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从故事中得到启迪，爱的激情与爱的幻梦，为爱而生的追索与因爱而来困顿，每每体现于全片，并处处与我们的伟大艺术家汉斯·克里斯蒂安·安徒生所贡献给全人类的精神相迎合。正犹如这位伟人在我们前方召唤：爱吧，用你们最纯洁的心！
Setting off from the original story, the passion and the illusion of love, the pursuit of love and the dilemma from love… all this has been displayed in the movie, coinciding with the spirit contributed by the great artist Hans Christian Andersen to the whole of human beings. Just as the great man who had called out loud before us: Use your purest heart, love!
从预期艺术表现手法来看，创作者们濯墨于表达优美而灵性的内心世界，画面将是无以伦比的美丽，音乐将是沁人心脾的动听，把人物的行为及其心灵的异动，以童话般的电影艺术手段加以表现，让安徒生式的童话以真实再现的面目出现在欣赏影片的观众面前，让丹麦的这位童话大师给我们留下的精神上的伟大遗产，在中国的这部新派优秀电影中给予最充分的和最和谐的共鸣与体现。我们更有充分的理由相信，这一和谐表面上来源于创作，其实质却是共鸣双方内在的精神的真实统一。
Judging from the artistic representation that we may expect, the creators concentrate on the expression of elegant and spiritualistic inner world; the images are extremely beautiful; music refreshingly touching; human behavior and spiritual movement are manifested with fairy-tale like movie art, reenacting Anderson fairy tale in reality in front of the audiences; bringing the great spiritual heritage left by the great Danish fair-tale master, echoing and manifesting with the most in harmony in the new-wave Chinese movie. We have reasons to believe that the harmony may have originated from creation on the surface, but it is in actual fact true consolidation of internal spirit by both parties in resonance.
本片的直接目标，将描述各类相关的国际电影节，其中包括影片预期上映档期时的国际 A 类电影节的选择参与，如威尼斯国际电影节或柏林国际电影节，以及瑞士卢卡诺电影节或东京国际电影节。诉求本片的国际化影响力，是紫禁城三联公司对于本片的运营、宣传、推广的一项主要内容。
The direct target of this movie will describe various related international movie festivals, including the selected participation of international “A” movies slotted for screening, such as Venice International Film Festival or Berlin International Film Festival, and the Swiss Lacamo Film Festival or Tokyo International Film Festival. Appealing for the internationalized influence of this movie is the major content of the Forbidden City Sanlian Company towards the operation, publicity and promotion of this movie.
我们能够深刻地理解到，伟大的丹麦艺术家安徒生先生所教诲于我们的，就是属于全世界的。在《穷孩子的画》中，艺术家以月亮的身份向我们展示了三十三幅呈现于世界各地的正在发生的美丽人生画卷，其中有丹麦、瑞典、英国、法国、德国、意大利，有中国和印度；有不畏艰险追求幸福的小伙子、有忠贞一生的美丽姑娘、有因享乐而毙命于风雪中的富家小姐、有梦到变成白色蝴蝶周游世界的小女孩——我们没有足够的篇幅一一例举，即使有我们也无需这样做，因为作家向我们描绘的，或正真真实实地发生在我们身边，或已发生于我们的童年，艺术家所要告诉我们的，我们本身就无法忘记，只是有时为我们所忽略而已。凡是受过正规教育的少年，大多都会知道《丑小鸭》的故事，知道《皇帝的新装》和《海的女儿》，更不能忘记那个《卖火柴的小姑娘》。
We can deeply understand that what the great Danish artist Mr. Andersen taught us belonged to the whole world. In “Poor Children's Paintings”, the artist displayed to us in the capacity of the moon 33 pictures of beautiful life that were taking place in different places in the world, including Denmark, Sweden, England, France, German, Italy, China and India; there were young men who feared not in pursuit of happiness; there were beautiful girls who remained loyal all life long; there was girl from rich family who died in the storm while enjoying life; there was little girl who dreamed about transforming into a white butterfly to travel the world, to name just a few. We lack space to name it all… even if we did, we did not need to do so, because what the author wanted to tell us might have taken place in reality around us, or during our younger days. What the artist wanted to tell us, we would not be able to forget; we might have overlooked at times. Anyone who was formally educated would have known about the story of the “Ugly Duckling”, the “Emperor's New Clothes” and the “Daughter of the Sea”. Nobody could ever forget the “Match Girl”.
作为电影工作者，我们知道在这个项目中我们应该做点什么的责任，如果我们回到《柳树下的梦》中，如果那个在年轻的时候没有向心爱的姑娘表白真爱的小伙子想说些什么，如果他在童年的柳树下所做的那个美丽的梦能够苏醒，那，就是在《桃花灿烂》中我们所力图表现的，安徒生式的童话人生。
As movie workers, we understand what our duties in this project will be; if we went back to the “Dreams under the Willow Tree”; if the young man who did not show his love to the girl he loved tried to say anything; if he could wake up from the beautiful dreams under the willow tree, then, that would be what we are trying to display in the movie “Peach Blossom”, the Andersen fair-tale life.
我们珍视这样一个机会，配合影片宣传的同时，我们将按照“汉斯·克里斯蒂安·安徒生 2005 ”计划的要求，在宣传伟大艺术家安徒生、宣传其作品和精神、宣传“汉斯·克里斯蒂安·安徒生 2005 ”计划方面倾其所能；同时在影片的国际影响方面更将不遗余力配合“汉斯·克里斯蒂安·安徒生 2005 ”计划在各方面的有效实施，以不失其所望。
We treasure this opportunity. At the same time of conjugating with the movie publicity, we will publicize the great artist Andersen, publicizing his works and spirit, publicizing the “Hans Christian Anderson 2005” planning in the best possible way according to the requirements in the “Hans Christian Andersen 2005” program. At the same time, in the international influence of the movie, we will spare no effort in concerting our effort with the effective implementation of the “Hans Christian Andersen 2005” program in various aspects. |
逃避对星子的思念，转而和热情美丽的水香发生了关系，星子知道后十分痛苦，觉得这段感情再也难以挽回。粞没料到这件事将星子伤害的那么深，但过去后粞便平静了，认为对于自己，水香或许更合适。因为水香能关照合体贴他而星子则需要他随时宠着。粞放弃星子之后，才明白他一生中最重要的东西被他放弃了。 
苦愈重。粞力图寻回失去的，可星子却时刻警惕。一番挣扎后，两人决定从此分手，把这段感情深埋。 
子：“我永远也不会嫁给他，单我永远爱他。他是我的生命。” 
，几年前热热闹闹的日子忽然就从生活和记忆中都抹去了，他又同原先一样，他又那么强烈的想起星子，想起那年的夏天大雨的日子，一切又都宛如昨天。空空地来，有空空地走，什么也没得到，什么也没留下。想什么便失掉什么，不想的却无端寻来。确实也没什么可留恋了，的确是归去的时候了。 
