In the common imagination of adult readers, picture books are often seen as a "low threshold" form of reading. Pictures occupy the main body, and the text is concise and short, seemingly unable to carry profound literary structures or complex symbol systems. Correspondingly, its translation work is often misunderstood as a technical and even marginalized text conversion behavior. The research team of the Hunan Provincial Department of Education's scientific research project "Research on Translation of Children's Picture Books from the Perspective of Multimodal Discourse Analysis (21C0469)" believes that picture books are not "easy literature", but a highly complex multimodal art form. It uses images to organize narrative, relies on language to create rhythm, guides reading paths through layout, uses color to stimulate emotions, and creates resonance on a physical level through sound and rhythm. Under this cognitive framework, the fundamental task of picture book translation is no longer to "transfer" the original text sentence by sentence to the corresponding text, but to respond to a more fundamental proposition - how to use Chinese as a medium to reconstruct a reading experience that is equally infectious for Chinese children? To answer this question, picture book translation requires at least three levels of transformation. One is the transformation of the translation object: from "unimodal" to "multimodal". Traditional translation theory regards the translation object as a linear language text, with sentences, vocabulary, grammar, and rhetoric constituting its entire content. Under this concept, the translator only needs to search for corresponding words and phrases, adjust the word order structure, and seems to have completed the task. Images are seen as appendages or decorations to text, and therefore translation work can be completely separated from pictures. Multimodal discourse analysis reveals that picture books are primarily a fusion of cultural expressions. Meaning is no longer fixed on a single symbol, but is generated within the interactive relationships between different modalities. Images serve as the narrative backbone, text imbues tone and rhythm, layout guides visual flow, color participates in emotional construction, and sound elements awaken bodily perception during reading. Under this understanding, translators must establish a 'holistic translation perspective', whose work is no longer limited to text, but rather a meaning system woven together by images, text, layout, color, and sound. As a result, the definition of "accurate translation" has also been expanded. It is no longer limited to the correspondence of dictionary definitions, but emphasizes the close fit between the translation and image information, allowing language to continue to operate in conjunction with visual, rhythmic, and emotional elements in the new cultural context. The cognitive transformation from "single text" to "multimodal text" constitutes the fundamental premise for the innovation of picture book translation theory and methods. The second is the shift in translation stance: from "original text centered" to "child centered". Traditional translation theory emphasizes fidelity to the original text, but in the translation of children's picture books, translators must be responsible for both the cognitive style and emotional logic of the children's readers. This does not encourage translators to arbitrarily rewrite picture books, but rather means that when necessary, translators should make adjustments to adapt to children's understanding in exchange for a more complete and infectious reading experience. For example, breaking down the lengthy rhetoric in the original text into short sentences that conform to the rhythm of spoken language, making them easier to accept and understand in parent-child reading. This approach may be seen as a deviation in adult literature translation, but in picture book translation, it may be a more accurate grasp of the overall quality of the work. For whom is it translated? ”The answer to this question seems self-evident: "For children." However, it is precisely this seemingly simple answer that constitutes the most unique challenge in picture book translation. It requires the translator to undergo a profound perspective shift, walking down from the heights of adults, squatting down, and truly entering the spiritual world of children. This ability, also known as' childlike innocence ', is the core competency of picture book translators. It does not refer to pretending to be childish, but to a profound understanding and empathy: understanding children's curiosity, fear, joy, and sadness; Understand their logical approach and humor points. A translator who has lost their childlike innocence may translate "Hesatthere, feeling very small." as "he sits there, feeling very small." And a translator who has a childlike innocence may translate as "he sits there, feeling like he has shrunk into a small ball." The latter is more visual and physical, closer to children's cognitive patterns. The third is the transformation of the translation subject: the first two transformations from "language technicians" to "cross modal collaborators" respectively respond to the questions of "what to translate" and "for whom to translate", while the third transformation points to the reconstruction of subjectivity in "who will translate" and "how to translate". In the traditional publishing process, translators are often positioned as "language craftsmen": responsible for sentence transcoding and exiting the production process after completion. However, multimodal picture book translation practice has shown that this role positioning is no longer sufficient to support high-quality cross-cultural reading experiences. Contemporary picture book translators are gradually evolving into designers of cross modal reading experiences. Its task is not only to produce translations, but also to participate in building a dynamic and immersive cross-cultural reading field. This requires translators not only to be proficient in language, but also to possess visual narrative comprehension and sensitivity in translating cross-cultural symbols. The complexity of translation is significantly increased as a result. From the perspective of ability structure, excellent picture book translators should not only be language craftsmen, but also interpreters of visual narratives, observers of children's psychology, and coordinators of cultural translation. He needs to understand the narrative clues in the picture, capture the sound rhythm of the original text, and predict the emotional reactions that cultural elements may trigger in the target context. From a theoretical perspective, the core of picture book translation lies in the reconstruction of multimodal relationships. It requires translators to focus on visual narrative as the main thread, making the rhythm of the translation correspond to the structure of the picture, the language style match the emotions of the image, and cultural differences transform into understandable life situations for children. In this sense, translation is no longer a simple substitution of symbol systems, but a re weaving of the relationship between language, images, sound, and experience in a new cultural soil. It forces us to re understand 'meaning' itself: meaning is not the isolated referent of words, but a dynamic system experienced by readers as a whole during the reading process. In today's world of deepening globalization and intensifying competition in cultural dissemination, the translation and introduction of children's picture books is no longer a purely technical process, but a strategic project to shape children's aesthetic abilities, cultural cognition, and values. Multimodal picture book translation is therefore not a "child's play", but a practice that carries a profound cultural mission. It focuses not only on the method of "how to translate", but also on the stance of "for whom to translate" and the value of "what translation is". It requires researchers and translators to possess both scholarly rigor and poetic inspiration, and most importantly, a heart that truly understands and respects children. Xu Yanhong, School of Foreign Languages, Hunan University of Technology and Business; Nie Tianyi, International Business School of Hunan University of Technology and Business