金磚國(guó)家作家協(xié)會(huì)（BWA）
大詩(shī)主義運(yùn)動(dòng)
合一天人 融合古今 合璧東西
隨物賦形 和合陰陽(yáng) 整合音義
人類同源 世界大同
Great Poetry Movement
Integration of Sacred and Secular Cultures
Integration of Western and Eastern Cultures
Integration of Ancient and Modern Cultures
阿聯(lián)酋《金沙與城市》雜志專訪王芳聞
藏在我內(nèi)心的阿拉丁神燈被迪拜點(diǎn)亮
答：王芳聞（中國(guó)）
問(wèn)：安娜·斯?jié)嶜愌牛ò⒙?lián)酋/塞爾維亞）
英文翻譯：曹誰(shuí)
1、你第一次去阿聯(lián)酋是什么時(shí)候？對(duì)迪拜的第一感覺(jué)是什么？
答：我第一次去阿聯(lián)酋迪拜是2025年5月24日。從小就聽老師講阿拉丁神燈的故事，心里早就對(duì)這兒魂?duì)繅?mèng)繞了，總算把夢(mèng)里的地方變成了真的，那盞藏在心里、象征著奇跡的神燈，亮了好多年呢。
那天，一走出迪拜機(jī)場(chǎng)，天藍(lán)得一點(diǎn)兒雜色都沒(méi)有，金色的海灣波光粼粼，旁邊棕櫚島上的椰子樹隨風(fēng)晃悠，哈利法塔直聳向天空，帆船酒店遠(yuǎn)遠(yuǎn)望去，仿佛要駛離海灣，那些現(xiàn)代高樓的線條流暢如詩(shī)，跟童畫里似的，走著走著都覺(jué)得跟闖進(jìn)未來(lái)城市似的，每一眼看著都新鮮又震撼。在迪拜市區(qū)溜達(dá)的時(shí)候，穿白色“坎度拉”長(zhǎng)袍的阿拉伯人都特謙和禮貌，尤其是來(lái)接我們中國(guó)詩(shī)人代表團(tuán)的阿德爾先生，黑眼睛亮閃閃的，笑起來(lái)溫溫柔柔的跟春風(fēng)似的，聊起天來(lái)還特別有詩(shī)意，感覺(jué)就像認(rèn)識(shí)好多年的老詩(shī)友。迪拜這地方，既有現(xiàn)代的神奇，又有老傳統(tǒng)的味兒，人熱情，風(fēng)景還跟做夢(mèng)似的，一眼就愛(ài)上了，到現(xiàn)在都忘不了。
2、作為一位經(jīng)常寫絲綢之路的詩(shī)人，迪拜這個(gè)現(xiàn)代文化的十字路口是如何影響你的創(chuàng)作的？
答：作為常年書寫絲綢之路的詩(shī)人，迪拜這座現(xiàn)代文化十字路口，像一束穿越時(shí)空的光，為我的創(chuàng)作注入了全新的靈感維度，讓古老絲路的意象在當(dāng)代語(yǔ)境中煥發(fā)新生。
絲綢之路在我筆下，曾是駝鈴聲聲，長(zhǎng)河落日，大漠孤煙、商道絲虹，馬背茶香，是東西方文明緩步交融的悠長(zhǎng)軌跡。而迪拜，以極致的現(xiàn)代性重構(gòu)了“十字路口”的內(nèi)涵——這里沒(méi)有古道揚(yáng)塵，卻有哈利法塔下不同膚色的人群步履匆匆；沒(méi)有駝隊(duì)商幫，卻有全球貿(mào)易在此流轉(zhuǎn)不息。站在棕櫚島的棧道上，看波斯灣的浪濤拍打著現(xiàn)代碼頭，恍惚間竟覺(jué)千年前阿拉伯商人的船帆與今日的巨輪在此重疊，古絲路的“互通”基因，以更迅猛的姿態(tài)在這片土地延續(xù)。
迪拜的多元共生，讓我的詩(shī)句有了更鮮活的肌理。黃金市場(chǎng)里，香料的馥郁與現(xiàn)代商場(chǎng)的霓虹碰撞；清真寺的宣禮聲與街頭咖啡館的笑語(yǔ)交織；白袍老者的傳統(tǒng)禮儀與年輕人的潮流穿搭相映成趣。這種傳統(tǒng)與現(xiàn)代、東方與西方的無(wú)縫銜接，打破了我對(duì)絲路文明的固有想象——原來(lái)古老的交流精神，能以如此時(shí)尚、包容的方式呈現(xiàn)。我開始在詩(shī)中書寫“駝鈴與引擎共鳴”“香料與咖啡共香”，讓絲路的歷史厚度與迪拜的現(xiàn)代活力形成奇妙對(duì)話。
阿德爾等阿拉伯詩(shī)人的熱情交流，更讓我觸摸到文化共鳴的溫度。我們以詩(shī)為媒，探討絲路的過(guò)去與現(xiàn)在，發(fā)現(xiàn)不同文明對(duì)“相遇”“包容”的永恒追求。這讓我的創(chuàng)作不再局限于追溯歷史，更聚焦于當(dāng)下的文明共生：迪拜的每一座建筑、每一次微笑、每一次握手，都是絲路精神的當(dāng)代注腳。
迪拜這座現(xiàn)代絲路樞紐，讓我明白絲綢之路從未遠(yuǎn)去，它只是以新的形態(tài)延伸、生長(zhǎng)。我的筆，也因此從追憶往昔轉(zhuǎn)向描摹當(dāng)下，讓古老絲路的詩(shī)意，在這個(gè)文化交融的十字路口，綻放出更具時(shí)代感的光彩。
3、你的詩(shī)《迪拜之約》《遙遠(yuǎn)的駝鈴》和《棕櫚島謠曲》將歷史、自然和情感完美地交織在一起。是什么激發(fā)了這些特殊的意象和符號(hào)？
答：我這三首詩(shī)是迪拜組詩(shī)十首中的其中三首，歷史、自然與情感交織的獨(dú)特意象，根源在于迪拜這片土地的雙重氣質(zhì)——它既是古絲綢之路的重要節(jié)點(diǎn)，又是現(xiàn)代文明的奇跡之地，更是自然與人文碰撞出的詩(shī)意場(chǎng)域，每一個(gè)意象的誕生都源于現(xiàn)實(shí)場(chǎng)景與內(nèi)心共情的深度交融。
古絲路的歷史余溫，是《遙遠(yuǎn)的駝鈴》核心意象的源頭。踏上迪拜的土地，黃金市場(chǎng)里香料的醇厚、波斯灣畔殘留的古商港痕跡，都讓常年書寫絲路的詩(shī)人瞬間穿越千年。那些記載在史料中的阿拉伯商隊(duì)、東西方互通的駝鈴聲，不再是遙遠(yuǎn)的文字符號(hào)，而是與街頭穿梭的車流、碼頭停泊的巨輪形成跨越時(shí)空的對(duì)話。這種“歷史與當(dāng)下的重疊”，讓“駝鈴”從單純的歷史符號(hào)，變成承載文明傳承的情感載體，既回響著往昔的交流記憶，也叩擊著當(dāng)下的共生脈搏。
迪拜獨(dú)特的自然與人文共生之景，催生了《棕櫚島謠曲》的鮮活符號(hào)。棕櫚島作為人工與自然的杰作，椰影搖曳的海岸、蔚藍(lán)波斯灣的浪濤，與錯(cuò)落有致的現(xiàn)代建筑構(gòu)成奇妙畫卷。詩(shī)人漫步棧道時(shí)，看海水與沙灘相擁、綠植與樓宇相映，自然的靈秀與人類的智慧在此完美契合。這種“自然肌理與現(xiàn)代美學(xué)的交融”，讓“棕櫚”“浪濤”“椰風(fēng)”等意象脫離了單純的自然描寫，被賦予情感溫度——它們是迪拜的溫柔底色，也是詩(shī)人對(duì)“人與自然和諧共生”的詩(shī)意詮釋，字里行間滿是對(duì)這片土地創(chuàng)造力的贊嘆。
而《迪拜之約》的意象靈感，則源于跨文化交流的真摯情感。與阿拉伯詩(shī)人阿德爾的相遇、白袍友人遞來(lái)的嘎瓦咖啡、街頭陌生人友善的微笑，讓“約定”成為連接歷史與當(dāng)下、東方與西方的情感紐帶。古絲路上的“相遇之約”與今日的“詩(shī)友之約”重疊，讓“海灣”“燈光”“握手”等意象都承載著文化共鳴的重量。
說(shuō)到底，這些意象的誕生，是迪拜的“歷史厚度、自然靈秀、人文溫度”與詩(shī)人的“絲路情懷、敏銳感知、共情之心”相互成就的結(jié)果。這片土地上的每一處風(fēng)景、每一次相遇，都成為激發(fā)詩(shī)意的火種，最終凝結(jié)成兼具歷史縱深、自然之美與情感溫度的獨(dú)特符號(hào)。
4、你認(rèn)為古代絲綢之路和今天作為東西方交匯點(diǎn)的迪拜之間有聯(lián)系嗎？
答：古代絲綢之路與今日迪拜的有著深層次的聯(lián)結(jié)。古代絲綢之路與當(dāng)下東西方交匯點(diǎn)的迪拜，雖跨越千年時(shí)空、地理坐標(biāo)不同，卻存在著一脈相承的核心聯(lián)結(jié)，本質(zhì)都是文明互通、貿(mào)易融通的樞紐載體。
從核心功能來(lái)看，二者均是東西方物資流通的關(guān)鍵節(jié)點(diǎn)。古代絲綢之路以西安為起點(diǎn)，從長(zhǎng)安、洛陽(yáng)等地走出駱駝商隊(duì)為紐帶，將中國(guó)的絲綢、瓷器，印度的香料、珠寶，中亞的駿馬、織物運(yùn)往地中海沿岸，同時(shí)帶回西域物產(chǎn)，搭建起跨大陸的貿(mào)易網(wǎng)絡(luò)；如今的迪拜憑借波斯灣咽喉位置與世界級(jí)港口、機(jī)場(chǎng)，成為全球物流樞紐，石油、奢侈品、電子產(chǎn)品等商品在此集散，延續(xù)了“中轉(zhuǎn)集散”的核心職能，只是運(yùn)輸工具從商隊(duì)換成了貨輪、航班。
從文明交流維度，二者都是多元文化的交融平臺(tái)。絲綢之路不僅是商道，更是宗教、藝術(shù)、科技的傳播通道，佛教沿此東傳，中國(guó)四大發(fā)明西傳，形成了多元共生的文明生態(tài)；迪拜則以開放政策吸引全球200多個(gè)國(guó)家的居民，阿拉伯文化與南亞、東南亞、歐美文化在此碰撞融合，免稅政策、多元社區(qū)讓這里成為文化交流的“活化石”，延續(xù)了絲綢之路“兼容并蓄”的精神內(nèi)核。
從發(fā)展邏輯而言，二者都依托區(qū)位優(yōu)勢(shì)實(shí)現(xiàn)價(jià)值躍升。古代絲綢之路的興盛，離不開中亞城邦對(duì)交通要道的把控與對(duì)商貿(mào)的重視；迪拜則跳出資源依賴，以自由港政策、旅游業(yè)、金融服務(wù)業(yè)為支柱，將區(qū)位優(yōu)勢(shì)轉(zhuǎn)化為全球影響力，與絲綢之路“借勢(shì)通達(dá)”的發(fā)展智慧異曲同工。
千年流轉(zhuǎn)，絲綢之路的商貿(mào)基因與文明包容精神，在迪拜身上得到了現(xiàn)代詮釋，二者共同書寫了東西方互聯(lián)互通的永恒主題。
5、你希望世界各地的讀者從你受迪拜啟發(fā)的詩(shī)歌中得到什么信息或感受？
答：我希望世界各地的讀者能從這組迪拜行吟詩(shī)歌中，讀懂“包容與突破”的雙重力量，感受文明共生的溫暖與人類逐夢(mèng)的壯闊。
首先，愿讀者觸摸到“文明無(wú)界”的溫度。詩(shī)歌會(huì)勾勒迪拜街頭不同膚色、不同語(yǔ)言者并肩而行的畫面，如同古代絲綢之路的商隊(duì)跨越山海相遇，傳遞“差異不是隔閡，而是風(fēng)景”的信念。正如迪拜酋長(zhǎng)穆罕默德在《沙漠之城》中所言：“用恐懼統(tǒng)治易，用愛(ài)治理難，而偉大的聯(lián)結(jié)必源于尊重”，這正是迪拜包容精神的核心。無(wú)論來(lái)自東方或西方，人們都能在字里行間看見，不同文化在此不是對(duì)立而是交融，不同信仰在此不是沖突而是尊重，進(jìn)而喚起對(duì)多元世界的包容與熱愛(ài)。
其次，愿讀者汲取“突破局限”的勇氣。迪拜從沙漠小城崛起為全球樞紐的歷程，本身就是一部“逆勢(shì)生長(zhǎng)”的史詩(shī)。詩(shī)歌會(huì)贊美它掙脫地理環(huán)境的束縛、打破資源單一的困境，而穆罕默德“夢(mèng)想沒(méi)有極限，持續(xù)往前”的金句，正是這股力量的最佳注腳。他曾說(shuō)“看著荒涼的沙漠，我就會(huì)充滿把這個(gè)空間填滿的想象力”，這種在絕境中逐夢(mèng)的信念，能激勵(lì)每一位讀者——無(wú)論身處何種境遇，都能突破自身的“沙漠困境”，以勇氣與堅(jiān)持追逐夢(mèng)想，相信平凡之地也能綻放不凡光彩。
最后，愿讀者重拾“互聯(lián)互通”的初心。迪拜作為當(dāng)代東西方交匯點(diǎn)，延續(xù)了絲綢之路的融通基因。詩(shī)歌會(huì)傳遞“世界本是一體”的理念，呼應(yīng)穆罕默德“我們不只創(chuàng)造城市，更搭建聯(lián)結(jié)世界的橋梁”的愿景，呼吁人們放下隔閡、擁抱聯(lián)結(jié)，在貿(mào)易、文化、情感的互通中，共同守護(hù)人類命運(yùn)共同體的美好愿景。
愿我的這組詩(shī)成為一座橋梁，讓不同地域的讀者在共鳴中凝聚共識(shí)：以包容之心擁抱世界，以突破之力創(chuàng)造未來(lái)。
6、你能分享一下你是否計(jì)劃在未來(lái)寫更多受阿聯(lián)酋或阿拉伯灣地區(qū)啟發(fā)的詩(shī)歌甚至小說(shuō)嗎？
答：我確實(shí)計(jì)劃在未來(lái)創(chuàng)作更多受阿聯(lián)酋及阿拉伯灣地區(qū)啟發(fā)靈性的詩(shī)歌，今年的目標(biāo)便是完成《遙遠(yuǎn)的駝鈴》組詩(shī)系列50首，并推動(dòng)其譯成阿拉伯文出版，讓這份跨躍文明的共鳴在海灣大地回響。
阿聯(lián)酋的每一處景觀都藏著絲路人文的密碼：迪拜哈利法塔的光影里，疊印著古代商隊(duì)篝火的余暉；阿布扎比大清真寺的穹頂下，流動(dòng)著絲綢之路多元信仰的包容；阿拉伯灣的浪花拍打著海岸，仿佛在復(fù)述千年商船上絲綢與香料的低語(yǔ)；就連沙漠中每一粒滾燙的沙子，都鐫刻著駝隊(duì)穿越戈壁的堅(jiān)韌。
這些景觀與人文將成為創(chuàng)作的核心素材，組詩(shī)會(huì)既書寫椰林與沙丘的壯闊，也描摹市集里不同語(yǔ)言的交融、手工藝品中傳承的匠藝。譯成阿拉伯文出版，既是對(duì)這片土地的致敬，也是讓絲路精神跨越語(yǔ)言壁壘，讓中阿文明的聯(lián)結(jié)在文字中愈發(fā)深厚。
7、迪拜有沒(méi)有什么地方能讓你想起中國(guó)或你的出生城市西安？
答：迪拜雖以現(xiàn)代繁華著稱，但行走其間，總有幾處角落能瞬間牽起我與中國(guó)、與出生地西安的深切聯(lián)結(jié)，讓跨越萬(wàn)里的絲路記憶在眼前重疊。
最觸動(dòng)我的是迪拜的古街區(qū)，那些由黃泥巴夯筑而成的矮墻，墻面帶著歲月沉淀的斑駁肌理，粗糙卻溫暖，像極了西安郊區(qū)農(nóng)村幾十年前的土房。兒時(shí)在鄉(xiāng)間奔跑的記憶突然鮮活，仿佛下一秒就會(huì)聽見鄰居的招呼聲，恍惚間竟分不清身處海灣還是關(guān)中平原。墻角樹下臥著的駱駝，睫毛低垂，神態(tài)安然，總讓我想起千年前從西安城西門走出的商隊(duì)——那些負(fù)重的駝峰上，載著長(zhǎng)安的絲綢、瓷器與茶葉，叮當(dāng)叮當(dāng)?shù)鸟勨徛暣┰接耖T關(guān)、陽(yáng)關(guān)的風(fēng)沙，掠過(guò)天山廊道的冰雪，歷經(jīng)數(shù)月跋涉，終抵海灣沿岸，而眼前的駱駝，恰似當(dāng)年商隊(duì)的后裔，靜靜延續(xù)著絲路的羈絆。
徜徉在已有六百多年歷史的迪拜大巴扎，這種親切感愈發(fā)濃烈。店鋪里懸掛的流金溢彩的絲綢，色澤艷麗如霞，觸感柔滑似云，總讓我耳畔回響著長(zhǎng)安作坊里此起彼伏的織機(jī)聲。眼前仿佛浮現(xiàn)出唐代仕女身著錦繡華服的模樣，裙擺曳地，繡紋流轉(zhuǎn)，一如敦煌壁畫中“霓裳羽衣舞”的翩躚身影。大巴扎里不同語(yǔ)言的叫賣聲、香料與茶香的交織，又與長(zhǎng)安西市“胡商云集、百貨雜陳”的盛景遙相呼應(yīng)，都是絲路之上文明交融的生動(dòng)寫照。
作者簡(jiǎn)介
王芳聞，女，居中國(guó)西安。中國(guó)作家協(xié)會(huì)會(huì)員?，F(xiàn)任絲綢之路國(guó)際詩(shī)人聯(lián)合會(huì)主席，聯(lián)合國(guó)世界絲路論壇國(guó)際詩(shī)歌委員會(huì)主席，西北大學(xué)絲綢之路國(guó)際詩(shī)歌研究中心主任，西北大學(xué)現(xiàn)代學(xué)院特聘教授，《世界詩(shī)人》雜志總編，《絲路詩(shī)刊》微刊主編。
詩(shī)文曾獲中國(guó)第六屆冰心散文獎(jiǎng)，中國(guó)當(dāng)代十佳詩(shī)人獎(jiǎng)，中國(guó)詩(shī)歌春晚十佳行吟詩(shī)人獎(jiǎng)，世界華文桂冠詩(shī)人獎(jiǎng)，俄羅斯普希金詩(shī)歌獎(jiǎng)金獎(jiǎng)，聯(lián)合國(guó)世界絲路論壇征文金獎(jiǎng)，世界詩(shī)人大會(huì)榮譽(yù)文學(xué)博士，香港新國(guó)風(fēng)金冠詩(shī)人獎(jiǎng)，北京國(guó)際詩(shī)歌電影節(jié)十佳詩(shī)人獎(jiǎng)，第十五屆意大利圭多·戈扎諾·梅萊托詩(shī)歌獎(jiǎng)，哈薩克斯坦 哈基姆·阿拜詩(shī)歌金獎(jiǎng)，聯(lián)合國(guó)世界絲路論壇絲路文化傳播杰出貢獻(xiàn)獎(jiǎng)等數(shù)十個(gè)獎(jiǎng)項(xiàng)。著有長(zhǎng)篇小說(shuō)《安吳商婦》、長(zhǎng)篇報(bào)告文學(xué)《脫貧啟示錄》、詩(shī)歌集《太陽(yáng)雨》《絲路雁影》《絲路虹影》《地球之耳》等文學(xué)著作 12部。詩(shī)文曾在《人民日?qǐng)?bào)海外版》《中國(guó)文化報(bào)》《文藝報(bào)》《作家報(bào)》《文學(xué)報(bào)》《陜西日?qǐng)?bào)》《詩(shī)刊》《星星》《詩(shī)選刊》《詩(shī)林》《綠風(fēng)》《草原》《鴨綠江》《延河》《毆州詩(shī)刊》越南《西貢解放報(bào)》美國(guó)紐約《綜合新聞》《美洲文化之聲》等50余家刊物發(fā)表。
Exclusive interview with Wang Fangwen by "Sands & City" magazine
Interview with Wang Fangwen: “The Magic Lamp Hidden in My Heart Has Been Lit” — A Chinese Poet’s UAE Journey
Question: Anna Stjelja (UAE/Serbia)
Answer: Wang Fangwen (China)
Translated by Cao Shui
1. When was the first time you visited the United Arab Emirates? What was your first impression of Dubai?
Wang Fangwen：The first time I went to Dubai, UAE, was on May 24, 2025. Since I was a child, I have heard the story of Aladdin's magic lamp from my teachers, and I have long been fascinated by this place. Finally, the place in my dreams has become real. The magic lamp hidden in my heart, symbolizing miracles, has been lit for many years.
That day, as soon as we stepped out of Dubai Airport, the sky was so blue that it didn't have any tint of color. The golden bay was sparkling, the coconut trees on the neighboring Palm Island swayed in the wind, the Burj Khalifa towered into the sky, and the Burj Al Arab Jumeirah Hotel looked as if it was about to sail away from the bay. The lines of those modern high-rises were as smooth and poetic as in a child's drawing. As we walked, we felt as if we had stumbled into a future city. Every sight was fresh and shocking. When wandering around Dubai city, the Arabs wearing white "Kandura" robes were particularly humble and polite, especially Mr. Adel, who came to pick us up as a representative delegation of Chinese poets. His black eyes were sparkling, and he smiled gently like a spring breeze. When chatting, he was particularly poetic, and it felt like I had known him as an old poetry friend for many years. Dubai has both the magic of modernity and the flavor of old traditions. The people are enthusiastic, and the scenery is like a dream. I fell in love at first sight and still can't forget it now.
2. As a poet who often writes about the Silk Road, how does Dubai, the crossroads of modern culture, influence your creation?
Wang Fangwen: As a poet who has been writing about the Silk Road for many years, Dubai, as a modern cultural crossroads, is like a beam of light that transcends time and space, injecting a new dimension of inspiration into my creation and revitalizing the imagery of the ancient Silk Road in the contemporary context.
In my pen, the Silk Road was once a long trail of camel bells, sunset over the river, smoke rising from the desert, silk arches on the trade route, tea fragrance on horseback, and the slow integration of Eastern and Western civilizations. Dubai, on the other hand, has redefined the connotation of "crossroads" with its ultimate modernity - there is no dusty ancient road here, but there are people of different skin colors hurrying under the Burj Khalifa; there are no camel caravans, but there is global trade flowing endlessly here. Standing on the jetty of Palm Island, watching the waves of the Persian Gulf lapping against the modern dock, I suddenly feel as if the sails of Arab merchants from a thousand years ago overlap with today's giant ships. The "interconnected" gene of the ancient Silk Road continues to thrive on this land with a more rapid pace.
The diverse coexistence in Dubai has endowed my poems with a more vibrant texture. In the gold market, the fragrance of spices collides with the neon lights of modern shopping malls; the call to prayer from the mosque intertwines with the laughter of street cafes; the traditional etiquette of the elderly in white robes contrasts with the trendy clothing of young people. This seamless connection between tradition and modernity, East and West, has shattered my inherent imagination of Silk Road civilization - the ancient spirit of exchange can be presented in such a fashionable and inclusive way. I began to write in my poems about "the resonance of camel bells and engines" and "the shared fragrance of spices and coffee", allowing the historical depth of the Silk Road to form a wonderful dialogue with the modern vitality of Dubai.
The enthusiastic exchanges between Adel Khozam and other Arab poets made me feel the warmth of cultural resonance. Using poetry as a medium, we explored the past and present of the Silk Road, discovering the eternal pursuit of "encounter" and "tolerance" by different civilizations. This made my creation no longer limited to tracing history, but more focused on the coexistence of civilizations in the present: every building, every smile, and every handshake in Dubai are contemporary footnotes to the Silk Road spirit.
Dubai, as a modern hub on the Silk Road, has made me realize that the Silk Road has never been far away; it has merely extended and grown in a new form. Consequently, my pen has shifted from reminiscing about the past to portraying the present, allowing the poetic essence of the ancient Silk Road to bloom with a more contemporary luster at this crossroads of cultural fusion.
3. Your poems "Dubai Engagement", "The Distant Camel Bells", and "Palm Island Ballad" perfectly intertwine history, nature, and emotions. What inspired these special images and symbols?
Wang Fangwen: These three poems are among the ten poems in the Dubai series. The unique imagery intertwined with history, nature, and emotion stems from the dual temperament of Dubai, a land that is not only an important node on the ancient Silk Road but also a marvel of modern civilization. It is also a poetic field where nature and humanities collide. The birth of each image originates from the deep fusion of real-life scenes and inner empathy.
The lingering warmth of the ancient Silk Road's history serves as the source of the core imagery in "The Distant Camel Bells". Upon setting foot on the land of Dubai, the rich aroma of spices in the gold market and the remnants of ancient trading ports along the Persian Gulf instantly transport the poet, who has been writing about the Silk Road for years, back through the millennia. The Arab caravans and the camel bells of East-West connectivity, recorded in historical documents, are no longer distant written symbols. Instead, they engage in a timeless dialogue with the cars weaving through the streets and the giant ships moored at the docks. This "overlapping of history and the present" transforms the "camel bell" from a mere historical symbol into an emotional carrier that embodies the inheritance of civilization. It echoes the memories of past exchanges while also resonating with the symbiotic pulse of the present.
Dubai's unique symbiosis of nature and humanity has given birth to the vivid symbols of "The Ballad of Palm Island". As a masterpiece of man and nature, Palm Island presents a wonderful picture with its swaying coconut palms on the coast, the waves of the azure Persian Gulf, and the scattered modern buildings. As the poet strolls along the boardwalk, he sees the sea embracing the sand, greenery reflecting the buildings, where the natural beauty and human wisdom perfectly converge. This "blending of natural texture and modern aesthetics" endows images such as "palm", "waves", and "coconut breeze" with emotional warmth, transcending mere natural descriptions. They are the gentle undertones of Dubai and the poet's poetic interpretation of "harmonious coexistence between man and nature". The lines are filled with admiration for the creativity of this land.
The imagery inspiration for "Dubai Engagement" stems from the sincere emotions of cross-cultural exchanges. The encounter with Arab poet Adel Khozam, the Gawa coffee handed over by a friend in white robes, and the friendly smile of a stranger on the street have made "engagement" a emotional bond connecting history and the present, the East and the West. The "engagement of encounters" on the ancient Silk Road overlaps with today's "engagement of poetry friends", making images such as "gulf", "lights", and "handshakes" carry the weight of cultural resonance.
Ultimately, the birth of these images is the result of the mutual achievement of Dubai's "historical depth, natural elegance, and humanistic warmth" and the poet's "Silk Road sentiment, keen perception, and empathetic heart". Every scenery and every encounter on this land become the kindling that ignites poetic inspiration, ultimately condensing into unique symbols that embody historical depth, natural beauty, and emotional warmth.
4. Do you think there is a connection between the ancient Silk Road and Dubai, which serves as a meeting point between the East and the West today?
Wang Fangwen: The ancient Silk Road and today's Dubai share deep-seated connections. Despite spanning thousands of years and different geographical coordinates, the ancient Silk Road and Dubai, as the current convergence point of the East and West, maintain a core connection that runs through generations. Essentially, both serve as hubs for cultural exchange and trade integration.
In terms of core functions, both are key nodes for material circulation between the East and the West. The ancient Silk Road, starting from Xi'an, used camel caravans as a link to transport Chinese silk, porcelain, Indian spices, jewelry, Central Asian horses, and fabrics to the Mediterranean coast, while bringing back products from the Western Regions, thereby establishing a transcontinental trade network. Today, Dubai, with its strategic location at the throat of the Persian Gulf and world-class ports and airports, has become a global logistics hub, where commodities such as oil, luxury goods, and electronic products are distributed, continuing its core function of "transit and distribution", albeit with transportation tools having shifted from caravans to cargo ships and flights.
From the perspective of cultural exchange, both are platforms for the blending of diverse cultures. The Silk Road is not only a trade route, but also a channel for the dissemination of religion, art, and technology. Buddhism spread eastward along this route, and the Four Great Inventions of China spread westward, forming a diverse and coexistent civilization ecosystem. Dubai attracts residents from more than 200 countries around the world with its open policies. Arab culture collides and integrates with South Asian, Southeast Asian, European, and American cultures here. The tax-free policy and diverse communities make it a "living fossil" of cultural exchange, continuing the spirit of inclusiveness inherent in the Silk Road.
From a development logic perspective, both rely on their locational advantages to achieve value enhancement. The prosperity of the ancient Silk Road was inseparable from the Central Asian city-states' control over vital transportation routes and their emphasis on trade and commerce. Dubai, on the other hand, has transcended resource dependence, leveraging free port policies, tourism, and financial services as pillars to transform its locational advantages into global influence, echoing the development wisdom of the Silk Road in "leveraging connectivity".
Over the millennia, the commercial and trade genes of the Silk Road, coupled with its spirit of inclusiveness, have found a modern interpretation in Dubai, jointly crafting the eternal theme of connectivity between the East and the West.
5. What message or feeling do you hope readers around the world will gain from your Dubai-inspired poetry?
Wang Fangwen: I hope readers from all over the world can comprehend the dual forces of "inclusiveness and breakthrough" from this set of Dubai-inspired poems, and feel the warmth of civilized coexistence and the grandeur of human aspirations.
First and foremost, we wish readers to feel the warmth of "Boundless Civilization". The poetry paints a picture of people of different skin colors and speaking different languages walking side by side on the streets of Dubai, akin to the caravans of the ancient Silk Road meeting across mountains and seas, conveying the belief that "difference is not a barrier, but a scenery". As Sheikh Mohammed, the ruler of Dubai, stated in "The Desert City": "It is easier to rule with fear, harder to govern with love, and great connections must stem from respect." This is precisely the core of Dubai's spirit of inclusiveness. Whether from the East or the West, readers can discern between the lines that different cultures here are not opposed but intertwined, and different beliefs here are not in conflict but respected, thereby evoking a sense of inclusiveness and love for a diverse world.
Secondly, I wish readers would gain the courage to "break through limitations". The journey of Dubai rising from a small desert city to a global hub is itself an epic tale of "growing against the tide". Poetry would praise its ability to break free from the constraints of geographical environment and overcome the dilemma of limited resources, and Mohammed's famous quote, "Dreams have no limits, keep moving forward", is the best footnote to this strength. He once said, "Looking at the desolate desert, I am filled with the imagination to fill this space." This belief in pursuing dreams in the face of adversity can inspire every reader - no matter what situation they are in, they can break through their own "desert dilemma", pursue their dreams with courage and persistence, and believe that ordinary places can also shine with extraordinary brilliance.
Finally, I wish readers to regain their original aspiration of "connectivity". As a contemporary intersection of the East and the West, Dubai carries on the gene of integration from the Silk Road. The poetry will convey the concept that "the world is one", echoing Mohammed's vision of "we not only create cities, but also build bridges connecting the world", calling on people to put aside barriers, embrace connectivity, and jointly safeguard the beautiful vision of a community with a shared future for mankind through the interconnection of trade, culture, and emotions.
May this collection of my poems serve as a bridge, allowing readers from different regions to forge a consensus through resonance: to embrace the world with an inclusive heart and create the future with the power of breakthrough.
6. Could you share whether you plan to write more poems or even novels inspired by the UAE or the Arabian Gulf region in the future?
Wang Fangwen: I do plan to create more poems inspired by the UAE and the Arabian Gulf region in the future. My goal this year is to complete the series of 50 poems titled "Distant Camel Bells" and promote its translation into Arabic for publication, so that this resonance across civilizations can echo across the Gulf region.
Every landscape in the United Arab Emirates (UAE) hides the cultural codes of the Silk Road: the light and shadow of the Burj Khalifa in Dubai are superimposed with the afterglow of ancient caravan campfires; beneath the dome of the Abu Dhabi Grand Mosque, flows the inclusiveness of diverse beliefs along the Silk Road; the waves of the Arabian Gulf lapping against the coast seem to echo the whispers of silk and spices on the thousand-year-old merchant ships; even every hot grain of sand in the desert is engraved with the perseverance of camel caravans traversing the Gobi.
These landscapes and humanities will become the core material for creation. The series of poems will not only depict the magnificence of coconut groves and sand dunes, but also portray the blending of different languages in the marketplaces and the craftsmanship passed down through handicrafts. Translating it into Arabic and publishing it is not only a tribute to this land, but also allows the spirit of the Silk Road to transcend language barriers, deepening the connection between Chinese and Arab civilizations through words.
7. Are there any places in Dubai that remind you of China or your birth city, Xi'an?
Wang Fangwen: Although Dubai is renowned for its modern prosperity, as I wander through it, there are always a few corners that instantly evoke my deep connection with China and my birthplace, Xi'an, making the memories of the Silk Road, which spans thousands of miles, overlap before my eyes.
What touched me the most was the ancient neighborhood in Dubai. The low walls, built with rammed yellow mud, bore the mottled texture of years, rough yet warm, resembling the earthen houses in the rural areas of Xi'an suburbs decades ago. The memories of running around in the countryside as a child suddenly came alive, as if I could hear the greetings of neighbors the next second. In a trance, I couldn't tell whether I was in the Gulf or the Guanzhong Plain. The camels lying under the trees in the corner, with their eyelashes drooping and serene demeanor, always reminded me of the caravans that set out from the west gate of Xi'an thousands of years ago. On those heavy-laden humps, they carried silk, porcelain, and tea from Chang'an（ancient name of Xi’an）. The jingling bells of the camels traversed the sandstorms of Yumen Pass and Yanguan, swept across the ice and snow of the Tianshan Corridor, and after months of trekking, finally reached the coast of the Gulf. The camels in front of me seemed like the descendants of those caravans, quietly continuing the bond of the Silk Road.
Strolling through the Dubai souk, which boasts a history of over 600 years, this sense of intimacy becomes even stronger. The silk hanging in the shops, with its golden and colorful hues resembling the rosy clouds and its soft and smooth texture resembling the clouds, always brings to mind the sound of looms echoing incessantly in the workshops of Chang'an. It seems as if I can see the Tang Dynasty ladies dressed in splendid brocade, their skirts trailing on the ground and their embroidered patterns flowing, just like the graceful figures dancing in the "Neon-Clothed Feather-Dressed Dance" depicted in the Dunhuang murals. The cries of vendors in different languages, the intermingling of spices and tea fragrances in the souk, and the prosperity of the "Hu merchants gathering and goods displayed in abundance" in the western market of Chang'an echo with each other, all vividly portraying the cultural fusion along the Silk Road.(end)
(Translated by Cao Shui)
Wang Fangwen, female writer, came from Xi’an, China, she is a renowned contemporary poet known for her poetic travels along the Silk Road. She is a member of the China Writers Association and a distinguished professor at the Modern College of Northwest University. She serves as the President of the Silk Road International Poets Association, Chairperson of the International Poetry Committee of the United Nations World Silk Road Forum, Director of the Silk Road International Poetry Research Centre at Northwest University, Editor-in-Chief of World Poets magazine, and Deputy Director of the Reportage Literature Committee of the Shanxi Province Writers Association.
She has received numerous awards, including the 6th Bing Xin Prose Prize of China, First Prize from the Chinese Society of Documentary Literature, the 2017 Top Ten Contemporary Chinese Poets Award, the 2018 Iberian Poetry Gold Award (Spain), the 2019 Pushkin Poetry Award (Russia), the Annual Poet Award of the 2nd Boao International Poetry Festival, an Honorary Doctorate in Literature at the 42nd World Congress of Poets, and several accolades from the Chinese Poetry Spring Festival Gala—including the Top Ten Itinerant Poets Award, Top Ten Poetry Collections Award, and Top Ten Poetry Event Organizers Award. She also received the Ancient Style and New Trend Award at the inaugural Chang’an Du Mu Poetry Prize, the Laureate Poet Award from the World Chinese Literature Association in Hong Kong, a Top Ten Poetry Film Award at the Beijing International Poetry Film Festival, and the Writing Gold Award from the Australia Aohua Poetry Society, among dozens of other national and international honours.
Her published works include twelve literary books, such as the novels Anwu Businesswoman and Longjuzhai; prose collections Confused Love, Millennium Snow, and A Waterbird in Heaven; the nonfiction work A Chronicle of Poverty Alleviation; reportage collection Epic of the Loess; theoretical essays in The Tree of Thought; and poetry collections including Sun Rain, Silk Road Wild Geese, Silk Road Rainbow Shadow, and The Earth's Ear.
Her poetry and prose have appeared in more than 50 domestic and international newspapers and journals, including the People's Daily Overseas Edition. Her poetry has been translated into over a dozen languages and introduced globally.
Wang Fangwen is a promoter, organizer, and disseminator of Silk Road poetry culture. In 2016, she initiated the founding of the Silk Road International Poets Association and World Poets magazine with poets from countries along the Silk Road. Her efforts have been documented in contemporary Chinese poetry history (People’s Daily Overseas Edition & Compact News, New York, USA).
大詩(shī)主義運(yùn)動(dòng)（GPM）獎(jiǎng)?wù)?/strong>
合一天人 融合古今 合璧東西
隨物賦形 和合陰陽(yáng) 整合音義
《大詩(shī)學(xué)》
大詩(shī)主義宣言1：元素呼喚大抒情
大詩(shī)主義宣言2:大修辭
大詩(shī)主義宣言3:大詩(shī)內(nèi)部
大詩(shī)主義宣言4:大詩(shī)外部
大詩(shī)主義宣言5:語(yǔ)言或文本的忌諱
大詩(shī)主義宣言6:非三種詩(shī)體及二種詩(shī)現(xiàn)象
大詩(shī)主義宣言7:大詩(shī)學(xué)解構(gòu)
曹伊之爭(zhēng)
大詩(shī)主義VS后口語(yǔ)詩(shī)
（2018.8.26-2020.3.28）
《文學(xué)自由談》
《文學(xué)自由談》2013年第1期封面人物：曹誰(shuí)
曹誰(shuí)：“曹伊之爭(zhēng)”與文壇十大弊?。?023年第1期）
曹誰(shuí)：“小詩(shī)”時(shí)代如何寫出“大詩(shī)”（2022年第6期）
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執(zhí)行主編：彭書錦
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劇小說(shuō)運(yùn)動(dòng)（DNM）
Dramatize Novel Movement
《劇小說(shuō)運(yùn)動(dòng)宣言》
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詩(shī)電影運(yùn)動(dòng)（PFM）
Poetry Film Movement
滄浪雅苑詩(shī)社
名譽(yù)社長(zhǎng)：曹誰(shuí)
社長(zhǎng):張建軍
校園詩(shī)歌運(yùn)動(dòng)
Campus Poetry Movement
《校園詩(shī)歌運(yùn)動(dòng)宣言》
世界詩(shī)歌運(yùn)動(dòng)（WPM）
World Poetry Movement
《世界詩(shī)歌運(yùn)動(dòng)宣言》
金磚國(guó)家作家協(xié)會(huì)（BWA）
BRICS Writers Association
詩(shī)人星球運(yùn)動(dòng)（PoP）
Poets of the Plant
絲綢之路國(guó)際詩(shī)人聯(lián)合會(huì)
Silk Road International Poets Federation
聯(lián)合國(guó)世界絲綢之路論壇
UN World Silk Road Forum（UNWSF）
世界文藝復(fù)興運(yùn)動(dòng)（RRM3）
RINASCIMENTO-RENAISSANCE MILLENNIUM III
星際詩(shī)人組織
Intergalactic Poetry Organization
博鰲國(guó)際詩(shī)歌節(jié)
世界華文詩(shī)歌學(xué)會(huì)
World Chinese Poets Association
全球和平組織（GPLT）
Global Peace Lets Talk
大詩(shī)主義運(yùn)動(dòng)
合一天人 融合古今 合璧東西
隨物賦形 和合陰陽(yáng) 整合音義
人類同源 世界大同
四重境界
揮舞鐮刀 收割天下
凡我碰觸 必將枯萎
陰在陽(yáng)內(nèi) 翻覆世界
飛卷舌頭 通天塔頂
Great Poetry Movement
Integration of Sacred and Secular Cultures
Integration of Western and Eastern Cultures
Integration of Ancient and Modern Cultures
