝術(shù)邀請展，建軍六十週年美術(shù)作品展等多項展覽，其各類作品以獨特的抒情寫意風(fēng)格著稱。其作品被國內(nèi)外美術(shù)館及私人藏家收藏。
心象的映現(xiàn)：
沈克榮油畫藝術(shù)中的感知結(jié)構(gòu)與精神書寫
——評《記憶切片》
史峰｜書畫評論家、當代藝術(shù)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
在當代視覺文化語境下，沈克榮先生的油畫創(chuàng)作以其獨具內(nèi)省氣質(zhì)的圖像語言，展示出一種既具東方哲思又融合西方繪畫傳統(tǒng)的復(fù)雜美學(xué)結(jié)構(gòu)。他的作品不僅延續(xù)了古典油畫在光影組織與色彩層次上的語言范式，更在當代寫實主義的基礎(chǔ)上發(fā)展出一種富有“心象性”的視覺抒寫方式，這使得他的藝術(shù)具有超越視覺真實的精神穿透力。
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.
沈克榮的繪畫常常選取城市邊緣地帶或日常生活的靜謐片段為創(chuàng)作母題。此種“去中心化”的取景策略，實際上構(gòu)建出一個心理化的觀看視角——畫面不再僅僅是現(xiàn)實場景的再現(xiàn)，而是心靈經(jīng)驗與情緒記憶的外化與顯影。正如法國哲學(xué)家梅洛-龐蒂（Maurice Merleau-Ponty）所言：“繪畫是感知的再創(chuàng)造，是使‘可見者’顯現(xiàn)的過程?！保∕erleau-Ponty, Eye and Mind, 1964）沈克榮正是通過這種感知—再構(gòu)的方式，使他的圖像富含情緒張力與精神深度。
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.
《記憶切片》作為其代表性作品之一，呈現(xiàn)了一種似曾相識卻又無法確指的空間感。畫面被溫潤的色調(diào)和氤氳的光感所覆蓋，物象邊緣被有意模糊，使得觀者的注意力更多地轉(zhuǎn)向畫面中“不可見”的心理維度。其視覺經(jīng)驗仿佛是一種夢境的回響，在現(xiàn)實與幻象之間游移不定，構(gòu)成了一種“不確定的真實”。藝術(shù)家以克制的筆觸與分層的繪畫語法，將個體記憶轉(zhuǎn)化為一種集體感知經(jīng)驗，從而賦予畫面一種普遍的情感共鳴。
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.
從圖像學(xué)（iconology）角度來看，沈克榮的作品雖不執(zhí)著于象征或敘述，但其圖像結(jié)構(gòu)本身即是一種情緒的構(gòu)型。他在作品中營造的“寧靜”與“優(yōu)雅”，不僅源于構(gòu)圖與色彩控制上的高度修為，更體現(xiàn)了他對“人文精神”與“審美秩序”的深層把握。這種氣質(zhì)上的優(yōu)雅，正是文藝復(fù)興以來西方繪畫精神與中國文人藝術(shù)理念在當代表達中的一次深度交匯。
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，沈克榮的油畫實踐在方法論層面上體現(xiàn)出對“心源圖像”的有意識建構(gòu)。他并不滿足于視覺經(jīng)驗的表層捕捉，而是致力于將繪畫轉(zhuǎn)化為精神介質(zhì)，使圖像成為心靈抒情與哲思承載的場域。這種藝術(shù)立場也呼應(yīng)了當代藝術(shù)理論中“去物象化”的趨勢——圖像不再作為現(xiàn)實的映照，而成為意識的顯現(xiàn)、存在的痕跡（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).
沈克榮的油畫藝術(shù)，在“真實”與“情感”、“視覺”與“意識”之間搭建起一條隱秘的通道。他以圖像為引，以情感為軸，以精神為旨，使繪畫超越技法，成為觀看者心靈自我識別的一種方式。這種藝術(shù)策略不僅回應(yīng)了當前藝術(shù)界對于“內(nèi)在真實”與“觀看倫理”的深層探討，也為中國當代油畫的發(fā)展提供了新的可能路徑。
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.
參考文獻
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 書于覽藝齋
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
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