豪杰春香

When a Chinese mythic world travels without translation_我的网站

A |     日前，桐庐县委十五届十次全体会议召开。    

    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)
。全会报告中的两组“双升”数据，勾勒出县域经济动能转换的清晰弧线。一组升在产业质地：高新技术产业增加值占规上工业增加值比重，从去年的84.6%升至今年上半年的87.2%；数字经济核心产业增加值占GDP比重，从17%升至19.7%。另一组升在创新浓度：规上工业研发费用增速，从去年的11.1%升至今年上半年的23.33%，占营收比重从4.19%升至4.24%。两组“双升”数据，折射出桐庐从要素驱动向创新驱动的坚定转身。让人工智能场景引领发展发展换挡的先机，源于精准的产业布局与项目卡位。

B | 在不久前召开的2026世界人工智能大会上，桐庐签约DeepLinkToken销售结算总部项目，将建成全国算力服务计量结算交易枢纽。这意味着桐庐抢抓机遇拿到布局AI时代核心基础设施的“入场券”，成为县域经济加快动能转换的关键信号。换挡的信号，发端于投资结构的深刻变化。桐庐制造业投资占固定投资比重从去年的27.4%升至今年上半年的29.7%，民间投资从28.7%升至39.2%，高技术产业投资从17.1%升至20.4%，资金流向精准指向实体经济与新质生产力。

C | 换挡的成效，在车间里看得见。海康机器人桐庐工厂内，“具身智造”已嵌入装配、检测、转运等生产环节中。据介绍，在国内市场，每两台工业相机、每三台移动机器人，就有一台来自海康。而旺盛的增长需求，让今年1月投产的桐庐工厂，4月便实现全面满产。奥立安4月完成全球首航，目前国内市场已全面铺开；东飞智能、灵巧科技低空物流项目相继签约。无人智能装备“海陆空”全域应用，上半年总产值增长56.4%。新能源产业“光水锂氢”全路径布局，总产值增长87.1%，锂电池产值增长1276.8%。华策AIGC赋能影文旅融合，《剑来》等20余部影视长短剧在桐庐拍摄。“三大场景”叠在一起，拼出桐庐特色“人工智能+”行动的轮廓。锚定打造人工智能场景引领发展示范地，桐庐发布特色场景55个，把场景变成项目，把项目聚成产业。把创新作为发展的第一动力换挡的支撑，在平台上扎下了根。桐庐经济开发区规上工业总产值同比增长22.8%，占全县比重升至81.1%；规上工业企业突破200家，十亿级企业增至6家，获评全省亩均效益领跑者。不远处，新质生产力园区“一区四园”加快成型。

D | 其中滨桐新质生产力园区1月挂牌，余桐低空经济联动区3月挂牌，特别合作园纳入城西科创大走廊“十五五”规划联动区。经开区和新质生产力园区“双轮驱动”，成为桐庐换挡的主引擎。数字背后是动能的迭代。上半年，桐庐全县地区生产总值同比增长6.1%、位居全市第二；规上工业增加值同比增长17.4%、位居全市第二和全省第六；规上工业研发费用增长23.33%、位居全市第一；外贸出口额增长29%、位居全市第三；“296X”先进制造业集群规上工业总产值同比增长35.7%，位居全市第二。“把创新作为引领县域高质量跨越式发展的第一动力，让创新成为桐庐最鲜明的特质、最强劲的动力。

E | ”全会报告中的这句话，为桐庐经济换挡定了调。下半年，桐庐锚定多重发展目标：地区生产总值增长6%，力争达到6.5%；规上工业总产值突破750亿元，其中四大百亿级主导产业产值合计超过600亿元。与此同时，关键项目加速推进，无人智能配送等应用场景将率先打通“最后一米”的落地堵点，华策AI数字摄影棚即将开工，城西科创大走廊桐庐联动区的批复工作也力争年内完成。赛道已铺好。桐庐的换挡，仍在加速。

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Published on:02:03:57