Omission, the frequently-adopted translation skill during translating scenic-spot introductions, brings travelers useful information in a limited space. However, translators use too much omission sometimes in order to save time or space, while this causes some lost of aesthetic sense. Situations can be often found that a long and detailed introduction in Chinese is above short and brief sentences in English. Here is a typical example.

Example^):清阵园的建筑物除了本身的空间、体块、形状、颜色、线条、 质感、外轮廓等具备了很高的审美价值，它还把多种艺术形式运用进来，使我们 在欣赏建筑艺术的同时，也欣赏到丰富多彩的其它艺术品•这包括了美术（含绘 画、灰塑、木雕、砖雕、玻璃蚀刻、陶艺等)、文学和书法三大类。许多雕刻作 品镶嵌在房舍的墙身、檐下；许多古代书法家的手迹制成匾额、楹联高高悬挂； 窗格中镶嵌着美妙的古诗或神话角色。它们大大提高了建筑物的文化品位，进一 步美化了亭台楼阁，美化了周围的环境，创造出更耐人寻味的观赏空间。

Translation: In addition to the architectural design as viewed from the harmonious arrangements of spaces, shapes, colors and outlines, Qinhui Garden also enjoys the adornment of various works of arts like paintings, carvings of lime, wood and brick, glass etchings and pottery•

With brevity, the translated version lists typical items; anyhow, some other useful information serve for the topic is omitted, these are “许多雕刻作品镶嵌在房舍的墙 身、檐下”，“许多古代书法家的手迹制成匾额、楹联高高悬挂”，“窗格中镶嵌着美 妙的古诗或神话角色。” Therefore, the author suggests more introduction to the informative details.

3. 3.6 Culture-Related Errors

In the scenic-spot introductions, a lot of expressions are loaded with an abundance of culture-specific elements which are beyond the foreign tourists, cultural background knowledge, such as historic events, names of famous historical figures, names of dynasties, Chinese custom, Chinese festivals, poems, literary quotations and anecdotes, and etc. These cultural elements, which can not be quite easily understood by Chinese people, if translated rigidly into English, will certainly

arouse difficulties in understanding among foreign tourists due to the lack of bridge over cultural gaps. As a result, cultural errors are inevitable. The following examples tells that the translation of Chinese scenic-spot introductions into English demands the translator's profound knowledge of culture.

For example: Guangzhou City has another name “ 羊城” for a legendary story; Five immortals once came to Guangzhou City, riding on the backs of five colored rams; they brought the locals an ear of rice as a gift and taught them how to plant rice; the immortals also wished them a happy life without hunger forever. Literally, goat is the corresponding word of Chinese “羊' so “羊城” has been falsely translated into “City of Goats” . In Chinese, “羊” stands for meekness and goodness, whereas the word “goat” has a derogatory connotative meaning in English, that is, an unpleasant old man, especially who is sexually active. If “ 羊城”is translated into“ City of Goats”, it will surly cause cultural dislocation which may make a negative impression on the foreign tourists of Guangzhou City. Therefore, the author suggests that word “goat” should be replaced by “ram”, or transliterated into “Yang”.

In this part, the existing situations violating aesthetic essence during the English translation of Chinese scenic-spot introductions are analyzed respectively. In a word, it is relatively easy to avoid the linguistic errors through careful review, or seeking help from an English expert. The hard nut is the cultural factor. Usually, the translator neglects the cultural connotations of specific lexemes, which causes cultural dislocation. Or the translator overlooks cultural default in the source text, resulting in understanding blank from the target recqjtors. Since problems have been raised, it is time to provide possible solutions to these problems. As stated before, Translation aesthetics theory can be adopted as the leading theory to guide the English translation of Chinese scenic-spot introductions.

3. 4 Aesthetic Representation 一 Translation Strategies

As the last and most important progression of aesthetic experience, representation is to transform refined comprehension of the source text into the target text. Adequate knowledge of the subject matter and translation skills are demanded in order to find the best equivalent form for the source text. There are basic means can help to maintain the aesthetic features to a large extent: Imitation is a fundamental way which means to reproduce text according to the beauty in form and style; imitation in form can receive the expected aesthetic results sometimes, but it also has distinctive limitations. Equivalence is a step overcomes barriers concerning national culture, psychological qualities and language features, and its distinctive advantage lies in that it avoids the obscurity caused by rigid imitation; whether equivalence can guarantee the aesthetic effect of the source language mainly depends on the translator* s understanding of the aesthetic constituents. Reformulation is a high-level means of aesthetic reproduction with the prerequisite that the aesthetic subject shall perform his aesthetic functions to full play, have adequate aesthetic experience and overcome on the whole the barriers.

However, the translating of scenic-spot introductions is a very difficult and complex activity, difficult in that the reproduced text is to represent not only the linguistic meaning of the original, but also its aesthetic quality as well; complex in that it involves the mental processing of the translator in his reading and transferring the text. According to those, some concrete strategies as follows can be adopted to maintain the aesthetic essence of scenic-spot introductions.

3. 4.1Amplification of Dynasties

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