The karesansui, as seen at Ryoanji, is not original to Japan. The first dry landscapes were seen in China, the first being at Saihoji, better known as the “moss temple.” One may look at these gardens as a landscape painting brought to life, while others remain mystified at the spirits they believe dwell within the rocks.

Saihoji, more recently known as Kokodera, the "moss temple"
This temple near Kyoto is known as the Kokedera "moss temple" because of its famous "moss garden." It was reconstructed as a Zen temple by Muso Soseki in 1339.

In Shinto, there is a belief that there is a presence of “kami,” or divinities, in high concentrations. It is believed that the entire world is animated and pervaded by spirits, especially rocks. The karesansui is therefore significant because it is made entirely of rock; therefore residing within it is a very high concentration of spirits. Because rocks in particular were thought of as to be inhabited by spirits, even divine spirits, it was a natural step to replace nature with rocks.  This is like Zen, in the idea of Buddha in the rocks. Represented in the garden of Ryoanji are also teachings relating to Zen Buddhism. Ryoanji is well known and signified for its minimalism. Gardens in Zen temples are unique because they are designed according to the space limited to them. Most of them are made from small pebbles and rocks. The karesansui at Ryoanji is the "epitome of Zen tranquitlity and reflection." This garden is compiled enitrely of rocks, resulting in a view similar to a seascape. The garden of Ryoanji, with its limited but carefully selected stones,embodies the teaching of Zen philosophy. The beauty of the garden lies peacefully inside the enlightenment of the viewer, and not in the materialistic exterior. The Zen garden of Ryoanji is famous for its simplicity; made of nothing but clay walls, raked sand, and fifteen rocks. 

The fifteen rocks at Ryoanji weighed heavy on the destiny of the karesansui in Japan. All of the Zen gardens following Ryoanji naturally become part of its legacy. Monks demanded original work, as seen in Ryoanji, allowing the garden makers to work more creatively.Monks demanded original work, as seen in Ryoanji, allowing the garden makers to work more creatively. These creative works are seen throughout the gardens following Ryoanji.  The gardens weigh heavy in meaning. The creation of the karesansui itself is a deep effort at harmonizing the flow of energy, or “qi.” Heaven and earth are the prime manifestations symbolized in the gardens and the harmonizing of qi. In the garden, rocks are earth (yin) and rocks that jut up from the earth in the form of volcanoes and mountains are yang. Also, water is yin and rock is yang, symbolizing activity and structure. The karesansui represents water through gravel and small pebbles and mountains and volcanoes through rocks jutting out of the pebbles. Also important in understanding the concentration and flow of the earth’s essential energy is fengshui, or geomancy. Fengshui understands the places where we live and work and sets them up in a way that one’s activities are harmonized with the greater patterning of qi that inform the environs. Understanding fengshui and qi helps us to be compatible with the energy of the earth rather than fight against it.

Along with understanding qi, one must also have an understanding and respect for the rocks when placing them. Two books were written about garden making. The earliest surviving manual for the designing is the Sakuteiki. It is assumed that this was written in the 11th century by a noble man named Tachibana no Tichitsuna. In this text lies the first mention of the karesansui in literature.  A second manual was written in the 12th century, the Sansui narabini yakeizu manual.  Each speaks of rocks a bit differently. The Sansui speaks in Confucian terms and the Sakuteiki deals more with Heian period pleasures. One thing emphasized through these manuals however, was the handling of rocks. There were a few rules when dealing with rocks in order to respect them and to not go against their natural qi. One cannot touch the rocks when placing them and one should always place a rock how it originally lies. If done otherwise, the rock will be a “rock of vengeful sprits.” This is considered taboo, and by going against the original placement of the rock, it may allow evil to enter unless the rock is opposed by Buddhist triad rocks set to the southeast corner of the site, then no evil will enter.

The karesansui will always remain a beautiful mystery, no matter how many facts can be uncovered about it. It can represent anything and serve as a place to help us gain insight on the world and what is really important. Viewers of the gardens range from tourists to monks, for each person serving a different meaning, from a snapshot for a keepsake to education to enlightenment. The karesansui serves an importance to all in its presence.