The article explores cultural transfer by examining how Ruvim Fraerman, a once-prominent Soviet children’s writer, adapts and reshapes traditional Chinese images, motifs, and personal names in his fairy tales – namely, “The Desired Flower”, “Two Fishermen”, “Dzi Tou and His Brothers”, “The Boy Badmarak”, and “The Spruce and the Oak” from his 1953 collection “The Desired Flower”. Fraerman incorporates plots from Chinese folk tales, ensuring that the symbolism of these exotic elements remains accessible and comprehensible to his Russian-speaking Soviet readership. The fairy-tale world created by Fraerman appears exotic and unfamiliar in its landscapes, names, and colours; nevertheless, its ethical perspectives and logic of human behaviour remain reco­gnisably close to readers. The author skillfully transforms details and symbols charac­teristic of Chinese culture, while preserving the underlying logic of Chinese narratives, often rooted in aphorisms and the visual forms and writing methods of Chinese charac­ters – including their graphic structure and principles of calligraphy. Fraerman’s reinterpretation primarily centers on the ideological adaptation of Chinese plots and the transformation of certain motifs and images prevalent in them.