刀行技道境，玉合人體工程學——翟倚衛玉雕與身心共生之美（五）

刀行技道境，玉合人體工程學——翟倚衛玉雕與身心共生之美（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

上海的城市天際線，始終在傳統肌理與現代輪廓間尋找最舒適的尺度：石庫門的雕花窗欞與玻璃幕墻共生，外灘建筑的圓弧線條與濱江地標利落切面對話，這座城市以人體工程學般的精準平衡，讓東方底蘊與西方美學、古典風骨與現代風尚完美相融。國家級非物質文化遺產（海派玉雕）代表性傳承人翟倚衛，便以刻刀為筆、美玉為紙，在方寸玉牌間復刻著這座城市的融合精神。他開創的“新海派文人玉牌”，從技法的精研到意境的升華，完成了從“技”到“道”的美學進階，更將人體工程學“以人為本、天人同構”的境界融入每一方美玉，讓玉雕不僅是視覺藝術，更是貼合身心、滋養靈魂的造物。

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，是打破傳統玉雕桎梏的破界者。他的藝術之路，始于少年時的科班淬煉，成于跨文化的視野融合，終在數十年堅守中抵達“惟精惟一”的藝術高度。2014年，《云臺清曲》《云帶鐘聲》搭載探月飛行器遨游太空，成為人類首批“巡天玉雕”；2017年，《別尋方外去》《春之韻》入藏大英博物館，讓當代玉牌躋身世界主流藝術殿堂。這些成就的背后，是他從“技”到“道”的五層美學進階，每一層都扎根傳統、面向現代，最終構筑起獨屬于他的玉雕世界。

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.

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

傳統根基：十四歲的科班淬煉，筑牢“能工”之基

Traditional Foundation: Formal Training at Fourteen — Building the Bedrock of Mastery of Craft

翟倚衛的美學起點，是14歲被選入上海玉石雕刻廠工業中學的少年時光。這不是簡單的手藝學習，而是系統全面的美術鍛造——素描、線描、泥塑、雕塑、造型，每一項都經過嚴苛打磨。少年時的他包攬學校黑板報，對線條、構圖、光影的熱愛早已刻入骨髓。這段科班經歷，讓他掌握了傳統玉雕的造型規律、工藝規范，練就了“下刀精準、形神兼備”的硬功夫，成為他日后創新的堅實根基。正如人體工程學以人體結構為基礎，翟倚衛的藝術以傳統功底為骨架，不做無根之木、無源之水，在傳承中積蓄破界的力量。

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.

國際視野：東瀛北歐的養分，解鎖“破壁”之境

International Horizon: Nourishment from Japan and Scandinavia — Unlocking the Realm of Breaking Walls

赴日本、瑞典進修的經歷，是翟倚衛美學體系的關鍵破壁之舉。日本藝術對細節的極致追求、對殘缺美的含蓄欣賞，讓他懂得“于細微處見精神”；北歐設計的簡約克制、功能主義，以及“少即是多”的現代理念，讓他跳出傳統玉雕繁復堆砌的局限。兩種異域美學與東方含蓄意境碰撞融合，讓他的作品既有東方的溫潤婉約，又有西方的構成張力。這如同上海建筑的中西合璧，也暗合人體工程學“簡約舒適、實用美觀”的核心，讓玉牌擺脫匠氣，兼具藝術質感與當代審美。

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.

《櫻桃樹下》Yingtao Shu Xia (Beneath the Cherry Tree)

書法入玉：文人風骨的表達，凝聚“氣韻”之魂

Calligraphy into Jade: The Expression of the Literati Spirit — Crystallizing the Soul of Vital Spirit

書法，是翟倚衛引以為傲的強項，也是他文人玉牌的靈魂所在。自幼扎實的書畫訓練，讓他深諳筆墨氣韻之道。傳統玉牌雖有詩畫結合的范式，但多為匠人代筆，而翟倚衛堅持銘文親書，再以刀代筆鐫刻于玉。一筆一畫，或靈動飄逸，或沉穩典雅，與畫面意境渾然一體，實現了“詩、書、畫、玉”的完美合一。這種文人式的自我表達，讓玉牌不再是單純的工藝品，而是承載心境、傳遞詩意的藝術載體，如同人體工程學追求精神與生理的統一，讓美玉有了直擊人心的文化力量。

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.

皴法轉化：山水筆墨的新生，練就“傳神”之技

Transforming Texture Strokes: The Rebirth of Landscape Ink — Cultivating the Technique of Capturing Spirit

翟倚衛最驚艷的技法突破，是將中國山水畫“皴法”轉化為雕刻語言。傳統玉雕山水多流于圖案化，缺乏筆墨意趣，而他以淺浮雕刀法模擬宣紙之上的干濕濃淡，用刀痕展現山石的肌理、云水的靈動，讓堅硬玉石生出墨韻流轉的溫柔。這是對中國繪畫美學的致敬，更是工藝的創新——不違背玉質本性，卻賦予山水鮮活生命力。這種“天人合一”的技法追求，與人體工程學“順應自然、適配人本”的理念不謀而合，讓人工之巧與自然之美共生共融。

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)

心師古人：任吳雙師的滋養，自成“一家”之風

Learning from Ancient Masters: Nourished by Ren and Wu — Establishing an Independent Artistic Style

藝術的進階，離不開大師的滋養。翟倚衛心師任伯年與吳冠中兩位大家：任伯年人物畫的精準造型、明快色彩，為他塑造“背影女性”提供靈感，讓都市女子既有傳統閨秀的溫婉，又有現代女性的獨立；吳冠中“形式美”“抽象美”的理論，以及中西融合的創作方式，讓他將西方透視、立體架構引入平面玉牌，打破傳統構圖局限。早年臨摹吳冠中油畫的經歷，早已將美學基因融入創作骨髓，最終淬煉出“清新典雅、唯美精致”的個人風格，完成了從師承到獨創的蛻變。

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.

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

從技法精研到意境升華，翟倚衛完成了從“匠”到“家”、從“技”到“道”的跨越，而他的玉雕最動人之處，更在于藏于美玉中的人體工程學境界。這不是冰冷的尺度測算，而是身心共鳴的溫柔適配：物理層面，玉牌方寸大小、圓潤弧度、適中厚度，貼合掌心曲線，邊緣順滑無棱角，把玩時溫潤貼膚，刺激手部穴位，促進氣血循環；精神層面，簡約空靈的構圖、詩意悠遠的意境、溫潤柔和的質感，讓現代都市人在凝視與摩挲間，放下浮躁、平復心緒，實現精神的舒緩與治愈。玉養人，人養玉，在他這里，從文化諺語變成了可感知的身心體驗。

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.

他首創的“背影女性”、上海洋樓等都市題材，打破傳統神佛題材的壟斷，讓玉雕貼近當代生活；《倩影》《早春》《午茶時分》等作品屢獲天工獎、百花獎，將宋詞小令凝固于白玉，讓方寸之間有文學想象。這位在“惟精惟一之室”堅守初心的大師，與百老匯經年打磨作品的創作者一樣，以時間對抗浮華，以專注雕刻永恒。

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)

《午茶時分》 Wucha Shifen (Afternoon Tea)

翟倚衛的玉雕世界，是上海城市精神的微觀縮影：傳統為根，現代為翼，東方為魂，西方為形。他以五層美學進階，完成從技到道的升華；以人體工程學的智慧，實現器物與身心的共生。一把刻刀，雕琢中西韻；一方玉牌，承載古今魂。他讓千年玉雕走出博物館，走向太空、走向世界、走向人心，在傳統與現代的交融中，綻放出貼合時代、滋養身心的永恒光芒，也為中國傳統工藝的當代新生，寫下了最生動的注腳。

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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