From the 1930s, Chinese scholars began to study Ezra Pound and his poetry. With an increase of communication between China and Western countries, modern Chinese scholars have actively investigated Pound’s Imagism and his translations. However, until now, their research has remained at the beginning phases, especially in the issue of Pound’s creative translation of Li Po. This thesis, therefore, surveys the history of Chinese scholarship on Pound’s Cathay since the 1930s to present. Then, it compares Pound’s translation of Li Po’s poems in Cathay and the translations of other translators from European countries, the United States, and Japan. Through the comparison and the analysis of differences among translations, it ultimately aims to illuminate that Pound’s Cathay fully embodies his Imagist poetics: 1) Direct treatment of the “thing” whether subjective or objective; 2) To use absolutely no word that did not contribute to the presentation; 3) As regarding rhythm: to compose in sequence of the musical phrase, not in sequence of a metronome. Overall, these studies suggest that Pound’s creative imagination should be considered the most positive value of Cathay.