二战以来，美国对中国古典诗词的译介逐渐体现出生态译诗的翻译诗学特征。欣顿作为其中重要的代表性翻译家，对山水诗的生态译诗表现出鲜明的翻译陌生化性。其翻译运用了形式模拟译诗体与文化厚译，实现了翻译充分性，再现了山水诗的独特诗歌形式，阐发了道禅哲学意境下的荒野宇宙观，体现了他对山水文化精神本真性的追求。我们认为，欣顿译诗独树一帜，产生了翻译审美的新奇性，揭示了山水诗的当代世界文学性与生态诗学价值。

Since World War II, verse eco-rendering poetics has become a norm for translating classical Chinese poetry in America. As one of its representative translators, Hinton has been noted for alienizing translation in rendering the rivers-and-mountains poetry. It is argued that he is engaged, with the help of mimetic form and thick translation, in the relentless pursuit of the authenticity of cultural spirit of the poetry so that his translating is distinctive for the novelty both in poetic form and in the implied wilderness cosmology empowered by the Dao/Chan philosophy, resulting in impressive translation adequacy. We contend that this makes his translated verses so distinct from the other versions that the alien has been fully achieved for their sheer aesthetic newness, indicating the contemporaneity as world literature and validity as eco-poetics prevailing in the rivers-and-mountains poetry that gains in his translation.