There are three ways of presenting the “literature” of Chinese gardens. First, draw lessons from poetic creation methods such as intention to write first and meticulous structure to build gardens. The intention of gardening has two meanings, one is the theme of the work, and the other is the creative idea. The former is the central idea expressed in the work, that is, the author’s thinking about reality or the expression of ideals; The latter means that the gardener must have a high profile, be able to focus on the big picture and make the landscape according to the place, design carefully from the small point, and carefully construct the garden with methods such as the opening, developing, changing and concluding, the combination of virtual and reality, and the first suppression and then the raising. Secondly, directly put forward the name of the garden, through the basic principles of retelling the ancients and compiling the new, apply clumsily and cleverly, adaptation of the scenery and timing, etc. Retelling the ancients is to use allusions. It must be combined with the specific landscape of the garden and the situation of the garden. Only by using allusions skillfully on the basis of the intention of gardening and the artistic conception of the scene can produce a subtle and poetic effect. On the contrary, using allusions mechanically will not only make people confused, but also harmful to the expression of the garden’s artistic conception. Thirdly, turn the virtual scenery that originally existed only in the poems into the real world that can be visited and lived in, turning “poetic” into “garden environment”. “Peach Blossom Spring” “Hao pu place” “Cang lang Water” “Plantain Rain” and “Sparse Shadow Plum” are common motifs in Chinese gardens.