刀刻中西韻，玉融古今魂——翟倚衛玉雕與人體工程學境界（三）

刀刻中西韻，玉融古今魂——翟倚衛玉雕世界里的傳統新生與人體工程學境界（三） Blade Carving the Rhythms of East and West, Jade Fusing the Souls of Past and Present — The Rebirth of Tradition and the Human Engineering Realm in Zhai Yiwei's World of Jade Carving (III)

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，一座在傳統肌理上生長出現代輪廓的城市。石庫門的黛瓦與陸家嘴的玻璃幕墻共生，外灘的古典拱券與濱江的極簡線條對話，這座城市最動人的氣質，便是在東方與西方、古典與現代之間，找到最舒適、最和諧、最貼近人心的交融點。而在海派玉雕的藝術版圖里，國家級非物質文化遺產（海派玉雕）代表性傳承人翟倚衛，正以一把刻刀、一方美玉，復刻著上海的城市精神。他手中的作品，與這座城市的經典建筑同頻共振，一同探索著傳統與現代交融的極致可能，更在方寸玉牌之間，抵達了人體工程學“天人同構、以人為本”的至高境界。

Shanghai — a city that has grown a modern silhouette upon a traditional urban texture. The dark tiles of shikumen courtyards coexist with the glass curtain walls of Lujiazui; the classical arches of the Bund converse with the minimalist lines along the riverfront. The city's most compelling quality lies in finding the most composed and refined point of equilibrium between East and West, classical and contemporary. Zhai Yiwei's jade carving is the jade embodiment of this urban spirit.

《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。他從不是固守古法的守藝人，而是打通古今、融匯中西的破界者。早年游學日本的經歷，為他打開了全新的美學視野，西方美術的嚴謹構圖、版畫的光影層次、現代設計的極簡理念，與中國古典詩詞的悠遠意境、傳統書畫的筆墨韻味、千年玉雕的精湛工藝融為一體，讓他跳出了傳統玉牌的固有框架，走出了一條獨屬于自己的藝術道路。他的藝術人生，有著兩次震撼世界的高光時刻：2014年，作品《云臺清曲》《云帶鐘聲》搭載中國探月飛行器遨游太空，成為人類歷史上首批“巡天”玉雕，讓東方美玉與星河對話；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。

Zhai Yiwei, born Zhai Nianwei, is widely acknowledged as the pioneer of the New Shanghai-Style Scholar Jade Tablet. He has never been a craftsman cloistered within ancient methods — rather, he is a boundary-breaker who connects past and present, synthesizes China and the West. His early study in Japan opened an entirely new aesthetic horizon, revealing to him the possibility of traditional jade carving being reborn within a modern artistic context. His legacy is defined by two irreproducible watershed moments: in 2014, Yunlai Qingqu and Yundai Zhongsheng journeyed into space aboard a lunar exploration vehicle, becoming the first jade artworks in human history to tour the cosmos; in 2017, Bie Xun Fang Wai Qu and Chun Zhi Yun were permanently acquired by the British Museum, establishing a precedent for contemporary Chinese jade tablets entering the world's foremost museum.

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

而支撐這一切成就的，是他刻在藝術骨子里的核心理念——惟精惟一。這四字出自《尚書·大禹謨》：“人心惟危，道心惟微，惟精惟一，允執厥中。”“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；“一”，是心性上的專注守一，是心無旁騖、一生一事的藝術堅守。他41歲才真正重返玉雕界，此前數十年的人生積淀、美學修行、文化感悟，盡數化入那一方小小的玉牌之中，厚積薄發，終成大家。

The core belief engraved in the bones of his artistry — Wei Jing Wei Yi (Singular Precision, Singular Devotion) — underpins all these achievements. These four characters come from the Book of Documents. Jing (precision) is the ultimate exactitude in technique — the creative pursuit of perfectly fusing Western perspective, light-and-shadow, and composition with Eastern spirit, negative space, and mood. Yi (singularity) is the steadfast focus of the spirit — pursuing infinite artistic horizons within an inch of space with a heart of absolute purity.

若從百老匯的藝術視角審視，翟倚衛的玉雕，恰好是中國傳統文化如何“當代化”的絕佳樣本。他沒有將傳統束之高閣，也沒有盲目追逐新潮，而是在傳統根脈與現代生活之間，找到了精準的交融點，讓千年玉雕真正走進當代人的生活與內心。

Viewed through the artistic lens of Broadway, Zhai Yiwei's jade carving is an ideal model of how Chinese traditional culture achieves contemporaneity. He has neither placed tradition on an untouchable pedestal nor blindly chased trends. Instead, between the roots of tradition and the reality of modern life, he has found the most resonant creative path. His jade tablets are like Broadway's classic productions — respecting tradition while narrating timeless stories of humanity in a contemporary voice, allowing every viewer to find their own emotional resonance within the work.

《早春》Zaochun (Early Spring)

他的第一個突破，是題材之新——首創將當代都市女性、時尚生活刻入玉牌。

His first breakthrough is the novelty of subject matter — pioneering the engraving of contemporary urban women and fashionable life onto jade tablets.

傳統玉牌，多以仙佛、祥瑞、古山水為主題，距離當代生活遙遠。而翟倚衛大膽破局，將目光投向身邊的都市生活，刻畫出一位位婉約朦朧的“背影女子”。她們沒有直白的面容，卻有著恰到好處的身姿與氣韻，或倚窗而立，或漫步弄堂，或靜享午茶，既有傳統閨秀的溫婉雅致，又有現代女性的獨立從容，像極了戲劇舞臺上欲語還休的經典瞬間，留白之處，盡是韻味。這種將現代都市生活、時尚審美融入古典玉雕的創作，讓玉牌不再是博物館里的古董，而是承載當代人文、記錄時代風情的藝術載體，如同上海的建筑，在古典骨架里裝下了現代的生活氣息。

Traditional jade tablets are largely devoted to immortals, auspicious symbols, and ancient landscapes — far removed from contemporary life. Zhai Yiwei boldly broke this convention by turning his gaze toward the urban life surrounding him, carving a series of gentle, indistinct silhouetted women. They bear no explicit face, yet through a turned back, a flowing hemline, a strand of hair, they evoke boundless imagination and resonance in the viewer — a contemporary extension of China's aesthetic of restraint.

他的第二個交融，是意境之詩——把宋詞小令凝固在溫潤白玉里。

His second fusion is the poetry of mood — crystallizing the lyric verse of Song-dynasty ci-poetry in warm white jade.

翟倚衛的山水牌、人文牌，從不追求繁復堆砌，而是強調詩情雅韻。代表作《倩影》《早春》《午茶時分》等，屢獲“天工獎”“百花獎”金獎，是業內公認的經典。他以極簡的線條、空靈的構圖、柔和的光影，勾勒出遠山近水、清風倩影，每一塊玉牌都像一首凝練的宋詞，意境悠遠，耐人尋味。午后陽光的慵懶、微風拂衣的輕柔、獨處時光的靜謐，都被他用刻刀定格在玉石之上，讓堅硬的玉石有了溫度，有了呼吸，有了直擊人心的治愈力量。

Zhai Yiwei's landscape tablets and humanist tablets never pursue ornate accumulation but emphasize poetic elegance. Representative works including Qianying (Silhouette), Zaochun (Early Spring), and Wucha Shifen (Afternoon Tea) have repeatedly won gold at the Tiangong Award and Baihua Award — recognized classics in the industry. With minimalist lines he conjures distant moods, allowing viewers to feel, within an inch of space, the tender depth of Song lyric verse and the ethereal Chan spirit of Chinese landscape painting.

《午茶時分》Wucha Shifen (Afternoon Tea)

更難得的是，這位在方寸之間堅守“惟精惟一”的大師，與百老匯里那些經年累月打磨一臺戲、用心雕琢每一個細節的創作者們，在精神底色上驚人地一致——他們都是用時間對抗浮華，用專注沉淀經典，用極致的匠心，對抗時代的浮躁，雕刻永恒的藝術。

What is even more remarkable is that this master who adheres to Singular Precision and Singular Devotion within an inch of jade shares a strikingly similar spiritual foundation with those Broadway creators who spend years polishing a single production and attentively refining every detail — they all use time to resist restlessness, use focus to resist clamor, and use their ultimate pursuit of beauty to achieve timeless works in their respective fields.

而翟倚衛之所以能成為“新海派文人玉牌”的開創者，核心在于他構建了一套橫跨東西、縱貫古今的美學合流體系。他的美學，從來不是單一源流：既有中國傳統文人畫“意在畫外”的留白智慧，又有西方美術“光影構圖”的科學邏輯；既有子岡牌方正典雅的形制根基，又有現代設計“少則多”的極簡理念；既有古典詩詞的文化底蘊，又有當代生活的人文溫度。這種多元融合的美學，讓他的作品既不失東方風骨，又符合現代審美，既經得起傳統行家的推敲，又能讓年輕一代心生喜愛。

The reason Zhai Yiwei could found the New Shanghai-Style Scholar Jade Tablet lies in his construction of an aesthetic confluence system spanning East and West, past and present. His aesthetic draws from multiple streams: the ethereal realm of meaning beyond the image in Chinese traditional literati painting; the compositional logic of form as content in Western modernist art; the open spirit of Shanghai culture's synthesis of East and West; and the craftsman's spirit of Singular Precision and Singular Devotion as its spiritual pillar. These four forces converge beneath his engraving blade to form a wholly unique artistic language.

《倚微風》Yi Weifeng (Leaning into the Gentle Breeze)

當我們以人體工程學的境界重讀翟倚衛的玉雕，會發現他的作品早已超越了視覺藝術的層面，實現了器物與人的生理、心理、精神三重和諧，這正是人體工程學“天人合一、以人為本”的核心追求。

When we re-read Zhai Yiwei's jade carving through the lens of human engineering, we find that his works have long transcended the realm of visual art, achieving a triple harmony between the object and the human being across physiological, psychological, and spiritual dimensions — precisely the highest ideal of human engineering's unity of Heaven and humanity, centered on the human.

《彼姝者子》Bi Shu Zhe Zi (That Beautiful Lady)

從生理尺度來看，他的玉牌是貼合人體的舒適造物。

From a physiological perspective, his jade tablets are objects of comfort that conform to the human body.

方寸大小、適中厚度、圓潤弧度，每一處尺寸都經過精心打磨，摒棄生硬棱角，邊緣順滑溫潤，握持時恰好貼合掌心曲線，佩戴時自然貼合肌膚。無論是握于掌心盤玩，佩于胸前點綴，還是系于腕間相伴，都兼顧美觀與舒適，如同為人體量身定制一般。這種對人體尺度的精準把控，讓美玉不再是冰冷的展品，而是陪伴日常、貼合身心的伴侶，實現了工藝美學與人體工學的完美統一。

Inch-square in size, moderate in thickness, rounded in curvature — every dimension has been carefully refined. Sharp edges are eliminated; the perimeters are smooth and warm. When held, the tablet naturally conforms to the palm's curve; when worn, it settles naturally against the skin. Whether rolling it in the palm, wearing it as an adornment at the chest, or appreciating it on a study desk, the tablet forms the most natural and comfortable relationship with the human body.

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

從精神滋養來看，他的玉牌是治愈心靈的人文空間。

From the perspective of spiritual nourishment, his jade tablets are humanist spaces that heal the soul.

人體工程學不止關注生理舒適，更追求精神的平和與舒展。現代人身處快節奏的都市，被焦慮、浮躁、疲憊裹挾，而翟倚衛的玉牌，以溫潤的質感、空靈的意境、詩意的畫面，為人們打造了一方心靈棲息地。凝視玉牌，仿佛遠離塵世喧囂，步入清雅山水，邂逅溫婉倩影，在方寸之間獲得內心的寧靜與放松。玉養人，養的不僅是肌膚，更是心神。這種精神層面的舒緩、治愈與升華，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，達到身心合一的和諧狀態。

Human engineering attends not only to physiological comfort but also to the peace and ease of the spirit. Modern people are enveloped by the anxiety, restlessness, and fatigue of fast-paced urban life. Zhai Yiwei's jade tablets — with their warm texture, ethereal mood, and poetic imagery — open for people a spiritual space away from the clamor, returning them to their inner selves.

《勝日臨春》Shengri Lin Chun (Glorious Day at Spring's Threshold)

一把刻刀，雕琢中西美學；一方玉牌，承載古今情懷。翟倚衛的玉雕世界，是上海城市精神的微觀縮影，也是中國傳統工藝當代新生的最佳范本。他以“惟精惟一”的匠心，堅守傳統根脈；以融匯東西的視野，打破藝術邊界；以人體工程學的智慧，讓美玉真正貼近人心、滋養身心。

One engraving blade carves the aesthetics of East and West; one jade tablet carries the feelings of past and present. Zhai Yiwei's jade carving world is a microcosm of Shanghai's urban spirit and the finest model of the contemporary rebirth of China's traditional craftsmanship. With the artisan's heart of Singular Precision and Singular Devotion, he has found the most resonant creative path between tradition and modernity.

在這個追求速度與浮華的時代，翟倚衛用一方玉牌告訴我們：真正的經典，從不是盲目跟風，也不是固守陳舊，而是在傳統與現代之間找到平衡，在技藝與人文之間實現統一，在器物與人心之間構建共鳴。他的刻刀，如同上海建筑的線條，勾勒出傳統新生的最美模樣；他的美玉，承載著東方美學的溫潤力量，在太空遨游，在世界館藏，在人心深處，綻放著永不褪色的光芒。

In this age of speed and superficiality, Zhai Yiwei uses a jade tablet to tell us: true classics are never born of blind trend-following or rigid conservatism, but of finding balance between tradition and modernity, achieving unity between technique and humanity, and establishing resonance between object and soul.

這，就是翟倚衛的玉雕世界——刀有盡，意無窮；玉有質，心無界。

This is Zhai Yiwei's world of jade carving — the blade has an end, but meaning is inexhaustible; jade has substance, but the heart knows no boundary.

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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