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When a Chinese mythic world travels without translation_我的网站

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    Chen Aijun works in an optical shop in Chengdu, southwest China's Sichuan Province, Aug. 14, 2026. (Xinhua/Lu Youyi)The video came with almost no instructions.
There was no narration explaining the mythology behind palaces rising above an ocean of clouds in the video, nor subtitles identifying the heavenly gates, cranes or tiny figures moving beneath them.
Yet viewers outside China quickly began naming the world for themselves.
Some called it "paradise." Others saw a "Celestial Palace" or an "Immortal Realm" familiar from Chinese fantasy games and television dramas. One user wrote, "Waiting on Wukong to show up," invoking the Monkey King from the Chinese literary classic "Journey to the West," or the hit game "Black Myth: Wukong."
The interpretations differed, but viewers did not seem to need the same cultural knowledge to enter the conversation.
Earlier this month, Chinese foreign ministry spokesperson Mao Ning shared the 33-second AI-generated video on social media with a question: "What does the Chinese heaven look like?"
It opened up a hermeneutic discussion, with responses overseas suggesting a cultural image does not necessarily need to elicit exactly the same interpretation for everyone in order for it to be viewed meaningfully.
"The right to interpret ultimately lies with the audience," said Zhang Zheng, deputy dean of Tsinghua University's School of Journalism and Communication.
People encountering unfamiliar cultures inevitably draw on what they already know, Zhang said. Rather than fully grasping every cultural reference, what matters is whether audiences can encounter the work, understand it and respond to it emotionally.
Before strangers abroad could interpret this particular world, however, it first had to get out of one man's head.
Chen Aijun, 34, is an optometrist in Chengdu, capital of southwest China's Sichuan Province.
By day, Chen leads a quiet, down-to-earth life in a neighborhood optical shop. Inside, he worked among eyeglass frames and optometry equipment. On his computer was another landscape entirely: cloud seas, immense palaces, flying cranes and figures in ancient robes.
Chen's heaven did not come from any single ancient text.
Growing up in the 1990s, he watched "Journey to the West" and later encountered "The Investiture of the Gods," xianxia (immortal heroes) novels and fantasy games. Those stories mixed over time with images of Chinese architecture and landscapes he saw online.
He has never visited nearby Mount Emei, and most of what he knows of Mount Huangshan's famous sea of clouds comes from videos.
What appeared on his screen was therefore not a reconstruction of one fixed mythological scene, but a world shaped by traditional stories already filtered through television, novels, games, the internet and his own memory.
For years, Chen had no way to make that world visible.
He never studied painting, design, photography or 3D modeling. After high school, he joined his parents' optical business and eventually took over the shop.
Generative AI changed the gap between imagining an image and possessing the technical skills to show it to someone else.
More than a year ago, Chen began teaching himself through free online tutorials. In September 2025, he started regularly posting AI videos, and a month later began experimenting with palaces floating above clouds. He has since published more than 200 videos.
The process, however, involves far more than entering a few prompts. The technology lowered the technical threshold, but it did not make the choices for him.
When creating Nantianmen, the mythical heavenly gate, Chen first defines the spatial rhythm and tonal hierarchy, pairing towering architecture and cloud seas with deliberately miniature figures to amplify the celestial realm's grand scale.
If the result does not match the picture in his mind, he tries again. He often generates over 1,000 images a day, revising a single scene repeatedly before moving on to animation, editing, color grading and music.
The machine can generate a thousand possible heavens. Chen still has to decide which one is his.
"AI-produced images can be soulless, and it takes human inspiration and aesthetic sensibility to endow works with warmth and vitality," he said.
Zhang believes Chen's experience reflects a broader shift brought about by generative AI. He said AI is giving people without conventional artistic training access to forms of expression that once required specialized skills. But what they create still depends on what they bring to the tool.
"A person's existing knowledge inevitably shapes how they use AI," Zhang said.
Chen brought his memories to the machine. Viewers abroad, in turn, brought theirs to the image.
"Everyone brings their own associations to these scenes," he said.
If his imagined world had to be reduced to three elements, he would keep clouds, architecture and people. The first two should feel immense, he said, while the last should remain small.
The details are culturally specific, but the visual effect is more immediate: tiny human figures dwarfed by vast clouds and monumental architecture. The responses suggest that viewers did not need to understand every cultural reference to find a way into the image.
Chen has no overseas social media accounts and learned that the video was attracting attention abroad only when friends sent him screenshots.
His life at the optical shop has changed little. He still checks eyesight and fits glasses when customers come in, then returns to his computer when the shop grows quiet.
He now hopes to make longer AI videos with fuller stories. He also wants to visit Mount Emei and, one day, Mount Huangshan.
For years, images of distant mountains and clouds reached Chen through screens. His imagined landscapes later traveled through screens to people he had never met.
Now he wants to see the real mountains and clouds for himself.
    Chen Aijun makes AI videos in an optical shop in Chengdu, southwest China's Sichuan Province, Aug. 14, 2026. (Xinhua/Lu Youyi)
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B |     　　新华社沈阳8月24日电 题：中国构建“黄金大外环”激活经济新走廊　　新华社记者郭翔、丁非白、高爽　　近期，中国交通运输部宣布“十五五”期间将全面贯通沿边G219、G331和沿海G228三条国道骨干通道，打造一个环绕中国沿边沿海的“黄金大外环”。　　若将这条外环路首尾相连，总计有多长？答案是超过2.6万公里，接近赤道长度的三分之二。

C | 　　国道G331、G228共同起点在辽宁省丹东市，虎山长城脚下是二者的交汇点。

D | “两条国道穿村而过，自驾游、边境游旅客常年不断。

E | ”丹东市宽甸满族自治县虎山镇虎山村党总支书记王春海说，依托国道交通优势，村里盘活闲置土地打造为房车宿营地和民宿，获得游客好评的同时，也增加了村集体收入。　　吉林省白山市长白朝鲜族自治县马鹿沟镇果园村是国道G331沿线村落，村民郑今花尝到了国道通车带来的“甜头”。“好多客人说，从丹东沿着鸭绿江开车过来，一路都是景。

F | 村里很多人家陆续开起了民宿，或者卖辣白菜。”郑今花说。　　据统计，今年上半年，国道G331沿线累计接待游客超200万人次。边境村群众通过投资民宿、开办特色餐饮、售卖农特产品，在家门口吃上了“旅游饭”。　　早在2024年，G331边境旅游联盟便已成立。辽宁、吉林、黑龙江、内蒙古、甘肃、新疆等地依托边境城市、自然风光、民族风情、对外口岸和界江界河等资源，打造自驾露营、休闲度假、探险体验、跨境商旅的边境旅游发展新通道。　　国道G331终点和G219起点在新疆。今年6月，中国旅游景区协会联合新疆、西藏、云南等省份国有文旅集团发起筹建G219文化旅游产业协同发展机制，将以G219为纽带统筹沿线文旅资源，推动跨区域边境文旅一体化发展。　　国道G219是连通中国西部边境线的主动脉，生态地理景观丰富，沿途有中国最大的沙漠塔克拉玛干沙漠、“世界屋脊”青藏高原、中国最长最宽最典型的南北向山脉横断山、中国四大高原之一云贵高原等。　　“国道G219是中国最长的边境公路，全线贯通后，将直接服务兴边富民、稳边固边、民族团结、乡村振兴与文旅强国。”新疆文化旅游投资集团党委副书记、总经理刘让群说。　　如果说国道G219、G331是沿边而行的陆路动脉，那么国道G228则是一条拥抱海洋的蓝色走廊——从辽宁丹东至广西东兴，串联10个省份，自北向南跨越鸭绿江、辽河、海河、黄河、淮河、长江、珠江等水系，沿途尽赏大陆海岸线美景。

G | 　　来自韩国首尔的李在载是一位骑行爱好者，去年来到中国旅游时，国道G228丹东段这条滨海风光道路给他留下深刻印象。“丹东气候很舒服，滨海路的风景太美了！骑行道、休息点等设施做得也很好，骑行很顺畅过瘾。　　“国道G228将沿海港口串联起来，形成了陆路边境连通滨海港口的交通物流通道，通过对沿边口岸交通枢纽与其他领域的走廊经济、枢纽经济的有机整合，有助于拉动沿边、沿线经济社会的全面发展。”北京交通大学教授李红昌说。

H | 　　以丹东港为例，过去一年，丹东港浪头港区重启内贸运营，大东港区10个泊位相继获批临时开放；港口承接黑龙江、吉林两省货物转运量同比增长72%，跨境电商交易额实现两位数攀升。　　“黄金大环线”向西可接西部陆海新通道和中欧班列，向东能连远洋外贸航线。

I | “以前沿海是沿海，沿边是沿边，各自走各自的通道。现在依靠三条通道实现海陆联动，能够进一步降低跨境物流成本。”中国国家创新与发展战略研究会中国经济研究中心副主任马江博表示，完善的路网让曾经的交通末梢变成开放前沿，众多沿边沿海地区的资源可以沿着国道走出去，同时引进更多跨境加工、边境产业园，中国的产业布局将更加均衡。

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Published on:15:22:13