As early as the Sung Dynasty (960-1279), Chinese aesthetes have treasured their collections of small, odd-shaped stones. The custom of collecting and categorizing stones was first recorded in the Odd Stone Preface (Tung T'ien Ch'ing Lu) by Chao Hsi-ku. Chao praises "the stones of Tao Chou, which are shaped like peaks," and other rocks that can be shaped further by placing them in "fast-flowing streams for smoothing. "

From the Sung Dynasty down to the present, the passion for finding and mounting elegant stones for display was mingled with the Chinese love of flowers and flower arranging. For example, the Ch'ing Dynasty (1644-1911) text Secret Methods of Flower Cultivation (Mi Ch'uan Hua Chin) by Ch'en Fu-yao describes in detail how to combine stones and plants in appropriate containers to form landscapes as aesthetically compelling as the finest paintings. The text, which also tells where to find suitable stones, is but one instance of a whole genre of writings on the subject over the past 1,000 years of Chinese history, indicating the continuing popularity of appreciating the natural beauty of stones.

Traditionally, stone collections are divided into two major categories: dry and wet. The latter, which are kept damp in order to support the moss growing on their surfaces, are most often used as part of miniature naturalistic environments displayed in a garden. Elegant dry stones are usually mounted on wooden bases or platforms carved especially to conform to their shape. These are then placed on a desk or table for observation by cultivated viewers. The famous Sung Dynasty artist Mi Fei (1051-1107) was reputed to be intensely attracted to pleasingly-shaped stones, especially the dry ones, while the equally famous poet Su Tung-po (1037-1101) was known to favor moss-covered stones.

A miniature landscape based upon a special stone is an aesthetic joy to behold. The cultivated collector can construct a realistic natural scene by combining a small bonsai tree, a stone or two, and a tiny pavilion. Even waterfalls and lakes can be reproduced among the rocks and plants. Viewers can be given a special perspective on the scene if a miniature fisherman, woodcutter, hermit, or shepherd is added to the landscape. In this way, those who pause to admire the scenery can imagine themselves to be the small figure, then try to view the rocks, trees, and water from the particular angle selected by the collector. Such attempts are amply rewarded, because cultivated viewers find their spirits cleansed with a serene, contemplative mood.

In fact, the goal of each landscape is to establish the proper mood. A miniature crag can offer the vicarious pleasure of climbing to misty heights, while a smooth, rounded stone may provide a small cave f'or protection from the elements or seclusion f'rom the outside world. Some stones are particularly valued because of their other-worldly appearance, much like a landscape painting of mountains in wispy clouds. Such treasures are known as "stones of ta kuan," a Buddhist concept indicating that the viewer is "oblivious of worldliness. "

Another type of stone favored by collectors is called the "image stone." It naturally appears in shapes identifiable as other objects. Finding such treasures along a streambed or in a mountain outcropping is an exciting experience, but it requires a keen eye. The collectors must do more than recognize shapes similar to a mountain range in miniature or the delicate petals of a flower. Many stones have great aesthetic potential, but need to be placed in a certain position or viewed f'rom a special angle before their "spirit" can be revealed. Thus collectors may "commune" with a new stone for a long time before attaining an awareness of the "true life" within. A wrong perspective, and a stone may lose all its appeal.

Some stone fanciers help nature somewhat by further shaping a rock to accentuate its "inner essence." This is done by emphasizing natural veins and colors in the stone. Such examples are known as "artisan stones." The stones with prominent natural veins are treasured because of the likenesses that can be seen on their surfaces, such as flowers, clouds, landscapes, or even human figures. Other stones have value based on their splendid color or because they have subtle tints and hues that are relaxing to the viewer.