1.Introduction With the increasingly intense globalization , people from various countries have been exchanging in many fields ,such as literature, music, arts and so on. Meanwhile, Chinese cultural heritages have drawn great attention of the whole world, and cultural heritages are comprised of two parts: tangible heritages and intangible heritages. At present, our country#8217; s cultural heritages are very precious and need cherishing by the world. But the translation of heritages is not very unsatisfactory. So we have to conduct translation of culture in C-E translation more and more accurately for the better understanding by foreign people. As far as Huo Lirong(2011) is concerned, culture-loaded words are a particular vocabulary of all kinds of language. And the translation of culture-loaded words has been one of the hardest problems in the translation field. When culture-loaded words are translated from the source language into the target language, the translator should have a definite idea of the differences in understanding the same culture-loaded word of both the source language reader and the target language reader. Her paper deals with strategies for improving the translation of culture-loaded words, especially translating Chinese culture-loaded words into English. Alienation translation favors communicating the characteristics and connotations. Besides, she classifies translation method of culture-loaded words into five parts: transliteration, literal translation, interpretation, amplification and analogy. In the end, she suggests we should use the multimedia network technology to guide and encourage students to contact with other cultures as much as possible. So that students would obtain across-culture awareness and consciously integrated with specific cultural background knowledge to express themselves in English. This is the win-win effect of acquiring knowledge and applying knowledge. Liu Yu#8217;s paper(2013) studies the theoretical basis of the translation of culture by exploring the relation between culture, language and translation. She insists that translation is a kind of cross-linguistic and cross-cultural communicative activity. Whereas translating, it is necessary to understand thoroughly not only the two languages, but also the two cultures and the cultural differences between them. This includes an analysis of the surface and deep structures of culture and language, and the examination of the internal contact between culture and translation as well as the objective laws pertaining to their interaction translation. This paper aims at drawing English learners#8217; attention to cultural connotation and strengthening their consciousness of culture in translation. At last, she draws a conclusion that there is never a completely perfect or timeless translation. Both language and culture are always in the process of changing. Some people imagine that the greatest problem in translating is to find the right words and constructions in the receptor or target language. On the contrary, the most difficult task for the translator is to understand thoroughly the designative and associative meaning of the text to be translated, this involves not only knowing the meaning of the words and syntactic relations, but also being sensitive to all the nuance of the stylistic devices. Ye Moujun(2013) believes, in recent years , translation theorists begin to take translation as an activity of cultural exchanges ,that is ,it is not only a linguistic transformation ,but essentially a cultural communication . Language and culture are interactive . Language , as the carrier of the culture , can break through the limitation of time and space and carry all the aspects of the culture information. As a main means of cross-cultural communication, translation is connected with the culture tightly. However, in cross-cultural translation, especially between those cultures with great difference like Chinese and English, many cultural elements surface from the confrontation of cultural deposits, making it impossible to capture the relationship of the source text to the source culture in the target text. Thus, problems in translating cultural elements arise. Different approaches shall be adopted to solve this culture barrier. They are omission, transliteration, alienation and domestication. Using what kind of solutions is determined by many complicated factors. Under the circumstance of cultural globalization, these solutions are supposed to complement each other. Thus the translation action can become more scientific. Lu Daoen(2014) believes that the intangible cultural heritage is a symbol of human civilization. As a great province of intangible cultural heritages. Guizhou province is necessary to introduce the specific culture essence through the appropriate Chinese-English translation so as to achieve national”going global” strategy and enhance the ”soft power” of minority people. Based on the study of Guizhou#8217;s intangible culture heritage items and guided by related translation theories from the predecessors, this paper puts forward that the translator should be the subject of translation during the process of culture Chinese-English translation to the intangible cultural heritages in Guizhou . it is aiming at making full use of the subjective initiative of the translator while respecting the practice in order to achieve the high readability of the translation work and convey the cultural phenomenon and expressions to readers maximally, so as to realize the purpose to let the national ethnic culture go global. In the paper of Dai Guizhen(2017) , she thinks through the analysis of literature and comparative research, the English translation of Quanzhou intangible cultural heritage was found to have problems such as non-uniform translation ,excessive transliteration ,and cultural misreading. Therefore, in the light of the culture-loaded words of Quanzhou intangible cultural heritage in the process of C-E (Chinese-English) translation, transliteration with annotation can be used to solve the problem of excessive transliteration ; translation strategies like preserving the cultural deposit, and considering cultural background of target readers to standardize English version should be adopted to maximize the preservation of local culture, and promote cross-cultural communication. From the perspective of Xu Min(2016) and Wang Junping, China#8217;s Intangible Cultural (ICH) is an integral part of the Chinese culture going-out cultural agenda. Based on careful reading of the Convention for the Safeguarding of Intangible Cultural Heritage, the present research starts from analysis of the readership and purpose of protecting ICH, and maintains that foreignization be the strategy of English translation of ICH Great emphasis is put on specific translation methods, mainly literal translation and transliteration. The author holds that the use of this method can retain the foreignness in ICH and conforms to the intention of establishing the Convention. Furthermore, translation principle of ICH provides a great opportunity for the Chinese culture going-out. The present research is of great significance in the present context when ICH application is in full swing. Sun Xiufen(2016) holds intangible cultural heritage has been included in the World Heritage System, and intangible cultural heritage has also been covered by relevant laws in various places, care and so much attention. Intangible Cultural Heritage is an important part of the country#8217;s cultural soft power. With the cultural strategy of ”going out of Chinese culture”, the intangible cultural heritage is also increasingly favored by foreigners, and this paper also analyses all kinds of problems in the course and puts forward the corresponding reform strategy , so as to better disseminate Chinese culture. Cao Yuan(2016) said ,in terms of the development of intangible cultural design, the gap has been shrinking between regions and countries which were in the margin the world map, and developed countries as the course of globalization has been developing countries and regions have been squeezing onto the stage of world design. Furthermore, a trend of cooperating with the government, non-profit organizations, private enterprises, workshops, craftsmen, interdisciplinary innovation teams and social network platform in design, production and marketing has also been formed in developed Western countries, which are taking the lead in design in many aspects. A large number of cultural innovation brands which manifest regional characteristics have been derived, and the expansion and the development of local culture and industry above have been facilitated.