金砖国家作家协会（BWA）
大诗主义运动
合一天人 融合古今 合璧东西
随物赋形 和合阴阳 整合音义
人类同源 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
阿联酋《金沙与城市》杂志专访王芳闻
藏在我内心的阿拉丁神灯被迪拜点亮
答：王芳闻（中国）
问：安娜·斯洁丽雅（阿联酋/塞尔维亚）
英文翻译：曹谁
1、你第一次去阿联酋是什么时候？对迪拜的第一感觉是什么？
答：我第一次去阿联酋迪拜是2025年5月24日。从小就听老师讲阿拉丁神灯的故事，心里早就对这儿魂牵梦绕了，总算把梦里的地方变成了真的，那盏藏在心里、象征着奇迹的神灯，亮了好多年呢。
那天，一走出迪拜机场，天蓝得一点儿杂色都没有，金色的海湾波光粼粼，旁边棕榈岛上的椰子树随风晃悠，哈利法塔直耸向天空，帆船酒店远远望去，仿佛要驶离海湾，那些现代高楼的线条流畅如诗，跟童画里似的，走着走着都觉得跟闯进未来城市似的，每一眼看着都新鲜又震撼。在迪拜市区溜达的时候，穿白色“坎度拉”长袍的阿拉伯人都特谦和礼貌，尤其是来接我们中国诗人代表团的阿德尔先生，黑眼睛亮闪闪的，笑起来温温柔柔的跟春风似的，聊起天来还特别有诗意，感觉就像认识好多年的老诗友。迪拜这地方，既有现代的神奇，又有老传统的味儿，人热情，风景还跟做梦似的，一眼就爱上了，到现在都忘不了。
2、作为一位经常写丝绸之路的诗人，迪拜这个现代文化的十字路口是如何影响你的创作的？
答：作为常年书写丝绸之路的诗人，迪拜这座现代文化十字路口，像一束穿越时空的光，为我的创作注入了全新的灵感维度，让古老丝路的意象在当代语境中焕发新生。
丝绸之路在我笔下，曾是驼铃声声，长河落日，大漠孤烟、商道丝虹，马背茶香，是东西方文明缓步交融的悠长轨迹。而迪拜，以极致的现代性重构了“十字路口”的内涵——这里没有古道扬尘，却有哈利法塔下不同肤色的人群步履匆匆；没有驼队商帮，却有全球贸易在此流转不息。站在棕榈岛的栈道上，看波斯湾的浪涛拍打着现代码头，恍惚间竟觉千年前阿拉伯商人的船帆与今日的巨轮在此重叠，古丝路的“互通”基因，以更迅猛的姿态在这片土地延续。
迪拜的多元共生，让我的诗句有了更鲜活的肌理。黄金市场里，香料的馥郁与现代商场的霓虹碰撞；清真寺的宣礼声与街头咖啡馆的笑语交织；白袍老者的传统礼仪与年轻人的潮流穿搭相映成趣。这种传统与现代、东方与西方的无缝衔接，打破了我对丝路文明的固有想象——原来古老的交流精神，能以如此时尚、包容的方式呈现。我开始在诗中书写“驼铃与引擎共鸣”“香料与咖啡共香”，让丝路的历史厚度与迪拜的现代活力形成奇妙对话。
阿德尔等阿拉伯诗人的热情交流，更让我触摸到文化共鸣的温度。我们以诗为媒，探讨丝路的过去与现在，发现不同文明对“相遇”“包容”的永恒追求。这让我的创作不再局限于追溯历史，更聚焦于当下的文明共生：迪拜的每一座建筑、每一次微笑、每一次握手，都是丝路精神的当代注脚。
迪拜这座现代丝路枢纽，让我明白丝绸之路从未远去，它只是以新的形态延伸、生长。我的笔，也因此从追忆往昔转向描摹当下，让古老丝路的诗意，在这个文化交融的十字路口，绽放出更具时代感的光彩。
3、你的诗《迪拜之约》《遥远的驼铃》和《棕榈岛谣曲》将历史、自然和情感完美地交织在一起。是什么激发了这些特殊的意象和符号？
答：我这三首诗是迪拜组诗十首中的其中三首，历史、自然与情感交织的独特意象，根源在于迪拜这片土地的双重气质——它既是古丝绸之路的重要节点，又是现代文明的奇迹之地，更是自然与人文碰撞出的诗意场域，每一个意象的诞生都源于现实场景与内心共情的深度交融。
古丝路的历史余温，是《遥远的驼铃》核心意象的源头。踏上迪拜的土地，黄金市场里香料的醇厚、波斯湾畔残留的古商港痕迹，都让常年书写丝路的诗人瞬间穿越千年。那些记载在史料中的阿拉伯商队、东西方互通的驼铃声，不再是遥远的文字符号，而是与街头穿梭的车流、码头停泊的巨轮形成跨越时空的对话。这种“历史与当下的重叠”，让“驼铃”从单纯的历史符号，变成承载文明传承的情感载体，既回响着往昔的交流记忆，也叩击着当下的共生脉搏。
迪拜独特的自然与人文共生之景，催生了《棕榈岛谣曲》的鲜活符号。棕榈岛作为人工与自然的杰作，椰影摇曳的海岸、蔚蓝波斯湾的浪涛，与错落有致的现代建筑构成奇妙画卷。诗人漫步栈道时，看海水与沙滩相拥、绿植与楼宇相映，自然的灵秀与人类的智慧在此完美契合。这种“自然肌理与现代美学的交融”，让“棕榈”“浪涛”“椰风”等意象脱离了单纯的自然描写，被赋予情感温度——它们是迪拜的温柔底色，也是诗人对“人与自然和谐共生”的诗意诠释，字里行间满是对这片土地创造力的赞叹。
而《迪拜之约》的意象灵感，则源于跨文化交流的真挚情感。与阿拉伯诗人阿德尔的相遇、白袍友人递来的嘎瓦咖啡、街头陌生人友善的微笑，让“约定”成为连接历史与当下、东方与西方的情感纽带。古丝路上的“相遇之约”与今日的“诗友之约”重叠，让“海湾”“灯光”“握手”等意象都承载着文化共鸣的重量。
说到底，这些意象的诞生，是迪拜的“历史厚度、自然灵秀、人文温度”与诗人的“丝路情怀、敏锐感知、共情之心”相互成就的结果。这片土地上的每一处风景、每一次相遇，都成为激发诗意的火种，最终凝结成兼具历史纵深、自然之美与情感温度的独特符号。
4、你认为古代丝绸之路和今天作为东西方交汇点的迪拜之间有联系吗？
答：古代丝绸之路与今日迪拜的有着深层次的联结。古代丝绸之路与当下东西方交汇点的迪拜，虽跨越千年时空、地理坐标不同，却存在着一脉相承的核心联结，本质都是文明互通、贸易融通的枢纽载体。
从核心功能来看，二者均是东西方物资流通的关键节点。古代丝绸之路以西安为起点，从长安、洛阳等地走出骆驼商队为纽带，将中国的丝绸、瓷器，印度的香料、珠宝，中亚的骏马、织物运往地中海沿岸，同时带回西域物产，搭建起跨大陆的贸易网络；如今的迪拜凭借波斯湾咽喉位置与世界级港口、机场，成为全球物流枢纽，石油、奢侈品、电子产品等商品在此集散，延续了“中转集散”的核心职能，只是运输工具从商队换成了货轮、航班。
从文明交流维度，二者都是多元文化的交融平台。丝绸之路不仅是商道，更是宗教、艺术、科技的传播通道，佛教沿此东传，中国四大发明西传，形成了多元共生的文明生态；迪拜则以开放政策吸引全球200多个国家的居民，阿拉伯文化与南亚、东南亚、欧美文化在此碰撞融合，免税政策、多元社区让这里成为文化交流的“活化石”，延续了丝绸之路“兼容并蓄”的精神内核。
从发展逻辑而言，二者都依托区位优势实现价值跃升。古代丝绸之路的兴盛，离不开中亚城邦对交通要道的把控与对商贸的重视；迪拜则跳出资源依赖，以自由港政策、旅游业、金融服务业为支柱，将区位优势转化为全球影响力，与丝绸之路“借势通达”的发展智慧异曲同工。
千年流转，丝绸之路的商贸基因与文明包容精神，在迪拜身上得到了现代诠释，二者共同书写了东西方互联互通的永恒主题。
5、你希望世界各地的读者从你受迪拜启发的诗歌中得到什么信息或感受？
答：我希望世界各地的读者能从这组迪拜行吟诗歌中，读懂“包容与突破”的双重力量，感受文明共生的温暖与人类逐梦的壮阔。
首先，愿读者触摸到“文明无界”的温度。诗歌会勾勒迪拜街头不同肤色、不同语言者并肩而行的画面，如同古代丝绸之路的商队跨越山海相遇，传递“差异不是隔阂，而是风景”的信念。正如迪拜酋长穆罕默德在《沙漠之城》中所言：“用恐惧统治易，用爱治理难，而伟大的联结必源于尊重”，这正是迪拜包容精神的核心。无论来自东方或西方，人们都能在字里行间看见，不同文化在此不是对立而是交融，不同信仰在此不是冲突而是尊重，进而唤起对多元世界的包容与热爱。
其次，愿读者汲取“突破局限”的勇气。迪拜从沙漠小城崛起为全球枢纽的历程，本身就是一部“逆势生长”的史诗。诗歌会赞美它挣脱地理环境的束缚、打破资源单一的困境，而穆罕默德“梦想没有极限，持续往前”的金句，正是这股力量的最佳注脚。他曾说“看着荒凉的沙漠，我就会充满把这个空间填满的想象力”，这种在绝境中逐梦的信念，能激励每一位读者——无论身处何种境遇，都能突破自身的“沙漠困境”，以勇气与坚持追逐梦想，相信平凡之地也能绽放不凡光彩。
最后，愿读者重拾“互联互通”的初心。迪拜作为当代东西方交汇点，延续了丝绸之路的融通基因。诗歌会传递“世界本是一体”的理念，呼应穆罕默德“我们不只创造城市，更搭建联结世界的桥梁”的愿景，呼吁人们放下隔阂、拥抱联结，在贸易、文化、情感的互通中，共同守护人类命运共同体的美好愿景。
愿我的这组诗成为一座桥梁，让不同地域的读者在共鸣中凝聚共识：以包容之心拥抱世界，以突破之力创造未来。
6、你能分享一下你是否计划在未来写更多受阿联酋或阿拉伯湾地区启发的诗歌甚至小说吗？
答：我确实计划在未来创作更多受阿联酋及阿拉伯湾地区启发灵性的诗歌，今年的目标便是完成《遥远的驼铃》组诗系列50首，并推动其译成阿拉伯文出版，让这份跨跃文明的共鸣在海湾大地回响。
阿联酋的每一处景观都藏着丝路人文的密码：迪拜哈利法塔的光影里，叠印着古代商队篝火的余晖；阿布扎比大清真寺的穹顶下，流动着丝绸之路多元信仰的包容；阿拉伯湾的浪花拍打着海岸，仿佛在复述千年商船上丝绸与香料的低语；就连沙漠中每一粒滚烫的沙子，都镌刻着驼队穿越戈壁的坚韧。
这些景观与人文将成为创作的核心素材，组诗会既书写椰林与沙丘的壮阔，也描摹市集里不同语言的交融、手工艺品中传承的匠艺。译成阿拉伯文出版，既是对这片土地的致敬，也是让丝路精神跨越语言壁垒，让中阿文明的联结在文字中愈发深厚。
7、迪拜有没有什么地方能让你想起中国或你的出生城市西安？
答：迪拜虽以现代繁华著称，但行走其间，总有几处角落能瞬间牵起我与中国、与出生地西安的深切联结，让跨越万里的丝路记忆在眼前重叠。
最触动我的是迪拜的古街区，那些由黄泥巴夯筑而成的矮墙，墙面带着岁月沉淀的斑驳肌理，粗糙却温暖，像极了西安郊区农村几十年前的土房。儿时在乡间奔跑的记忆突然鲜活，仿佛下一秒就会听见邻居的招呼声，恍惚间竟分不清身处海湾还是关中平原。墙角树下卧着的骆驼，睫毛低垂，神态安然，总让我想起千年前从西安城西门走出的商队——那些负重的驼峰上，载着长安的丝绸、瓷器与茶叶，叮当叮当的驼铃声穿越玉门关、阳关的风沙，掠过天山廊道的冰雪，历经数月跋涉，终抵海湾沿岸，而眼前的骆驼，恰似当年商队的后裔，静静延续着丝路的羁绊。
徜徉在已有六百多年历史的迪拜大巴扎，这种亲切感愈发浓烈。店铺里悬挂的流金溢彩的丝绸，色泽艳丽如霞，触感柔滑似云，总让我耳畔回响着长安作坊里此起彼伏的织机声。眼前仿佛浮现出唐代仕女身着锦绣华服的模样，裙摆曳地，绣纹流转，一如敦煌壁画中“霓裳羽衣舞”的翩跹身影。大巴扎里不同语言的叫卖声、香料与茶香的交织，又与长安西市“胡商云集、百货杂陈”的盛景遥相呼应，都是丝路之上文明交融的生动写照。
作者简介
王芳闻，女，居中国西安。中国作家协会会员。现任丝绸之路国际诗人联合会主席，联合国世界丝路论坛国际诗歌委员会主席，西北大学丝绸之路国际诗歌研究中心主任，西北大学现代学院特聘教授，《世界诗人》杂志总编，《丝路诗刊》微刊主编。
诗文曾获中国第六届冰心散文奖，中国当代十佳诗人奖，中国诗歌春晚十佳行吟诗人奖，世界华文桂冠诗人奖，俄罗斯普希金诗歌奖金奖，联合国世界丝路论坛征文金奖，世界诗人大会荣誉文学博士，香港新国风金冠诗人奖，北京国际诗歌电影节十佳诗人奖，第十五届意大利圭多·戈扎诺·梅莱托诗歌奖，哈萨克斯坦 哈基姆·阿拜诗歌金奖，联合国世界丝路论坛丝路文化传播杰出贡献奖等数十个奖项。著有长篇小说《安吴商妇》、长篇报告文学《脱贫启示录》、诗歌集《太阳雨》《丝路雁影》《丝路虹影》《地球之耳》等文学著作 12部。诗文曾在《人民日报海外版》《中国文化报》《文艺报》《作家报》《文学报》《陕西日报》《诗刊》《星星》《诗选刊》《诗林》《绿风》《草原》《鸭绿江》《延河》《殴州诗刊》越南《西贡解放报》美国纽约《综合新闻》《美洲文化之声》等50余家刊物发表。
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).
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