接受美学产生于20世纪60年代,以现象学和解释学为理论基础,以读者的接受实践为理论依据,以德国康士坦茨学派的姚斯和伊瑟尔为主要代表,以从接受出发来分析作品为核心思想。20世纪80年代中期,接受美学进入我国翻译研究的视野。而20世纪70年代正是著名汉学家大卫·霍克斯开始翻译《红楼梦》之时,他采取归化翻译法,译文地道简洁、生动活泼,便于西方读者理解和接受。但是这也意味着一味地顺应本国文化,将外来文化拒于门外,使得原作及其中的人物的真实色彩淡化,产生裂变。本文从接受美学角度谈霍译《红楼梦》中黛玉形象的裂变。 Accepted aesthetics originated in the 1960s, based on phenomenology and hermeneutics as the theoretical basis, the reader’s acceptance as a theoretical basis, the German Constance School of Yao Si and Isel as the main representative, starting from the acceptance Analysis of works as the core idea. In the mid 1980s, accepting aesthetics entered the field of translation studies in China. In the 1970s, when the well-known sinologist David Hawkes started translating “Dream of Red Mansions”, he took the method of domestication and translation. The translation was concise, lively and vivid, which is convenient for Western readers to understand and accept. However, this also means blindly following the native culture and rejecting the foreign culture outside, leaving the true colors of the original works and the characters therein faded and fissioned. This article talks about the fission of Daiyu image in A Dream of Red Mansions translation from the perspective of reception aesthetics.