The Book of Songs, as the earliest collection of poems in the history of Chinese literature, holds an important position in overseas dissemination and has become a must read classic for studying Chinese literature and customs. The Western translation of the Book of Songs began in 1733, but by the end of the 16th century, some of its content had already been included by Spanish missionaries. After the 1920s, the translation and dissemination of the Book of Songs in Spanish speaking countries entered a systematic stage, which went through four main stages: the origin of translation from the late 16th to the 17th century, the emergence of translation from 1900 to 1960, the systematic translation led by sinologists from 1960 to 2000, and the increasingly in-depth and detailed translation research since the 21st century. The dissemination and acceptance of the Book of Songs in Spanish speaking countries are influenced by various factors such as social and cultural background, translator's personal identity, and translation motivation, presenting a diversified and in-depth development trend. This study aims to systematically explore the translation, introduction, and dissemination of the Book of Songs in Spanish speaking countries, providing scholars with new research perspectives and materials.

1、 Late 16th to 17th century: The origin of translation and introduction

Discussed the early translation and introduction of the Book of Songs in Spanish speaking countries. At the end of the 16th century, Spanish Dominican missionary Gao Muxian first introduced fragments of the Book of Songs into the Spanish speaking world, but his translation only excerpted fragments and did not provide a complete and in-depth interpretation of the Book of Songs. Portuguese Jesuit Zeng Dezhao initially constructed a cognitive framework for the Confucian Confucian Confucian system in European Sinology, defining the Book of Songs as ancient poetry with metaphors and poetic artistry, involving human nature and customs. Spanish Dominican missionary Min Mingwo commented and interpreted the content of the Book of Songs in his book "Overview of the Chinese Empire", attempting to juxtapose it with the teachings of the Christian Bible and reveal the deep ethical dialogue and philosophical compatibility between Chinese and Western civilizations. At the end of the 16th century to the 17th century, Spanish missionaries' translation and introduction of the Book of Songs showed fragmented acceptance characteristics. In the 18th and 19th centuries, due to the decline of national strength and slow development of Sinology, the translation and introduction of the Book of Songs was significantly lagging behind.

2、 1900-1960: The emergence of systematic translation and introduction of the Book of Songs

After World War I, Spain and Latin America experienced a profound spiritual crisis, and the rise of avant-garde literature led Latin American academia to pay attention to Eastern literature. Borges proposed the literary "cosmopolitanism" viewpoint, which promoted the translation and research of Eastern literary works such as the Book of Songs in Spanish speaking countries. In 1925, Apeles Maestres Ionios first translated two poems from the Book of Songs into Catalan, using the Catalan language system to satirize authoritarian rule and convey the charm of Eastern literature. In 1928, Maria Manette Yi Cissa published the Catalan translated poetry collection "Golden Air", which included five translated poems from the Book of Songs, aiming to build bridges between cultures and enrich the Catalan literary tradition. In the 1920s, the rise of avant-garde literature in Peru promoted the attention of Chinese classical literature such as the Book of Songs. In 1938, Carlos Enrique Traya compiled and published "The Porcelain Pavilion: A Compilation of Chinese Poetry", which included two poems from the Book of Songs and referenced multiple language versions. In the same year, Borges translated some chapters of the Book of Songs into Spanish and published them in Argentine magazines, adhering to the principles of faithful, fluent, and concise translation. In 1945, Manuel Guti é rrez Marin published a Spanish translated poetry collection titled "The Porcelain Pavilion: Chinese Poetry", which included two poems from the Book of Songs and drew inspiration from "The Porcelain Pavilion: A Compilation of Chinese Poetry". In 1947, Chilean diplomat Romeo Salinas published "Ancient Chinese Poetry", which included three poems from the Book of Songs. Through interpretation and re translation, the emotions and artistic conception of the original poems were preserved. Although these translations may have shortcomings in academic depth and understanding of connotations, they have played a positive role in promoting the dissemination of the Book of Songs in Spanish speaking countries, allowing more Spanish readers to come into contact with and learn about this treasure of Chinese classical literature.

3、 1960-2000: Systematic Translation Led by Sinologists

Since the 1960s, the interest of Spanish speaking countries in Chinese culture has significantly increased, and a group of sinologists and translators have begun to translate Chinese classics into Spanish. In 1960, Spanish poet Rafael Alberti collaborated with Maria Theresa Le ó n to publish "Chinese Poetry," which included three translated poems from the Book of Songs. These translations were translated from French, but the specific translation chosen was not specified. They believe that Chinese poetry is immortal and a heritage of all mankind, and have analyzed the style and rhyme of the Book of Songs, emphasizing the characteristics of Chinese monosyllabic words and their advantages in rhyme. Spanish sinologist Huang Massai was the first to directly translate poems from the Book of Songs from Chinese into Spanish. Her translation efforts incorporated emotions into the translation, hoping to better convey the spirit and emotions of the original text through this method. In 1974, Du Shanmu published "Selected Translations of the Book of Songs", which included a total of 148 translated poems. This was the first translated poetry collection in a Spanish speaking country specifically introducing poems from the Book of Songs. In 1983, Maria Kristina Davie published "Ancient Chinese Songs", a collection of 62 poems, which was the first Spanish poetry collection dedicated to translating poems from the Book of Songs. In 1984, Du Shanmu published the first complete translation of the Spanish version of the Book of Songs, which was the first complete translation of the Book of Songs directly from Chinese. After its publication, it won the "Spanish National Translation Award". The translation and research work of these sinologists not only enables contemporary readers to have a deeper understanding of the profound aesthetics and Eastern philosophy of the Book of Songs, but also lays a solid foundation for the compilation of a complete translation of the Book of Songs and academic research in related fields in the future.

4、 21st century: increasingly in-depth and meticulous research on translation and introduction

Since the 21st century, with the improvement of China's international status, the demand for Sinology research in Spanish speaking countries has increased. Higher education institutions have established Sinology research centers to cultivate Sinology talents. The translation and introduction of the Book of Songs have become important, and many sinologists and translators have conducted in-depth research and translation on it. Argentine sinologist Roberto Kurt published "The Best Poems of China: Selected Poems of Li Bai and Other Poets", carefully selecting and faithfully translating two works from the Book of Songs. Kurt believed that the poetry of the Book of Songs is beautiful in wording and profound in artistic conception, reflecting the Chinese classical poetry's recitation of the spirit of life and profound exploration of human nature. Spanish sinologist Leilinco explored the expression of love themes in the Book of Songs in his paper, emphasizing the unique writing style of "xing", and demonstrated the subtle emotions and romantic atmosphere of ancient Chinese love poetry through the translation of "Zhou Nan · Guan Ju". She also analyzed four different translations of 'Zheng Feng · Qin Yu' and explored the complex relationship between text and text interpretation. Spanish sinologist Ouyang Ping has published a Catalan translated poetry collection titled "Stone and Brush: A Collection of Ancient Chinese Poetry", selecting and translating three poems from the Book of Songs. He believes that ancient Chinese poetry has had a significant impact on poets in Spanish speaking countries. Translator Chen Guojian published a collection of translated poems titled "Chinese Poetry (11th century BC-20th century AD)", which covers many classic works from the Book of Songs. He cleverly uses the interlaced rhyme form in Spanish poetry to convey the author's emotions and achieve cultural dissemination and exchange while respecting cultural differences. The complete translation of the Book of Songs by Gao Bo is the first work in the 21st century to fully translate the Book of Songs into Spanish. He conducted in-depth research on the Book of Songs and believed that this work not only recorded various aspects of early Chinese civilization, but also influenced the poetry creation of later generations in China. Gao Boyi conducted in-depth exploration of the concept of "gentleman" in his translation and research, and added some footnotes to the translated text to enhance the reading experience. The Book of Songs, co translated by Xu Lei and Katarina Valdes, is the first Spanish translation of the Book of Songs in China, accompanied by a modern Chinese translation, providing readers with an intuitive and comprehensive reading experience. Translators face many difficulties and challenges in translation practice, especially in the translation of proper nouns. Translators translate plants as Latin scientific names, while plants in poetry use their easy to understand aliases. This approach preserves the accuracy of the text while enhancing the readability of the translation. The Book of Songs and Poetic Paintings, published by Wuzhou Communication Press in 2019, is a work that combines visual arts and literary translation. By combining 80 poems translated by Gao Bo from the Book of Songs with corresponding traditional Chinese paintings, it provides readers with a new and unique reading experience.

5、 Conclusion

The translation and introduction of the Book of Songs in Spanish speaking countries began in the late 16th century and went through a process from fragmented and accidental translations to the publication of complete translations. In the 1920s, the participation of poets and writers promoted the translation and research of the Book of Songs, and facilitated the exchange and integration of Chinese and Western literary cultures. The addition of sinologists has made the translation work more professional and in-depth, with an increase in related research and academic activities, and has improved the awareness of the Book of Songs in Spanish speaking countries. The humanistic spirit and the concept of natural harmony in the Book of Songs have enlightening significance for contemporary Spanish speaking readers. Its translation has enhanced the understanding and respect of Chinese culture in Spanish speaking countries, making contributions to building a community with a shared future for mankind and promoting the development of world civilization.