形復唐韻 氣失本真｜李建軍評西安新建大唐西市空間規(guī)劃（九）

形復唐韻，氣失本真——人體工程學創(chuàng)辦人李建軍評西安新建大唐西市空間規(guī)劃（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）

人體工程學研究員｜美國紐約百老匯制作人

畢業(yè)于倫敦政治經(jīng)濟學院金融與社會學專業(yè)

曾任紐約蘇富比拍賣公司管理部

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)

洛杉磯好萊塢觀看中國原創(chuàng)紀錄片《空海傳》后，聚焦西安2008年復建的大唐西市博物館及商業(yè)文化園區(qū)，聆聽人體工程學創(chuàng)辦人李建軍的專業(yè)解讀。作為2010年前后受邀實地考察該項目的環(huán)境能量、空間心理學專家，李建軍以科學化風水、人體工程學視角，對新建大唐西市展開系統(tǒng)空間診斷，其觀點立足現(xiàn)代人體感知、行為心理學與環(huán)境生理學，直指當代文化空間復建的核心痛點，兼具專業(yè)深度與人文反思。

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、五維空間診斷：李建軍人體工程學視角下的大唐西市

I. A Five-Dimensional Spatial Diagnosis: The Great Tang West Market Through Li Jianjun's Human Body Engineering Lens

1. 建筑復刻唐韻，空間氣場割裂，徒有形制而無靈魂

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，高度還原唐代飛檐、斗拱、朱墻、青瓦等視覺符號，仿古牌坊林立、商鋪排布規(guī)整，夜間燈光璀璨，視覺上具備極強的唐風穿越感，看似完整復刻了盛唐西市的外在風貌。但從人體工程學環(huán)境氣場邏輯來看，這片空間存在根本性的氣場割裂問題。

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.

復建項目街道刻意拓寬、拉直，過度追求景區(qū)式的規(guī)整秩序，完全丟失了唐代西市曲徑通幽、巷陌交錯的街巷肌理，失去了傳統(tǒng)市井空間應有的呼吸感與層次感；建筑間距被盲目放大，缺失了傳統(tǒng)市井的圍合感與親和力，無法形成聚攏人氣、溫潤包容的市井氣場；所有商鋪采用標準化、統(tǒng)一化設計，全然摒棄了古西市胡商、漢賈、佛寺、酒肆、工坊自然雜糅的多元形態(tài)，看似整潔有序，實則毫無歷史煙火氣。

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.

李建軍對此直言，復建團隊打造的并非真正的歷史市井，而是一個標準化的唐風主題樂園。唐代西市的核心是鮮活的、充滿煙火氣的活態(tài)混沌，是各類業(yè)態(tài)、各類人群自然交融的場域，而新建西市追求的是刻意的、僵化的秩序感。空間過于干凈規(guī)整，會讓人產(chǎn)生距離感，不敢放松身心、自在停留，看似還原歷史，實則徹底脫離了市井空間的本質(zhì)。

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. 天地氣場阻斷，藏風聚氣落空，環(huán)境體感背離人本

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

項目規(guī)劃中打造了絲路水道、景觀水池、綠化帶等自然景觀，試圖營造山水相依的空間意境，但從環(huán)境能量流通角度，完全違背了人體工程學藏風聚氣的核心準則。景觀水系均為封閉靜止的人工水體，無自然循環(huán)、無活水流動，形成死水格局，不僅無法起到滋養(yǎng)氣場、聚攏財氣的作用，反而形成氣場凝滯、財庫封門的弊端；整體建筑群以方正格局整齊排列，樓棟之間形成強硬風洞，強風直穿街巷廊道，行人行走時體感不適，心神難以安定；地面大面積采用大理石鋪裝，材質(zhì)吸熱快、散熱慢，夏季形成高溫集聚效應，冬季又冰冷刺骨，完全違背人體環(huán)境生理學的舒適需求；地下停車場出入口直接正對主街，形成直沖式煞氣，行人途經(jīng)時會產(chǎn)生莫名的壓迫感、不適感。

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.

李建軍明確指出，傳統(tǒng)風水與人體工程學的核心，都是實現(xiàn)空間藏風聚氣、人與自然和諧共生，而新建大唐西市完全是逐風散氣的反向操作。水為空間靈氣所在，死水則靈氣盡失；風為天地氣場載體，亂風則心神不寧。整個空間氣場持續(xù)渙散、無法聚攏，行人只能刻意躲避不適環(huán)境，根本無法實現(xiàn)人與空間的和諧共處。

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. 人本維度缺失，空間只為消費，不養(yǎng)身心、不留人氣

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鋪，涵蓋餐飲、文創(chuàng)、漢服體驗、文旅表演等業(yè)態(tài)，也打造了各類市集、燈光秀等引流項目，看似業(yè)態(tài)豐富、商業(yè)氛圍濃厚，卻完全忽略了人的行為需求與身心感受。空間內(nèi)缺乏合理的停留節(jié)點，行人只能被迫快速穿行，如同趕場式游覽，沒有從容休憩的空間；全域缺少適配人體需求的休憩角落，沒有樹蔭下的石凳、巷弄里的茶攤、水系旁的長椅，無法滿足行人歇腳、閑聊的基礎需求；更沒有打造非交易性公共空間，沒有可供人發(fā)呆、靜觀、放松身心的留白區(qū)域，全程圍繞消費場景打造，完全忽視老人、兒童等群體的需求，只服務于消費行為，不服務于活生生的人。

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，既有商賈交易的繁華，也有行人蹲坐食胡餅、靠墻聽胡琴、臨水休憩的市井日常，是充滿生活氣息的人本空間。李建軍坦言，當代復建的西市，剝奪了人自在生活的權利，只允許人站立消費，不允許人從容存在。而商業(yè)空間與文化空間的核心，在于養(yǎng)人、留人，只有讓人愿意長久停留，才能形成真正的繁華，一味追求即時消費，最終只會留不住人心、留不住人氣。

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. 文化符號化堆砌，有唐風之表，無盛唐之魂

4. Cultural Symbols Piled Up — the Surface of Tang Style, Without the Soul of the High Tang

項目通過胡姬舞表演、唐裝打卡、仿古文創(chuàng)售賣等形式，刻意營造唐風文化氛圍，文化展示卻全程停留在表演層面，無任何活態(tài)文化傳承。場內(nèi)沒有真正的非遺匠人、古法手工藝者、唐文化傳承者常駐，所有文化表演均為流水線式的打卡演出，缺乏真實的文化底蘊；售賣的各類唐風文創(chuàng)，多為工業(yè)化量產(chǎn)的復刻品，毫無文化質(zhì)感與傳承價值；沒有植入茶道、香道、抄經(jīng)、古琴等沉浸式慢生活文化體驗，所謂的文化展示，只是浮于表面的符號堆砌。

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.

李建軍認為，復建團隊始終在販賣唐代文化的標簽，而非傳承盛唐文化的內(nèi)核。真正的盛唐文化，是市井間的煙火氣息，是胡商駝鈴的悠遠，是一碗胡麻餅的香氣，是文人雅士的從容，是包容萬物的氣度。新建大唐西市，只有唐代建筑的形制，沒有盛唐文化的神韻；只有喧鬧的表演聲響，沒有文化沉淀的韻味，徹底淪為文化符號的堆砌，丟失了文化傳承的核心。

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. 時空節(jié)律斷裂，違背自然作息，空間無收心歸寂之感

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間不夜城概念，徹夜燈光通明、霓虹閃爍，刻意打破自然時空節(jié)律，看似營造全天候繁華，實則徹底切斷了人與天地自然的連接。清晨時分，空間空蕩死寂，沒有晨練的市民、沒有早起的市井攤販、沒有炊煙與生機，缺失了晨光初露的寧靜與朝氣；黃昏時分，本該是慢慢收市、人心歸靜的時段，卻依舊人潮涌動、喧鬧不休，沒有舒緩從容的氛圍；全域24小時不間斷亮燈，違背晨鼓開市、暮鼓收市的傳統(tǒng)天人合一理念，空間沒有晝夜之分、沒有作息節(jié)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.

李建軍談到，盛唐西市遵循天地時序，晨鼓啟市、暮鼓收市，張弛有度、收放自如，這是順應自然、安撫人心的空間智慧。而當代復建項目，打造永不關燈的商業(yè)場域，如同一個不知休憩的機器，不僅自身氣場無法收斂，更讓身處其中的人心神不寧、無法歸寂。空間不懂收斂，人心便無處安放，這是對自然節(jié)律、人本需求的雙重背離。

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、空間審視背后的五重深層感悟

II. Five Deep Realizations Behind the Spatial Examination

通過對新建大唐西市的全方位人體工程學診斷，李建軍生出五重直擊本質(zhì)的感悟，也為當代文化遺產(chǎn)復建、城市空間規(guī)劃留下深刻啟示。

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，文化復興的核心是喚醒人與土地的情感聯(lián)結(jié)，絕非單純的建筑造景。復建歷史文化空間，從來不是復刻古建筑的外形，而是找回歷史場域中，人與土地、人與文化、人與人之間的情感羈絆，讓空間擁有溫度與記憶，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，風水的本質(zhì)是人本化空間設計，所謂吉地，便是讓人身心舒適、愿意停留、心生歸屬感的地方。人體工程學與科學化風水，從不追求玄學說辭，而是立足人的身心需求，打造適配人體節(jié)律、順應自然氣場的宜居宜游空間。

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，盛唐氣象的核心是包容自信的氣度，而非建筑瓦當?shù)男沃啤涂淌⑻莆幕辉摷m結(jié)于飛檐斗拱的外在形式，而要傳承盛唐開放包容、兼容并蓄、以人為本的精神內(nèi)核，這才是歷史空間最該復刻的核心氣場。

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，商業(yè)空間的最高境界是無商業(yè)感，當人在空間中忘卻消費，只感受生活本身，才是真正的成功。文化商業(yè)綜合體，要先營造生活氣息、人本氛圍，再實現(xiàn)商業(yè)價值，本末倒置只會讓空間失去靈魂。

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，當代歷史空間復建，極易陷入復刻形制、丟失魂魄的誤區(qū)。長安之魂，從來不是建筑的模樣，而是天下人皆可安居、皆可從容生活的胸襟，是以人為本、包容萬物的城市氣度，這一點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、李建軍基于人體工程學的空間優(yōu)化建議

III. Li Jianjun's Spatial Optimization Recommendations Based on Human Body Engineering

針對新建大唐西市的問題，李建軍從人本、氣場、文化、生活維度，提出針對性優(yōu)化建議，核心是讓空間回歸人本、回歸生活、回歸歷史本真。

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，復建團隊要明確項目定位，絕非打造網(wǎng)紅旅游打卡地，而是構(gòu)建現(xiàn)代西安人的心靈棲息地、盛唐文化的活態(tài)傳承地。首先要縮減30%的商業(yè)鋪面，刻意留出留白空間，打造樹蔭下的石凳、水邊的長廊、巷弄里的茶攤等非交易休憩區(qū)，讓人有地方停留、有空間放松；其次，引入唐文化活態(tài)傳承者，邀請?zhí)撇鑾煛⒐欧ń橙恕鹘y(tǒng)樂師、胡旋舞傳人常駐展演，讓文化從表演變?yōu)槿粘＃嬲龑崿F(xiàn)活態(tài)傳承；再者，改造現(xiàn)有水系，引入活水打造循環(huán)溪流，讓水聲滋養(yǎng)空間、靈動氣場，實現(xiàn)天地之氣的自然循環(huán)；同時恢復傳統(tǒng)時序，打造清晨晨市、傍晚暮市，清晨限定市民晨練、市井早餐、慢生活市集，讓空間回歸日常生機；最后嚴格執(zhí)行夜間熄燈制度，夜晚十點后只保留柔和月光燈，讓空間與人心都能靜下來、收心歸寂。

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.

李建軍強調(diào)，不必刻意追求表面的繁華熱鬧，真正的歷史文化空間，核心是讓人慢下來、靜下來、沉下來。新建大唐西市，不該是追逐流量的商業(yè)場所，而應成為現(xiàn)代人找回生活本真、喚醒人文初心、回歸人本狀態(tài)的心靈棲息地。

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.

以空間為鏡，照見文明復建的本質(zhì)

Taking Space as a Mirror, to See the Essence of Civilizational Reconstruction

李建軍對新建大唐西市的診斷，從來不是單純的風水評判，而是以人體工程學為鏡，照見當代文化遺產(chǎn)復建的普遍誤區(qū)：我們總以為復刻建筑形制，就等于傳承文明；總以為燈光璀璨，就等于擁有文化靈魂；總以為人流密集，就等于文化繁榮。

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碼，從來不是外在的建筑形態(tài)，而是開放包容的胸襟、善待每一個人的溫度、不喧嘩不催促的從容、順應天地人本的智慧。真正的盛唐氣象，不在磚瓦之間，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.

對于當代文化空間建設而言，無需百分百復刻唐代的市井模樣，只需打造一個以人為本、讓人能安心做回自己、從容感受生活的空間。如此，才算真正找回歷史氣場，才算實現(xiàn)真正的文化復興，這便是人體工程學視角下，空間規(guī)劃與文明傳承的終極真諦。

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.

作者簡介：

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(yè)于芝加哥大學，主修歷史與政治學，并于倫敦政治經(jīng)濟學院（LSE）獲得金融與社會學碩士學位。

李神琦擁有橫跨藝術、金融與公共事務領域的廣泛經(jīng)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(qū)擔任企業(yè)說客，代表多家跨國公司進行政策游說。

他的表演生涯始于入圍全美極具聲望的 Jerry Herman Awards，這一經(jīng)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(yè)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(xiàn)其多語文化的舞臺魅力。

舞臺之外，李神琦在學術領域同樣表現(xiàn)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(xù)為其劇作與表演注入思想深度與跨文化的敘事視角。

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(jīng)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。

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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