Obviously, in the current age of globalisation, the function of translation has largely shifted from merely linguistic rendition to cultural interpretation. People living in the 'global village', speaking different languages and coming from different cultural traditions need to communicate with each other, if they do not want to isolate themselves from the outside world. Thus translation is playing an increasingly inevitable role in building up these 'cultural' and communicative nets. As far as the real meaning of translation in today's context of globalisation is concerned, there have already been a variety of descriptions or definitions of this indeterminate phenomenon or practice, either from the linguistic perspective or from the literary perspective, or even from the cross-cultural perspective, as translation studies has in recent years been more and more closely related to cultural studies (Bassnett & Lefevere, 2001). Although I myself (Wang Ning, 2000a) have redefined translation by linking it up to the currently prevailing cultural studies on other occasions, I would like here once again to confirm that translation, in the final analysis, is a matter of culture, especially when speaking of translation as literary representation and cultural interpretation with regard to its function of cultural communication and interpretation. Anyone doing translation practice or undertaking translation studies today cannot but encounter the elements of culture. To translate a literary work of rich cultural connotation means to represent and even interpret the subtle and rich cultural content and aesthetic spirit inherent in the literary work in another language. But how does culture manipulate the practice of translation? And when observing translation from a postcolonial perspective, how shall we view translation as both 'colonising' and 'decolonising' a certain culture, if it might undertake this task?