刀行技道境，玉合人体工程学——翟倚卫玉雕与身心共生之美（五）The Fusion of Tradition and Modernity in Zhai Yiwei's Jade Carving and the Beauty of Body-Soul Coexistence (V)
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
上海的城市天际线，始终在传统肌理与现代轮廓间寻找最舒适的尺度：石库门的雕花窗棂与玻璃幕墙共生，外滩建筑的圆弧线条与滨江地标利落切面对话，这座城市以人体工程学般的精准平衡，让东方底蕴与西方美学、古典风骨与现代风尚完美相融。国家级非物质文化遗产（海派玉雕）代表性传承人翟倚卫，便以刻刀为笔、美玉为纸，在方寸玉牌间复刻着这座城市的融合精神。他开创的“新海派文人玉牌”，从技法的精研到意境的升华，完成了从“技”到“道”的美学进阶，更将人体工程学“以人为本、天人同构”的境界融入每一方美玉，让玉雕不仅是视觉艺术，更是贴合身心、滋养灵魂的造物。
Shanghai's urban skyline perpetually seeks the most comfortable scale between traditional texture and modern silhouette: the carved lattice windows of shikumen coexist with glass curtain walls; the curved lines of Bund architecture converse with the crisp angles of riverside landmarks. With human engineering-like precision, this city has found the most elegant point of equilibrium between East and West, tradition and modernity. Zhai Yiwei's jade carving is the jade embodiment of this urban wisdom.
《云台清曲》Yunlai Qingqu (Melody from Cloud Terrace)
《云带钟声》Yundai Zhongsheng (Bell Sound Through Cloud Veil)
翟倚卫本名翟念卫，是打破传统玉雕桎梏的破界者。他的艺术之路，始于少年时的科班淬炼，成于跨文化的视野融合，终在数十年坚守中抵达“惟精惟一”的艺术高度。2014年，《云台清曲》《云带钟声》搭载探月飞行器遨游太空，成为人类首批“巡天玉雕”；2017年，《别寻方外去》《春之韵》入藏大英博物馆，让当代玉牌跻身世界主流艺术殿堂。这些成就的背后，是他从“技”到“道”的五层美学进阶，每一层都扎根传统、面向现代，最终构筑起独属于他的玉雕世界。
Zhai Yiwei, born Zhai Nianwei, is a boundary-breaker who shattered the constraints of traditional jade carving. His artistic path began with formal training in his youth, was shaped by cross-cultural vision and fusion, and arrived, through decades of steadfast devotion, at the artistic heights of Singular Precision and Singular Devotion. In 2014, Yunlai Qingqu and Yundai Zhongsheng journeyed into space aboard a lunar exploration vehicle; in 2017, Bie Xun Fang Wai Qu and Chun Zhi Yun were permanently acquired by the British Museum.
《别寻方外去》、《春之韵》Bie Xun Fang Wai Qu (Seek No Further Beyond) and Chun Zhi Yun (Cadence of Spring)
传统根基：十四岁的科班淬炼，筑牢“能工”之基
Traditional Foundation: Formal Training at Fourteen — Building the Bedrock of Mastery of Craft
翟倚卫的美学起点，是14岁被选入上海玉石雕刻厂工业中学的少年时光。这不是简单的手艺学习，而是系统全面的美术锻造——素描、线描、泥塑、雕塑、造型，每一项都经过严苛打磨。少年时的他包揽学校黑板报，对线条、构图、光影的热爱早已刻入骨髓。这段科班经历，让他掌握了传统玉雕的造型规律、工艺规范，练就了“下刀精准、形神兼备”的硬功夫，成为他日后创新的坚实根基。正如人体工程学以人体结构为基础，翟倚卫的艺术以传统功底为骨架，不做无根之木、无源之水，在传承中积蓄破界的力量。
Zhai Yiwei's aesthetic starting point was the youth he spent at fourteen being selected for Shanghai Jade Carving Factory's Industrial Middle School. This was no simple apprenticeship in a trade but a comprehensive and systematic art training — sketching, line drawing, clay modeling, sculpture, form-making — each discipline rigorously practiced, day after day accumulating into the solid bedrock of his modeling capability and aesthetic foundation.
国际视野：东瀛北欧的养分，解锁“破壁”之境
International Horizon: Nourishment from Japan and Scandinavia — Unlocking the Realm of Breaking Walls
赴日本、瑞典进修的经历，是翟倚卫美学体系的关键破壁之举。日本艺术对细节的极致追求、对残缺美的含蓄欣赏，让他懂得“于细微处见精神”；北欧设计的简约克制、功能主义，以及“少即是多”的现代理念，让他跳出传统玉雕繁复堆砌的局限。两种异域美学与东方含蓄意境碰撞融合，让他的作品既有东方的温润婉约，又有西方的构成张力。这如同上海建筑的中西合璧，也暗合人体工程学“简约舒适、实用美观”的核心，让玉牌摆脱匠气，兼具艺术质感与当代审美。
His study trips to Japan and Sweden were the critical wall-breaking breakthroughs in Zhai Yiwei's aesthetic system. Japanese art's ultimate pursuit of detail and its restrained appreciation of imperfect beauty taught him to perceive spirit in the minute; Nordic design's spare restraint and functionalism allowed him to understand another expression of Eastern philosophy's achieving more with less in a Western context.
《樱桃树下》Yingtao Shu Xia (Beneath the Cherry Tree)
书法入玉：文人风骨的表达，凝聚“气韵”之魂
Calligraphy into Jade: The Expression of the Literati Spirit — Crystallizing the Soul of Vital Spirit
书法，是翟倚卫引以为傲的强项，也是他文人玉牌的灵魂所在。自幼扎实的书画训练，让他深谙笔墨气韵之道。传统玉牌虽有诗画结合的范式，但多为匠人代笔，而翟倚卫坚持铭文亲书，再以刀代笔镌刻于玉。一笔一画，或灵动飘逸，或沉稳典雅，与画面意境浑然一体，实现了“诗、书、画、玉”的完美合一。这种文人式的自我表达，让玉牌不再是单纯的工艺品，而是承载心境、传递诗意的艺术载体，如同人体工程学追求精神与生理的统一，让美玉有了直击人心的文化力量。
Calligraphy is Zhai Yiwei's proudest strength and the soul of his scholar jade tablets. His solid calligraphic training from childhood gave him deep mastery of the way of brush and ink energy. Traditional jade tablets most often had inscriptions written by another's hand; Zhai Yiwei insists on writing every inscription himself, each character concentrating his personal temperament and artistic cultivation. His script is not confined to a single style — chosen according to each work's particular spirit, achieving a true unity of jade, calligraphy, and painting.
皴法转化：山水笔墨的新生，练就“传神”之技
Transforming Texture Strokes: The Rebirth of Landscape Ink — Cultivating the Technique of Capturing Spirit
翟倚卫最惊艳的技法突破，是将中国山水画“皴法”转化为雕刻语言。传统玉雕山水多流于图案化，缺乏笔墨意趣，而他以浅浮雕刀法模拟宣纸之上的干湿浓淡，用刀痕展现山石的肌理、云水的灵动，让坚硬玉石生出墨韵流转的温柔。这是对中国绘画美学的致敬，更是工艺的创新——不违背玉质本性，却赋予山水鲜活生命力。这种“天人合一”的技法追求，与人体工程学“顺应自然、适配人本”的理念不谋而合，让人工之巧与自然之美共生共融。
Zhai Yiwei's most breathtaking technical breakthrough is his transformation of the Chinese landscape painting technique of cun-fa (texture strokes) into a carving language. He uses shallow bas-relief blade technique to simulate the wet-dry gradations of ink on rice paper, revealing through blade marks the texture and materiality of rock and stone. The landscapes on his jade tablets possess not only form but brushwork spirit and vital rhythm.
《秋林晚照》Qiulin Wanzhao (Autumn Forest in Evening Light)
心师古人：任吴双师的滋养，自成“一家”之风
Learning from Ancient Masters: Nourished by Ren and Wu — Establishing an Independent Artistic Style
艺术的进阶，离不开大师的滋养。翟倚卫心师任伯年与吴冠中两位大家：任伯年人物画的精准造型、明快色彩，为他塑造“背影女性”提供灵感，让都市女子既有传统闺秀的温婉，又有现代女性的独立；吴冠中“形式美”“抽象美”的理论，以及中西融合的创作方式，让他将西方透视、立体架构引入平面玉牌，打破传统构图局限。早年临摹吴冠中油画的经历，早已将美学基因融入创作骨髓，最终淬炼出“清新典雅、唯美精致”的个人风格，完成了从师承到独创的蜕变。
Artistic advancement requires nourishment from masters. Zhai Yiwei has taken to heart the teachings of Ren Bonian and Wu Guanzhong: Ren Bonian's precise figure modeling and vivid colors inspire his creation of silhouetted women; Wu Guanzhong's oil painting formal composition, linear rhythm, and chromatic tension helped him find the optimal synthesis of East and West. The nourishment of these two masters ultimately fused with Zhai Yiwei's own personal language accumulated over many years, establishing an independent style.
《关关雎鸠》Guan Guan Jujiu (The Ospreys Cry, Guan Guan)
从技法精研到意境升华，翟倚卫完成了从“匠”到“家”、从“技”到“道”的跨越，而他的玉雕最动人之处，更在于藏于美玉中的人体工程学境界。这不是冰冷的尺度测算，而是身心共鸣的温柔适配：物理层面，玉牌方寸大小、圆润弧度、适中厚度，贴合掌心曲线，边缘顺滑无棱角，把玩时温润贴肤，刺激手部穴位，促进气血循环；精神层面，简约空灵的构图、诗意悠远的意境、温润柔和的质感，让现代都市人在凝视与摩挲间，放下浮躁、平复心绪，实现精神的舒缓与治愈。玉养人，人养玉，在他这里，从文化谚语变成了可感知的身心体验。
From technical mastery to the elevation of mood, Zhai Yiwei has completed the crossing from craftsman to artist, from technique to Dao. What is most moving about his jade carving is the human engineering realm hidden within the beautiful jade — not the cold calculation of measurements, but the tender compatibility between body and heart, object and person.
他首创的“背影女性”、上海洋楼等都市题材，打破传统神佛题材的垄断，让玉雕贴近当代生活；《倩影》《早春》《午茶时分》等作品屡获天工奖、百花奖，将宋词小令凝固于白玉，让方寸之间有文学想象。这位在“惟精惟一之室”坚守初心的大师，与百老汇经年打磨作品的创作者一样，以时间对抗浮华，以专注雕刻永恒。
The urban subjects he pioneered — silhouetted women, Shanghai foreign-style buildings — broke the monopoly of traditional divine and bestial themes, bringing jade carving closer to contemporary life. Works including Qianying, Zaochun, and Wucha Shifen have repeatedly won the Tiangong and Baihua awards, crystallizing the lyric verse of Song-dynasty ci-poetry in white jade.
《倩影》Qianying (Silhouette)
《午茶时分》 Wucha Shifen (Afternoon Tea)
翟倚卫的玉雕世界，是上海城市精神的微观缩影：传统为根，现代为翼，东方为魂，西方为形。他以五层美学进阶，完成从技到道的升华；以人体工程学的智慧，实现器物与身心的共生。一把刻刀，雕琢中西韵；一方玉牌，承载古今魂。他让千年玉雕走出博物馆，走向太空、走向世界、走向人心，在传统与现代的交融中，绽放出贴合时代、滋养身心的永恒光芒，也为中国传统工艺的当代新生，写下了最生动的注脚。
Zhai Yiwei's jade carving world is a microcosm of Shanghai's urban spirit: tradition as root, modernity as wing, the East as soul, the West as form. Through five layers of aesthetic advancement, he achieves the elevation from technique to Dao; through the wisdom of human engineering, he realizes the coexistence and fusion of object with body and mind.
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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