魏晋风骨一直是中国文人所关心的主题,而陶渊明则是代表人物,如何把以诗歌表现形式出现的这种文化有效地传达给外国读者是翻译界一直探索的问题。正是由于研究对象和范围上的交叉性,接受美学被引入了翻译领域。接受美学理论认为作品本身是一个召唤结构,其中蕴藏着许多的“不确定性”(Indeterminacy)和“空白”(Gap)既“不定点”等待读者以自己的“期待视野”完成对作品的理解重构。 The style of the Wei and Jin dynasties has always been a topic of concern to Chinese literati, while Tao Yuanming is a representative person. How to effectively communicate this culture in the form of poetry to foreign readers is always explored by the translators. It is because of the intersection of the research object and scope that the acceptance aesthetics was introduced into the field of translation. Accepting the aesthetic theory that the work itself is a call structure, which contains many “Indeterminacy ” (Indeterminacy) and “blank ” (Gap) “not fixed ” waiting for readers to own “ Vision ”to complete the understanding of the reconstruction of the work.