Editor's Note:
Against the backdrop of the "China-Russia Years of Culture," the "Reading through the Seasons" China-Russia Literature Salon was held by the Global Times and the Russian Cultural Center in ­Beijing on June 19, 2025 with the participation of renowned experts in Chinese and Russian literature. Zhang Hongbo, the executive vice president and director-general of the China Written Works Copyright Society, focused on the issue of copyright trade and its role in China-Russia cultural exchange in his address at the event. This article is based on Zhang's speech.

A scene at the "Reading through the Seasons" China-Russia Literature Salon Photo: Li Hao/Global Times

Almost all the writers from the Russian delegation attended the roundtable discussion on literary and theatrical translation and dissemination held within the framework of the China-Russia Years of Culture. On the Chinese side, participants included writer Cui Daiyuan, children's literature author Hei He (also known as Gerelchimeg Blackcrane), and suspense writer Cai Jun, with Xue Tao joining later. 

The China Written Works Copyright Society, which I represent, is dedicated to the management and promotion of copyright trade - a vital mechanism for advancing civilizational exchange between China and Russian-speaking countries. Our association's connections are not limited to Russia alone but extend to a broad network of countries in which Russian is widely used. 

Reflecting on previous years, I recall that we organized and participated in numerous events in Russia, often meeting Russian writers and engaging in a lively series of collaborative activities. Our approach has been to use copyright trade - specifically, the import and export of literary, theatrical, film, and game copyrights - as a driving force for mutual learning and cooperation. I am convinced that copyright trade is not merely a commercial activity but also a bridge that promotes broader understanding and partnership between our two nations across multiple cultural fields.

To offer a clearer picture of the current extent of literary exchange, I would like to share some recent data on book publishing between China and Russia. 

According to official records from both countries, the numbers reflect steady and significant cultural engagement. From 2014 to 2023, China published at least 704 Russian books. In the same period, Russia published 400 Chinese literary works. For 2024, the latest figures show that Russia had published approximately 149 or 150 Chinese literary works, with more than 60 percent of these titles belonging to the genre of online literature. Other popular categories include science fiction, detective fiction, and children's literature, with a smaller but notable share of what we define as "serious literature." 

The detective and science fiction genres, in particular, continue to be bestsellers in Russia. The main reasons why Chinese sci-fi and online literature are so popular in Russia include several factors. First, the sharp eyes of editors helps select standout works. Second, there is a strong demand among Russians for high-quality youth literature, and the traditional culture and moral values found in Chinese books resonate deeply with Russian readers. Then, the influence of film and TV adaptations plays an important role. Additionally, translators are crucial in spreading these works effectively. Factors like the power of fan communities, eye-catching cover designs and illustrations, and active promotion and marketing also contribute significantly to their success.

On the Chinese side, in 2024 alone, about 74 or 75 Russian literary works were published. These figures strongly suggest that Russian interest in Chinese literature - especially online literature - has grown considerably in recent years.

Beyond literature, the theatrical arts have become a dynamic and important field of exchange. For example, the Beijing People's Art Theatre has staged several Russian plays. Conversely, Russian theaters are regularly hosting Chinese drama adaptations, such as a work adapted from Chinese writer Liu Zhenyun's I Am Not Madame Bovary, which is being staged two or three times each month and is scheduled through late June before a summer break and a new season in September. Additionally, there are ongoing negotiations for the stage rights of works by distinguished Chinese authors, including Mo Yan's Life and Death Are Wearing Me Out and Crocodile. These developments highlight the vitality and growing scope of theatrical exchanges between our countries.

For copyrighted works, readers of original books often become enthusiastic theatergoers for play adaptations due to their natural familiarity with the material. Meanwhile, theater audiences, driven by a desire to fully understand the story, often seek out the original works for a deeper read. This creates a mutually reinforcing relationship between book publishing and theatrical adaptations, with the potential to generate a "spillover effect" in the trade of intellectual property rights.

The sustained exchange of copyrights in literature and the performing arts is further deepening the cultural ties between China and Russia. Effective copyright export is a key factor in the successful dissemination of Chinese literature, drama, and film and television works overseas. The ultimate goal of copyright trade is to enable copyrighted works to exert a subtle yet profound influence on audiences with the aim of enriching the spiritual and cultural lives of people both domestically and internationally, strengthening their spiritual resilience, and laying a solid humanistic and social foundation for in-depth ­cooperation across various fields.

The author is the executive vice president and director-general of the China Written Works Copyright Society