The pavilion and the pond on which it stands were designed to resemble the image of the Seven Treasure Pond in scenes of the Buddhist Paradise. The pond is even filled with the lotus plants, symbolizing the flower of truth rising from the mud of this mundane world. Also placed in the pond are several stones and islands, representing the eight oceans and nine mountains of the Buddhist creation story.

This brings us to the main attraction. In the autumn with the flaming red and orange leaves the pavilion's warm glow compliments the crisp atmosphere. In the winter the startling contrast against the pure white of the snow is breathtaking. The Golden Pavillion has three floors and stands 12.8 meters (42 feet) high, 10.0 meters (33 feet) wide, and 15.2 meters (40 feet) long. Each floor is designed in a different style yet the three harmonize well and create a spectacular architectural effect. Yoshimitsu was fascinated by Chinese culture and art and is credited with reopening trade between the two countries. His interest can be seen in the architecture of his pavilion.

Like many structures in Kyoto that have been repaired or repainted, the Golden Pavilion has also been completely rebuilt. Yoshimitsu's pavilion survived centuries of fires and earthquakes only to be the target of an act of arson. Early in the morning of July 2, 1950 a 21 year old student from Otani University, who also happened to be a monk, set fire to the pavilion. It was reduced to ashes and upon his arrest the young man stated his wish was to die in the flames.

A fictionalized account of the arson and the arsonist's thought process can be found in the Yukio Mishima's The Temple of the Golden Pavilion. Newpaper reports from the trial, highlighted in Mishima's book, state that because of the student's "self-hate and self-detestation he hated anything beautiful."

Though it is a truly wonderous sight (a lot of gold leaf is always a wonderous sight) try not to let the pavilion take your attention away from the fact that there are other things to see here. Moving behind the temple and away from the hustle and bustle of people snapping pictures like the papparazi, you will come to a flight of stone steps that lead up to the Shinun Shrine. This small shrine is dedicated to the god of the temple grounds. Just after the shrine you will see where Yoshimitsu gathered water for his tea ceremonies at a natural spring. Farther down the path you can see a waterfall (Ryumon-baku) and underneath the falls is a rather large stone known as the Carp Stone, named to impress upon the viewer the image of carp swimming upstream when spawning.

Climbing another staircase will bring you to a rise where you will be able to see another small pond. Within Anmin-tuku is a small isle called Hakuja-no-tsuka. Cut into the sides of the base of the simple pagoda on the isle are the images of the four Buddhas. This pagoda is dedicated to the white snake or dragon that controls the water supply of the temple grounds.

A bit more walking will bring you to the Sekka-tei, a small tea house built in honor of a visit by Emperor Go-Mizuno-o in the 17th century. Here we see a stark contrast from Kinkaku down below. The simplicity of the tea house is meant to focus the attention of the guest on the tea ceremony itself, not the surroundings.

Sekka-tei burned down in a fire in 1874 and was reconstructed in 1884. The stone lantern and basin, along with a stool in front of the tea house all come from the Muromachi Period Hana-no-Gosho (Flower Palace). Inside, the teahouse is quite modest but contains a well noted, crooked pillar supporting the alcove. The pillar is made from rare Nandin wood, a very slow growing tree, and to reach this size is very rare indeed.