How can the vitality of classic literary works be sustained in the digital age?

Wu Yaduo, a 17-year-old high school student from Chengdu, Southwest China's Sichuan province, offers her answer.

Using her iPad and expressive brushstrokes, Wu transforms stories from classical literature — Dream of the Red Chamber, Water Margin, and The Peony Pavilion — as well as the lives of renowned poets like Qu Yuan, from the Warring States Period (475-221 BC), and Li Bai, from the Tang Dynasty (618-907), into animated, hand-drawn videos.

Her creations have attracted tens of thousands of followers and millions of views online.

To Wu, these works are timeless because they explore universal human emotions and enduring social themes.

However, she believes it is crucial to bridge the gap between these classics and modern life, making them more relatable and engaging, especially for younger audiences.

Wu decided to start with texts from high school Chinese textbooks after noticing that many students resist these works simply because they are part of the curriculum.

"I want to reinterpret classical works in a modern, trendy way that resonates with young people," she said. "Classics shouldn't be placed on a pedestal; instead, we should bring them closer, integrating them into our daily lives."

Her innovative approach has received enthusiastic support from those around her. Her Chinese teacher not only encourages her creativity but also allows her to showcase her videos in class.

"Many of my classmates told me they really enjoyed the videos. Some even recognized specific scenes or lyrics from the textbook that matched my visuals," Wu said happily.

In her videos, Wu places great emphasis on the interplay between text and auditory elements. For example, her adaptation of Dream of the Red Chamber was inspired by a song from a Chinese indie band.

"The tragic and fateful tone of the song immediately reminded me of the blend of Confucianism, Buddhism, and Taoism in the novel," Wu said.

"Especially the line 'one flower, one leaf, one spring tree' made me decide to first draw a flourishing Grand View Garden at its peak, followed by a bleak, dilapidated scene after the family's downfall. I presented both images simultaneously to create a sense of trauma and shock," she added.