This article is a study on the poetry of the karisansui in the Gozan literature, and consists of an introduction, three chapters, and a conclusion. The main contents of the introductory part are: the similarities and differences between the poetry of "jiashan" and "karisansui", and the current status of domestic and foreign research on the composition of rockery poetry or garden ideas.

The first chapter deals with the common features of Gozan poetry and Chinese landscape poetry, mainly in terms of imagery systems and ideological interests. Since both the mountain-making activities of Japanese gardens and the karisansui  poetry of Gozan literature originated from Chinese culture, discussing the common features of Chinese and Japanese karisansui and karisansui poetry would be a necessary precondition, foundation, and background for further discussion. The second chapter is concerned with the new changes in Gozan karisansui poetry compared to Chinese jiashan poetry, which is divided into two categories according to the type of gardens: temple gardens and samurai residences. The study focuses on the differences in imagery preferences and ideological interests between these two types of garden poems in the Gozan literature, as well as on the differences between them and the Chinese poems and the causes of these differences. The third chapter focuses on the ideological investigation of the Gozan karisansui poems, which is divided into two main aspects: the influence of Zen thoughts and Chinese painting theories on Japanese medieval karisansui making and on karisansui poetry. The former focuses on the Zen texts and canonical texts in landscape poetry, while the latter focuses on the concept of "ShengShuiCanShan" and "WoYou" in Gozan karisansui poetry, and explores and traces the non-Zen ideas (mainly  Chinese painting theories) in Japanese Gozan literary landscape poetry.