espanolDe entre los numerosos paises que contribuyeron a la creacion tan unica del universo de Mishima, Espana es uno de los que, a pesar de la impronta que dejo en el escritor, menos investigacion existe. La relacion de Mishima con nuestro pais esta llena de altibajos, sinsabores y frustraciones. Sin embargo, y a pesar de ello, el tema de lo espanol mantiene una presencia inamovible a lo largo de su vida, desde su primera visita a Madrid en 1958 hasta el ano de su fatal suicidio en 1970. En el presente trabajo analizaremos de forma pormenorizada el papel de lo espanol en Mishima, representado basicamente bajo la apariencia del flamenco y la tauromaquia, para, con posterioridad, ver la dimension cultural que el escritor le confiere en relacion con lo japones y lo occidental. Para ello recurriremos a la presentacion de diversos textos en traduccion, tanto escritos del propio Mishima como entrevistas realizadas al escritor y allegados, todo ello hilvanado a traves de tres importantes figuras que, en sus respectivos campos, condicionaron y forjaron el conocimiento que Mishima obtuvo de Espana, a saber, Antonio el Bailarin, Katori Kiyoko y Luis Diez del Corral. EnglishAmong the several countries which contributed to the creation of Mishima s universe, Spain has long been forgotten despite the big impression Spanish culture left on the Japanese writer. The relation between Mishima and Spain is full of emotional ups and slumps, deception and frustration. However, Spanish culture is always visible in his writings in one way or another, from his first visit to Madrid in 1958 until his suicide in 1970. This paper aims to clarify the role Spain and its culture, usually under the shape of flamenco and bullfighting, have in Mishima s thought, as well as the cultural dimension the writer gives to Spain in contrast to Japan and some other Western countries. In order to carry out a successful analysis, several texts collected from novels, interviews and newspapers translated into Spanish will be introduced. Moreover, those texts will be connected through three important figures of the time who left an undeniable influence on Mishima: the flamenco dancers Antonio el Bailarin and Katori Kiyoko and the historian Luis Diez del Corral. By doing this, we will also add nuance to our understanding of why Mishima understood Spain in the way he did.