刀筆融中西，玉牌載天地——翟倚衛(wèi)玉雕與人體工程學(xué)境界（一）

刀筆融中西，玉牌載天地——翟倚衛(wèi)的新海派玉雕與人體工程學(xué)境界（一） Blade and Brush Bridging East and West, Jade Tablet Carrying Heaven and Earth — Zhai Yiwei's New Shanghai-Style Jade Carving and the Realm of Human Engineering (I)

李神琦（REX LEE）

人體工程學(xué)研究員｜美國(guó)紐約百老匯制作人

Human Engineering Researcher | Broadway Producer, New York City

畢業(yè)于倫敦政治經(jīng)濟(jì)學(xué)院金融與社會(huì)學(xué)專業(yè)

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

在上海這座傳統(tǒng)與現(xiàn)代碰撞、東方與西方交融的城市，石庫(kù)門的青磚黛瓦與陸家嘴的玻璃幕墻并肩而立，外灘的百年建筑與濱江的現(xiàn)代地標(biāo)交相輝映。而在玉雕界，國(guó)家級(jí)非物質(zhì)文化遺產(chǎn)（海派玉雕）代表性傳承人翟倚衛(wèi)（本名翟念衛(wèi)），正以手中刻刀，復(fù)刻著這座城市的精神內(nèi)核——在方寸玉牌之間，探索傳統(tǒng)與現(xiàn)代、東方與西方、人文與科學(xué)的極致融合，其作品更暗合人體工程學(xué)“天人同構(gòu)、以人為本”的至高境界，讓千年玉藝在當(dāng)代煥發(fā)新生。

In Shanghai — a city where tradition meets modernity and East embraces West — the grey brick walls of shikumen courtyards stand beside the glass curtain walls of Lujiazui, and the century-old buildings of the Bund converse with the contemporary landmarks along the riverbank. In the world of jade carving, Zhai Yiwei, a national-level representative inheritor of intangible cultural heritage and the founder of the New Shanghai-Style Scholar Jade Tablet, is writing a contemporary legend of East-West aesthetic fusion through the medium of a small jade tablet.

一、大師速寫：從太空到英倫，新人文玉雕的破界之旅
I. A Portrait of the Master: From Outer Space to Britain — The Boundary-Breaking Journey of New Humanist Jade Carving

翟倚衛(wèi)絕非守著傳統(tǒng)的“老匠人”，他的藝術(shù)人生，本身就是一場(chǎng)跨越時(shí)空的融合之旅。早年游學(xué)日本的經(jīng)歷，讓他跳出傳統(tǒng)玉雕的桎梏，將西方美術(shù)的構(gòu)圖法則、版畫的光影層次與中國(guó)古典詩(shī)詞的意境美學(xué)熔于一爐，開創(chuàng)性地提出“新海派文人玉牌”理念，為古老玉藝注入現(xiàn)代人文精神。
Zhai Yiwei is anything but a conservative craftsman clinging to tradition. His artistic life is itself a journey of fusion across time and space. His early study in Japan liberated him from the constraints of conventional jade carving, enabling him to integrate Western fine art compositional principles, the light-and-shadow layering of printmaking, and the breathing space of Eastern ink painting — thereby pioneering his distinctive New Shanghai-Style Scholar Jade Tablet style.

他的藝術(shù)生涯，有兩次足以載入史冊(cè)的高光時(shí)刻，讓中國(guó)玉雕走向世界、邁向蒼穹：

His artistic career is marked by two watershed moments that carried Chinese jade carving to the world and beyond:

遨游太空，玉映星河：2014年，翟倚衛(wèi)的《云臺(tái)清曲》《云帶鐘聲》兩件玉牌，搭載中國(guó)探月飛行器遨游太空并成功返回，成為人類歷史上首次“巡天”的玉雕藝術(shù)品。當(dāng)溫潤(rùn)美玉與浩瀚星空相遇，傳統(tǒng)玉文化的浪漫與現(xiàn)代航天科技的硬核完美交織，讓東方美學(xué)在宇宙尺度上綻放光芒。

Journeying Through Space, Jade Reflecting the Starry River: In 2014, his jade tablets Yunlai Qingqu (Melody from Cloud Terrace) and Yundai Zhongsheng (Bell Sound Through Cloud Veil) traveled aboard China's lunar exploration vehicle into space and returned safely — becoming the first jade artworks in human history to tour the heavens. When warm jade met the vast cosmos, the essence of Eastern civilization left its mark among the stars.

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

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

入藏大英，玉耀全球：2017年，他的《別尋方外去》《春之韻》被大英博物館永久館藏，這是現(xiàn)當(dāng)代玉牌首次進(jìn)入世界頂級(jí)藝術(shù)殿堂，標(biāo)志著中國(guó)當(dāng)代玉雕正式躋身世界主流藝術(shù)序列，打破了西方對(duì)東方傳統(tǒng)工藝“僅為裝飾”的刻板認(rèn)知。

Acquired by the British Museum, Jade Shines Globally: In 2017, his works Bie Xun Fang Wai Qu (Seek No Further Beyond) and Chun Zhi Yun (Cadence of Spring) were permanently acquired by the British Museum — the first time contemporary jade tablets entered the world's foremost art institution, marking Chinese contemporary jade carving's formal entry into the global mainstream art canon.

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

二、刀筆如椽：傳統(tǒng)根基與現(xiàn)代創(chuàng)新的玉雕交響

II. Blade as Brush: The Symphony of Tradition and Innovation in Jade Carving

翟倚衛(wèi)的玉雕，扎根于傳統(tǒng)子岡牌的形制根基，卻以現(xiàn)代藝術(shù)的語(yǔ)言重構(gòu)表達(dá)，如同上海的建筑，既保留中式風(fēng)骨，又吸納西式精髓，形成獨(dú)樹一幟的“東韻西施”風(fēng)格。

Zhai Yiwei's jade carving is rooted in the formal tradition of the Zigang-style tablet, yet reconstructed through the language of modern art — much like Shanghai's architecture, which preserves the Chinese spirit while absorbing Western essence, forming his distinctive Eastern Soul, Western Grace aesthetic.

1. 形制守正，傳承千年玉脈

1. Upholding the Classical Form, Inheriting Millennia of Jade Tradition

他堅(jiān)守傳統(tǒng)子岡牌“方寸之間、氣象萬(wàn)千”的核心特質(zhì)，以陽(yáng)刻浮雕為主要手法，承襲“子岡牌”方正典雅的形制，保留玉牌正面刻畫、背面題詩(shī)的經(jīng)典范式，讓作品始終扎根于中國(guó)玉文化的深厚土壤。同時(shí)，他深諳玉石材質(zhì)特性，依據(jù)原料橫切面隨形設(shè)計(jì)，既最大化利用玉料，又保留天然玉皮的自然之美，實(shí)現(xiàn)“天人合一”的創(chuàng)作追求。

He adheres faithfully to the Zigang tablet's essential quality of boundless grandeur within an inch of space, employing bas-relief as his primary technique. He inherits the formal elegance of the Zigang style — retaining the classical paradigm of pictorial carving on the front and inscribed verse on the back — ensuring his works remain firmly rooted in the rich soil of Chinese jade culture.

《倩影》Qianying (Silhouette)

2. 題材革新，鐫刻當(dāng)代人文

2. Innovation in Subject Matter, Engraving Contemporary Humanity

打破傳統(tǒng)玉雕“仙佛、花鳥、山水”的題材局限，翟倚衛(wèi)首創(chuàng)“當(dāng)代女性入玉牌”，將海派摩登女郎、民國(guó)名媛、現(xiàn)代都市女性的形象鐫刻于玉面，開創(chuàng)“背影女性”的獨(dú)特表現(xiàn)形式。作品中，女子或倚石而立、或撫琴而歌、或漫步弄堂，身姿婉約朦朧，既有傳統(tǒng)仕女的溫婉嫻靜，又有現(xiàn)代女性的獨(dú)立自信，將上海的都市風(fēng)情與時(shí)代精神凝于玉中。

Breaking free from jade carving's traditional repertoire of immortals, birds, flowers, and landscapes, Zhai Yiwei pioneered contemporary women on jade tablets — engraving the figures of Shanghai-style modern women, Republic-era socialites, and contemporary urban women onto the jade surface. He created the distinctive silhouetted feminine form, using restrained negative space to evoke endless imagination.

《雨巷》Yuxiang (Rainy Lane)

他更將上海建筑元素融入創(chuàng)作，石庫(kù)門的門楣、歐式洋房的窗欞、弄堂的煙火氣，都成為玉牌的背景，如《尚賢坊》以石庫(kù)門為底，刻畫牽狗女郎的閑適日常，讓玉牌成為承載城市記憶的“文化載體”。

He further incorporates Shanghai's architectural elements into his work — the lintels of shikumen gateways, the latticed windows of European-style villas, the everyday warmth of alleyway life — as backdrops for his jade tablets. Works such as Shangxian Fang depict a leisurely woman walking her dog against a shikumen backdrop, transforming jade tablets into cultural vessels that carry urban memory.

3. 技法融合，中西美學(xué)共生

3. Fusion of Techniques, Coexistence of Chinese and Western Aesthetics

在雕刻技法上，他將西方透視原理、立體架構(gòu)引入平面玉雕，運(yùn)用薄浮雕、淺浮雕、陽(yáng)刻、陰刻的組合，營(yíng)造出強(qiáng)烈的空間感與立體感。畫面構(gòu)圖講究疏密、陰陽(yáng)、虛實(shí)、方圓的對(duì)比，以點(diǎn)線面組織節(jié)奏，簡(jiǎn)約而不簡(jiǎn)單，“少則多”的現(xiàn)代設(shè)計(jì)理念與中國(guó)文人畫“意在畫外”的意境追求完美契合。

In carving technique, he introduces Western perspective and three-dimensional structure into flat jade carving, employing a combination of shallow bas-relief, low bas-relief, intaglio, and relief engraving to create powerful spatial depth. His compositional arrangements balance density and openness, yin and yang, the substantial and the void, the angular and the circular — the essence of classical Chinese aesthetics reinterpreted through the lens of Western golden ratio principles.

同時(shí)，他將書法藝術(shù)融入玉牌，背面題詩(shī)不拘泥于傳統(tǒng)楷書，而是以靈動(dòng)書體書寫古典詩(shī)詞或現(xiàn)代詩(shī)句，如《雨瀝》配以泰戈?duì)栐?shī)句，字體左右不對(duì)稱，盡顯現(xiàn)代藝術(shù)的自由與靈動(dòng)，讓玉牌成為“詩(shī)、書、畫、玉”四位一體的綜合藝術(shù)。

Simultaneously, he integrates calligraphy into the jade tablet — the inscribed verse on the reverse is not confined to traditional regular script, but rendered in fluid, expressive styles. Yuli (Rain Drizzle), for instance, bears a verse by Tagore in an asymmetrical script that radiates modern artistic freedom, transforming jade carving into a unified art form of calligraphy, painting, and poetry.

《雨瀝》Yuli (Rain Drizzle)

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

三、玉潤(rùn)身心：人體工程學(xué)視角下的玉雕境界

III. Jade Nourishing Body and Soul: The Realm of Jade Carving from a Human Engineering Perspective

翟倚衛(wèi)的玉雕，不止是視覺(jué)藝術(shù)的盛宴，更暗合人體工程學(xué)“以人為本、天人同構(gòu)”的核心，從物理觸感、生理養(yǎng)生到精神滋養(yǎng)，實(shí)現(xiàn)“玉養(yǎng)人、人養(yǎng)玉”的雙向奔赴。

Zhai Yiwei's jade carving is not merely a feast for the eyes — it also embodies the human engineering principle of human-centered harmony between Heaven and humanity, achieving a reciprocal dynamic of jade nurturing the person, person nurturing the jade across the dimensions of physical touch, physiological wellbeing, and spiritual nourishment.

1. 方寸玉牌，契合人體工學(xué)的把玩之美

1. A Jade Tablet in the Palm: The Ergonomic Beauty of Handling

傳統(tǒng)玉牌多為腰間雅玩，而翟倚衛(wèi)創(chuàng)新設(shè)計(jì)《腕佩》系列，將玉牌與腕表表帶結(jié)合，讓玉牌熨帖于手腕，抬眼可賞、抬手可觸，完美適配現(xiàn)代人的生活習(xí)慣與佩戴需求。

Traditional jade tablets were typically worn at the waist as elegant accessories, but Zhai Yiwei's innovative Wrist Ornament series combines the jade tablet with a watch strap, allowing the tablet to rest warmly against the wrist — available at a glance, touchable with every gesture — perfectly adapting to modern habits of wearing and appreciation.

《腕佩》系列Wrist Ornament Series

他的玉牌多為方寸大小，厚度、弧度經(jīng)過(guò)精心設(shè)計(jì)，握持時(shí)恰好貼合掌心曲線，玉質(zhì)溫潤(rùn)細(xì)膩，與皮膚接觸時(shí)產(chǎn)生柔和摩擦，刺激掌心神經(jīng)末梢，促進(jìn)手部微循環(huán)。從人體工程學(xué)角度看，這種握持與摩挲，如同一場(chǎng)無(wú)聲的“手部按摩”，能激活手部肌群，緩解疲勞，而玉石釋放的4-14微米遠(yuǎn)紅外線，與人體細(xì)胞共振頻率一致，可促進(jìn)血液循環(huán)、提升細(xì)胞活性，讓“玉養(yǎng)人”從文化信仰變?yōu)榭茖W(xué)現(xiàn)實(shí)。

His jade tablets are typically inch-square in size, with carefully designed thickness and curvature that fit perfectly in the palm's natural contour. The warm, fine texture of jade creates gentle friction against the skin, stimulating the nerve endings of the palm and promoting microcirculation. From a human engineering standpoint, this perfect conformity between object and human body represents the highest expression of the human body as the measure of all things.

2. 氣韻生動(dòng)，滋養(yǎng)精神的人文之境

2. Vital Spirit in Motion: The Humanistic Realm That Nourishes the Soul

人體工程學(xué)不僅關(guān)注生理舒適，更注重精神層面的和諧。翟倚衛(wèi)的作品追求“氣韻生動(dòng)”，以簡(jiǎn)潔線條勾勒意境，如《別尋方外去》以寥寥數(shù)筆刻畫古人漫步之態(tài)，留白之處引人遐思，讓觀者在凝視中獲得精神放松與心靈寧?kù)o。

Human engineering attends not only to physiological comfort but also to spiritual harmony. Zhai Yiwei's works pursue vital spirit in motion — evoking mood with minimal lines. Bie Xun Fang Wai Qu, for instance, captures an ancient wanderer's leisurely gait with just a few strokes; the negative space invites reflection, creating a poetic realm where silence speaks louder than sound.

《別尋方外去》Bie Xun Fang Wai Qu (Seek No Further Beyond)

玉牌的溫潤(rùn)色澤、細(xì)膩質(zhì)感，能帶來(lái)視覺(jué)與觸覺(jué)的雙重愉悅，緩解現(xiàn)代生活的焦慮與壓力。當(dāng)人們摩挲玉牌、品讀詩(shī)畫，不僅是欣賞藝術(shù)，更是一場(chǎng)精神洗禮——傳統(tǒng)詩(shī)詞的意境、東方美學(xué)的韻味、現(xiàn)代人文的思考，潛移默化中滋養(yǎng)心性，提升精神境界，實(shí)現(xiàn)“身、心、靈”的三重和諧，這正是人體工程學(xué)的至高境界。

The warm luster and refined texture of jade bring dual pleasure to both sight and touch, relieving the anxiety and pressure of modern life. When people caress the jade tablet and read its poetry and imagery, they are not merely appreciating art but experiencing a spiritual cleansing — the mood of classical poetry and the wisdom of Eastern philosophy quietly nourishing the inner world of modern people through a single jade tablet.

四、玉融時(shí)代：海派精神與當(dāng)代價(jià)值的永恒回響

IV. Jade Merging with the Age: The Eternal Resonance of Shanghai Spirit and Contemporary Values

翟倚衛(wèi)的玉雕世界，是上海城市精神的微觀縮影。如同上海的建筑，在傳統(tǒng)根基上不斷創(chuàng)新，在東方底蘊(yùn)中吸納西方精華，他的刻刀始終踐行“藝術(shù)當(dāng)隨時(shí)代”的理念，讓千年玉藝不再是博物館里的“古董”，而是融入當(dāng)代生活、走向世界舞臺(tái)的“活態(tài)藝術(shù)”。

Zhai Yiwei's jade carving world is a microcosm of Shanghai's urban spirit. Like Shanghai's architecture — constantly innovating upon traditional foundations, absorbing Western essence within an Eastern cultural core — his engraving blade always enacts the belief that art must move with the times, allowing the millennia-old jade art to continuously radiate with new contemporary brilliance.

從太空巡天到大英館藏，從傳統(tǒng)子岡牌到新海派文人玉牌，翟倚衛(wèi)以刀為筆、以玉為紙，書寫著中國(guó)傳統(tǒng)工藝的當(dāng)代傳奇。他的作品，不僅是技藝的巔峰，更是文化的傳承、精神的載體，暗合人體工程學(xué)“天人合一”的智慧，讓美玉不僅溫潤(rùn)肌膚，更滋養(yǎng)心靈，讓東方美學(xué)在現(xiàn)代社會(huì)綻放永恒魅力。

From touring the cosmos to being enshrined in the British Museum, from the traditional Zigang tablet to the New Shanghai-Style Scholar Jade Tablet, Zhai Yiwei uses the engraving blade as his brush and jade as his paper, writing a contemporary legend of Chinese traditional craftsmanship. His works are not merely the apex of technique, but vessels of cultural heritage, carriers of spirit, and witnesses to an era.

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

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

在快節(jié)奏的當(dāng)代，翟倚衛(wèi)的玉雕如同一股清流，提醒我們：傳統(tǒng)并非僵化的過(guò)去，創(chuàng)新并非無(wú)根的浮萍，唯有扎根傳統(tǒng)、擁抱現(xiàn)代，以人為本、融貫中西，才能讓文化藝術(shù)在時(shí)代浪潮中生生不息，如同上海的城市建筑，在歲月更迭中始終煥發(fā)著交融與創(chuàng)新的光芒。

In the fast-paced contemporary world, Zhai Yiwei's jade carving is like a clear stream, reminding us: tradition is not a rigid past, and innovation is not a rootless duckweed. Only by being rooted in tradition, embracing modernity, centering the human, and synthesizing East and West can cultural art remain vibrant and ever-renewed amid the currents of the age.

作者簡(jiǎn)介（About the Author）：

李神琦（Rex Lee）是一位華裔美國(guó)演員、獲獎(jiǎng)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(xué)，主修歷史與政治學(xué)，并于倫敦政治經(jīng)濟(jì)學(xué)院（LSE）獲得金融與社會(huì)學(xué)碩士學(xué)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(shù)、金融與公共事務(wù)領(lǐng)域的廣泛經(jīng)驗(yàn)，曾于國(guó)際頂級(jí)藝術(shù)拍賣行蘇富比（Sotheby’s）任職，并在華盛頓特區(qū)擔(dān)任企業(yè)說(shuō)客，代表多家跨國(guó)公司進(jìn)行政策游說(shuō)。

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(jīng)歷點(diǎn)燃了他對(duì)舞臺(tái)藝術(shù)的熱情。其后，李神琦成為當(dāng)年唯一入選的華裔男演員，受邀加入英國(guó)國(guó)家劇院（National Theatre Company of Great Britain），并展開國(guó)際巡演。他也曾參演美國(guó)國(guó)家級(jí)廣告、影展短片，以及倫敦 Off-West End 的專業(yè)劇場(chǎng)演出，并受保加利亞文化部邀請(qǐng)，赴索菲亞國(guó)家劇院登臺(tái)演出，展現(xiàn)其多語(yǔ)文化的舞臺(tái)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(tái)之外，李神琦在學(xué)術(shù)領(lǐng)域同樣表現(xiàn)出色。他曾在全美歷史競(jìng)賽（National History Bowl）及美國(guó)地理奧林匹克（U.S. Geography Olympiad）中取得佳績(jī)，并入選美國(guó)國(guó)家隊(duì)。他對(duì)全球事務(wù)、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。

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(guó)戲劇引入中國(guó)，也讓中國(guó)作品登上紐約舞臺(tái)。他堅(jiān)信戲劇能夠穿越語(yǔ)言與國(guó)界，成為文化交流的窗口與心靈的共鳴。他的作品關(guān)注移民經(jīng)驗(yàn)、身份認(rèn)同與文化錯(cuò)位，通過(guò)藝術(shù)不斷重塑“歸屬”的意義，推動(dòng)亞洲敘事在全球劇場(chǎng)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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