刀琢方寸玉，心守惟一齋——翟倚衛與海派玉雕的人體工程學境界

刀琢方寸玉，心守惟一齋——翟倚衛與海派玉雕的人體工程學境界（二） Blade Carving Inch Upon Inch of Jade, Heart Tending the Studio of Singular Devotion — Zhai Yiwei and the Human Engineering Realm of Shanghai-Style Jade Carving (II)Blade Carving Inch Upon Inch of Jade, Heart Tending the Studio of Singular Devotion — Zhai Yiwei and the Human Engineering Realm of Shanghai-Style Jade Carving (II)

李神琦（REX LEE）

人體工程學研究員｜美國紐約百老匯制作人

Human Engineering Researcher | Broadway Producer, New York City

畢業于倫敦政治經濟學院金融與社會學專業

Graduate of the London School of Economics, Finance and Sociology

曾任紐約蘇富比拍賣公司管理部

Former Management Department, Sotheby's New York

上海的城市肌理，從來都是傳統與現代的共生體。石庫門的雕花欄桿與摩天樓的玻璃幕墻相映，外灘百年建筑的圓弧線條與濱江現代地標利落切面對話，這座城市始終在尋找剛與柔、古與今、東與西最舒適的契合點。而在海派玉雕的世界里，國家級非物質文化遺產代表性傳承人翟倚衛，正以一把刻刀、一方美玉、一間名為“惟精惟一之室”的工作室，復刻著上海的城市精神，更在方寸玉牌之間，雕琢出傳統工藝與現代審美、藝術表達與人體工程學完美交融的至高境界。

Shanghai's urban fabric has always been a coexistence of tradition and modernity. The carved railings of shikumen courtyards mirror the glass curtain walls of skyscrapers; the graceful arcs of the Bund's century-old buildings converse with the crisp angles of contemporary riverside landmarks. This city has always sought the most perfect balance between strength and gentleness, past and present. Zhai Yiwei is the finest interpreter of this urban spirit in the world of jade carving.

《云臺清曲》Yunlai Qingqu (Melody from Cloud Terrace)

《云帶鐘聲》Yundai Zhongsheng (Bell Sound Through Cloud Veil)

翟倚衛本名翟念衛，是業內公認的“新海派文人玉牌”開創者。他并非閉門造車的守舊匠人，早年游學日本的經歷，讓他得以跳出傳統玉雕的固有框架，將西方美術的構圖邏輯、版畫的光影層次、現代設計的空間理念，與中國古典詩詞的意境、書法繪畫的筆墨韻味融為一體。他的作品兩度驚艷世界：2014年，《云臺清曲》《云帶鐘聲》搭載探月飛行器遨游太空，成為人類歷史上首批“巡天玉雕”；2017年，《別尋方外去》《春之韻》被大英博物館永久館藏，讓當代中國玉牌正式邁入世界主流藝術殿堂。而這一切成就的原點，正是他工作室中“惟精惟一之室”這四個字，字字千金，道盡他的藝術追求與人生境界。

Born Zhai Nianwei, Zhai Yiwei is widely recognized in the industry as the pioneer of the New Shanghai-Style Scholar Jade Tablet. He was never a conservative craftsman working in isolation. His early study in Japan freed him from the fixed framework of traditional jade carving, allowing him to fuse the compositional logic of Western fine art, the light-and-shadow layering of printmaking, and the spirit and mood of Eastern ink painting into a single creative crucible. His jade tablets — white jade as ground, engraving blade as brush, Shanghai urban life as subject, classical verse as annotation — construct intimate spiritual spaces that carry the refined taste of the literati alongside contemporary humanist sensibilities.

《別尋方外去》、《春之韻》Bie Xun Fang Wai Qu (Seek No Further Beyond) and Chun Zhi Yun (Cadence of Spring)

“惟精惟一”出自《尚書·大禹謨》，“人心惟危，道心惟微，惟精惟一，允執厥中”，這不僅是儒家修身的核心，更是翟倚衛玉雕藝術的靈魂。所謂“精”，是技法上的極致精準，是對每一刀、每一線、每一處光影的苛求。他承襲明代陸子岡開創的“子岡牌”經典形制，堅守陽刻浮雕的傳統根脈，卻又不被古法束縛，大膽融入現代美術的陰陽對比、虛實相生、疏密節奏。他的刀法細膩到能捕捉午后陽光穿過窗欞的慵懶，能勾勒出微風拂過衣袂的輕柔，能在毫厘之間分出遠山的朦朧與近景的清晰。在他的刻刀下，玉石不再是冰冷堅硬的材質，而是有溫度、有光影、有呼吸的生命體，每一處線條都流暢自然，每一處雕琢都恰到好處，多一分則冗雜，少一分則單薄，如同人體工程學對尺度的精準把控，追求的是極致的舒適與和諧。

Wei Jing Wei Yi — Be singularly precise and singularly devoted — comes from the Book of Documents: The human mind is perilous; the Way-mind is subtle; be singularly precise and singularly devoted, and hold fast to the mean. This is not only the core of Confucian self-cultivation but the very soul of Zhai Yiwei's jade carving art. Jing (precision) refers to the utmost exactitude in technique — the exacting refinement of every blade stroke and every millimeter, practiced with the same intensity for decades; the unwavering pursuit of integrating the perspectival precision of Western drawing, the light-and-shadow layering of printmaking, and the spirit and energy of calligraphic brushwork into every jade tablet.

《午茶時分》Wucha Shifen (Afternoon Tea)

而“一”，則是他心性上的專注守一，是心無旁騖的藝術堅守。翟倚衛并非年少成名，他在41歲才真正重返玉雕界，此前數十年的人生閱歷，游學見聞、書法練習、文學積淀、美學思考，全都沉淀于心，最終盡數化入那一方小小的玉牌之中。他不追名逐利，不隨波逐流，終日在“惟精惟一之室”里與玉石為伴，與刻刀為友，將所有的精力、才情與思考，都凝聚在方寸之間。這種“一生一事，一事一生”的專注，讓他的作品褪去了浮躁之氣，多了厚重之感，每一塊玉牌都承載著他的精神內核，既有傳統文人的清雅風骨，又有現代藝術的開放包容。

Yi (singularity) speaks to his wholehearted focus — an artistic devotion free of distraction. Zhai Yiwei did not achieve early fame; it was not until age 41 that he truly returned to jade carving. The decades of life experience that preceded — travels and study abroad, calligraphy practice, literary accumulation, aesthetic cultivation — all became the rich foundation that nourishes his art. His Studio of Singular Devotion is not merely a workshop but a philosophy of living: within an inch of space, hold fast to one's original aspiration, hold fast to tradition, hold fast to the purest pursuit of beauty.

《倩影》Qianying (Silhouette)

更難得的是，翟倚衛的玉雕，早已超越了單純的視覺審美，抵達了人體工程學所追求的“天人合一、以人為本”的境界。人體工程學講究的是器物與人的生理、心理高度適配，讓器物服務于人、滋養人，而翟倚衛的玉牌，正是這樣一件貼合身心的藝術珍品。

What is even more remarkable is that Zhai Yiwei's jade carving has long transcended mere visual aesthetics, reaching the human engineering ideal of unity of Heaven and humanity, centered on the human. Human engineering is concerned with the deep physiological and psychological compatibility between object and person — making the object a natural extension of the human body. Zhai Yiwei's jade tablets achieve precisely this ideal.

《雨瀝》Yuli (Rain Drizzle)

從生理觸感而言，他的玉牌在形制、尺寸、弧度、厚度上，都經過了精心的測算與打磨。摒棄了傳統玉牌生硬的棱角，邊緣打磨得圓潤順滑，握持時恰好貼合掌心的曲線，重量適中，摩挲之間溫潤貼膚，毫無違和感。無論是握于手中把玩，佩于胸前裝飾，還是系于腕間點綴，都能與人體自然貼合，兼顧美觀與舒適。這種對人體尺度的精準把握，讓玉牌不再是高高在上的展品，而是融入日常、陪伴身心的伴侶，完美詮釋了人體工程學“實用與美學統一”的核心。

In terms of physical touch, his jade tablets have been meticulously calculated and refined in form, dimension, curvature, and thickness. Gone are the sharp edges of traditional jade tablets; the perimeters are polished to a smooth roundness that naturally conforms to the palm's curve when held. The weight is well-balanced, the warmth of the jade is strong, and extended handling causes neither fatigue nor tedium. This is no accident — it is the manifestation of Zhai Yiwei having internalized human engineering principles and externalized them in his objects.

《松風澗水》Songfeng Jianshui (Pine Wind, Mountain Stream)

從精神層面來講，翟倚衛的玉雕更是契合了人體工程學對心理舒適、精神滋養的追求。現代人身處快節奏的都市生活，焦慮、浮躁、疲憊成為常態，而他的玉牌以簡約空靈的構圖、詩意悠遠的意境、溫潤柔和的質感，為人們打造了一方心靈的棲息地。畫面中或有倚窗遠眺的女子，或有云卷云舒的山水，或有清雅雋永的詩詞，沒有繁復的堆砌，只有恰到好處的留白，讓人凝視之時，便能靜下心來，忘卻塵世的喧囂。玉養人，不僅養的是肌膚，更是養的心神，這種精神上的舒緩與治愈，正是人體工程學的至高境界——讓器物與人的精神世界同頻共振，達到身心和諧的狀態。

At the spiritual level, Zhai Yiwei's jade carving further embodies the human engineering pursuit of psychological comfort and spiritual nourishment. Modern people live in fast-paced urban environments where anxiety, restlessness, and fatigue have become the norm. His jade tablets — with their spare, ethereal compositions, poetically evocative mood, and warm, refined texture — offer people a spiritual pressure relief valve, allowing them to find inner peace and equilibrium through a brief moment of handling and appreciation.

《紅霞映碧樓》Hongxia Ying Bilou (Crimson Glow, Jade Pavilion)

翟倚衛的玉雕世界，是上海城市精神的微觀呈現。如同這座城市的建筑，在傳統的根基上生長出現代的枝丫，在東方的底蘊里融入西方的養分，不破不立，不舍不棄。他以“惟精惟一”的匠心，雕琢傳統工藝的新生；以人體工程學的智慧，讓美玉真正貼近人心；以跨越時空的藝術語言，讓中國玉文化走向太空、走向世界。

Zhai Yiwei's jade carving world is a microcosmic expression of Shanghai's urban spirit. Like the city's architecture — growing modern branches from traditional roots, incorporating Western nourishment within an Eastern foundation, breaking the old only to establish the new, forsaking nothing while holding everything — he inscribes a cultural poem of an era upon a square inch of jade, guided by the artisan's heart of singular precision and singular devotion.

《早春》Zaochun (Early Spring)

方寸玉牌，藏天地萬象；一把刻刀，守匠心初心。在翟倚衛的“惟精惟一之室”里，沒有浮躁的功利，只有對藝術的虔誠，對傳統的敬畏，對現代的包容。他用刻刀告訴世界，傳統不是塵封的古董，現代不是無根的浮萍，當極致的技藝遇上專注的初心，當東方美學遇上人體工程學的智慧，千年玉雕便能在當代煥發新生，如同上海這座城市一般，在傳統與現代的交融中，綻放出永不褪色的光芒。而這，正是翟倚衛的藝術，也是海派玉雕最動人的魅力。

A jade tablet the size of an inch holds the myriad phenomena of heaven and earth; a single engraving blade guards the original aspiration of the craftsman's heart. In Zhai Yiwei's Studio of Singular Devotion, there is no restless pursuit of profit — only reverence for art, respect for tradition, and openness to modernity. Through his blade, he tells the world: tradition is not a shackle but a root; innovation is not betrayal but inheritance; a single small jade tablet can carry humanity's deepest aesthetic pursuit and most pristine spiritual longing.

作者簡介（About the Author）：

李神琦（Rex Lee）是一位華裔美國演員、獲獎劇作家與百老匯制作人，常駐紐約市。他本科畢業于芝加哥大學，主修歷史與政治學，并于倫敦政治經濟學院（LSE）獲得金融與社會學碩士學位。
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).

李神琦擁有橫跨藝術、金融與公共事務領域的廣泛經驗，曾于國際頂級藝術拍賣行蘇富比（Sotheby’s）任職，并在華盛頓特區擔任企業說客，代表多家跨國公司進行政策游說。

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圍全美極具聲望的 Jerry Herman Awards，這一經歷點燃了他對舞臺藝術的熱情。其后，李神琦成為當年唯一入選的華裔男演員，受邀加入英國國家劇院（National Theatre Company of Great Britain），并展開國際巡演。他也曾參演美國國家級廣告、影展短片，以及倫敦 Off-West End 的專業劇場演出，并受保加利亞文化部邀請，赴索菲亞國家劇院登臺演出，展現其多語文化的舞臺魅力。

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.

舞臺之外，李神琦在學術領域同樣表現出色。他曾在全美歷史競賽（National History Bowl）及美國地理奧林匹克（U.S. Geography Olympiad）中取得佳績，并入選美國國家隊。他對全球事務、文化歷史與地緣政治的深厚理解，持續為其劇作與表演注入思想深度與跨文化的敘事視角。

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.

作為百老匯制作人，李神琦致力于搭建中美戲劇之間的橋梁——將美國戲劇引入中國，也讓中國作品登上紐約舞臺。他堅信戲劇能夠穿越語言與國界，成為文化交流的窗口與心靈的共鳴。他的作品關注移民經驗、身份認同與文化錯位，通過藝術不斷重塑“歸屬”的意義，推動亞洲敘事在全球劇場中的傳播與再想象。

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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