跨山海 文明同归 人体工程学北美考察团好莱坞《空海传》观后纪行

跨越山海，文明同归——中国人体工程学研究院北美考察团好莱坞《空海传》观后纪行（十）

Across Mountains and Seas, Civilizations Returning to One — A Record of the China Academy of Human Body Engineering's North American Delegation Viewing The Legend of Kukai in Hollywood (X)

李神琦（REX LEE）

人体工程学研究员｜美国纽约百老汇制作人

毕业于伦敦政治经济学院金融与社会学专业

曾任纽约苏富比拍卖公司管理部

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)

这是一场兼具思想深度、文化厚度与精神高度的文明叩问，更是一次跨越太平洋、穿越千年时空的温柔对话。当我们身处当今世界文明最前沿的美利坚国土，在好莱坞的光影里，循着纪录片《空海传》的镜头，回望千年前大唐盛世的文明光华，便读懂了东方文明一脉相承的根脉，也窥见了人类文明互鉴的终极答案。

This was a civilizational inquiry that joined intellectual depth, cultural weight, and spiritual height — and even more, a gentle conversation across the Pacific and across a thousand years of time. Standing on the soil of the United States, at one of the world's contemporary civilizational frontiers, and following the documentary The Legend of Kukai through its play of light and shadow in Hollywood, we looked back at the civilizational radiance of the high Tang a thousand years ago. There we read the unbroken roots of Eastern civilization, and we glimpsed the ultimate answer to the question of human civilizational mutual learning.

一、序章：好莱坞银幕亮起，千年大唐踏光而来

I. Prologue: The Hollywood Screen Lights Up, and the High Tang Walks Forward Out of a Thousand Years

洛杉矶好莱坞一座静谧的独立影院内，灯光缓缓暗下，银屏徐徐亮起。没有炫目特效，没有流量明星，没有跌宕的戏剧冲突，中国团队潜心打造的纪录片《空海传》，以最纯粹的光影，铺开一段穿越千年的求道之路：一叶孤舟劈波斩浪，穿行于东海的汹涌风浪，载着对真理的渴求奔赴远方；一卷《大日经》在长安长夜的烛火中缓缓舒展，字里行间皆是东方文明的智慧与厚重；一位僧人虔诚跪拜在大唐的寺院净土之上，热泪滚落，是求法得悟的动容，是对文明传承的敬畏；一位日本青年，将汉字一笔一划镌刻进民族血脉，以大唐文化为基，孕育出属于本土的文明新芽。

Within a quiet independent cinema in Hollywood, Los Angeles, the lights slowly dimmed and the screen gradually came alive. There were no dazzling effects, no star celebrities, no convoluted dramatic conflicts. The documentary The Legend of Kukai, crafted with patient intention by its Chinese team, used the purest play of light and shadow to unroll a thousand-year road of seeking the Way: a single small boat cleaving wave and wind through the surging East China Sea, carrying a thirst for truth toward a distant shore; a scroll of the Mahāvairocana Sūtra unfurling slowly under the candlelight of a long Chang'an night, every line and character laden with the wisdom and weight of Eastern civilization; a monk kneeling in devout reverence on the pure soil of a Tang temple as hot tears fell — moved by the realization of the Dharma, in reverence for the transmission of civilization; a young Japanese man carving Chinese characters stroke by stroke into the bloodstream of a people, taking Tang culture as foundation and nurturing a new civilizational shoot of his own.

观众席上，中国人体工程学研究院北美考察团的学者、建筑师、环境心理学家、非遗传承人与传统文化研究者静坐凝神，此行从不是一场普通的观影，而是跨越时空的文化寻根，是聆听历史的悠远回响，探寻东方文明的精神根脉。影片落幕，全场沉默三分钟，是对千年求道者的敬意，是对文明力量的震撼，随后，经久不息的掌声响彻影院，为这段跨越山海的文明征程，为这份坚守初心的求道精神。

In the seats, scholars, architects, environmental psychologists, intangible-heritage transmitters, and traditional-culture researchers of the China Academy of Human Body Engineering's North American Delegation sat in still concentration. This was no ordinary screening: it was a cultural search for roots across time and space, a listening to the distant echoes of history, and an inquiry into the spiritual roots of Eastern civilization. When the film ended, the entire room was silent for three minutes — in respect for the thousand-year seeker and in awe of the power of civilization. Then long, unbroken applause filled the cinema, for this civilizational journey across mountains and seas, and for this seeking spirit that held to its first heart.

二、光影对话：一送一取，是文明的双向奔赴

II. A Conversation in Light and Shadow: One Giving and One Receiving — Civilization's Two-Way Journey

放映结束后，考察团与纪录片导演刘悦、制作人刘畅展开深度对谈，在思想碰撞中，解码空海背后的文明深意。

After the screening, the delegation entered an in-depth conversation with director Liu Yue and producer Liu Chang, decoding through the collision of ideas the civilizational meaning behind Kukai.

导演刘悦坦言，影片拍摄的从来不是单一的历史人物空海，而是每一位心怀赤诚、奔赴真理的求道者。空海西行入唐，从不是为了照搬大唐文明，更不是为了单向传教，而是远赴文明盛地借光。彼时大唐光华璀璨，他于盛世之中沉心求法，不被繁华迷眼，只为追寻真正的佛性与智慧；而后携长安经卷归乡，以日本的山川风土、自然气韵为壤，将大唐智慧本土化培育，重新孕育出一朵独属于东瀛的文明之莲，这是传承，更是新生。

Director Liu Yue spoke frankly: what the film captures is never a single historical figure, Kukai, but every seeker of truth who carries an earnest heart toward what is true. Kukai's westward journey to Tang China was never to copy Tang civilization wholesale, still less to spread a one-way teaching; it was to travel far to a flourishing civilization in order to 'borrow its light.' Tang China at that time shone with splendor; in that prosperity he sat his heart down to seek the Dharma, not led astray by the brilliance, only pursuing the true Buddha-nature and wisdom. Then he carried the Chang'an scrolls home and, taking Japan's mountains and rivers, its land and natural breath, as soil, nurtured the wisdom of the Tang into native form, until a lotus of civilization unique to the eastern islands bloomed anew. This is transmission, and it is also rebirth.

制作人刘畅补充道，主创团队历时良久，走访中日两国，深度采访三十七位资深学者，最终达成共识：空海从来不属于某一个国度，他是中日两国的文明纽带，是整个东亚文明的摆渡人。千年之前，鉴真六次东渡，是华夏文明义无反顾的送出，是无私的文化传递；空海万里西行，是东瀛民族虚心笃定的求取，是虔诚的文明汲取。一送一取，一来一往，没有强弱之分，没有征服之态，唯有平等相待、彼此成就，这是人类文明最温柔的双向奔赴。

Producer Liu Chang added: the creative team spent a long time visiting both China and Japan and conducted in-depth interviews with thirty-seven senior scholars. They reached a shared view: Kukai has never belonged to a single country. He is the civilizational tie between China and Japan, the ferryman of the whole of East Asian civilization. A thousand years ago, Jianzhen's six attempts at the eastward voyage were Chinese civilization's unhesitating giving, a selfless cultural transmission. Kukai's ten-thousand-mile journey west was the eastern islands' people seeking with humility and resolve, a devout civilizational drawing-in. One giving and one taking, one coming and one going — no division of strong and weak, no posture of conquest, only equal treatment and mutual completion. This is humanity's most tender civilizational two-way journey.

人体工程学创办人李建军凝视着渐暗的银幕，轻声感慨：这从来不是一部普通的纪录片，这是风水理念的另一种诗意表达。天地文明之气，从长安缓缓流向奈良，东方精神之灵，从大唐深入东瀛，而主创团队，用镜头将这份散逸千年的文明气场，重新凝聚、唤醒，让千年文明之光，再度照亮当下。

Li Jianjun, founder of Human Body Engineering, gazed at the gradually dimming screen and softly remarked: 'This has never been an ordinary documentary. It is another, poetic expression of the idea of fengshui. The civilizational qi of heaven and earth flowed slowly from Chang'an to Nara; the spiritual essence of the East entered deeply from the Tang into the eastern islands. The creative team, with their lens, has gathered and awakened anew this civilizational qi-field that had drifted for a thousand years, letting the light of a thousand-year civilization once again illuminate our present.'

三、天人合一：中日文化同源，和而不同

III. Heaven and Human as One: Chinese and Japanese Culture Share a Common Source, Harmonious Without Being the Same

李建军缓步登台，不谈罗盘八卦，不究风水形制，以天人合一为核，剖析中日文化的同源根脉与精神内核，解读人与天地、与他人、与时空的共生关系。

Li Jianjun walked slowly to the stage. He spoke neither of the compass nor of the eight trigrams, did not investigate fengshui forms. Taking 'heaven and human as one' as his core, he analyzed the shared roots and spiritual core of Chinese and Japanese culture, and interpreted the symbiotic relationships among person, heaven and earth, others, and time and space.

中日两国的祀祭文化，同根同源，内核皆是对天地万物的敬畏与联通。中国自古以礼立邦，祭天于圜丘，感念天地恩泽；祭祖于宗祠，传承血脉根脉，儒家所言礼，与其奢也，宁俭；丧，与其易也，宁戚，核心是内心的赤诚与敬畏，而非外在的繁复形式。日本传承这份精神内核，演化出神社晨拜、山岳信仰，信奉神寄于风中，将敬畏融入自然万物。空海的道场，完整传承大唐风水格局；空海一脉的礼仪规制，深深承袭华夏礼乐精神，足见两国文化一脉相承。

The ritual cultures of China and Japan share a common root and source, with reverence for and connection to all things of heaven and earth at their core. China has from ancient times founded the state on rites: making sacrifice to heaven at the round altar in gratitude for the kindness of heaven and earth; offering to ancestors in the clan hall to transmit the bloodline. Confucianism says, 'In rite, rather than extravagance, choose frugality; in mourning, rather than smoothness, choose grief.' The core is the sincerity and reverence of the inner heart, not elaborate outward form. Japan inherited this spiritual core and developed it into morning worship at shrines and the faith of the mountains, believing 'the kami dwell in the wind' and weaving reverence into all things of nature. Kukai's monastic centers fully inherited the Tang fengshui pattern; the ritual codes of his lineage deeply carry forward the Chinese spirit of rite and music. This is enough to show that the two cultures share an unbroken thread.

李建军坦言，中国讲敬天法祖，日本讲神道自然，外在形式虽有差异，精神内核却高度一致：二者皆坚信万物有灵，天地自有德行与规律，人从不是天地的主宰，而是与万物通灵、与自然共生的修行者。无论是华夏的太庙，还是日本的春日大社，皆是为了让天地之气得以降临、凝聚、安定，这从不是封建迷信，而是人类最早的精神生态学，是对自然、对生命最本真的敬畏。

Li said plainly: China speaks of 'reverence for heaven and emulation of the ancestors'; Japan speaks of 'the natural Way of the kami.' The outward forms differ, but the spiritual core is highly consistent. Both firmly believe that all things possess spirit, that heaven and earth have their own virtue and law, and that the human being is never the ruler of heaven and earth but a practitioner who communes with all things and lives together with nature. Whether the Chinese Taimiao or Japan's Kasuga Taisha, all exist so that the qi of heaven and earth may descend, gather, and settle. This is not feudal superstition; it is humanity's earliest spiritual ecology — the most authentic reverence for nature and for life.

而两国风水文化，更是同源而异流，皆是对生命与空间的深度参悟。中国风水讲求藏风聚气、负阴抱阳，通过因地制宜的营造，实现人宅相扶、安家兴业，是有为的智慧营造；日本风水一词直接源自唐代，而后结合本土文化，发展出侘寂、间、庭园呼吸等理念，侧重留白、静寂、无常，是无为的自然顺应。

The fengshui cultures of the two countries also share a common source and diverge in current — both are deep contemplations of life and space. Chinese fengshui calls for 'storing wind and gathering qi' and 'supporting yin and embracing yang,' realizing through site-appropriate making the mutual support of human and house, the settling of the home and the flourishing of work — a 'wei' (active) wisdom of construction. Japanese fengshui, the very word of which comes from the Tang, later combined with native culture and developed ideas such as wabi-sabi, ma (the gap), and the breath of the garden, emphasizing emptiness, stillness, impermanence — a 'wu-wei' (non-active) attunement to nature.

但二者的核心追求始终相通：空间从来不是冰冷的容器，而是有呼吸、有气场的生命体；建筑从来不是单纯的遮风挡雨之所，而是适配身心、承接天地之气的生命器官。中日风水文化的同源，从来不是技术手法的一致，而是对生命的敬畏、对自然的顺应、对人居和谐的极致追求。

Yet the core pursuit of both is always one: space has never been a cold container — it is a living body with breath and a qi-field; architecture has never been a mere shelter from wind and rain — it is an organ of life fitted to body and mind and able to receive the qi of heaven and earth. The shared root of Chinese and Japanese fengshui culture has never been technical sameness; it is reverence for life, attunement to nature, and the ultimate pursuit of harmony in human dwelling.

谈及文化传承，李建军目光深邃，直言当下的认知误区：有人说日本传承了华夏文化，更显精致；有人叹中国遗失了空海精神，丢失了传承初心，实则不然。不是中国没有空海精神，而是这份精神太过厚重，当下的我们，渐渐少了放下身段、虚心求道的勇气。空海的求法之路，是放下身份隔阂，远赴异乡做一名潜心求学的学子；鉴真的东渡之行，是明知前路九死一生，依旧坚守渡人渡己的初心。

Turning to cultural transmission, Li's gaze deepened. He spoke directly to current cognitive errors. Some say Japan has inherited Chinese culture and shows it more refined; others lament that China has lost Kukai's spirit, lost the first heart of transmission. In fact, neither is so. It is not that China lacks Kukai's spirit — it is that this spirit is too heavy, and we today have gradually lost the courage to set down our posture and seek the Way with humility. Kukai's path of seeking the Dharma was to set aside identity barriers and travel far to a foreign land as a student devoted to study; Jianzhen's eastward journey was to hold to the original heart of ferrying others and ferrying himself even knowing that the road ahead held nine chances of death and one of life.

如今我们常谈文化自信，却陷入盲目排外的误区，不敢让年轻人走出国门，学习邻国优秀的茶道、枯山水、传统技艺，生怕本土文化被同化，却恰恰违背了文化自信的真谛。真正的文化自信，从不是闭门造车、固步自封，而是敢于敞开胸怀，既敢让世界看见华夏文明，也敢虚心学习他国所长；既坚守自身根脉，也包容多元文化。中国智慧的最高境界，向来是和而不同，你我虽走不同的文明之路，却共饮一江水，共守一片天地，彼此尊重，彼此成就。

We speak often of cultural confidence today, yet we fall into the error of blind xenophobia: not daring to let our young go abroad to learn from a neighbor country's tea-ceremony, dry-landscape gardens, or traditional crafts, fearing that our own culture will be assimilated. This is precisely the opposite of true cultural confidence. True cultural confidence has never been about building one's cart behind closed doors or standing still in pride. It is the courage to open the heart wide — daring both to let the world see Chinese civilization and to learn humbly from the strengths of other countries; both to hold to one's own roots and to embrace plural cultures. The highest state of Chinese wisdom has always been 'harmony without sameness': you and I walk different civilizational roads, yet we drink from the same river and hold to the same sky, respecting each other and making each other succeed.

四、智慧回响：东方哲思，照亮当代文明

IV. The Echo of Wisdom: Eastern Thought Lighting Up Contemporary Civilization

李建军沉心凝练，道出藏于《空海传》与东方文明中的五重中国智慧，字字珠玑，映照当下。

Li Jianjun, settling his heart and refining his words, set forth five strands of Chinese wisdom hidden in The Legend of Kukai and in Eastern civilization — every word a pearl, all of them mirroring our present.

求道者无国界，空海为一卷经书、一份信仰，不惧东海风浪、万里跋涉，这份对真理的追求，超越了国籍、政治与意识形态，真正的文化与智慧，从来属于全人类。传承是转化，绝非复制，空海没有照搬汉字与佛经，而是化汉字为平假名，融佛法为真言宗，这启示我们，文化从不需要强行输出，只需以包容之心点燃智慧火种，让其在不同土壤上自然生根、自主新生。风水的本质是养人，无论是大唐西市、鉴真主持的唐招提寺，还是空海修行的高野山，皆是安抚身心、安放灵魂的净土，反观当下城市建设，我们打造了无数高楼大厦，却稀缺能让人安心、静心、归心的人文空间。

The seeker of the Way has no national borders. For a single scroll of scripture and a single faith, Kukai did not fear the winds and waves of the East China Sea or a journey of ten thousand miles. This pursuit of truth transcends nationality, politics, and ideology. True culture and true wisdom have always belonged to all of humankind. Transmission is transformation, never replication. Kukai did not copy Chinese characters or the sutras wholesale; he transformed Chinese characters into hiragana and fused the Dharma into Shingon. This teaches us that culture never needs to be forcibly exported; we need only kindle the spark of wisdom with an inclusive heart and let it take root naturally and be reborn in different soils. The essence of fengshui is to nourish people. Whether the Great Tang West Market, the Tōshōdai-ji that Jianzhen oversaw, or the Mount Kōya where Kukai practiced — all are pure lands that calm body and mind and house the soul. Looking at our cities today, we have built countless tall buildings yet have very few humane spaces in which people can settle, quiet themselves, and feel at home.

祀祭是人与天地的契约，中国的祭天礼仪、日本的神道信仰，核心皆是心怀敬畏，懂得顺应天地、尊重自然，如今面对全球气候危机，我们更需重拾这份敬畏之心，重建人与自然的和谐共生。文明的巅峰是无我，鉴真双目失明，依旧义无反顾东渡传法；空海潜心求道、毕生传承，从不追求个人名望，真正顶级的文明与智慧，从来不为一己私有，而是为天下苍生所用，为人类文明永续传承。

Ritual is the covenant between human and heaven. China's heaven-sacrifice rites and Japan's faith in the kami both carry reverence at their core and know how to attune to heaven and earth and respect nature. Faced today with a global climate crisis, we need all the more to take this reverence back up and to rebuild a harmonious coexistence with nature. The summit of civilization is selflessness. Jianzhen, blinded, still went east unhesitatingly to transmit the Dharma; Kukai, devoted to the Way and giving over his life to transmission, never sought personal renown. The truly top-tier civilization and wisdom have never been the private possession of any one self; they are for the use of all beings under heaven, for the unending transmission of human civilization.

演讲最后，李建军掷地有声：我们在好莱坞放映《空海传》，从不是为了向世界展示所谓的东方神秘主义，而是要传递一个文明的初心：21世纪，最珍贵的从来不是AI技术、高端芯片，而是一个文明的格局与勇气——敢于放下傲慢，虚心做求学的学子；敢于心怀大爱，为他人点亮文明灯火；敢于跨越山海，在时代风浪中，将人类共通的智慧与善意，亲手传递到每一个异乡人手中。这，才是中国智慧真正的复兴，才是东方文明献给世界的最好礼物。

At the end of his talk, Li spoke with weight: 'When we screen The Legend of Kukai in Hollywood, it is never to display so-called Eastern mysticism to the world. It is to convey a civilization's first heart. In the 21st century, the most precious thing has never been AI or high-end chips. It is a civilization's bearing and courage — the courage to set down arrogance and become a student again, learning with humility; the courage to carry great love and to light the lamp of civilization for others; the courage to cross seas and mountains, and amid the winds and waves of our age, to hand the wisdom and goodwill common to all humankind, by one's own hand, to every stranger from afar. This is the true revival of Chinese wisdom; this is the finest gift Eastern civilization offers to the world.'

五、结语：光影落幕，文明觉醒不止

V. Conclusion: The Light and Shadow End, but the Civilizational Awakening Does Not

《空海传》的光影已然落幕，但这场跨时空文明对话的涟漪，才刚刚在每个人心中荡漾。

The play of light and shadow of The Legend of Kukai has ended, but the ripples of this cross-temporal civilizational conversation have only just begun to spread within each heart.

现场一位日裔美国观众动容坦言，祖母是日本神社巫女，祖父是华裔移民，过往总觉得自己是两种文化的混血，如今才明白，自己是中日文明交汇的载体，是东方文明同根共生的见证。一位中国留学生感慨，终于读懂，中日两国从不是要分出高下、争出输赢，而是要携手并肩，延续空海的求道之路，将这条文明互鉴之路，铺成属于全人类的共生之路。

A Japanese-American viewer in the room said, moved: her grandmother had been a shrine maiden in Japan and her grandfather a Chinese immigrant. She had always thought of herself as a 'mix of two cultures'; only now did she understand that she was a carrier of the meeting between Chinese and Japanese civilizations, a witness to the shared roots and shared life of Eastern civilization. A Chinese student abroad sighed: she had finally understood that China and Japan were never meant to compete for higher and lower, to argue over winners and losers, but to walk hand in hand and continue Kukai's road of seeking the Way — paving this road of civilizational mutual learning into a road of shared life for all humankind.

李建军在考察日记中写下：长安的明月，曾照亮奈良的樱花；东海的长风，曾吹过西安的古城墙。文明的传承与延续，从来不是靠冰冷的纪念碑、宏伟的古建筑，而是靠一代又一代人的坚守与赤诚，靠有人愿意远赴异乡，为一字一句的真理、一脉相承的文明，放下身段，心怀虔诚。

Li wrote in his delegation journal: 'The bright moon of Chang'an once lit the cherry blossoms of Nara; the long winds of the East China Sea once blew across the ancient walls of Xi'an. The transmission and continuity of civilization have never relied on cold monuments or grand ancient buildings; they rely on the perseverance and earnestness of generation after generation — on people who are willing to travel far to a foreign land, who set down their posture and carry devout hearts for a single word, a single line of truth, for a civilization passed from one heart to another.'

尾声：以心为桥，奔赴文明共生

Coda: With the Heart as a Bridge, Toward Civilizational Coexistence

这场好莱坞的光影之约，最终化作三句赠给世界的文明箴言，藏着东方文明的温柔与格局：

This appointment with light and shadow in Hollywood condensed in the end into three civilizational aphorisms offered to the world, carrying the gentleness and bearing of Eastern civilization:

真正的文化自信，不是说我比你强，而是说：我愿你比我更懂。

True cultural confidence does not say 'I am stronger than you'; it says 'I wish you to understand more deeply than I do.'

风水不在罗盘之上，而在你是否愿意为一个陌生人，留下一盏温暖的灯。

Fengshui is not on the compass. It lies in whether you are willing to leave a warm lamp burning for a stranger.

空海从未远去，从未消散，他只是换了一种方式活着——活在每一个敢于放下身份、远赴远方追寻真理的人心里。

Kukai has never gone far away, has never dissipated. He has only changed the way he lives — living in the heart of every person who dares to set down their identity and travel far in search of truth.

考察团就此发起文明行动倡议：让《空海传》走进哈佛、加州大学、东京大学等世界名校，同步举办天人合一文明论坛，搭建全球学术交流的文明桥梁；设立空海奖学金，资助中日青年互访研学，传承古法造纸、茶道、佛经抄写等非遗技艺，以实际行动重建文化血脉；在西安、奈良、京都、洛杉矶搭建空海之桥文化驿站，为每一位文明求道者提供落脚之处；推动《空海传》纳入联合国教科文组织人类文明记忆工程，向世界证明，文明可以跨越山海，可以温柔传递，可以和而共生。

The delegation thereupon launched a set of civilizational action proposals: bring The Legend of Kukai into world universities such as Harvard, the University of California, and the University of Tokyo, and hold simultaneous 'Heaven-and-Human as One' civilizational forums to build civilizational bridges of global academic exchange; establish a 'Kukai Scholarship' to fund mutual visits and study among Chinese and Japanese youth, transmitting intangible-heritage techniques such as ancient-method papermaking, tea ceremony, and sutra copying — rebuilding the cultural bloodline through real action; establish 'Bridges of Kukai' cultural way-stations in Xi'an, Nara, Kyoto, and Los Angeles, offering a place to alight to every seeker of civilization; and advocate that The Legend of Kukai be brought into UNESCO's 'Memory of Human Civilization' program, to demonstrate to the world that civilization can cross seas and mountains, can be transmitted gently, and can coexist in harmony.

千年之前，茫茫大海是阻隔文明的天堑；千年之后，当一代又一代人，为一卷经书、一份信仰、一种文明渡海而行，大海便成了相通的路。空海走过的路，从来不是划分国度的边界，而是联通心灵的境界。

A thousand years ago, the vast sea was a heaven-set chasm dividing civilizations. A thousand years later, when generation after generation crosses the sea for a single scroll, a single faith, a single civilization, the sea becomes the road that joins. The road Kukai walked has never been a border that divides countries; it is a state of being that connects hearts.

光影落幕，征程再起。千年文明的接力棒，已然交到我们手中，以心为桥，以善为舟，以智慧为帆，续写属于这个时代的文明互鉴篇章，便是我们对千年求道者最好的致敬。

The play of light and shadow ends; the journey begins anew. The relay baton of a thousand-year civilization has been placed in our hands. With the heart as a bridge, kindness as a vessel, and wisdom as a sail, to go on writing this age's chapter of civilizational mutual learning is the finest tribute we can offer to the seekers of a thousand years.

作者简介：

李神琦（Rex Lee）是一位华裔美国演员、获奖剧作家与百老汇制作人，常驻纽约市。他本科毕业于芝加哥大学，主修历史与政治学，并于伦敦政治经济学院（LSE）获得金融与社会学硕士学位。

李神琦拥有横跨艺术、金融与公共事务领域的广泛经验，曾于国际顶级艺术拍卖行苏富比（Sotheby’s）任职，并在华盛顿特区担任企业说客，代表多家跨国公司进行政策游说。

他的表演生涯始于入围全美极具声望的 Jerry Herman Awards，这一经历点燃了他对舞台艺术的热情。其后，李神琦成为当年唯一入选的华裔男演员，受邀加入英国国家剧院（National Theatre Company of Great Britain），并展开国际巡演。他也曾参演美国国家级广告、影展短片，以及伦敦 Off-West End 的专业剧场演出，并受保加利亚文化部邀请，赴索菲亚国家剧院登台演出，展现其多语文化的舞台魅力。

舞台之外，李神琦在学术领域同样表现出色。他曾在全美历史竞赛（National History Bowl）及美国地理奥林匹克（U.S. Geography Olympiad）中取得佳绩，并入选美国国家队。他对全球事务、文化历史与地缘政治的深厚理解，持续为其剧作与表演注入思想深度与跨文化的叙事视角。

作为百老汇制作人，李神琦致力于搭建中美戏剧之间的桥梁——将美国戏剧引入中国，也让中国作品登上纽约舞台。他坚信戏剧能够穿越语言与国界，成为文化交流的窗口与心灵的共鸣。他的作品关注移民经验、身份认同与文化错位，通过艺术不断重塑“归属”的意义，推动亚洲叙事在全球剧场中的传播与再想象。

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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