As early as 2,100 BC, evidence in China suggests that stones were being collected for their aesthetic appeal rather than for construction purposes. Since that time, mythology, philosophy, and theology have all had a profound influence on the interpretation of this art form. Over the course of time, the appreciation of such idiosyncratic stones spread from China to Korea, and eventually to Japan around 800 AD. Though regional styles differ, the essence of this art form rests on the recognition of the stones’ ability to transcend its geology and become a vehicle that transports the viewer into another world. The essence of Natures’ energy is felt by many enthusiasts to coalesce in such stones.

Because of rich historical traditions from the East and well-documented insights into the nuances of this art form, we have guidance to further explore our own regional geology for new stone material. As long as the transcendent properties of these unique stones, from any region, are the focus of our presentations, then stylistic interpretations will merely continue and broaden what we in the West call “ Viewing Stones”