| As an important part of the current Tibetan literature and the literature of ethnic groups in China, CangYangJiaCuo's love poems boost unique Tibetan folk style and the artistic charms of Tibetan culture. The translation of CangYangJiaCuo's love poems into Chinese first occured in 1930s, but it was not well recognized until about 80 years later. Moreover, in the appreciation of these love poems, the previous researches have failed to notice their distinctive features. Due to this unsatisfactory situation, the author of this paper embarks upon a gap-filling research into this field. Meanwhile, under the influence of interdisciplinary or cross-disciplinary research, this paper also attempts to study the spreading influence of CangYangJiaCuo's love poems, which shows the great value and significant position of Tibetan folk literature (including Tibetan folk poems) in Chinese contemporary literature.According to the translated texts of CangYangJiaCuo's love poems which span four time periods, this article divides the spreading of CangYangJiaCuo's love poems into four historical stages so that their characteristics and impact in different stages can be analyzed by sorting out them in historical order.In 1930s, there were a number of translated texts of CangYangJiaCuo's love poems. Those love poems embodied distinctive national, nongovernmental, story-narrative and plot-designing characteristics, showing that in the new cultural context people have already had an initial understanding towards CangYangJiaCuo's love poems and Tibetan folk Poems. At the same time, due to the misinterpretation of the Tibetan culture, the translation of CangYangJiaCuo's love poems was troubled by literal translation and misreading of the original works, which on the one hand indicates the changes of the poems in the process of spreading and also the cultural features of that period. In 1949 when New China was just established, there appeared a large number of newly collected and translated CangYangJiaCuo's love poems and Tibetan folk songs as the result of the policies of new China which emphasized the importance of folk art and literature. This planned and large-scale recollection of CangYangJiaCuo's love poems and Tibetan folk poems was characterized by a clear political orientation and national and non-governmental characteristics. Meanwhile the New Folk-Song Movement also helped CangYangJiaCuo's love poem and Tibetan folk Poems come to the whole country. In the 1980s the new open atmosphere of the society made the academic research and collection of CangYangJiaCuo's love poems and Tibetan folk Poems a shining point, showing the prosperity of research and also the boom of translation and recollection of CangYangJiaCuo's love poems. The rustic, simple and authentic features of CangYangJiaCuo's love poems made them popular nationwide. Since the 1990s, the translation, spreading and impact of CangYangJiaCuo's love poems have become very complex. The beginning of 1990s saw a relatively low wave of translation and research. But since the coming of the 21st century, the impact of the multi-national culture has resulted in a diversified interpretation in the translation and research. As the carrier of nongovernmental literary works, the mode of transmission also experienced some subtle changes, which illustrates a specific aesthetic orientation and different aesthetic tastes.The 80 years' transmission and evolution of CangYangJiaCuo's love poems and the Tibetan folk Poems reflects their different features at the different stages. This not only illustrates the unique cultural connotation of Tibetan literature but also the changing aesthetic orientations. The ongoing transmission and research of CangYangJiaCuo's love poems and Tibetan folk poems will definitely make them more and more popular and charming.
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