进击的巨人
When a Chinese mythic world travels without translation_我的网站
一 | 童言稚语 孩子的一百种语言 《儿童的一百种语言》中说到：“孩子有一百种语言，一百双手，一百个想法，一百种思考、游戏、说话的方式，一百种倾听、惊奇、爱的方式，一百种歌唱与了解的喜悦。”世界的模样在儿童的眼中，一定也有一百种，他们用眼睛发现，用画笔描绘，用词句记录……于是这个世界因为孩子们的“童言稚语”变得格外温柔与美好！ 让我们一起来听听关于新年的童言稚语吧！ 01 托小班 米甜：新年有很多人。
二 |
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.
。 佩泽：新年会放烟花。
三 | 米甜：小朋友一起手拉手看烟花。 格格：你知道什么是元旦吗？ 鲁梓伊：就是圆圆的鸡蛋啊 格格：不是不是，元旦就是新年，新年太阳公公都不用睡觉的。
四 | 那我们是不是也可以不午睡啦？ 花生：今天我们在教室里拍新年照，小朋友们都穿着红色的衣服，老师拿着相机咔嚓咔嚓，照片里面有我和爸爸妈妈做的红纸灯笼，粘土糖葫芦…… 1 2025 02 中班 倪煦杨：过年挂的红灯笼就像热气球一样，我想坐着会飞的灯笼去找月亮姐姐，问问她新年要不要也吃饺子。 铱铱：我也想去，我还想去把天空变成一个大糖果屋，这样下的雪都是棉花糖，新年的每一天都可以甜甜的！ 优优：新年我们要做什么呢？ 悦悦：新年要买新衣服，我最喜欢红红的衣服。 优优：那我们一起做一件新衣服吧，画上我们最喜欢的小花。 悦悦：好呀，那穿在身上就像在花园一样。 溜溜：颜颜，你觉得新年是什么颜色的呢？ 颜颜：新年当然是红色的啦！ 小二：妈妈新年会带我剪红色的窗花，很漂亮呢！ 颜颜：哇！我也很喜欢剪窗花呢，你可以教我吗？ 小二：当然可以啦！我们一起剪吧！ 溜溜：我也要剪，我也要剪！ 新年祝福 03 大班 心怡：我希望新年能下一场红包、糖果雨。 咪哆：我希望新年全家一起吃饺子的时候把照片拍下来。
五 | 1 瑶瑶：过年你最开心的事是什么？ 暖暖：我最开心的是有很多好吃的。
六 | 瑶瑶：除了好吃的，我还喜欢大红包~我可以用来买好吃的，好玩的 汤圆：新年，我闻到了甜甜的香味，是糖葫芦的香味。
七 | 小鲤鱼：糖葫芦是水果串在一起，彩色的很好看。 丫丫：我们做的糖葫芦有星星形状、雪人形状，星星是用杨桃做的，雪人是用草莓和香蕉组合的。
八 | 萱萱：我觉得糖葫芦酸酸甜甜的很好吃！ 熹熹：糖葫芦脆脆的，一口下去嘎嘣脆，在幼儿园里吃到糖葫芦真是太幸福了。 1 2025 童言稚语 孩子们用自己的视角诠释着对世界的理解，用独特的语言表达、分享自己的发现。让我们一起尊重孩子自己的表达方式，聆听孩子的童言趣语。 END 文稿｜方玉玲 照片｜各班教师 一审｜王奕心 二审｜杨柳倩 三审｜袁媛。
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Published on:05:35:19