近年来，中国文化“走出去”的影响力不断扩大，在全球文化多元化发展日益兴盛的背景下，中国文化译研网（CCTSS）联合中国作家协会《小说选刊》杂志社，启动“新世纪中国当代作家、作品海外传播数据库”项目，将100位中国当代优秀作家的简介、代表作品以及展示作家风采的短视频翻译为10种语言，集结成1000张中国作家名片向全球推介。千张“作家名片”将鲜明地向世界宣告：我是中国作家，我在进行中国创作。

　　此种形式和规模是中国故事走向世界的一大创新，会让世界更加全面、客观、公正地了解中国优秀作家作品，同时也是打通中国文化走向世界的“最后一公里”。

　　从维熙，男，1933年出生于河北玉田县城北代官屯。1950年考入北京师范大学，并于同年开始发表作品。曾任北京日报记者、编辑。中国作家协会会员。创作前期著有短篇小说集《七月雨》《曙光升起的早晨》，长篇小说《南河春晓》。1979年后著有长篇小说《北国草》《断桥》《裸雪》，中篇小说集《驿路折花》《雪落黄河静无声》《祭红》《牵骆驼的人》《鼻子备忘录》，长篇纪实文学《走向混沌》三部曲以及《从维熙文集》（八卷），共出版文学作品62部，800余万字。《大墙下的红玉兰》《远去的白帆》《风泪眼》分获第一、二、四届全国中篇小说奖，《裸雪》获第四届全国儿童文学奖。有作品被译成英、法、德、日以及塞尔维亚文。

　　从维熙艺术上师法孙犁，是“荷花淀派”代表作家之一，同时他又受到屠格涅夫很深的影响。作品题材多样，视野开阔，在许多取材于农村新生活的作品中，文章格调清新隽永。他所开拓的“大墙文学”作品，笔墨震撼人心，风调冷峻沉郁。

　　从维熙的代表作《大墙下的红玉兰》在中国当代新文学的发展史上占有重要的地位。小说选取独特的角度，通过充满悲剧色彩的故事情节，展现了勇者与黑暗势力斗争的慷慨与壮美。因此，展现在读者面前的不仅有黑暗与邪恶，更有光明与正义。小说还以其突破题材禁区的勇气，开辟了新时期文学创作的一个新领域。

　　后期从维熙创作了他的另一部代表作，自传体长篇小说《裸雪》。小说以四十年代冀东大地为背景，回顾了“我”从四五岁到十二岁的童年生活，记录了掩埋在雪国、富有摇篮诗情的一个个银色的梦幻世界。主人公小芹和丫头（和尚）自小青梅竹马，原本过着无忧无虑、清新透明的生活，随着日本侵略者的入侵，许多小伙伴家破人亡，封建主义的“孝经”又像瘟疫一样到处流行。在古老的中国农村，历史传承的重负，始终是毒害人性、侵蚀精神世界的鸦片。小说运用儿童视角，创造了童话般的世界，以散文诗的叙述方式行文，别具一格；以孩童天真的眼光观察人生种种世相和景观，用抒情化的语言建构了内蕴丰富的感觉世界。

　　从维熙

　　Cong Weixi

　　Cong Weixi， male. Born in 1933 in Daiguantun， a village in the northern part of Yutian county， Hebei Province. He placed into Beijing Normal University in 1950， and his writing was first published at the same time. He was formerly a reporter and editor at Beijing Daily and is a member of the China Writers Association. His early works include the short story collections Rains of July and The Morning Sun Rises ， as well as the novel Spring Dawn on the South River. Cong’s works written after 1979 include the novels Grass of the Northern Kingdom， Broken Bridge ， Barren Snow， the novellas Broken Flowers on the Postal Road ， Snow Falls Silent on the Yellow River ， Ji Hong， The Man Pulling the Camel ， The Nose Memorandum ， the non-fiction trilogy A Walk Unto Chaos ， as well as Collected Works of Cong Weixi ， which consists of eight volumes. In total， 62 of Cong’s works were published during this period， containing over eight million characters.

　　The Blood-Stained Magnolia Beneath the Wall， The White Sail ， Wind Tears  respectively won China’s first， second， and fourth National Novella Award. Barren Snow was awarded the fourth National Children’s Literature Award. Cong’s works have been translated into English， French， German， Japanese， and Serbian.

　　Cong Weixi is artistically influenced by the famed novelist Sun Li and is a representative writer from what is known as the “Lotus Creek School.” He is also influenced by Russian novelist Ivan Turgenev. His works contain a variety of themes and a wide intellectual breadth of thought. Many of his works that draw from China’s new rural lifestyle are marked by their fresh and thought-provoking style. A pioneer of “high wall literature” （da qiang wen xue）—a literary movement steeped in the experiences of those imprisoned in the labor reform system—Cong’s stunning “high wall” works are written in a grave， melancholy style.

　　Cong Xiwei’s representative work， The Blood-Stained Magnolia Beneath the Wall， holds an important place in the canon of China’s new contemporary literature. The novel chooses a unique perspective， through a plot tinged with tragedy， the novel presents the zeal and magnificence of a battle between a brave individual and dark forces. As a result， the reader is not only presented with darkness and wickedness， but also light and righteousness. Through its breakthrough use of what was at the time a taboo subject， the novel also opened up a whole new realm for a new era of literature. 

　　Another of Cong Weixi’s classic works is his later autobiographical novel Barren Snow. Set in the 1940s， in China’s former administrative area of Jidong， the novel is the recollection of the “author’s” childhood experiences between the ages of four and twelve. The author records his memories of a silver dreamworld covered in snow and infused with idyllic charm. The protagonist Xiao Qin and Ya Tou （a monk） have been close friends since childhood. Their lives are originally bright and carefree， but when Imperial Japanese Army invades China， many of their friends lose their families and their lives. The teachings of the Xiaojing， a classic text of filial piety from imperial China， once again spread through the land like the plague. The burden that China’s ancient countryside had inherited through history has always been opium： that substance that poisons one’s humanity and corrodes the mind. The novel uses a child’s perspective to create a fairytale-like story， creating a unique prose-poem narrative style. Observing the various landscapes of life and ways of the world through a child’s naive eyes， it uses lyrical prose to build a rich emotional world.