To personify West Lake (Sihu) as a beauty, who looks so much wonderful no matter in thick or light cosmetic. Taking a travel across China, there seems to be no other places appearing as female as West Lake (in Hungchou) is. In contrast to Chang-An and Beijing, which are used to serve as empirical capitals and are characterized by royal palaces, gardens, and mausoleums, West Lake has become the unique writing specialty by Chinese literate to portray the space gender differentiation. This article starts from here to examine the unique discussion by Chen Wenshu (1771-1843) to personify the West Lake as a beauty. As a Hungchou citizen, Chen Wenshu makes a lady list ranging from antediluvian Er-Huang and Nu-Ying to Hung-Chou single ladies and dependents. And then Chen made poetic comments and praises for them. As a result, everywhere in West Lake is glittered with ladies’ shadows, belongings, aromas and words. Every corner appears to be more meaningful and reified with the arrivals of ladies. In that case, Chen Wenshu preferred to renovate the historically legendary pretty ladies mausoleums, and to set up tombstones for them, to call for spirits, producing written lamenting ceremony in the form of either biography or poems, although among them there is dubious fabricated spirits. At last it reified the West Lake as the landscape’s centerpiece, therefore validating or invalidating ladies identities. In Chen Wenshu’s article, which is like a written web full of archaeological investigation and surmised speculation, West Lake became an intricate, thick-cosmetic female space. Even though it may be a flaunting and exaggerating writing styles by literates, the gender construction of landscape space, imagination and its writing deserve of further examination.