川师大杀人案

When a Chinese mythic world travels without translation_我的网站

A |     

    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)
。    8月26日讯 尤文门将佩林将转会巴勒莫，佩林社交媒体上发文与尤文告别。“有些地方，你只是匆匆路过。

B | 而有些地方，当你途经时，却会改变你这个人。对我来说，尤文就是这样的地方。如今回首往事，我意识到，现在的我，有一部分是在这几年里逐渐塑造的。因为时间的价值，不在于踢过的比赛、取得的胜利或赢得的奖杯。而在于遇见的人、那些等待的时光、那些沉默的瞬间、那些学会接受的失落，以及那些从内心深处找到重新开始力量的时刻。我学会了即使不总是站在聚光灯下，也能发挥重要作用。我明白了归属于一个集体，有时意味着要暂时放下自我。我领悟到忠诚无需言说，因为它存在于无人注视时你所做的选择之中。身披这件球衣，我经历了职业生涯中最美好的情感时刻，也经历了艰难的时刻。而今天，我同样对那些逆境心怀感激。

C | 因为正是那些时刻迫使我真正认识了自己，我遇到了伟大的冠军球员，但更重要的是，他们首先是鲜活而真实的人，我与他们分享的远不止更衣室，还有日复一日的相伴、重压之下的支撑、开怀的笑声、失利的苦涩、胜利的喜悦、内心的恐惧，以及不曾熄灭的梦想。致所有每天为尤文默默付出、远离众人视线的人们，谢谢你们。有些举动、话语和关怀，在当时或许看似微不足道，但直到告别之际，你才会发现它们是如此厚重而深远。

D | 而对球迷们，我只想简单地说一句，我始终努力让自己配得上身上这件球衣，我不知道自己是否一直做到这点，但我确信自己每一天都对它心怀敬意。现在是时候离开了。写下这些话时，心中百感交集。因为当你在一个地方驻足太久，便不再去想终章何时到来。它早已化作你生命中不可分割的一部分。但也许成长本就包含着这样一课，要有勇气放手所爱，而这份爱，并不会因离别而有半分减损。我不知道自己在尤文的历史长河中能留下怎样的印记。但在我心中，尤文将永远存在。这一点，任何告别都无法夺走。谢谢你，尤文。直至终章。

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Published on:00:46:41