刀融五維境，玉合人之心——翟倚衛玉雕與人體工程學至高境界

刀融五維境，玉合人之心——翟倚衛玉雕與人體工程學至高境界（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

上海的城市美學，從來都是一場溫柔而堅定的融合。石庫門與摩天樓并肩，里弄煙火與國際風尚共生，外灘建筑的優雅弧線與陸家嘴的利落幾何彼此呼應，這座城市用最舒服的尺度，讓傳統與現代、東方與西方完美共生。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，延續著這座城市的精神探索。他的作品，如同上海的建筑，在方寸之間實現傳統與現代的極致交融；而當我們以人體工程學的視角品讀，更能發現其藝術早已超越視覺，抵達身心合一、天人同構的至高境界。

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.

《雨瀝》Yuli (Rain Drizzle)

翟倚衛本名翟念衛，是“新海派文人玉牌”當之無愧的開創者。他的藝術從不孤懸于傳統，也不盲從于潮流，而是以扎實深厚的美學根基，構建出一套完整且獨特的創作體系。若將他的美學功底拆解為五大維度，便能清晰看見這位玉牌新文人的修養構成，更能讀懂他為何能讓古老玉雕，在當代世界綻放出如此動人的生命力。

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.

第一維度是教育根基，科班訓練與國際視野的雙重滋養。翟倚衛的起點，是上海玉雕廠工業中學的嚴格科班訓練，系統的傳統造型學習、嚴苛的工藝規范、日復一日的基本功打磨，為他打下了穩如磐石的傳統功底。不同于許多民間藝人的自學摸索，他的技法從一開始便具備嚴謹的結構性與規范性。而此后日本、瑞典的游學經歷，如同為他打開了另一扇美學大門，北歐極簡主義的干凈線條、克制色彩、功能至上，日本工藝對細節、質感、分寸的極致追求，與東方審美天然契合。兩種教育背景一古一今、一中一西，讓他既守得住傳統的根，又看得懂世界的美，如同人體工程學對基礎結構的精準要求，穩固而舒展。

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.

《關關雎鳩》Guan Guan Jujiu (The Ospreys Cry, Guan Guan)

第二維度是跨文化融合，西方理念與東方意境的完美平衡。翟倚衛最大的突破，便是不把玉雕當作單純的工藝裝飾，而是將其視為現代藝術的表達載體。他大膽引入西方美術的透視原理、立體架構、點線面構成，讓平面玉牌擁有了前所未有的空間感與層次張力；同時，他始終堅守中國文人藝術“意在畫外”的詩意追求，留白、含蓄、空靈、悠遠，讓畫面有景更有意。這種融合不是生硬拼接，而是像上海建筑一樣，西式骨架里裝著東方靈魂，現代形式中藏著古典氣韻，實現了形式與意境、理性與感性的高度統一，也暗合人體工程學“舒適、協調、不突兀”的核心原則。

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.

第三維度是創作理念，題材破界與文學敘事的全新表達。傳統玉牌長期被神佛、瑞獸、古山水占據，與當代生活相隔甚遠。而翟倚衛毅然破局，首創“背影女性”“上海洋樓”“都市午茶”等現代都市題材，將石庫門、弄堂光影、摩登身姿、日常閑情刻入玉中，讓玉雕第一次真正擁抱當代生活。他更擅長以文學敘事注入方寸之間，讓一塊玉牌有故事、有情緒、有溫度，如同宋詞小令般耐人尋味。《倩影》《早春》《午茶時分》等作品屢獲天工獎、百花獎金獎，正是因為他讓玉雕從“觀賞性”走向“共鳴性”，如同人體工程學強調“以人為本”，他的創作以人心為出發點，以情感為連接點。

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)

第四維度是技法表現，書畫入玉與工藝創新的天人合一。翟倚衛擁有深厚的書法功底，玉牌上的詩文銘文皆由他親自書寫，筆意流暢、氣韻生動，讓玉、書、畫融為一體。他更將中國山水畫的皴法轉化為雕刻語言，以刀代筆，讓山石、林木、云水皆有筆墨意趣；同時擅長巧借玉料天然皮色進行俏色創作，不破壞玉質、不違背天性，讓自然之美與人工之巧渾然一體，達到“天人合一”的至高境界。這種技法既尊重材質本性，又貼合視覺與觸覺感受，正是人體工程學“順應自然、適配人本”的生動體現。

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.

《東來紫氣滿香關》Dong Lai Zi Qi Man Xiang Guan (Purple Mist from the East Fills the Fragrant Pass)

第五維度是藝術影響，師承大家與自成一家的風格確立。翟倚衛敬仰海派大師任伯年，也深愛吳冠中的現代藝術，早年曾大量臨摹吳冠中油畫，潛移默化中吸收其形式構成、線條韻律與意境表達。他不模仿、不照搬，而是將前輩精髓內化于心，最終淬煉出“清新典雅、唯美精致”的個人風格。這種傳承與創新，如同上海城市建筑在歷史脈絡上生長出新的高度，守其魂，變其形，適其用，最終成就獨一無二的藝術面貌。

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)

五大維度交織，構筑起翟倚衛完整而深厚的美學世界，而真正讓他的作品超越時代、走向世界的，是其深處潛藏的人體工程學境界。人體工程學追求的不是華麗，而是舒適；不是張揚，而是和諧；不是視覺沖擊，而是身心共鳴。翟倚衛的玉牌，大小恰合掌心，弧度溫潤貼膚，線條流暢不刺手，重量適中不累人，從物理尺度上完全貼合人體使用習慣；更重要的是，他的作品意境舒緩、氣質清雅、光影柔和，能讓觀者在凝視與觸摸間放下浮躁、平復心緒，實現精神層面的放松與治愈。玉養人，人養玉，在他這里不再是一句老話，而是人體工程學層面可感知、可體驗的真實境界。

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.

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

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

從遨游太空的《云臺清曲》《云帶鐘聲》，到大英博物館館藏的《別尋方外去》《春之韻》，翟倚衛用一把刻刀，讓中國玉牌走向宇宙、走向世界。他像百老匯舞臺上經年打磨作品的創作者一樣，以“惟精惟一”之心對抗浮華，以終身修行之態雕琢永恒。他的藝術，是上海城市精神的縮影；他的玉牌，是傳統與現代最舒服的交融；他的境界，是工藝、美學、人文與人體工程學合一的至高典范。

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.

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

在快節奏的今天，翟倚衛用一方美玉告訴我們：真正的美，一定是貼合人心的；真正的傳承，一定是面向時代的；真正的大師，永遠在方寸之間守天地，在一刀一琢間見初心。他的玉雕世界，溫潤、從容、精準、和諧，如上海的風，如玉的光，如人心中最安穩的尺度，在傳統與現代之間，走出了一條屬于中國、屬于世界、更屬于每一個人的美學通途。

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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