In 1585， Mendoza， a Spanish missionary， wrote a book named History of the Kingdom of China which is perhaps the first Spanish book introducinng China. During the time period of over two hundred years in Ming Dynasty， China had been one of the most developed country in the world. In that book， it says， “In the Kingdom of China， people have rich food， fine clothing and gorgeously-decorated houses. It’s the richest country in the world.”
　　Though civilized countries with abundant cultural and artistic heritages are similar to some extent， people in each coutry are different. Chinese people advocate the theory that man is an integral part of nature； Spanish people pursue for the casual freedom of rommantic imagination； while Latin American people pay close attention to the open innovation of multi-culture blending. Chinese and Spanish， two languages with different culture characteristics， contribute to their own splendid achievements in literatures and arts. We might be able to feel the culture shock through reading； maybe， we can see new look of ourselves or others from those people travelling around.
　　Dream of the Red Chamber written by Cao Xueqin and One Hundred Years of Solitude written by Márquez are two famous literature works worldwide. Former one is honored as the encyclopaedia of Chinese classical culture and the latter is known as the classic work in the 20th century in western countries； one is the great integration of Chinese traditional culture and the other is the true representation of social and historic culture in a hundred of years in Latin America； one depicts the rise and fall of several big families and the other tells the vicissitude and fantasy stories of seven generations of a big family. Chinese and Colombia writters’ allegorical thinking on human destiny are fully reflected in these two masterpieces with different languages and artistic forms.
　　Translation and evaluation of Dream of the Red Chamber in Spanish-speaking countries
　　According to history， the earliest missionaries who came to China are the Spanish Juan and Gonzalez de Mendoza. They once visited China three times in the 16th century and published Anecdote， Etiquette and Customs in Chinese Empire in 1585. However， in modern history of Sino-Western cultural exchange， compared with the English， French and German editions of History of Chinese Literature and Dream of the Red Chamber published at the beginning of the twentieth century， Chinese literatures of Spanish editions relatively lag behind. On the one hand， it’s because Spain and Latin America are far away from China geographically； on the other hand， they are lagged in economic and cultural development after the sixteenth century. 　　However， some people are doomed to be attached to China. Jorge Luis Borges， a world-known writer in the twentieth century， is such a person.
　　In Spanish-speaking countries， Jorge Luis Borges completed a series of creative work. He translated some chapters of Dream of the Red Chamber in 1940. Forty-eight years later， Professor Zhao Zhenjiang and José Antonio García Sánchez jointly translated the first volume of Dream of the Red Chamber（front 40 chapters） and published it on September 28， 1988， in Spanish. After that， Zhao Zhenjiang and García revised the translation （Zhao-García Version for short） and published its second and third volume successively in 1989 and 2005. Thus， we finally have a complete and authoritative Spanish version of Dream of the Red Chamber. The latest Spanish version of Dream of the Red Chamber is the simple and illustrated one translated by Monica Ching Hernandez， which had been published in 2007 in Mexico.
　　Picky Jorge Luis Borges cannot help praising the Dream of the Red Chamber
　　Jorge Luis Borges achieved four aspects of creative work in translating， evaluating and introducing the Dream of the Red Chamber in Spanish world. Firstly， when collaborating on Selections of Fantastic Literatures（Antología de la Literatura Fantástica） with the couple Adolfo Bioy Casares and Silvia Ocampo， he chose to translate the chapter “dream of Baoyu” in Dream of the Red Chamber； secondly， Borges made a comment on the Dream of the Red Chamber in the preface of this book， which is the first literature evaluation on the Dream of the Red Chamber in Spanish-speaking world； thirdly， in 1986， Borges specially collected the review article Cao Xueqin：Dream of the Red Chamber （Tsao Hsue Kin： El sue?o del aposento rojo） in his literature review collection Literature Analects（Textos Cautivos）； forth， in the same book， in preface of Liao Zhai（Prólogo para Cuentos de Liao Zhai）， he again mentioned Dream of the Red Chamber and praised it as the most outstanding and popular Chinese novel.
　　Jorge Luis Borges is so attached to Chinese culture that he once expressed that he “even wanted to go to China in dreams”. In his mind， China is a remote and mysterious representative of eastern culture， while he himself precisely likes mysterious things. The state of vision and emptiness， love in red chamber， obscure blending of the reality and dreams described in Dream of the Red Chamber just correspond to such elements as labyrinth， mirror and dreamland loved by Jorge Luis Borges in literary creation. Therefore， though he is picky in novels， he never hesitates in praising Dream of the Red Chamber. “Dream of the Red Chamber is the first-rate Chinese novel and is extreme abundant in content.” 　　Jorge Luis Borges appraised Dream of the Red Chamber in Cao Xueqin： Dream of the Red Chamber like this， “It’s a masterpiece that is near 3，000 years ahead of our Spanish literature works.” “These chapters prove us a great writer. And the tenth chapter Jia Rui Accidentally Looks into the Mirror again proves that the author is definitely not inferior to Edgar Allan Poe or Franz Kafka”.
　　Borges summarized Dream of the Red Chamber， “The whole book is full of carnal desire. And the theme is the degenerate and expiation converted to something mysterious.” In Dream of the Red Chamber， there is a large portion of strange elements； yet， just because it is realistic， readers prefer to believe these stories rather than take them as strange stories…Baoyu’s dream is full of sadness， friendless and helpless and he has no sense of reality in mind. Love in Red Chamber is a title indicates sexual love， which may be the unique moment for the literature to express the pleasant sensation of loneliness pathetically but dignifiedly.
　　The most popular version of Dream of the Red Chamber in Spanish-speaking countries： Zhao Zhenjiang and García version
　　Zhao Zhenjiang， one of well-known Spanish professors in China， has been engaged in the translation and review of Spanish and Latin American literatures. His only experience of translating Chinese literatures into Spanish is the translation of Dream of the Red Chamber.
　　The connection between Mr. Zhao and Dream of the Red Chamber attributes to his first Spanish translation of Martin Fierro， a national epic of Argentina. In 1987， Mr. Zhang Zhiya， the cultural counsellor of Chinese Embassy in Spain at that time， was impressed by Mr. Zhao Zhenjiang’s translation. Hence， when Universidad de Granada asked Chinese Embassy for help to recommend a Spanish scholar in China， Zhang Zhiya immediately recommended Mr. Zhao. In order to make sure that the abundant rhyme in Dream of the Red Chamber can be reserved to the extreme extent， Mr. Zhao specially applied to Universidad de Granada for a Spanish poet to collaborate on the translation. And the partner is José Antonio García Sánche. Finally， the first volume of Spanish Dream of the Red Chamber was published in 1988. As soon as being sold in the market， they were sold out. After that， the second volume and third volume were successively launched.
　　Zhao- García revised version of Dream of the Red Chamber is the most complete and influential version in Spanish-speaking countries. 　　Soon after it was published， major media in Spain and Latin America including such national newpapers as El País and ABC specially reported and introduced it. In the column “Books Recommended by Book Reviewers”， two book reviewers recommended Dream of the Red Chamber simultaneously. Moreover， in the preface of this Spanish Dream of the Red Chamber， Professor Juan Francisco García Casanova， vice-president of Universidad de Granada， wrote that Universidad de Granada and these two translators are the “forerunners that translated such a heritage full of wisdom and beauty into Spanish”.
　　In 2009， the well-known publishing house Galaxia Gutenberg in Spain purchased the copyright from Universidad de Granada and published two-volume Spanish Dream of the Red Chamber. The copyright purchasing and republishing of different publishing houses indicate the recognition and reception of the Spanish Dream of the Red Chamber of Zhao- García version.
　　Other important versions
　　Milk Huelgas， born in 1947 in Czech Republic， is a famous writer， poet， political commentator of Latin-American literature in Peru and is engaged in teaching in several universities at present. He is also a noted columnist and spreader of Peruvian painting art. At the beginning of 1970s， with the yearning for communist movement and longing for the East， Milk came to remote China and began his journey of translating Chinese classical literatures.
　　In 1991， the China International Publishing Group published the Dream of the Red Chamber（120 chapters） translated by Milk. In 1992， the China International Publishing Group published the Spanish version of Water Margin（A la orilla del agua） revised by Milk and Jessica Mclauchlan.
　　Milk’s Spanish version of Dream of the Red Chamber is translated according to the English verstion translated by Yang Xianyi and his wife. In February 2010， the China International Publishing Group published the Chinese-Spanish Dream of the Red Chamber of Milk， subordinate to “Great China Library”. This is a set of hardcover books including seven volumes. According to insiders， the Zhao- García revised version is indeed good， but books and copyright of Universidad de Granada are very expensive； while Milk version is published by the China International Publishing Group and there is no copyright problem and the cost is also reasonable.
　　In 2007， an abbreviated and illustrated version of Dream of the Red Chamber translated by Chen Yaxuan was published in Mexico City. This version is subject to the youth’s illustrated translation series organized by The State Council Information Office of the People’s Republic of China. Chen Yaxuan is also the translator of Journey to the West belonged to this series. As for the translator Chen Yaxuan， he runs a cultural exchange company and is engaged in promoing the work of Chinese writers in Spanish-speaking countries and that of Spanish writers in China. The launch event of his Spanish version of Dream of the Red Chamber was held on April 23， 2008， in Beijing. 　　Dream of the Red Chamber on the Internet in Spanish-speaking world
　　In this digital era， network platform， another channel of dissemination， provides a more convenient method for culture exchange. The internet platform for literary communication in China is “douban” （www.douban.com）， while that in Spanish-speaking world is “elaleph” （http：//foro.elaleph.com/）. On elaleph， there is a specail column for discussing Dream of the Red Chamber， ranging from the introduction of Zhao- García version published by Universidad de Granada， criticism and introduction of Jorge Luis Borges’s version， the post of Spanish version The Song of Burying the Fallen Flowers， critism on Jorge Luis Borges’s cristism of Dream of the Red Chamber， to El "Quijote" chino， which was written by the well-known Spanish literary critic José María Guelbenzu， published in the special column on the national newspaper El País in 2010. Besides， in Spanish Wikipedia， it comprehensively introduces Dream of the Red Chamber from content， characters， creation background to literature inheritance， and also mentions the topic of Dream of the Red Chamber on “elaleph”. Moreover， even A Letter on Research Problems of Dream of the Red Chamber（Carta a propósito de los estudios sobre El sue?o del pabellón rojo） written by Mao Zedong in 1954 has been translated into Spanish and posted on “elaleph”. The special topic about Dream of the Red Chamber on “elaleph” can be regarded as a database that is relatively comprehensive and accurate in materials about the introduction and research of Redology in Spanish-speaking world， which may be another envidence that redology is keeping pace with times.
　　Dream of the Red Chamber （7 Vol.Set） （Chinese-Spanish Version） （Hardcover）
　　Cao Xueqin | Foreign Languages Press | Feb 2010 | ?618.00 | ISBN 9787119060002
　　Comment on Dream of the Red Chamber
　　Wang Guowei | Zhejiang Ancient Books Publishing House | Apr 2012 | ?9.00 | ISBN 9787807158257
　　This book is the first criticism monograph on Dream of the Red Chamber from the perspectives of western philosophy and aesthetic views in the research history of Chinese novels， and also the first authentically comparative research paper on Chinese and Western literatures in the research history of Chinese literature. In this book， based on the philosophical thought of Schopenhauer， the author starts the research from the story content and characters’ portrait by integrating viewpoints of Chinese and Western scholars to explore the tragic spirit， aesthetic significance and ethics values in Dream of the Red Chamber. It can be deemed as a milestone work in the history of “Redology”. 　　Marquez and One Hundred Years of Solitude： beyond literary significance
　　“In April 2014， Gabriel Garcia Marquez， the winner of Nobel Prize and the leading figure of Latin-American magic realism， passed away in Mexico City， the capital of Mexico. Chinese readers rapidly spread this news via Wechat and microblog. Within just a couple of days， over 100，000 netizen joined in the discussion and regretted the death of Marquez.”
　　In China， many writers understand Latin America and Marquez by reading One Hundred Years of Solitude. In the 1980s， such foreign writers as Marquez were introduced to China and became idols in the creation circle and readers， which affects the literature taste as well as reading orientation of the public， enriches the spiritual resources of contemporary writers and deeply influenced the changes in Chinese literature.
　　Among different Western schools of literature， why could the “magic realism” of Marquez be everlasting， accepted by Chinese， and repeatedly mentioned and imitated by Chinese writers？
　　A large number of commemorative articles about Marquez emerge after he passed away. However， it is regrettable that many of them just focus on his extraordinary literary style， magic imagination and influence on others instead of himself， his living environment and his life course. Although the work is purely literary， the writer is absolutely not. A writer lives in a certain social environment， and he cannot change his secular fate no matter how great his work is. When remembering a great writer， we shall not abstract him from his specific daily life， ignore his sociality or just treat him as a “purely literary” as a waxwork， it is not true. Real Marquez is more profound and even more significant than his literary works.
　　It is worth deeply considering that what does Marquez mean to Chinese writers； what he brought to China； and， under his influence， what differences have Chinese writers and literature made.
　　Writing the nation and memory with magic
　　In the 1980s， China experienced the reform of modernization. From the perspective of literature， Marquez met the “modernization” demands of Chinese literature development. It was believed that learning from Latin-American literature and following the example of Marquez are bound to accelerate the speed of modernization of Chinese literature. Thus， reestablishing the goal and concept of literary creation by referring to foreign literature became a consensus for Chinese writers. In Chinese people’s mind， Latin-American writers represented by Marquez wrote in a style from nationalization to modernization， and such experience was deserved to be followed and used for reference. 　　Up to now， almost all Marquez’s works have been translated and introduced to China. For example， in the 1980s， his works The Autumn of the Patriarch translated by Yin Xin， Love in the Time of Cholera translated by Jiang Zongcao， The Fragrance of Guava translated by Lin Yian were published. In the 1990s， some of his novels and novelettes were again published in succession， which lays a solid foundation for Marquez to be accepted and popular in China. As the Chinese writer Mo Yan said， “Thanks to translators， William Faulkner and Marquez are popular beyond their own countries.” In other words， if Marquez’s works were not translated and published in China， Chinese readers would not know about Marquez and Chinese literature would not be influenced by Marquez.
　　Compared to One Hundred Years of Solitude， The Fragrance of Guava， literature conversations between Marquez and Mendoza， translated by Lin Yian， includes more detailed literary thoughts of Marquez and his understanding on magic realism.
　　Chinese writers learn sentence structures and writing skills from Marquez and focus on exploring local national culture like Marquez. They are obsessed with the opening sentence as “many years later” in One Hundred Years of Solitude， use and develop it in their own creations and accordingly find out a new mode to handle the space time in their novels. From One Hundred Years of Solitude， Chinese writers see the vitality of literary creation and find out a new method to write family history and even national history， which stimulates their enthusiasm in writing family history and town history and forms a popular trend of “family - town” narrative writing style. Just because of these factors， various successful literary and geographic images which are comparable with “Macondo” created by Marquez are born.
　　These geographic images include “Shangzhou” created by Jia Pingwa， “Gaomi Northeast Township” by Mo Yan， “Palou Mountains” by Yan Lianke， etc. Marquez’s writing style of confusing human with ghost and breaking the limits of life and death is regarded as a tool and magic key for artistic innovation by Chinese writers at that era of China， and widely used in writing novels. For instance， in Our Uncle， Mo Yan writes several encounters between the hero and his dead uncle； in Songs of Palou Mountains， Yan Lianke writes that ghosts exist with living person； in Pau-shar-man， Su Tong writes ghost wandering about； and in The Seventh Day， Yu Hua writes that the dead Yang Fei looks for his foster father by moving back and forth between the Yin and Yang worlds（death circles）. All these descriptions ignoring the limits of life and death are linked to both Chinese people’s concept of ghosts and gods as well as Latin-American magic realism， bringing a strong magic effect on these works without exception. 　　To some extent， Latin-American literature at that period influenced the majority of Chinese contemporary writers. Also， Marquez led Chinese literature to returns to its original cultural traditions. Originally， traditional Chinese literature is full of mysterious elements， so are ancient Chinese literary works. Undoubtedly， Chinese new-period literature such as root-seeking literature and new literary sketches on local national culture and tradition were enlightened by Marquez. If the works of such Latin-American writers as Marquez reflect the worship and attention paid to Latin-American aboriginal culture， Han Shaogong’s Bababa on unearthing wuchu culture， Acheng’s King of Chess on admiration for Taoist culture， and Wang Anyi’s Baotown on affirmation and approval for Confucian “kindheartedness and justice” reflect the attention and study of Chinese writers on national culture. Marquez gives not only the enlightenment of literary creation to Chinese literary circle， but also the concerns about how to preserve and self-examine national culture and memory in modernization.
　　The Last Quarter of the Moon
　　（Spanish version）
　　Chi Zijian | Xu Yingfeng | China Intercontinental Press | ?99.00 | Mar 2014 | ISBN 9787508523903
　　The book is about the current living situation and one hundred years of history of the Ewenkis people. It presents the tenacious vitality and national spirit， rich and colorful national personality and styles under the pressure of harsh natural environment and modern civilization.
　　Love on a Barren Mountain
　　（Spanish version）
　　Wang Anyi | China Intercontinental Press | ?99.00 | Jun 2014 | ISBN 9787508527499
　　The book tries to create a men and women relation in the context of environment and background. Its purpose is to indicate that the men and women relation does not take place independently， but is formed due to an opportunity when they meet each other at an intersection at a correct time. Therefore， the book focuses on four persons， in which the hero and heroine lead their own lives respectively， but they meet each other at a certain time.
　　Spanish in Beijing – experience of Yima， dean of Beijing Cervantes Institution
　　As an absolute Spanish， unexpectedly， Yima can speak fluent mandarin. When asked why she would come to China and how to speak mandarin so fluently， she answered that she was attracted by a book about China written by an American writer Pearl Buck in her high school； after that， she had long been yearning for this ancient east nation， and her dream of visiting China was lingering in her mind. Therefore， she decided to learn Chinese and come to China. She was so anxious to learn Chinese and Chinese culture that she went to Barcelona Official Language School， the only school to learn Chinese. She also learnt Chinese from Cantonese at Chinese restaurants. 　　In 1979， she came to Beijing where she dreamed for， and went to study in Beijing Language and Culture University. She finally realized her dream. In 1983， she was admitted to Spanish Embassy in China to work there. Later， she married a Chinese musician and then settled down in Beijing， which makes her dream come true. In 2003， she left Spanish Embassy in China for “Asia House” established by Spanish Ministry of Foreign Affairs. Asia House focuses on promoting Asian culture in which the Chinese culture is an important part. In 2005， Cervantes Institute planned to set up a branch in China， so she was employed to make the preparatory work for the branch. In 2006， Cervantes Institute， with a history of 15 years， set up its first branch in China， Beijing Cervantes Institution. She went to hold the post of Dean and works till now. At present， she acts as the Director of Shanghai Miguel De Cervantes Library.
　　She has made a great contribution to the establishment of Beijing Cervantes Institution and deepening cultural exchange and friendship between China and Spain， but she said that there are just a few people in China knowing about Spain， and she can make more efforts and hopes to do better in future. Her Chinese dream is to continue to the communication and cooperation with Chinese and Spanish culture education， introduce China to Spain， and promote Chinese culture and art to go global. She hopes to continue paying attention to the development in China.
　　Yima said， “To know about each other， we shall start with knowing about the history of his country； history provides us common topics. Thus， it is very important to learn language. I hope more Chinese will learn Spanish as well as Spanish history and culture； vice versa. Now， there are 4 Confucius Institutes and 1 Chinese Culture Center in Spain. Spanish knows little about Chinese culture. In Spain， there are a few translated Chinese books and films. So I hope more Chinese films， documentary films， teleplays， exhibitions， drama， etc. will be introduced to Spain. Spanish course has been set up in Chinese universities for 60 years， while Chinese course was set up in Spanish universities since 2003. Therefore， there are many efforts to make in spreading Chinese culture.”
　　“China has changed so much that could never have imagined， and it surprises me a lot！” She recalls from memory and at the same time exclaims， over the 30 years ， Yi Ma not only fulfills her Chinese Dream， living and working happily in China， but also she becomes an envoy of cultural communication between China and Spain. You can always see her in China and Spanish cultural communication activities and various activities held by Instituto Cervantes. She has made a great contribution to spreading Spanish and culture of Spanish-speaking countries and promoting culture communication between them. As for the Award for Practitioner of “Chinese Dream”， she said， “I did not expect that I can win this award， and I’m very proud of gaining this prize！” 　　When she first came to China， she was quite interested in music， movie and art collection. Upon weekend， she would get up early in the morning and go around Panjiayuan. Usually， she could find some porcelain of Ming and Qing Dynasties and chinaware. She is also very interested in Chinese contemporary art. She thinks China is striving to be a great country of world contemporary art. After being impacted by the Western contemporary art in the 1990s， Chinese artists begin to have their own concept， and are able to show their unique characteristic through internationalization techniques and expression of arts， which is very interesting. Yima also likes watching some distinctive movies， like some documentary and movies shot by Chinese young director as Jia Zhangke， Zhang Yang and Ning Ying.
　　Now， Yima spends all her spare time clearing up her art works collected before， as well as pictures and notes. She decides to publish a book about them in the future. She said after retirement in China， she would translate some works and publish some books related to China， and she would continue to make contribution to culture and communication between China and Spain.
　　Tips： The Chinese Culture Center in Spain， located in Madrid， is a non-profit institution of the Chinese government. After opening to the public since 2012， it has held over 70 activities including Chinese and martial arts teaching， exhibitions， concert， movie week and various performances， and it has become a window for Spanish people to know about Chinese culture at a close range. Chinese Culture Center in Madrid is located at the center of Madrid City with convenient transportation. There are many facilities in the center like exhibition room， multi-function hall， library， martial arts and dance classroom， cooking skill classroom， language classroom， etc..
　　Tips： The award for practitioner of “Chinese Dream”
　　In December， 2011， Yima gained the award for practitioner of 2011 “Chinese Dream” issued by the Southern Weekend Newspaper. The award is specially granted to the people who have made prominent contribution to reinforcing the friendship between China and other countries in the work of culture communication between China and foreign countries.
　　Hello， China （Spanish version）
　　Higher Education Press | ?498.00 | Dec 2011 | ISBN： 9787040336382
　　Hello， China selects 100 Chinese vocabularies which represent the essential of Chinese traditional culture， and presents three different media forms of products， namely： 100 episodes of TV series， a book with 100 pieces of essay and learning website of Hello， China. This book reflects extensive and profound Chinese culture from different perspectives， and deepens foreign people’s further understanding of Chinese culture. 　　The China Intercontinental Press published a series of the Chinese traditional and classical books in Spanish， including Tour in Rural Areas of China（Destinos Rurales China）， Chinese Architectures（Viviendas Populares De China）， Chinese Ceramics， Chinese Furniture（Muebles Chinos）， etc..
　　Chinese Contemporary Art
　　（1978-2008）
　　Lu Hong | Hunan Fine Arts Publishing House | Aug 2013 | ?398.00 | ISBN： 9787535662583
　　The author connects the history after 1949 with the history after the reform and the opening up， and again interprets the Chinese contemporary art from the historical perspective. The book introduces many Chinese contemporary art works which not only have characters of Chinese culture， but also create much vitality to the world contemporary art. Different from the artists born in 1950s-1970s， many artists born in 1980s have a great gap with their elder generation in creation. The author deeply analyzes the in-depth causes of creative attitude， and introduces some of works with mixed reviews， and comes up with his own expectation for the artists born after 1980s： the reality cannot be separated from history， and you can have a better grasp of reality only when you understand history.
　　Chinese Contemporary Art： New Faces New Works （English version）
　　Zhao Li | China Youth Press | Oct 2012 | ?320.00 | ISBN： 9787515310350
　　This book pays close attention to the young artists who have outstanding potent， ability and artistic charming， and tries to recommend their excellent and high-end album of painting. Some master level painters’ works are already very mature represented by those of Zeng fanzhi， Wang Guangyi and Yue Minjun. When the price of these masters’ work has reached the peak， many institutions and collectors cast their eyes on young artists， and begin to explore future stars from young artists.
　　Ma Zhuomin： Qingtian people’s feelings on passing through Barcelona
　　Travelling on the narrow and old footpaths of Gothic quarter， wandering in the stream of people on La Ramblas Walk Avenue， rambling in the peaceful woods of Parc Guell Park， strolling on the green-waves sea side...all these make the ethnic Chinese Ma Zhuomin who is traveling to Spain exclaim in astonishment.
　　These intoxicating pictures were not only what Ma Zhuomin saw， they were compiled into beautiful words and pictures and were collected in a book named Passing Through Barcelona（On Por Barcelona）. The book was published by the Zhejiang Literature and Art Publishing House in September 2008， and the first edition sales out very quickly. Searching on the internet， there are more than 7 thousand pages related to this book. The launch ceremony held in Barcelona in October 2008 was an unprecedented occasion， and was rebroadcasted by Spanish National Television. The mayor of Barcelona spoke highly of this book after he read it： This is the first Chinese who writes the place where he lives with camera. I’m shocked by his deep feelings and perseverance. 　　Mr. Ma Zhuomin is the founder and vice chairman of the first Chinese school and Confucius Culture Center in Barcelona. He used to be the secretary-general of Qingtian Townsmen Association， and now he is the chairman of Chinese Education Foundation and China Association of Catalan Culture. Mr. Ma Zhuomin has published three books related to Spain in China： Passing Through Barcelona（On Por Barcelona）， Close to Spain and Crazy Spain. These books were all issued in Shanghai World Expo in 2010. In addition， Mr. Ma has published over 300 Chinese essays on different media and magazines.
　　Passing Through Barcelona presents the great city Barcelona’s historic culture， places of interest， city features and customs all to readers， as if they have a close on Barcelona.
　　Passing Through Barcelona （On Por Barcelona）
　　Ma Zhuomin | Zhejiang Literature and Art Publishing House | Sep 2008 | ?38.00 | ISBN 9787533927011
　　“I have lived in Barcelona for over ten years. Someone asks me if I am asked to use one sentence to describe Barcelona， what sentence I will use. I feel at a loss. Maybe I lack necessary knowledge， or maybe I am not good at summarizing， I cannot pick up one proper sentence to describe this colorful city. It has not only sunshine， sea， mountain， valley， spring all the year around and beautiful scenery， but also profound national culture and historic civilization. I am proud to live in this place. Due to some certain reasons， I cannot blend myself in the mainstream of society， but I have already considered Barcelona as my second hometown. I love this beautiful place from my inner heart.”
　　Ma Zhuomin said， “I took some pictures of this city with camera， and wrote some feelings of my own. Though they are kind of shallow and superficial views， they are what I like and understand. This is why I select the words ‘pass through’. Walking on this magic land， I am just a passer and finish the passing through this place， that’s all.”
　　Speaking of the Spanish national genius architect Antoni Gaud， Ma Zhuomin says： miracle.
　　The building which was scorned becomes “national level culture relic” and “world culture heritage”； a man who was belittled and attacked becomes an architectural artist； a poor man， after his death of 70 years， owns the whole city. Gaud’s life is rough， and Gaud’s story is just like the Arabian Nights. At last， he lived his life with difficulty in loneliness. However， the history is impartial， in those years people who laughed at Gaud are laughed at by the history in another way hundred years later. 　　When being asked， “You have successfully passed through Barcelona. Do you still want to pass through other nations and cities？” Ma Zhuomin contemplated for a while and said， “Traversing is a comfortable dream， as well as a tough one.”
　　As for Via Laietana， a street traversing the history， mentioned in the book， he described “The Street is neither broad nor very prosperous； it looks like a very ordinary street. However， if you know the history of Barcelona， you will know it is unusual. The left side of Via Laietana is Gothic Quarter， the birthplace of the city， while the right side is coastal area， the oldest street in that city. Via Laietana is not long； however， it has traversed two thousand years of history of Barcelona. Stepping on Via Laietana， you are entering into the long history of Barcelona.”
　　Ma Zhuomin has lived in Barcelona for over ten years， and he has already considered it as his second hometown， loving this beautiful land from his inner heart. In his eyes， there are few cities in the world have experienced such a long and tough period like Barcelona， and there are few cities can keep the culture of alien races who ravaged this homeland so perfectly just like its own. He wrote in Chapter three of Character of the City： If a city has character， I think the main character of Barcelona is tolerance. It can bear sufferings and different cultures. Maybe， it is because of its tolerance， its beauty seems colorful and distinctive. Barcelona’s beauty is not only the beauty of nature， but also the beauty of multi-culture， broad and profound， deep and unforgettable.
　　Curved footpath， long deep lanes. Seen from the high sky， the old lanes look like crossed meridian and parallel lines， covering Gothic Quarter， coastal area and El Raval area in the net of time woven.——Passing Through Barcelona（On Por Barcelona）
　　Nostalgia drifts in the air — journey of the heart of Chinese in Spain
　　The history of ethnic Chinese travelling in Spain could date back to the end of Qing Dynasty and the early Republic of China.
　　Among those Chinese reached Spain at the early stage， a few made a living by performing acrobatics in the streets， while most of them， from Qingtian of Zhejiang， were incipiently engaged in selling products made of Qingtian Stone in European countries and finally settled in Spain， thus the population of overseas Chinese gradually formed. Chinese intellectuals actually entered Spain in the early 1950s when Spanish priests led intellectuals from Anhui and other regions to study in Spain. They were the earliest Chinese students studying in Spain. Speaking of this， the person who is mentionable is Bao Kejun. He was from Anqing of Anhui and graduated from the Law School of Aurora University in 1949. After graduation， he was sent by the church to a parish in Spain to work on the education of foreign students. In 1960s， Bao Kejun established “Xiaoxing Academy” in Spain and had cultivated a large number of talents and overseas students for Spain for over 20 years till the end of 1980s. Among this batch of overseas students， most have made great achievements in their studies. So to speak， they are the mainstay that cannot be neglected among Spanish Chinese. Through developing education， Bao Kejun actively assists in Chinese and Spanish culture exchange and establishes a diplomatic platform. 　　Since then Chinese culture has opened a door in Spain and has had a status in Spain. Later， Chinese social culture structure is formed with a certain pattern. In recent ten years， the Chinese Government dispatches students at public expense to Spain for further education， while those students go to study in Spain at their own expenses become more and more and sometimes the number of these students can reach over one hundred.
　　At present， there are about 1，300 Chinese students studying in Spain at public expense or at their own expenses； while there are over one thousand overseas students from Spain learning Chinese language， Chinese culture， traditional Chinese medical science and other specialties in China， mainly gathering in colleges and universities in Beijing， Shanghai and other places. In recent years， more and more Spanish begin to learn Chinese and Chinese has already been regarded as one of foreign languages must be learned by Spanish. Now， there are 11 universities teaching Chinese in Spain. Since 2006， there have been 7 universities newly setting up Chinese course， thus the quantity of universities teaching Chinese exceeds that teaching Japanese in Spain. It is believed that such cultural exchange will enable more Chinese writers and Spanish sinologists to further occupy in studying Chinese literature.
　　“New Immigrant Literature” is a literary name originated from North America and arisen in the recent years. It refers to a new literary form produced in the process of those immigrants seeking to settle down in North America with the tide of studying abroad and immigration after the reform and opening-up on the Chinese Mainland. In fact， there are immigrants not only in North America but also in each continent of the world. Writers of “New Immigrant Literature” are not only limited to immigrants from the Mainland， Taiwan， Hong Kong， Macao and Southeast Asia， but refer to all those Chinese writers immigrated in the middle of 1980s； similarly， “New Immigrant Literature” has nothing to do with whether the works are related to immigrations or not， but just refers to works created during this period of time.
　　There are many members of European Federation of Chinese Organization in Spain， such as Moeser， Lin Shengbin， Zhang Mufei， Li Wantang， Wang Anbo etc.. However， during the long twenty years， people and things have changed a lot， and some have left. For example， the excellent poet Lin Shengbin returned to his hometown to teach after finishing his learning experience； Moeser， a senior writer who was once the president and can write essays in Chinese， English and Spanish， almost stops writing. Nowadays， Chinese writer writing most frequently in Spain is undoubtedly Zhang Qin. 　　Zhang Qin： the most hardworking Chinese writer in Spain
　　Zhang Qin， born in 1956 in Sichuan， went to Madrid in 1994. She once was sent down to live and work in rural area as a rusticated youth and later， with her endeavor and perseverance， finally got a correspondence course-completion certificate of Department of Journalism of Northwest University. She won over the culture work she loves. Before going broad， she was a journalist； and after immigrating to Spain， she was still a journalist. She was once a special correspondent of “Europe Times” in Spain and also a Chinese editor and a Chinese broadcaster of “Tele4caminos”， overseas immigrants’ broadcasting station and newspaper. She was also a life member of “Spanish Writers and Artists Association”， European Writers’ Association and Overseas Chinese Female Writers’ Association. Meanwhile， she also writes for many Chinese media and has won the overseas solicitation award for many times. Since 2000， her three books including Dream in Mediterranean， Love with Foreigners， and Roaming in the Unseen World have been successively published by the World Affairs Press in Beijing. Dream in Mediterranean has been already spread to over forty countries and regions in the world and collected by three big libraries in USA. Besides， she also took part in writing China and Chinese in the Western Perspectives， Chinese Literature in Spain， Difference between Chinese and Western Cultures and other essays， which probes into differences between Chinese and Western cultures and promotes Chinese and Western culture exchange.
　　Chen Guojian： focusing on ancient Chinese poems and lyrics
　　Born in Vietnam， Chen Guojian began to teach Spanish in Beijing Institute of Foreign Trade （now named as University of International Business and Economics） since 1961. In 2009， the Chinese Government awarded “Special Book Award of China” for six foreign translators and sinologists； he was the only prizewinner in Spain.
　　He edited in chief Spanish Idioms Dictionary and Introduction to Spanish and jointly compiled Course for Chinese-Spanish Translation with Professor Zhao Shiyu in Beijing Foreign Studies University. Since he published the Chinese version of Selected Poems of Bai Juyi in Peru in 1984， he again successively published seven translated versions of poems including Ancient Chinese Poems and Lyrics.
　　In 1981， Mexico Academy published his first translation of Chinese poems. He has been engaged in translations and research on poems in the recent 26 years and has translated over six hundred poems in total. In 1988， he published Selected Poems in Tang Dynasty， the Golden Age of Chinese Poems（Poemas de Tang， edaddeoro de la poesía china） in Madrid. In 2001， he published Ancient Chinese Poems and Lyrics（Poesía clásica china）. All his translations have won good reputations from the academic world. Essence of Chinese Love Songs is the seventh published translation translated by him in Spain and Latin American Countries. He is both a member of Guangdong Branch of Chinese Writers Association and a formal member of Spanish Writers and Artists Association. 　　The Essence of Chinese Traditional Culture： Selected Poems of Bai Juyi Translated by Xu Yuanchong
　　Bai Juyi（Writer）； Xu Yuanchong（Translator） | May 2014 | ?15.00 | ISBN 9787500138907
　　Bai Juyi （772-846） was a great realistic writer in the Tang Dynasty of China. This book of selected poems is the earliest bi-lingual reading material all over China， which has influenced several generations of English and Chinese culture lovers and been deeply loved by readers.
　　Miguel Chang：
　　loving films and poems
　　Miguel Chang， primitive name as Zhang Baoqing and his native place as Wuxi， Jiangsu， now lives in Madrid. He graduated from Spain National Film School， Spain Film Experiment Research Institute， and School of Advanced Architectural Technology of Technical University of Madrid. He is a worker both in filmdom and construction industry， serving in international filmdom for many years and acting as a chief technician in Taiwan Film Studio. Besides performing his own duty as producing films and training technicians， he once wrote a book about film skills called Light Processing in Films which was included into technical books series， printed and published by the film Studio. His other works include Introduction to Chinese Art （Introducciónal Arte Chino） which was published by Madrid Decorators and Designers Guild in 1994. He translated Zhang Qin’s original work Idyllic Pastoral （Cantos Pastorales） which was published by the World Affairs Press in Beijing in 2005， as well as the poet Zhang Qin’s Spanish collection of poems Sounds of Nature which was published in Madrid in 2012. He also co-wrote Qinxin Prose Works with Zhang Qin which was published by the World Affairs Press in Beijing in 2006. Memories in Mediterranean Sea was published by the Beijing New Star Press in 2008.
　　Memories in Mediterranean Sea
　　Miguel Chang | Beijing New Star Press | ?25.00 | Jan 2008 | ISBN 9787802254145
　　This is the reminiscence of an ethnic Chinese filmmaker living overseas as long as over half a century written at the age of 70， as well as a portrayal of an internationally well-known film photographer， designer and architect’s life and work across the East and the West for tens of years. As an international filmmaker， with both Chinese classic feelings and romance and passions of Spanish nationality， he memorized his cooperation experiences with famous Western film directors such as Spielberg and David Lynch in the book as well as working situations and anecdotes of film stars such as Marlon Brando and Schwarzenegger， telling the feelings and deep love for films， life and Chinese culture of an artist deeply influenced by Eastern traditional culture but living in the western world.
　　Boundless Nostalgia：
　　Tragic Spirit and Chinese Poetics
　　Tian Chongxue | China Publishing Group | Jun 2012 | ?30.00 | ISBN 9787547304983
　　The writer selected several outstanding persons in the Chinese literary world， particularly in poetic circle， and discussed their tragic spirit from two levels including poetic flavor and poetic art as well as this generation of poets’ boundless nostalgia that cannot be dismissed from their mind.