笑看风云

When a Chinese mythic world travels without translation_我的网站

一 |       记者从浙江省市场监管局获悉：浙江以数字化改革为牵引，从准入把关、信息公示、智慧监管到社会共治全链条发力，探索推出主体资质自动校验、“电子证照”公示、无堂食外卖聚集区建设、“AI+非现场监管”等多项治理举措，有效治理外卖后厨脏乱差、商家证照造假以及“幽灵外卖”等问题。    

    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)
。  针对一些外卖商家用假证照、冒用证件就能上线接单的问题，浙江省与部分外卖平台建立证照核验比对机制，打通政企数据壁垒。商家申请入驻时，平台通过数据接口比对校验证照资质信息；校验不成功的，由平台业务员线下核查。  浙江于2024年起推行“电子证照”公示制度，依托全省统一电子证照库，建立与外卖平台的“电子证照”共享机制，平台在商家资质校验通过后，自动调用市场监管数据库中的“电子证照”并在页面公示，从源头杜绝假证、套证等问题。截至目前，各平台累计拦截异常入驻申请4.2万家次，调用“电子证照”超40万家次，电子证照公示率近95%。

二 |   针对无堂食外卖商户散布在街头巷尾，经营隐蔽、监管难度大的问题，浙江创新推出外卖聚集区管理模式，首创“管理方+商户”自治机制。管理方取得“餐饮服务管理”许可资质，对区内商户实施“一档一证”管理。  针对人工巡查覆盖面有限、夜间无法监管的问题，浙江推行“AI+非现场监管”，建立全国首个“明厨AI”垂直大模型，自主研发视频诊断、环境评估、鼠迹识别、操作规范四大算法。系统对接入“阳光厨房”的19万家商户全量开展“静态+动态”自动巡检后厨卫生、人员违规操作等。

三 | （记者窦皓）。

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Published on:22:58:28