On the white walls of villages in southern Anhui, bright murals and mottled bricks complement each other beautifully; On the banks of the river in Quzhou, Zhejiang, an abandoned hydroelectric power station has been transformed into an ecological art museum; The wax patterns of Danzhai in Guizhou have been showcased at international art exhibitions through VR technology... These dynamic images are vivid footnotes of contemporary Chinese youth's dedication to "art village construction". When the wave of urbanization drives the outflow of rural population, a group of idealistic young people go in the opposite direction, using art as a plow to cultivate a new field of cultural revitalization in the depths of the countryside, between guarding nostalgia and embracing modernity. In recent years, during my research in rural areas, I have found that many young artists use the countryside as a stage for artistic creation. This practice is not only an innovative exploration of rural revitalization, but also an attempt to answer how to continue the roots of local civilization in the process of modernization. Innovation and cross-border collaboration bring new vitality to local culture. Cultural revitalization is the soul of rural revitalization. Art village construction youth are often good at breaking conventions. They often integrate architecture, design, music, digital technology, and other aspects into rural art practice, activating the dormant cultural genes of rural areas with innovative thinking. In Waitongwu Village, Hangzhou, Zhejiang Province, young art creators from many universities such as China Academy of Art and Central Academy of Fine Arts have created the "Metaverse Village" through the digital means of "art+AR", becoming a new experience point for rural cultural tourism in Waitongwu; In Wuyuan, Jiangxi, Yu Xingyu, a young inheritor of the Huizhou Three Carvings Intangible Cultural Heritage, used courtyard automation devices to complement the traditional concept of "Four Waters Returning to the Hall" in Huizhou architecture with the flexibility and practicality of modern architectural design. Various cases reveal that the youth group of art village construction grew up during an accelerated period of rural-urban mobility, possessing both the temperament of urban civilization and the genes of local culture; This dual cultural background endows it with unique cross-border capabilities - it can use modern technology and artistic language to construct aesthetic discourse, while also keenly capturing the cultural codes of rural society. The construction of art villages by young people uses innovation as a medium to bridge the gap between local characteristics and modernity. As Mr. Liang Shuming said, it may be "sprouting new shoots from the old roots" for the revitalization of rural culture. Empower and coexist, let art drive the revitalization of rural industries. If culture is the root and soul, then industrial prosperity is the material foundation for rural revitalization. Youth are good at empowering rural industries with art, promoting the deep integration of culture and tourism, and bringing considerable economic benefits to rural areas. Youth use art to turn the "sleeping" scenery into a "treasure trove", and many art activities planned by young people become a driving force. In Bicheng Village, located deep in the Daba Mountains of Sichuan Province, the annual Daba Mountain Flower Field Art Festival attracts a large number of tourists, driving the flourishing development of local service industries such as catering and accommodation. Under the guidance of young artists, Hongjiang Village in Guizhou has transformed from a "hollow village" to an "art village": attracting artistic talents from all over the country to come here and making the old village and houses shine with new brilliance. New industries such as housing rental, homestay management, and art exhibitions have taken root in the village, allowing the once isolated small mountain village to catch the fast train of cultural and creative economy. These practices seem to be responding to Mr. Fei Xiaotong's thoughts on rural economic transformation 70 years ago - young people activate rural resource endowments through art, and green mountains and rivers are constantly transformed into gold and silver mountains, providing an additional option for "rural reconstruction". Cohesion and integration, jointly building a homeland of local art. Rural revitalization is not only about material and cultural aspects, but also about the cohesion of people's hearts. The reason why art village construction has endogenous power is precisely because it gathers the collective participation of villagers and weaves a community bond full of warmth. During this process, young people played an important role. In Banbidian Village, Beijing, the "Art Half Wall" Art Education Center is open to children in the village for free on weekends. The initiator of the "Art Half Wall" project said, "We hope to allow children in the village to experience and learn art as much as possible." More importantly, under the promotion of young people, the countryside has transformed from passive objects to active creators. In the construction process of Palian Art Village in Yunnan, villagers actively participated in the construction of a common art home called "Your Art Museum", which symbolizes the sharing of all villagers; From the involvement of young artists in creation to the voluntary participation of villagers in creation, villagers have gathered a sense of ownership and shared the achievements of artistic rural construction. In Fanjiawan Village, Hubei Province, the design team has encouraged villagers to participate in creative work. Through "empowering design," villagers have regained their pride in the village's culture. It can be seen that the deeper value of art village construction lies in promoting the expansion of the relationship network of rural society from blood and geography to cultural identity. The artistic practice of young people is redrawing the cultural map of rural areas. They continue the roots of the countryside through innovation, activate endogenous power through industry, and unite community identity through aesthetic education, marking new landmarks on the map of rural China. We believe that these youth stories with dew and paint, this social practice that began with cultural consciousness, will eventually bloom into a brilliant flower of traditional and modern coexistence on the fertile land of the countryside. (New Society)