Oscar Wilde was an ardent advocate of the British Aesthetic movement in the 19th century. The Picture of Dorian Gray, his only novel, was the representative work of the British Aesthetic movement’s slogan of “Art for Art’s Sake” in fiction. This research shows that Huang Yuanshen’s translated version of the alleged novel demonstrates his in-depth understanding of translation principles as well as his aesthetic view in translation. Through his flexible use of modal particles, apt choice of 4-Chinese-character structures, extensive use of free translation as well as an integration of hypotaxis and parataxis, Huang has achieved the goal of faithfulness, expressiveness, and elegance in translation, largely reproducing the original aesthetic art in the target language.