After the rise of the roots of literature, the literary criticism treats Cheng's（阿城） ＂three kings series＂（三王系列） as the root of the literary masterpiece, but such post-designation labeling underestimates the abundance of Cheng's creation. In the face of this ＂rooting＂ trend, Cheng chose to move away from secular society, which also makes his writing with a ＂secular＂ concept of knowledge structure. In this paper, the author will ask: ＂secular＂ generally refers to those scattered in the local folk culture, to the cultural form that is not standardized in daily life, and both of which usually contain ＂free＂ cultural spirits. So, how does Cheng come into contact with secular culture and write about it, and what is the deep thinking hidden behind his work? In addition, Cheng's idea of the ＂root＂ in early years was to restore the Chinese culture interrupted in the Cultural Revolution, but then how did Cheng rediscover the history and culture scattered among the folks? Secular freedom and the spirit of the Cultural Revolution in the high pressure of the national system, is often easily to form a contradictory state, so how can Cheng draw support from writing secular culture to digest the shrouds and the erosion of the large system to small individuals? In this regard, this article took ＂Chinese traditional culture re-construction＂, ＂from the roots to the secular writing＂, ＂bid farewell to the revolution, re-dialogue＂ as the focus of interpretation. It could be seen that the early ＂roots＂ novels and the later ＂secular＂ writings of Cheng have the continuity of continuity. His thinking of secular culture was buried in his proposition of ＂root＂, and it could be said that Cheng opened the door to the world by writings of ＂root＂. At the same time, the writing of Cheng became a literary craft, which wrote and recorded the traditional secular cultural values scattered in the folks that were diminished by the state, the revolution and the tide of modernism