刀融五维境，玉合人之心——翟倚卫玉雕与人体工程学至高境界（四）The Fusion of Tradition and Modernity in Zhai Yiwei's Jade Carving and the Supreme Realm of Human Engineering (IV)
李神琦（REX LEE）
人体工程学研究员｜美国纽约百老汇制作人
Human Engineering Researcher | Broadway Producer, New York City
毕业于伦敦政治经济学院金融与社会学专业
Graduate of the London School of Economics, Finance and Sociology
曾任纽约苏富比拍卖公司管理部
Former Management Department, Sotheby's New York
上海的城市美学，从来都是一场温柔而坚定的融合。石库门与摩天楼并肩，里弄烟火与国际风尚共生，外滩建筑的优雅弧线与陆家嘴的利落几何彼此呼应，这座城市用最舒服的尺度，让传统与现代、东方与西方完美共生。而在海派玉雕的世界里，国家级非物质文化遗产代表性传承人翟倚卫，正以一把刻刀、一方美玉，延续着这座城市的精神探索。他的作品，如同上海的建筑，在方寸之间实现传统与现代的极致交融；而当我们以人体工程学的视角品读，更能发现其艺术早已超越视觉，抵达身心合一、天人同构的至高境界。
Shanghai's urban aesthetics have always been a tender yet resolute act of fusion. Shikumen courtyards stand shoulder to shoulder with skyscrapers; the warmth of alleyway life coexists with international fashion; the elegant arcs of the Bund's architecture respond to the crisp geometry of Lujiazui. This city interprets the Eastern wisdom of harmony in diversity with the most comfortable of scales. Zhai Yiwei's jade carving art is the concentrated essence of this urban aesthetic.
《雨沥》Yuli (Rain Drizzle)
翟倚卫本名翟念卫，是“新海派文人玉牌”当之无愧的开创者。他的艺术从不孤悬于传统，也不盲从于潮流，而是以扎实深厚的美学根基，构建出一套完整且独特的创作体系。若将他的美学功底拆解为五大维度，便能清晰看见这位玉牌新文人的修养构成，更能读懂他为何能让古老玉雕，在当代世界绽放出如此动人的生命力。
Zhai Yiwei, born Zhai Nianwei, is the undisputed founder of the New Shanghai-Style Scholar Jade Tablet. His art is never suspended in isolation from tradition, nor does it blindly follow trends. Instead, built upon a solid and profound aesthetic foundation, he has constructed a complete and unique creative system. If his artistic world were compared to a palace, the palace would rest upon five dimensions of aesthetic foundation.
第一维度是教育根基，科班训练与国际视野的双重滋养。翟倚卫的起点，是上海玉雕厂工业中学的严格科班训练，系统的传统造型学习、严苛的工艺规范、日复一日的基本功打磨，为他打下了稳如磐石的传统功底。不同于许多民间艺人的自学摸索，他的技法从一开始便具备严谨的结构性与规范性。而此后日本、瑞典的游学经历，如同为他打开了另一扇美学大门，北欧极简主义的干净线条、克制色彩、功能至上，日本工艺对细节、质感、分寸的极致追求，与东方审美天然契合。两种教育背景一古一今、一中一西，让他既守得住传统的根，又看得懂世界的美，如同人体工程学对基础结构的精准要求，稳固而舒展。
The first dimension is the foundation of education — the dual nourishment of formal training and an international perspective. Zhai Yiwei's starting point was the rigorous formal training at Shanghai Jade Carving Factory's Industrial Middle School, where systematic study of traditional forms, exacting craft standards, and daily refinement of fundamentals laid a deep foundation in traditional technique. His early study trips to Japan and Sweden opened a globalized aesthetic horizon — the extreme attention to detail in Japanese craft, the spare functionalism of Nordic design — both becoming important nourishment for his later synthesis of East and West.
《关关雎鸠》Guan Guan Jujiu (The Ospreys Cry, Guan Guan)
第二维度是跨文化融合，西方理念与东方意境的完美平衡。翟倚卫最大的突破，便是不把玉雕当作单纯的工艺装饰，而是将其视为现代艺术的表达载体。他大胆引入西方美术的透视原理、立体架构、点线面构成，让平面玉牌拥有了前所未有的空间感与层次张力；同时，他始终坚守中国文人艺术“意在画外”的诗意追求，留白、含蓄、空灵、悠远，让画面有景更有意。这种融合不是生硬拼接，而是像上海建筑一样，西式骨架里装着东方灵魂，现代形式中藏着古典气韵，实现了形式与意境、理性与感性的高度统一，也暗合人体工程学“舒适、协调、不突兀”的核心原则。
The second dimension is cross-cultural fusion — the perfect balance between Western concepts and Eastern mood. Zhai Yiwei's greatest breakthrough was to treat jade carving not as mere craft decoration but as a vehicle for modern artistic expression. He boldly introduced Western fine art principles of perspective, three-dimensional structure, and light-and-shadow layering to create powerful spatial depth within flat jade carving. Simultaneously, he integrated the Eastern ink painting qualities of breathing space and implied mood, the rhythmic vitality of calligraphy, and the poetic refinement of literati painting into every jade tablet, forming his unique Eastern Soul, Western Grace aesthetic style.
第三维度是创作理念，题材破界与文学叙事的全新表达。传统玉牌长期被神佛、瑞兽、古山水占据，与当代生活相隔甚远。而翟倚卫毅然破局，首创“背影女性”“上海洋楼”“都市午茶”等现代都市题材，将石库门、弄堂光影、摩登身姿、日常闲情刻入玉中，让玉雕第一次真正拥抱当代生活。他更擅长以文学叙事注入方寸之间，让一块玉牌有故事、有情绪、有温度，如同宋词小令般耐人寻味。《倩影》《早春》《午茶时分》等作品屡获天工奖、百花奖金奖，正是因为他让玉雕从“观赏性”走向“共鸣性”，如同人体工程学强调“以人为本”，他的创作以人心为出发点，以情感为连接点。
The third dimension is creative philosophy — the entirely new expression of subject matter boundary-breaking and literary narration. Traditional jade tablets have long been dominated by immortals, auspicious beasts, and ancient landscapes — far removed from contemporary life. Zhai Yiwei boldly broke this convention, pioneering contemporary subjects such as silhouetted women, Shanghai foreign-style buildings, and urban everyday warmth — engraving the poetry and tenderness of modern city life upon millennia-old jade.
《倩影》Qianying (Silhouette)
第四维度是技法表现，书画入玉与工艺创新的天人合一。翟倚卫拥有深厚的书法功底，玉牌上的诗文铭文皆由他亲自书写，笔意流畅、气韵生动，让玉、书、画融为一体。他更将中国山水画的皴法转化为雕刻语言，以刀代笔，让山石、林木、云水皆有笔墨意趣；同时擅长巧借玉料天然皮色进行俏色创作，不破坏玉质、不违背天性，让自然之美与人工之巧浑然一体，达到“天人合一”的至高境界。这种技法既尊重材质本性，又贴合视觉与触觉感受，正是人体工程学“顺应自然、适配人本”的生动体现。
The fourth dimension is technical expression — the unity of Heaven and humanity in the integration of calligraphy and painting with jade, and innovation in craft. Zhai Yiwei possesses deep calligraphic expertise; the poetic inscriptions on his jade tablets are all written in his own hand, with fluid brushwork and vivid vitality, fusing jade, calligraphy, and painting into a unified whole. He further transforms the cun-fa (texture-stroke technique) of Chinese landscape painting into a carving language, using blade marks in jade to simulate the wet-dry gradations of ink on rice paper.
《东来紫气满香关》Dong Lai Zi Qi Man Xiang Guan (Purple Mist from the East Fills the Fragrant Pass)
第五维度是艺术影响，师承大家与自成一家的风格确立。翟倚卫敬仰海派大师任伯年，也深爱吴冠中的现代艺术，早年曾大量临摹吴冠中油画，潜移默化中吸收其形式构成、线条韵律与意境表达。他不模仿、不照搬，而是将前辈精髓内化于心，最终淬炼出“清新典雅、唯美精致”的个人风格。这种传承与创新，如同上海城市建筑在历史脉络上生长出新的高度，守其魂，变其形，适其用，最终成就独一无二的艺术面貌。
The fifth dimension is artistic influence — the establishment of a personal style through studying under masters and creating an independent school. Zhai Yiwei reveres the Shanghai master Ren Bonian and deeply loves Wu Guanzhong's modern art. In his early years he extensively copied Wu Guanzhong's oil paintings, absorbing his formal composition, linear rhythm, and chromatic tension through sustained exposure. The influence of these two masters, fused with Zhai Yiwei's own language accumulated over many years, ultimately formed his unique New Shanghai-Style Scholar Jade Tablet style.
《先秦七子-老子》Xian Qin Qi Zi — Lao Zi (Seven Masters of Pre-Qin — Laozi)
五大维度交织，构筑起翟倚卫完整而深厚的美学世界，而真正让他的作品超越时代、走向世界的，是其深处潜藏的人体工程学境界。人体工程学追求的不是华丽，而是舒适；不是张扬，而是和谐；不是视觉冲击，而是身心共鸣。翟倚卫的玉牌，大小恰合掌心，弧度温润贴肤，线条流畅不刺手，重量适中不累人，从物理尺度上完全贴合人体使用习惯；更重要的是，他的作品意境舒缓、气质清雅、光影柔和，能让观者在凝视与触摸间放下浮躁、平复心绪，实现精神层面的放松与治愈。玉养人，人养玉，在他这里不再是一句老话，而是人体工程学层面可感知、可体验的真实境界。
These five interwoven dimensions construct Zhai Yiwei's complete and profound aesthetic world. What truly allows his works to transcend the times and reach the world is the human engineering realm latent at their core. Human engineering pursues not splendor but comfort; not ostentation but harmony; not the independent beauty of objects but the deep resonance between object and person. It is precisely on this dimension that Zhai Yiwei's jade carving has reached a supreme pinnacle.
《云台清曲》Yunlai Qingqu (Melody from Cloud Terrace)
《 云带钟声》Yundai Zhongsheng (Bell Sound Through Cloud Veil)
从遨游太空的《云台清曲》《云带钟声》，到大英博物馆馆藏的《别寻方外去》《春之韵》，翟倚卫用一把刻刀，让中国玉牌走向宇宙、走向世界。他像百老汇舞台上经年打磨作品的创作者一样，以“惟精惟一”之心对抗浮华，以终身修行之态雕琢永恒。他的艺术，是上海城市精神的缩影；他的玉牌，是传统与现代最舒服的交融；他的境界，是工艺、美学、人文与人体工程学合一的至高典范。
From Yunlai Qingqu and Yundai Zhongsheng journeying through outer space to Bie Xun Fang Wai Qu and Chun Zhi Yun residing permanently in the British Museum, Zhai Yiwei has used one engraving blade to carry Chinese jade tablets to the cosmos and to the world. Like Broadway creators who spend years refining their works, he uses time and focused devotion, at the intersection of tradition and modernity, to create immortal classics belonging to this age.
《别寻方外去》、《春之韵》Bie Xun Fang Wai Qu (Seek No Further Beyond) and Chun Zhi Yun (Cadence of Spring)
在快节奏的今天，翟倚卫用一方美玉告诉我们：真正的美，一定是贴合人心的；真正的传承，一定是面向时代的；真正的大师，永远在方寸之间守天地，在一刀一琢间见初心。他的玉雕世界，温润、从容、精准、和谐，如上海的风，如玉的光，如人心中最安稳的尺度，在传统与现代之间，走出了一条属于中国、属于世界、更属于每一个人的美学通途。
In the fast-paced world of today, Zhai Yiwei uses a piece of beautiful jade to tell us: true beauty must always conform to the human heart; true heritage must always face toward the times; a true master always guards the cosmos within an inch of space and reveals the original aspiration with every blade stroke and every polish.
作者简介（About the Author）：
李神琦（Rex Lee）是一位华裔美国演员、获奖剧作家与百老汇制作人，常驻纽约市。他本科毕业于芝加哥大学，主修历史与政治学，并于伦敦政治经济学院（LSE）获得金融与社会学硕士学位。
Rex Lee is a Chinese-American actor, award-winning playwright, and Broadway producer based in New York City. He holds a Bachelor’s degree in History and Political Science from the University of Chicago and a Master’s degree in Finance and Sociology from the London School of Economics (LSE).
李神琦拥有横跨艺术、金融与公共事务领域的广泛经验，曾于国际顶级艺术拍卖行苏富比（Sotheby’s）任职，并在华盛顿特区担任企业说客，代表多家跨国公司进行政策游说。
Lee possesses extensive experience spanning the arts, finance, and public affairs. He previously worked at Sotheby’s, the world-renowned art auction house, and served as a corporate lobbyist in Washington, D.C., representing several multinational corporations in policy advocacy.
他的表演生涯始于入围全美极具声望的 Jerry Herman Awards，这一经历点燃了他对舞台艺术的热情。其后，李神琦成为当年唯一入选的华裔男演员，受邀加入英国国家剧院（National Theatre Company of Great Britain），并展开国际巡演。他也曾参演美国国家级广告、影展短片，以及伦敦 Off-West End 的专业剧场演出，并受保加利亚文化部邀请，赴索菲亚国家剧院登台演出，展现其多语文化的舞台魅力。
His performing career began as a finalist for the prestigious Jerry Herman Awards. Subsequently, he became the only Chinese actor selected that year to join the National Theatre Company of Great Britain for an international tour. His credits include national commercials in the U.S., film festival shorts, and professional Off-West End productions. He was also invited by the Bulgarian Ministry of Culture to perform at the National Theatre in Sofia.
舞台之外，李神琦在学术领域同样表现出色。他曾在全美历史竞赛（National History Bowl）及美国地理奥林匹克（U.S. Geography Olympiad）中取得佳绩，并入选美国国家队。他对全球事务、文化历史与地缘政治的深厚理解，持续为其剧作与表演注入思想深度与跨文化的叙事视角。
Beyond the stage, Lee has excelled in academia, placing in the National History Bowl and the U.S. Geography Olympiad, and earning a spot on the U.S. National Team. His deep understanding of global affairs and cultural history informs the intellectual depth of his playwriting.
作为百老汇制作人，李神琦致力于搭建中美戏剧之间的桥梁——将美国戏剧引入中国，也让中国作品登上纽约舞台。他坚信戏剧能够穿越语言与国界，成为文化交流的窗口与心灵的共鸣。他的作品关注移民经验、身份认同与文化错位，通过艺术不断重塑“归属”的意义，推动亚洲叙事在全球剧场中的传播与再想象。
As a Broadway producer, Lee is dedicated to bridging the theatrical worlds of China and the U.S. His work focuses on the immigrant experience, identity, and cultural displacement, striving to redefine "belonging" and amplify Asian narratives on the global stage.
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