形复唐韵，气失本真——人体工程学创办人李建军评西安新建大唐西市空间规划（九）
Form Restored to Tang Style, Qi Lost from Its Truth — Human Body Engineering Expert Li Jianjun on the Spatial Planning of Xi'an's Newly Built Great Tang West Market (IX)
李神琦（REX LEE）
人体工程学研究员｜美国纽约百老汇制作人
毕业于伦敦政治经济学院金融与社会学专业
曾任纽约苏富比拍卖公司管理部
Li Shenqi (REX LEE)
Sino-Human Engineering Researcher | Producer on Broadway, New York, USA
Graduated from the London School of Economics and Political Science with a major in Finance and Sociology
Formerly worked in the Management Department of Sotheby's New York (also served as an English translator there)
洛杉矶好莱坞观看中国原创纪录片《空海传》后，聚焦西安2008年复建的大唐西市博物馆及商业文化园区，聆听人体工程学创办人李建军的专业解读。作为2010年前后受邀实地考察该项目的环境能量、空间心理学专家，李建军以科学化风水、人体工程学视角，对新建大唐西市展开系统空间诊断，其观点立足现代人体感知、行为心理学与环境生理学，直指当代文化空间复建的核心痛点，兼具专业深度与人文反思。
After viewing the original Chinese documentary The Legend of Kukai in Hollywood, attention turned to the Great Tang West Market Museum and commercial-cultural park reconstructed in Xi'an in 2008, with the professional reading of Mr. Li Jianjun, founder of Human Body Engineering. Invited around 2010 to inspect the project on-site as an expert in environmental energy and spatial psychology, Li approached the new Great Tang West Market through the lenses of scientific fengshui and Human Body Engineering and offered a systematic spatial diagnosis. Grounded in modern bodily perception, behavioral psychology, and environmental physiology, his views aim straight at the core pain-points of contemporary cultural-space reconstruction, combining professional depth with humanistic reflection.
一、五维空间诊断：李建军人体工程学视角下的大唐西市
I. A Five-Dimensional Spatial Diagnosis: The Great Tang West Market Through Li Jianjun's Human Body Engineering Lens
1. 建筑复刻唐韵，空间气场割裂，徒有形制而无灵魂
1. The Architecture Reproduces Tang Style, but the Spatial Qi-Field Is Severed — Form Without Soul
新建大唐西市在建筑形制上，高度还原唐代飞檐、斗拱、朱墙、青瓦等视觉符号，仿古牌坊林立、商铺排布规整，夜间灯光璀璨，视觉上具备极强的唐风穿越感，看似完整复刻了盛唐西市的外在风貌。但从人体工程学环境气场逻辑来看，这片空间存在根本性的气场割裂问题。
In its architecture, the new Great Tang West Market reproduces with high fidelity the visual signs of the Tang — flying eaves, dougong brackets, vermilion walls, dark tiles. Mock-ancient archways stand in rows; shops are laid out in regulated order; at night the lighting is dazzling. Visually it gives a strong sense of Tang-style 'time travel,' seeming to have fully reproduced the outward face of the high-Tang West Market. From the perspective of Human Body Engineering and qi-field logic, however, this space has a fundamental problem: its qi-field is severed.
复建项目街道刻意拓宽、拉直，过度追求景区式的规整秩序，完全丢失了唐代西市曲径通幽、巷陌交错的街巷肌理，失去了传统市井空间应有的呼吸感与层次感；建筑间距被盲目放大，缺失了传统市井的围合感与亲和力，无法形成聚拢人气、温润包容的市井气场；所有商铺采用标准化、统一化设计，全然摒弃了古西市胡商、汉贾、佛寺、酒肆、工坊自然杂糅的多元形态，看似整洁有序，实则毫无历史烟火气。
The reconstructed project deliberately widened and straightened the streets, over-pursuing the orderly regulation of a tourist site and completely losing the winding paths into hidden depths and the interleaving lanes that gave the Tang-era West Market its texture, sacrificing the breath and the layered quality that any traditional marketplace ought to have. Building spacing has been blindly enlarged, losing the enclosing quality and intimacy of a traditional marketplace and failing to form a marketplace qi-field that gathers people and is warm and inclusive. All shops follow standardized, uniform designs, abandoning entirely the natural blending of Sogdian merchants, Han traders, Buddhist temples, wine-houses, and craft workshops that the ancient market once held; superficially neat and orderly, in truth there is no historical, lived-in warmth.
李建军对此直言，复建团队打造的并非真正的历史市井，而是一个标准化的唐风主题乐园。唐代西市的核心是鲜活的、充满烟火气的活态混沌，是各类业态、各类人群自然交融的场域，而新建西市追求的是刻意的、僵化的秩序感。空间过于干净规整，会让人产生距离感，不敢放松身心、自在停留，看似还原历史，实则彻底脱离了市井空间的本质。
Li speaks frankly: what the reconstruction team has built is not a true historical marketplace but a standardized Tang-style theme park. The core of the Tang-era West Market was a living, lived-in 'active chaos,' a field where every kind of business and every kind of person naturally intermingled. What the new West Market pursues is contrived, rigid order. Space that is too clean and too regulated produces a sense of distance; it does not let people relax their bodies and minds or linger at ease. It appears to restore history but in fact has departed entirely from the essence of marketplace space.
2. 天地气场阻断，藏风聚气落空，环境体感背离人本
2. The Heaven-and-Earth Qi-Field Is Blocked; the 'Storing of Wind and Gathering of Qi' Falls Short; the Environmental Bodily Experience Departs from the Human-Centered
项目规划中打造了丝路水道、景观水池、绿化带等自然景观，试图营造山水相依的空间意境，但从环境能量流通角度，完全违背了人体工程学藏风聚气的核心准则。景观水系均为封闭静止的人工水体，无自然循环、无活水流动，形成死水格局，不仅无法起到滋养气场、聚拢财气的作用，反而形成气场凝滞、财库封门的弊端；整体建筑群以方正格局整齐排列，楼栋之间形成强硬风洞，强风直穿街巷廊道，行人行走时体感不适，心神难以安定；地面大面积采用大理石铺装，材质吸热快、散热慢，夏季形成高温集聚效应，冬季又冰冷刺骨，完全违背人体环境生理学的舒适需求；地下停车场出入口直接正对主街，形成直冲式煞气，行人途经时会产生莫名的压迫感、不适感。
The plan includes natural-style features — a Silk Road water channel, ornamental pools, green belts — and attempts to evoke the atmosphere of mountains-and-waters intertwining. But from the perspective of environmental energy flow, it entirely violates the Human Body Engineering principle of 'storing wind and gathering qi.' The ornamental water bodies are all sealed, still, artificial pools with no natural circulation and no living water in motion — a 'dead-water configuration.' They cannot nourish the qi-field or gather wealth-qi; on the contrary they produce a stagnant qi-field and a 'sealed treasury.' The overall building cluster is laid out in a rigid square configuration; between the towers, hard wind-tunnels form, and strong winds blow straight through the lanes and corridors, leaving pedestrians physically uncomfortable and unsettled in mind. Wide expanses of marble paving — a material that absorbs heat quickly and releases it slowly — produce a heat-accumulation effect in summer and become bitterly cold in winter, wholly contrary to the comfort needs of human environmental physiology. The entrance and exit of the underground parking garage open directly onto the main street, forming a head-on 'sha-qi' (sharp adverse current) that gives passersby an inexplicable sense of pressure and discomfort.
李建军明确指出，传统风水与人体工程学的核心，都是实现空间藏风聚气、人与自然和谐共生，而新建大唐西市完全是逐风散气的反向操作。水为空间灵气所在，死水则灵气尽失；风为天地气场载体，乱风则心神不宁。整个空间气场持续涣散、无法聚拢，行人只能刻意躲避不适环境，根本无法实现人与空间的和谐共处。
Li states clearly: the core of both traditional fengshui and Human Body Engineering is to make space store wind and gather qi, and to realize the harmonious coexistence of person and nature. The new Great Tang West Market does the exact reverse — chasing wind out and dispersing qi. Water is where the spiritual qi of a space resides; dead water means the spirit is lost. Wind is the carrier of heaven-and-earth qi-fields; chaotic wind unsettles the heart and mind. The qi-field of the entire space is continuously dispersed and cannot be gathered; pedestrians can only deliberately avoid the uncomfortable environment, which makes any harmony between person and space impossible.
3. 人本维度缺失，空间只为消费，不养身心、不留人气
3. The Human-Centered Dimension Is Missing — the Space Exists Only for Consumption, Does Not Nourish Body and Mind, and Does Not Hold People
新建大唐西市布局密集的商铺，涵盖餐饮、文创、汉服体验、文旅表演等业态，也打造了各类市集、灯光秀等引流项目，看似业态丰富、商业氛围浓厚，却完全忽略了人的行为需求与身心感受。空间内缺乏合理的停留节点，行人只能被迫快速穿行，如同赶场式游览，没有从容休憩的空间；全域缺少适配人体需求的休憩角落，没有树荫下的石凳、巷弄里的茶摊、水系旁的长椅，无法满足行人歇脚、闲聊的基础需求；更没有打造非交易性公共空间，没有可供人发呆、静观、放松身心的留白区域，全程围绕消费场景打造，完全忽视老人、儿童等群体的需求，只服务于消费行为，不服务于活生生的人。
The new Great Tang West Market lays out densely packed shops — food and beverage, cultural-creative goods, hanfu experiences, cultural-tourism performances — and adds markets, light shows, and other traffic-drawing attractions. The mix appears rich and the commercial atmosphere thick. But it has entirely neglected the behavioral needs and bodily-mental feelings of human beings. The space lacks reasonable nodes for pausing; pedestrians are forced to keep moving quickly, like cramming a circuit of stops, with no space for unhurried rest. Across the entire site there are no resting corners fitted to human needs — no stone benches under trees, no tea-stalls in lanes, no long benches by the water — failing to meet the basic needs of stopping for a rest or a chat. There are no non-transactional public spaces, no blank zones where one can simply space out, sit quietly, or relax. Everything is built around consumption scenarios. The needs of the elderly, of children, are wholly ignored. The space serves only consuming behavior, not living people.
回望唐代西市，既有商贾交易的繁华，也有行人蹲坐食胡饼、靠墙听胡琴、临水休憩的市井日常，是充满生活气息的人本空间。李建军坦言，当代复建的西市，剥夺了人自在生活的权利，只允许人站立消费，不允许人从容存在。而商业空间与文化空间的核心，在于养人、留人，只有让人愿意长久停留，才能形成真正的繁华，一味追求即时消费，最终只会留不住人心、留不住人气。
Looking back to the Tang-era West Market: there was the prosperity of merchant trade, but also the ordinary marketplace life of people squatting to eat hu cakes, leaning against walls to listen to the huqin, resting by the water — a human-centered space full of the breath of daily life. Li says plainly: the contemporary reconstruction has stripped people of the right to live at ease, allowing only standing-up consumption and forbidding unhurried being. The core of commercial and cultural spaces is to nourish people and hold people. Only if people are willing to linger long can a true prosperity arise. Pursuing only immediate consumption will, in the end, hold neither hearts nor crowds.
4. 文化符号化堆砌，有唐风之表，无盛唐之魂
4. Cultural Symbols Piled Up — the Surface of Tang Style, Without the Soul of the High Tang
项目通过胡姬舞表演、唐装打卡、仿古文创售卖等形式，刻意营造唐风文化氛围，文化展示却全程停留在表演层面，无任何活态文化传承。场内没有真正的非遗匠人、古法手工艺者、唐文化传承者常驻，所有文化表演均为流水线式的打卡演出，缺乏真实的文化底蕴；售卖的各类唐风文创，多为工业化量产的复刻品，毫无文化质感与传承价值；没有植入茶道、香道、抄经、古琴等沉浸式慢生活文化体验，所谓的文化展示，只是浮于表面的符号堆砌。
The project uses Sogdian dancer performances, Tang-costume photo opportunities, and the sale of mock-ancient cultural goods to deliberately stage a Tang-style cultural atmosphere, yet the cultural display remains throughout at the level of performance, with no living cultural transmission of any kind. There are no genuine intangible-heritage masters in residence, no practitioners of ancient handcrafts, no Tang-culture transmitters. All cultural performances are assembly-line, photo-op shows that lack any real cultural depth. The various Tang-style cultural goods on sale are largely industrially mass-produced reproductions, with no cultural quality or transmission value. There are no immersive slow-life experiences of tea-ceremony, incense-ceremony, sutra-copying, or guqin. The 'cultural display' is no more than a piling-up of surface symbols.
李建军认为，复建团队始终在贩卖唐代文化的标签，而非传承盛唐文化的内核。真正的盛唐文化，是市井间的烟火气息，是胡商驼铃的悠远，是一碗胡麻饼的香气，是文人雅士的从容，是包容万物的气度。新建大唐西市，只有唐代建筑的形制，没有盛唐文化的神韵；只有喧闹的表演声响，没有文化沉淀的韵味，彻底沦为文化符号的堆砌，丢失了文化传承的核心。
In Li's view, the reconstruction team has been selling the labels of Tang culture from start to finish, not transmitting the core of high-Tang culture. Genuine high-Tang culture is the lived-in warmth of the marketplace; the distant ring of foreign merchants' camel bells; the fragrance of a single sesame cake; the unhurried ease of literati and refined people; the bearing that embraces all things. The new Great Tang West Market has only Tang architectural forms, not the spirit-rhythm of high-Tang culture; only the loud noise of performances, not the resonance of culture sedimented over time. It has degenerated entirely into a piling-up of cultural symbols and lost the core of cultural transmission.
5. 时空节律断裂，违背自然作息，空间无收心归寂之感
5. The Rhythm of Time and Space Is Broken; the Space Violates Natural Cycles; There Is No Sense of Drawing the Heart Inward into Stillness
新建大唐西市主打夜间不夜城概念，彻夜灯光通明、霓虹闪烁，刻意打破自然时空节律，看似营造全天候繁华，实则彻底切断了人与天地自然的连接。清晨时分，空间空荡死寂，没有晨练的市民、没有早起的市井摊贩、没有炊烟与生机，缺失了晨光初露的宁静与朝气；黄昏时分，本该是慢慢收市、人心归静的时段，却依旧人潮涌动、喧闹不休，没有舒缓从容的氛围；全域24小时不间断亮灯，违背晨鼓开市、暮鼓收市的传统天人合一理念，空间没有昼夜之分、没有作息节律。
The new Great Tang West Market markets itself with the 'never-sleeping city' concept: lights blazing through the night, neon flickering, deliberately breaking the natural rhythm of time and space. It appears to manufacture round-the-clock prosperity, but in fact completely severs people from heaven, earth, and nature. At dawn, the space is empty and dead-still — no citizens out for morning exercise, no early-rising market vendors, no kitchen smoke or vitality — without the calm and freshness of first light. At dusk, the time when the market should be gradually closing and the heart returning to quiet, the crowds still surge and the noise continues, with no ease or unhurriedness. The entire site is lit 24 hours without interruption, violating the traditional 'heaven-and-human one' idea of 'opening market by morning drum, closing market by dusk drum.' The space has no division between day and night, no rhythm of work and rest.
李建军谈到，盛唐西市遵循天地时序，晨鼓启市、暮鼓收市，张弛有度、收放自如，这是顺应自然、安抚人心的空间智慧。而当代复建项目，打造永不关灯的商业场域，如同一个不知休憩的机器，不仅自身气场无法收敛，更让身处其中的人心神不宁、无法归寂。空间不懂收敛，人心便无处安放，这是对自然节律、人本需求的双重背离。
Li speaks of how the high-Tang West Market followed the order of heaven and earth: the morning drum opened the market, the dusk drum closed it; tension and release in measure, expansion and contraction at ease. This is the spatial wisdom that follows nature and calms the human heart. The contemporary reconstruction, however, has built a commercial field whose lights never go off — like a machine that does not know how to rest. Not only can its own qi-field not draw in; it also leaves people within it restless and unable to find stillness. When a space does not know how to draw in, the human heart has nowhere to settle. This is a double departure — from natural rhythm and from human-centered need.
二、空间审视背后的五重深层感悟
II. Five Deep Realizations Behind the Spatial Examination
通过对新建大唐西市的全方位人体工程学诊断，李建军生出五重直击本质的感悟，也为当代文化遗产复建、城市空间规划留下深刻启示。
Through a comprehensive Human Body Engineering diagnosis of the new Great Tang West Market, Li arrived at five essence-piercing realizations that leave deep lessons for contemporary cultural-heritage reconstruction and urban spatial planning.
其一，文化复兴的核心是唤醒人与土地的情感联结，绝非单纯的建筑造景。复建历史文化空间，从来不是复刻古建筑的外形，而是找回历史场域中，人与土地、人与文化、人与人之间的情感羁绊，让空间拥有温度与记忆，而非冰冷的仿古建筑集群。
First, the core of cultural revival is awakening the emotional bond between person and land, not merely architectural scenery-making. Reconstructing a historical-cultural space has never meant reproducing the outward shape of ancient buildings; it means recovering the emotional ties — between person and land, person and culture, person and person — that lived within the historical field, so that the space carries warmth and memory, rather than being a cold cluster of mock-ancient buildings.
其二，风水的本质是人本化空间设计，所谓吉地，便是让人身心舒适、愿意停留、心生归属感的地方。人体工程学与科学化风水，从不追求玄学说辞，而是立足人的身心需求，打造适配人体节律、顺应自然气场的宜居宜游空间。
Second, the essence of fengshui is human-centered spatial design. A so-called auspicious site is simply a place where the body and mind are at ease, where one wishes to linger, and where a sense of belonging arises. Human Body Engineering and scientific fengshui never pursue mystical rhetoric. They stand on the body-mind needs of human beings to make spaces fitted to bodily rhythm, attuned to natural qi-fields, and good both to live in and to visit.
其三，盛唐气象的核心是包容自信的气度，而非建筑瓦当的形制。复刻盛唐文化，不该纠结于飞檐斗拱的外在形式，而要传承盛唐开放包容、兼容并蓄、以人为本的精神内核，这才是历史空间最该复刻的核心气场。
Third, the core of high-Tang atmosphere is the bearing of inclusion and confidence, not the form of eaves and tile-ends. To reproduce high-Tang culture, one should not get tangled in the outward forms of flying eaves and dougong, but must transmit the inner spiritual core of the high Tang — open, inclusive, accommodating, human-centered. This is the core qi-field that historical space most ought to reproduce.
其四，商业空间的最高境界是无商业感，当人在空间中忘却消费，只感受生活本身，才是真正的成功。文化商业综合体，要先营造生活气息、人本氛围，再实现商业价值，本末倒置只会让空间失去灵魂。
Fourth, the highest state of a commercial space is the absence of any sense of commerce. Only when people forget consumption within a space and simply feel life itself has the space truly succeeded. A cultural-commercial complex must first build the breath of life and a human-centered atmosphere, and only then realize commercial value. To invert root and branch is to leave the space without a soul.
其五，当代历史空间复建，极易陷入复刻形制、丢失魂魄的误区。长安之魂，从来不是建筑的模样，而是天下人皆可安居、皆可从容生活的胸襟，是以人为本、包容万物的城市气度，这一点恰恰是新建大唐西市的核心缺失。
Fifth, contemporary historical-space reconstruction falls all too easily into the trap of copying form and losing soul. The soul of Chang'an has never been the look of its architecture; it is the breadth of heart that lets all under heaven dwell in peace and live with ease — a city's bearing that takes the human as foundation and embraces all things. This is precisely what the new Great Tang West Market most fundamentally lacks.
三、李建军基于人体工程学的空间优化建议
III. Li Jianjun's Spatial Optimization Recommendations Based on Human Body Engineering
针对新建大唐西市的问题，李建军从人本、气场、文化、生活维度，提出针对性优化建议，核心是让空间回归人本、回归生活、回归历史本真。
Addressing the problems of the new Great Tang West Market, Li offers targeted recommendations from the human-centered, qi-field, cultural, and life dimensions. The core is to return the space to the human, to life, and to historical truth.
他提出，复建团队要明确项目定位，绝非打造网红旅游打卡地，而是构建现代西安人的心灵栖息地、盛唐文化的活态传承地。首先要缩减30%的商业铺面，刻意留出留白空间，打造树荫下的石凳、水边的长廊、巷弄里的茶摊等非交易休憩区，让人有地方停留、有空间放松；其次，引入唐文化活态传承者，邀请唐茶师、古法匠人、传统乐师、胡旋舞传人常驻展演，让文化从表演变为日常，真正实现活态传承；再者，改造现有水系，引入活水打造循环溪流，让水声滋养空间、灵动气场，实现天地之气的自然循环；同时恢复传统时序，打造清晨晨市、傍晚暮市，清晨限定市民晨练、市井早餐、慢生活市集，让空间回归日常生机；最后严格执行夜间熄灯制度，夜晚十点后只保留柔和月光灯，让空间与人心都能静下来、收心归寂。
He proposes that the reconstruction team clearly redefine the project's positioning: not as a 'viral check-in' tourist site, but as a spiritual home for the modern people of Xi'an and a place for the living transmission of high-Tang culture. First, reduce commercial frontage by 30 percent, deliberately leaving blank space, and build non-transactional resting zones: stone benches under trees, long corridors by the water, tea-stalls in the lanes — places where people have somewhere to pause and room to relax. Second, introduce living transmitters of Tang culture: invite Tang tea-masters, ancient-method craftsmen, traditional musicians, and inheritors of the Hu xuan dance to be in residence and to demonstrate, so that culture moves from performance to daily life and living transmission is genuinely realized. Third, remodel the existing water system: bring in living water to create circulating streams, so that the sound of water nourishes the space, animates the qi-field, and realizes the natural circulation of heaven-and-earth qi. At the same time, restore the traditional time-order: build a morning market and an evening market; reserve the early hours for citizen morning exercise, marketplace breakfast, and slow-life markets, returning the space to daily vitality. Finally, strictly enforce night-time lights-out: after 10 p.m. retain only soft, moonlight-style lighting, so that both space and human heart can grow still and draw inward.
李建军强调，不必刻意追求表面的繁华热闹，真正的历史文化空间，核心是让人慢下来、静下来、沉下来。新建大唐西市，不该是追逐流量的商业场所，而应成为现代人找回生活本真、唤醒人文初心、回归人本状态的心灵栖息地。
Li emphasizes: there is no need to chase surface-level prosperity and bustle. The core of a true historical-cultural space is to let people slow down, quiet down, and settle down. The new Great Tang West Market should not be a traffic-chasing commercial site; it should become a spiritual home where modern people recover the truth of life, reawaken the original humane heart, and return to a human-centered state of being.
以空间为镜，照见文明复建的本质
Taking Space as a Mirror, to See the Essence of Civilizational Reconstruction
李建军对新建大唐西市的诊断，从来不是单纯的风水评判，而是以人体工程学为镜，照见当代文化遗产复建的普遍误区：我们总以为复刻建筑形制，就等于传承文明；总以为灯光璀璨，就等于拥有文化灵魂；总以为人流密集，就等于文化繁荣。
Li's diagnosis of the new Great Tang West Market is by no means a mere fengshui judgment. It uses Human Body Engineering as a mirror to reveal the widespread errors of contemporary cultural-heritage reconstruction: we always assume that copying architectural form equals transmitting civilization, that dazzling light equals possessing a cultural soul, that dense crowds equal cultural prosperity.
但盛唐西市的核心密码，从来不是外在的建筑形态，而是开放包容的胸襟、善待每一个人的温度、不喧哗不催促的从容、顺应天地人本的智慧。真正的盛唐气象，不在砖瓦之间，而在人心之中。
But the core cipher of the high-Tang West Market has never been outward architectural form. It is openness and inclusion of heart, the warmth of treating every person well, the ease of neither clamor nor rush, and the wisdom of attuning to heaven, earth, and the human-centered. The true atmosphere of high-Tang lies not between bricks and tiles, but within the human heart.
对于当代文化空间建设而言，无需百分百复刻唐代的市井模样，只需打造一个以人为本、让人能安心做回自己、从容感受生活的空间。如此，才算真正找回历史气场，才算实现真正的文化复兴，这便是人体工程学视角下，空间规划与文明传承的终极真谛。
For contemporary cultural-space construction, there is no need to reproduce the Tang marketplace one hundred percent. It is enough to make a human-centered space where people can rest in being themselves and feel life with ease. Only in this way is the historical qi-field truly recovered; only in this way is true cultural revival realized. This is the ultimate truth — from the perspective of Human Body Engineering — of spatial planning and civilizational transmission.
作者简介：
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。
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。
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。
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。
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。
Author Profile:
Li Shenqi (Rex Lee) is a Chinese-American actor, award-winning playwright, and Broadway producer based in New York City. He earned his undergraduate degree from the University of Chicago, majoring in History and Political Science, and later obtained a Master's degree in Finance and Sociology from the London School of Economics and Political Science (LSE).
Li Shenqi boasts extensive experience spanning the realms of art, finance, and public affairs. He has previously held positions at Sotheby's, an internationally renowned art auction house, and worked as a corporate lobbyist in Washington, D.C., representing several multinational corporations in policy advocacy.
His acting career took off after being shortlisted for the prestigious Jerry Herman Awards across the United States, an experience that ignited his passion for stage art. Subsequently, Li Shenqi became the sole Chinese-American male actor selected that year to join the National Theatre Company of Great Britain and embarked on international tours. He has also appeared in national-level advertisements in the United States, short films at film festivals, professional theatre productions Off-West End in London, and was invited by the Bulgarian Ministry of Culture to perform at the National Theatre in Sofia, showcasing his multilingual and multicultural stage presence.
Beyond the stage, Li Shenqi has excelled academically as well. He achieved remarkable results in the National History Bowl and the U.S. Geography Olympiad, earning a spot on the U.S. national team. His profound understanding of global affairs, cultural history, and geopolitics continuously infuses his plays and performances with intellectual depth and cross-cultural narrative perspectives.
As a Broadway producer, Li Shenqi is committed to building bridges between Chinese and American theatre—introducing American plays to China and bringing Chinese works to the New York stage. He firmly believes that theatre can transcend language and national boundaries, serving as a window for cultural exchange and a resonance of the soul. His works focus on immigrant experiences, identity, and cultural dislocation, continuously reshaping the meaning of "belonging" through art and promoting the dissemination and reimagination of Asian narratives in the global theatre landscape.
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