The “Du Si Eonhae”is the first translated anthology when Hunminjeongeum Korean script was created, thus assuming paramount importance in the annals of translation history. The translation of “Spring View”, a representative work by Du Fu, epitomizes the quintessence of Chinese rhythmic poetry, and the initial iteration of this translation demonstrated a commendable level of accuracy. This serves as a testament to the nuanced comprehension exhibited by Koreans concerning the content, coupled with a deep understanding of various discussions passed down from China. Over the ensuing five centuries, various translations into modern languages have been attempted, often referencing the initial translation and incorporating some personalized expressions. Nevertheless, translators still carefully consider each word, suffix and even auxiliary word, earnestly seeking to overcome problems in existing translations and devise innovative translation methodologies congruent with Korean linguistic idiosyncrasies. This underscores the existence of a robust Chinese poetry translation community within Korea. The individualistic predilections and linguistic styles of distinct translators, compounded by varied social and cultural contexts, engender the differences among them. They carefully translate every word of the original text, try their best to embody the aesthetic form of the original text, adapt the rhymes to suit modern times, even try to adapt and reinterpret the ideas based on the original text. Through these various translation methods, they create rich and colorful translation works.