Introduction to Koi appreciation

Koi appreciation means to value, understand and realise good qualities in fish. So by appreciating anything, we are judging that fish.

The basis of ‘Koi appreciation’ can be twofold: either using personal preference or a set of ‘rules’ introduced by an outside organisation. In the real world, most people use a mixture of both.

Appreciation of Nishikigoi (brocaded or Japanese carp), Koi for short, can just be the simple enjoyment of pretty, often tame fish in your pond. They appeal to you for a particular, personal reason.

Showing Koi?

However, if you want to take your hobby a bit further, perhaps even show your Koi, their appreciation also involves a set of ‘rules’, called appreciation points, which detail what your Koi should ideally look like.

Because some Koi are patterned and some plain, how you use the rules varies depending on what you are looking at. For example, when you don’t have a pattern, appreciation points about pattern cannot apply. Instead, there is more emphasis on actual skin and scale appearance.

Koi, like other species, also change over time. New varieties are developed and pattern ‘fashions’ come and go, so appreciation points change a little over time. However, the most important points about shape and quality are constant and easy to learn. Knowing them adds a very important dimension to your ability to appreciate Koi. The ‘rules’ give you a sound basis for selection.

Written by Kate McGill

Photo supplied by Kate McGill
 

General appreciation points

If you want to improve your knowledge about Koi, recognising and understanding the basic appreciation points is definitely the place to start:

1 Overall shape and proportion of the head, body and fins
This is top of the list! A broad, blunt-nosed head should lead smoothly to the widest part across the body, behind the gills but before the dorsal fin. The body should then taper gently and smoothly to a thick, well-muscled tail area. It is usually obvious if fins are too big or too small – they look out of proportion to body size. All fins must be whole, even textured and have smooth edges. Good shape and proportions are basic requirements for all Koi.

2 The basic quality and texture of the skin
Regardless of colour, the skin should look glowingly smooth, soft and silky. Good skin on a Koi makes you want to stroke it, to see if it feels as good as it looks. You should not be able to see the edges of scales easily. Koi with a metallic finish to the skin need to shine like burnished metal.

3 The qualities of colour and pattern
Remember, all colours need to look even, wherever they appear. Darker colours of a pattern, like red and black, should look deep and thick, so scales are almost invisible. The exception is a leading edge where white meets another colour and pattern edges need to look sharp. Patterns need to fit the Koi and appear balanced.

4 How well the Koi fulfils its specific variety characteristics
For example, a Tancho marking on the head of a Koi should be as large and round as possible without overlapping the eyes, nose or shoulders.

5 Deportment
Or how a Koi holds itself in the water.

6 The ‘wow factor’
The impact a Koi has on you – a sum of the other points, but critical. Some Koi just don’t have it.

There are 13 basic varieties of Koi to learn about, each classifying a group sharing particular characteristics. For example, the Kohaku variety contains Koi that have only red and white on both head and body. Return to the contents page to choose a particular variety.

Written by Kate McGill

Photo supplied by Kate McGill

Kohaku

Kohaku are often referred to as ‘the representative class of Koi’, and the Japanese people say that the road to the world of Nishikigoi begins and ends with Kohaku. Perhaps this is because the infinitely variable, yet elegantly simple, beauty of Kohaku may be appreciated at any level of the hobby.

Defining features
A non-metallic, white Koi with solid red (beni or hi) patterns on both head and body. Individual Kohaku names are pattern-based, for example, Maruten Kohaku means the head pattern is separate from the body pattern.

Origin
Kohaku arose from natural mutations of lighter-coloured Asagi (a pale blue Koi with a darker blue netted scale pattern), who evolved from Asagi Magoi, a food carp kept by Japanese farmers.

Basic appreciation points
• A Kohaku should have snowy white, glowing skin from nose to tail, over which a few large, evenly coloured red patterns are attractively placed, without running into the eyes or fins, or covering the gill plates.
• White on the nose and before the tail fin are desirable features of Kohaku, as are white breaks between the red patterns, allowing appreciation of sharply defined trailing edges (kiwa – facing the tail). At the leading edge, white overlaps red, so a little blurring (sashi) is acceptable.
• The desirable shade of red has changed over the years – originally dark and purple-based, today a lighter, orange-based shade of red is considered more elegant.

Common problems
• Yellowing of the white skin, especially on the heads and fins of male Koi.
• Development of uneven red colour. Breaking up and scattering of red patterns with final loss of much or all of the red.
• Secondary red or ‘Asagi Hi’ speckles along the sides, below the lateral line.
• Development of small (scale-sized or less) black marks called shimis.
• Pattern problems – an entirely red head; a pattern too heavy on one side or towards the tail; an uninteresting pattern over the back without white breaks; a pattern with too many small, scattered red elements; or a pattern too small for a big Koi.
 

Written by Kate McGill

Photo supplied by Kate McGill

Sanke

Sanke defining features
Sanke are white Koi with solid red (beni or hi) and black (sumi) patterns on the body. The head of a Sanke, as for Kohaku, is expected to be red and white only. Black patterns are most likely to appear above the lateral lines. Fins may carry black stripes (tejima or tezumi). A Sanke with almost no visible white is called an Aka Sanke. Other Sanke names are red-pattern based, for example, Maruten Sanke (red head pattern separate from red patterns on the body).

Origin
Sanke first appeared as natural mutations seen in a Kohaku (white Koi with red patterns) spawning. Some of the offspring showed small black spots. Because this occurred in the Japanese Taisho era, Sanke, first called Shima Sanke because of the striped fins, became Taisho Sanke.

Basic appreciation points
• Red and white patterns on a Sanke ideally fulfil the same criteria as a Kohaku. An acceptable exception is the Aka Sanke, where almost the entire Koi is red with black patterns superimposed.
• The quality of the black is a critical feature – it should look coal-black, dense and glossy, and scales should not be visible within black patterns.
• Pattern edges, particularly trailing edges (kiwa), should be sharply defined.
• Black may appear over red or white patterns – when over red, leading edges of black patterns should also look sharp; if over white then a small amount of blurring (sashi of sumi) is both acceptable and desirable, since it provides a 3D element to the pattern. Black over white is preferred, as it’s more elegant.
• The desirable size of black pattern elements changes over time. Black patterns should be neatly arranged along the back, ideally beginning with a large shoulder marking (tsubo, or well-placed sumi).

Common problems
• Same as Kohaku list.
• Poor quality, thin, dull-looking black areas that never improve.
• Large numbers of very small black speckles (jari sumi).
• Poor edges to the black patterns. Good kiwa of sumi is difficult to achieve.                 
• Black pattern-related problems, for example, lack of balance, head to tail or side to side.

Written by Kate McGill

Photo supplied by Kate McGill

Showa

A Showa's most desirable configuration is where all pattern elements appear in similar proportions.

Showa defining features
Showa are non-metallic Koi, with black (sumi), red (beni or hi) and white. Where the black generally describes extensive, deeply wrapping patterns over the body, it also appears on the head (including the nose), and as solid pectoral fin joints (motoguro). The relative amounts of the three colours vary considerably between Koi. A Showa with very little black is called a Kindai or ‘modern’ Showa. A Hi Showa has very little white.

Origin
A deliberate breeding experiment during the Japanese Showa era, hence the name. Showa are considered to have been bred from early Utsurimono (yellow/white and black) and Kohaku Koi.

Basic appreciation points
• Showa have red and white patterns like Kohaku (red and white only), so the same points apply to both elements, except for Hi Showa, where almost the entire body is red, with black patterns only.
• High-quality black looks glossy, blue-black and very dense. Although not all black patterns may be solid (providing an attractive reticulated effect), some of them must be, for excellence.
• Black patterns on Showa tend to be large, jagged and extend down the sides of the Koi, giving a very powerful impression. Black patterns bisecting the head provide even more impact.
• Edges of black patterns should be sharp, except where a leading edge is over white. Here, blurring (sashi of sumi) gives a desirable 3D effect.
• Although white on the nose and before the tail is ideal, either red or black appearing as a match in the same positioning is also acceptable for Showa.

Common problems
• Same as Kohaku list.
• Genetic defects – for example a small, pointed head or deformed mouth – seem to be more common for Showa than many other varieties.
• Quality of black may be poor, look thin and dull or remain greyish and unfinished, a 'carry over' from Showa tetsu or Magoi ancestors.
• Although less likely for modern Showa, black pattern edges can scatter with untidy speckles, spreading over white and red patterns.
• Any extreme pattern imbalance will demerit even an excellent quality Showa. For example, if a Koi is black, red and white at the front end, but only red and white or black and white at the back. All pattern elements need to be represented along the entire length.
 

Written by Kate McGill

Photo supplied by Kate McGill

Utsurimono

Utsurimono Koi includes Shiro Utsuri, Hi Utsuri and Ki Utsuri. In recent years, Shiro Utsuri Koi have become almost as popular as the big three (Kohaku, Sanke and Showa), due to tremendous improvements in their quality and black pattern stability.

Utsurimono Koi defining features
Black (sumi) with white (shiro), red (beni or hi) or yellow (ki) two-coloured, non-metallic Koi. Black patterns are in the same configuration as those described for Showa.

Origin
Ki Utsuri is one of the very first Koi (late 19th century), probably developing from natural mutations of the tetsu Magoi. Shiro and Hi Utsuri were produced later, in the 1920s.

Basic appreciation points
• Clean-looking (no spots or stains), evenly developed base colour (white, red or yellow) for an Utsurimono.
• Shiro Utsuri is the most popular Koi of the group. Its stark black and white beauty is very eye-catching, especially when the white is the beautiful blue tone of snow in the shade and black patterns are solid, glossy and razor-edged towards the tail (kiwa).
• Leading edges look best with an even, narrow blue border where white overlays the black – this is what gives that lovely blue tone to the white skin.
• Black patterns ideally appear on both head and body, in such a way as to lead the eye right through to the tail.
• On Shiro Utsuri, black pectoral fin joints (motoguro) are expected, but not on Hi or Ki Utsuri – their fins are heavily striped.

Common problems
• Poor growth characteristics. Utsurimono do not often achieve a very large size.
• Small, pointed heads.
• Yellowing of the white skin, often seen on the head and fins of male Shiro Utsuri.
• Poor-quality black, which looks thin (scales visible through it), uneven and dull.
• Rough-looking, jagged edges to the black patterns.
• The base colour spotted with numerous tiny black speckles. Common on Hi and Ki Utsuri.
• Completely black fins on Hi and Ki Utsuri, with very heavy black patterns on head and body.
 

Written by Kate McGill

Photo supplied by Kate McGill

Bekko

Bekko Koi includes Shiro Bekko, Aka Bekko and Ki Bekko. Bekko are not bred as a group, they only appear ‘accidentally’ from Sanke spawnings, so they are effectively rare Koi. Unfortunately, they are also not very popular, so not many are seen.

Bekko defining features
White (shiro), red (beni, hi, aka) or yellow (ki) non-metallic Koi with black markings on the body. No black should appear on the head of a Bekko, although small markings are seen occasionally. All fins may carry light black stripes (tejima or tezumi). Black patterns on the body are usually above the lateral lines.

Origin of Bekko Koi
Modern Shiro and Aka Bekko occasionally appear among the offspring of Sanke spawnings. The early history of Bekko is largely unknown and the group is not bred as a variety.

Basic appreciation points
• Despite their general unpopularity, Bekko have a distinct charm all of their own. Although quite plain in appearance, if the base colour is a pure colour and cleanly finished, a nicely shaped Bekko can look very special, especially if achieving a large size.
• White should look snowy white from nose to tail, showing no stains or small black speckles. On an Aka or the extremely rare Ki Bekko, the base red or yellow should look even and strongly coloured. No white areas should be visible on the head or body of an Aka Bekko, or the Koi is classified as an Aka Sanke.
• Black patterns are expected to be relatively small, rounded and neatly arranged along the back in a ‘stepping-stone’ pattern, ideally beginning with a distinctive shoulder marking.
• High-quality black looks dense and lustrous with a bluish tone.
• Pattern edges should be neatly defined towards the tail (kiwa of sumi) and for a Shiro Bekko, show a narrow blue border at the leading edge where white overlays black (sashi of sumi). On an Aka Bekko, all black pattern edges should look sharp. To see sashi here would indicate thin red.

Common problems
• Yellowing of the white skin on Shiro Bekko, particularly males.
• Stress-related problems – the white skin of Shiro Bekko looks bloodshot or pink.
• Black patterns can be either too light, scattered as many small spots, or too extensive and heavy. Bekko must look neat.
• Black pattern edges may look jagged and untidy. Good kiwa of sumi is difficult to achieve.

Written by Kate McGill

Photo supplied by Kate McGill
 

Tancho

Tancho includes Tancho Kohaku, Tancho Sanke and Tancho Showa. The word ‘tancho’ derives from the Japanese crane, a white bird with a round red crest. A Tancho Koi is an attractive and appealing variant of the ‘big three’ varieties (Kohaku, Sanke and Showa). Tancho Showa is the most difficult to achieve to a level of excellence, and so is the most highly regarded of the three.

Defining features
A Koi with a distinctive, usually round, red (beni or hi) marking only on the head. No red patterns should appear on the body. Very occasionally, black (sumi) Tancho markings occur on other varieties of Koi, for example Ogon (Hikarimoyo), but these are not included within the variety Tancho.

Origin
Natural variants of Kohaku, Sanke and Showa.

Basic appreciation points
• The important points for Sanke and Showa black patterns apply equally to Tancho Sanke and Tancho Showa.
• Clean white skin is very important. Remember, Tancho Kohaku has only white on the body so it’s critical that its colour is pure white from nose to tail, without any spots or stains.
• Because the body is so plain, even scale lines (kokenami) are also important.
• The Tancho spot must be evenly coloured, with the red appearing thick and glossy. The marking should cover the forehead as much as possible, without touching the eyes, nose or shoulders. A round marking is most desirable, although other shapes (square or lobed) are acceptable. Edges should be very sharply defined.

Common problems
• Check out Kohaku, Sanke and Showa, since problems covering shape, white skin and black patterns for the basic varieties also apply to Tancho.
• Like Bekko, white skin on the body of a Tancho Koi can stress badly, appearing bloodshot or pink.
• if the Tancho marking extends over an eye, down the nose or onto the shoulders, these problems constitute severe demerits when showing.
• If a few small red spots appear on the body, a Koi cannot be called a Tancho.
• The Tancho marking may be well-shaped, but the red can be thin, uneven or may have poor edges.
 

Written by Kate McGill

Photo supplied by Kate McGill

Asagi/Shusui

Asagi/Shusui includes Konjo Asagi, Narumi Asagi, Hi Asagi, Taki Asagi, Mizu Asagi, Hana Shusui and Hi Shusui. A good example of one of these ancient Koi varieties can be breathtakingly elegant and beautiful.

Defining features
Both Asagi and Shusui are blue Koi with a darker blue netting or reticulated effect over their scales called a vignette. Asagi are fully scaled, whereas Shusui are ‘doitsu’, meaning they have only a maximum of four lines of scales – two along the dorsal line and one along each lateral line. Asagi and Shusui usually have some red (beni or hi) around the nose and cheeks, along the body and in the fins. The different names (for example Konjo, Hana) refer to the shade of blue or level/position of red. For example, a Hana Shusui has narrow red patterns between dorsal and lateral scale lines.

Origin
Asagi, from Asagi Magoi (Japanese food fish), is probably the earliest recognised Koi, appearing by natural mutation in the 19th century. Shusui were produced early in the 20th century, when German doitsu carp were introduced to Japan and crossbred with Asagi.

Basic appreciation points
• A clean, light blue or white head.
• A very clearly defined vignette effect, with each scale area showing a neat, darker blue ‘pine-cone’ pattern.
• Bright, fiery-looking red, wherever it appears.
• For Shusui, along the dorsal line the scales should look very neat, in two complete rows, without any odd (redundant) scales.
• For Shusui, the skin between scale lines should show no spots or stains.

Common problems
• Yellowing or staining of the head.
• Development of large numbers of tiny black spots on the body.
• Dull, brownish or washed-out red colour.
• Grey, rather than blue colour.
• A blurred, indistinct vignette.
• For Shusui, be aware of incomplete scale lines, redundant or out-of-line scales, and poorly shaped or mismatched scales within the lines.
• For Shusui, because of the German carp bloodlines, a small triangular head and rather stumpy body can occur.

Written by Kate McGill

Photo supplied by Kate McGill
 

Koromo

Koromo includes Ai Goromo, Sumi Goromo, Budo Goromo, Koromo Sanke, Koromo Showa, Traditional Goshiki, modern (true) Goshiki, Goshiki Sanke and Goshiki Showa. Koromo means ‘robed’ or ‘veiled’, referring to the usual appearance of the vignette. Goshiki have been included in the Koromo group because of their common features. However, some organisations, such as Zen Nippon Airinkai (ZNA), classify Goshiki with Kawarimono or as a separate category.

Defining features
Koromo are a group of non-metallic Koi patterned similarly to Kohaku, with the additional common feature of a blue or black reticulated effect or vignette. The vignette covers red patterns only for Ai, Sumi and Budo Goromo, Koromo Showa and Koromo Sanke. Traditional Goshiki have a vignette over red and white, and modern Goshiki over white skin only. Goshiki Sanke or Showa can be traditional or modern Goshiki types, with additional Sanke or Showa features.

Origin
All Koromo and Goshiki have a basic Asagi bloodline, originally crossed with other varieties like Kohaku (red and white) and Sanke (red, black and white).

Basic appreciation points
• Points applying to Kohaku red and white patterns are also important for Koromo, and red patterns for Goshiki.
• For crossbred Koi (the Koromo Sanke or Showa), appropriate Sanke/Showa black (sumi) pattern appreciation points apply.
• Also, the blue or black vignette effect is expected to be sharply defined at trailing, scale edges.
• A slightly blurred leading edge typifies this group and Koromo usually show beautiful blue or black sashi (where white overlays red) at the leading edge of each red pattern element.
• Goshiki are a very mixed group. White skin can appear almost black on some, on others the vignette effect is pale grey and very indistinct. Modern Goshiki are not expected to show any vignette over red patterns.

Common problems
• Any group may show defects of shape or proportion, like a small pointed head, poorly shaped or wrongly sized fins.
• Colour and pattern-based problems already discussed for Kohaku, Sanke and Showa apply to this group. Kohaku-style red patterns are common to all the Koromo group and the points discussed for Sanke and Showa black patterns apply to crossbred Koi like Koromo Sanke.
• The vignette has a set of problems all its own. It may be uneven, failing to develop at all in some areas. Particularly for Sumi Goromo, the vignette may develop a ‘lumpy’ appearance, with large black stains overlaying the reticulated effect. The vignette is often very blurred and dirty-looking, common for Goshiki.

Written by Kate McGill

Photo supplied by Kate McGill
 

Kin-Gin-Rin

Kin-Gin-Rin (A) includes Kin-Gin-Rin Kohaku, Kin-Gin-Rin Sanke and Kin-Gin-Rin Showa. Practically every known variety of Koi can produce a Kin-Gin-Rin equivalent, for example, Gin-Rin Shiro Bekko. However, they are either classified as Kin-Gin-Rin B (ZNA) or with their basic variety (UK). Gin-Rin Shiro Utsuri can be included with Kin-Gin-Rin A (ZNA).

Defining features
Koi with three or more lines of very shiny (mirror-like) scales along each side of the dorsal fin. To be classified in Kin-Gin-Rin A, the base variety must be Kohaku, Sanke or Showa. Kin scales are gold (over yellow, red or brown), gin scales are silver (over white, grey or black).

Origin
Probably a natural occurrence, Eizaburo Hochino is credited with the first discovery of kin-gin-rin in 1929.

Basic appreciation points
• Points applying to Kohaku, Sanke and Showa also apply. Kin-gin-rin is regarded as an ‘add-on’ feature, so the points relating to each basic variety are also important. For example, white skin for all three varieties should be pure white, from nose to tail, without spots or stains.
• There are several types of kin-gin-rin: beta (complete shiny scale), Hiroshima (shiny lines on each scale – ‘cracked glass’ appearance), pearl (lumpy, shiny deposit in the centre of each scale) and kado (only scale edges are shiny).
• Beta-gin is considered best, although Hiroshima-gin is the most common. For excellence, kin-gin-rin scale lines must be complete from shoulders to tail and the shine very even. Large numbers of kin-gin-rin scale lines reaching down the sides are also highly regarded.

Common problems
• Problems already discussed for the basic varieties of Kohaku, Sanke and Showa also apply to their kin-gin-rin equivalents. For example, lack of pattern balance.
• Also, kin-gin-rin may be poor quality, insufficiently shiny, uneven or only appearing on scale edges (kado-gin).
• Kin-gin-rin may impact detrimentally on other pattern features. For example, blurring the trailing edges (kiwa) of red or black pattern elements.

Written by Kate McGill

Photo supplied by Kate McGill
 

Kawarigoi/Kawarimono

Kawarimono or Kawarigoi (group 1) includes Chagoi, Sorogoi, Kigoi, Benigoi, Midorigoi, Shiro Matsuba, Ki Matsuba and Aka Matsuba. Group 2 includes Karasugoi, Hajiro, Hagashiro, Yotsushiro, Matsukawabake, Suminagashi, Kumonryu and Beni Kumonryu.

Appreciating Kawarigoi perhaps requires a more personal approach than other Koi varieties, because they are so different. However, some have very special appeal, like the friendly Chagoi who are well-known for being the first of your Koi to hand-feed!

Defining features
Kawari means ‘something strange’, which perhaps defines the group in two words. Non-metallic Koi, which cannot be placed in any other classification, are all in Kawarigoi. The best approach is to think of them in a total of four groups. Group 1 includes single-coloured Koi, with or without a ‘pine-cone’ reticulated effect over all scale areas (Matsubagoi). Group 2 includes all the Karasugoi – black Koi with varying amounts of white – Beni Kumonryu is an exception, being principally red and black. Kawarigoi can be either fully or partially scaled (doitsu), and Kumonryu are always doitsu. See Kawarigoi part 2 for groups 3 and 4.

Origin
Group 2 developed from Asagi Magoi, beginning with the all-black Karasugoi (Crow Koi). Chagoi, Sorogoi and Midorigoi also have a direct Magoi ancestor. The Matsubagoi developed from Asagi.

Basic appreciation points
• Single-coloured Koi (group 1) must show homogeneous, bright, unstained colour from nose to tail. Scale lines (kokenami) must also be even, giving a neat, faintly netted pattern.
• For Matsuba, like Asagi, the vignette needs to be sharply contrasting in colour, with clear edges.
• Largely black Karasugoi (group 2) should look like polished ebony, so deeply black that no scales are visible. Where white or red is present, its colour should be even and unstained. Edges between black, white and red areas should be sharply defined, particularly on doitsu varieties like Kumonryu.

Common problems
• Head and fins too small for the body.
• A pointed nose.
• Spots and stains on head and/or body.
• Yellowing of white skin.
• Poor quality, uneven colours.
• Blurring of pattern edges or vignette.
• Uneven scale lines.

Kawarimono or Kawarigoi (group 3) includes Ochiba Shigure, Sanke-Shusui, Showa-Shusui and Utsuri-Chagoi. Group 4 includes Kanoko Kohaku, Kanoko Sanke, Kanoko Showa, Kage Shiro Utsuri, Kage Ki Utsuri, Kage Hi Utsuri and Kage Showa.
Ochiba Shigure excepted, crossbred and very rare Koi like those in group 4 rarely appeal to hobbyists, but they still turn up occasionally and when of good quality, they are worthy of appreciation. Their scarcity makes all excellent Kawarigoi valuable.

Defining features
Patterned, non-metallic Koi that cannot be classified in any other group. Group 3 Koi are crossbred from other, well-recognised varieties like Sanke and Shusui. Group 4 includes Koi with a particular feature that renders them non-competitive in their original variety. Kanoko (dappled fawn) means that red patterns occur as a vignette effect over individual scale areas. Kage (shadowed) is a black or grey vignette effect over all-white skin on Utsurimono and Showa.

Origin
Probably from experimentation or accident in most cases. Ochiba Shigure appear to be related to Chagoi/Sorogoi but recently Kohaku may also have been introduced.

Basic appreciation points
• Ochiba Shigure (autumn leaves on water) are popular Kawarigoi and make an interesting example to discuss. The pale grey base colour must be even and unstained. If delicate black netting is visible around scale edges and fins, it should look sharp. The second colour should ideally be a rich, orange-brown and arranged like the red patterns on Kohaku. Attractive brown pectoral fin joints are often seen for this variety.
 • Other crossbred Koi like Sanke-Shusui should fulfil appreciation points of both basic varieties and are very difficult to produce to a high standard.
• Kanoko and particularly Kage Koi can look very special on the rare occasions when all appreciation points are met to a high standard, including very neat, consistent, deep-red Kanoko patterning and a clear vignette effect for Kage Koi.

Common problems
• In addition to those already listed for groups 1 and 2, Ochiba Shigure often show dull, washed-out colours and poor patterning.
• Other crossbred Koi can look overpatterned and untidy.
• The Kage vignette often fails to develop properly and Kanoko scaling can be uneven, blurred and light.

Written by Kate McGill

Photo supplied by Kate McGill

Hikarimuji

Hikarimuji includes Purachina (Platinum) Ogon, Nezu (mouse-grey) Ogon, Cream Ogon, Lemon Ogon, Yamabuki (bright gold) Ogon, Orenji (orange) Ogon, Hi (deep red) Ogon, Shiro Matsuba, Kin Matsuba, Kin Hi Matsuba and Mizuho Ogon

Hikarimuji (or Ogon) is a group that probably appeal to a wider range of people than any other variety of Koi. With their brightly shining beauty, they are real ‘show-stoppers’ and have done much to promote the Koi hobby over the years.

Defining features
Single-coloured, metallic Koi ranging from silver white to deep red, plus those with an additional ‘pine-cone’ reticulated effect, or vignette, over all scale areas (Matsubagoi). Hikarimuji may be either fully scaled or doitsu (a maximum of four lines of scales, two along the dorsal and one on each lateral line).

Origin
Sawata Aoki created the original golden Koi after 25 years of effort, beginning in the 1920s. He finally bred black Koi with silver or gold markings (Gin and Kin Kabuto, Kinbo, Sakin) with a Koi he called a Shiro Fuji (probably white and silver).

Basic appreciation points
• Hikarimuji are metallic Koi, so the shine is critical. High lustre demonstrates good skin quality. It is harder to obtain for the darker metallic colours.
• On a plain Koi, any imperfections of colour are very noticeable. Colour must be even from nose to tail.
• Scale lines (kokenami) must be very neat, providing an attractive netting pattern with surrounding skin (fukurin).
• When a vignette is present, sharp definition on each scale area is crucial.

Common problems
• Ogon is another variety prone to rather small, pointed heads. A ‘stumpy’ shape can also occur, with fins either too small or overly large.
• Insufficient and uneven lustre.
• Dark spots and stains appearing on the head and/or body.
• Uneven colour and/or scaling.
 

Written by Kate McGill

Photo supplied by Kate McGill

Hikarimoyo

Hikarimoyo includes Hariwake Ogon, Kikusui, Kujaku, Yamatonishiki, Shochikubai, Tora Ogon, Gin Bekko, Kinsui/Ginsui, Sakura Ogon, Platinum Kohaku, Ki Kokuryu and Kin-Ki Kokuryu

Defining features
A large, diverse group of fully scaled or doitsu (Hikarimuji-like) metallic Koi, all demonstrating a pattern. Many Hikarimoyo are metallic versions of non-metallic varieties, for example, Yamatonishiki is a metallic Sanke, Tora Ogon is a metallic Ki Bekko. With the exception of Ki Kokuryu and Kin-Ki Kokuryu (metallic Kumonryu equivalents, sometimes classified with Kawarigoi), Hikarimoyo are not expected to have black on the head or pectoral fin joints (motoguro). Most commonly seen are the fully scaled Hariwake Ogon (silver with gold, orange or red patterns), the doitsu version (Kikusui) and the Kujaku (patterned like a Hariwake Ogon), with the additional feature of a vignette (Hikarimuji-like). Kujaku are a metallic version of Goshiki (part of the Koromo group).

Origin
Crossbreeding experiments between Hikarimuji and many other non-metallic varieties of Koi.

Basic appreciation points
• With Hikarimuji, the shine or lustre of the skin is another vital element. Good skin quality means brilliant lustre, especially on a silver or pale gold base.
• Good contrast between pattern elements is also desirable, with deep orange or metallic red against a silver base preferred.
• In contrast to non-metallic Koi, all patterns edges on metallic varieties should look sharp
• No sashi (the blurred leading edge of a pattern, as with Kohaku) should be visible.
• The vignette on Kujaku should look sharply defined.
• Check out Kohaku for other desirable features of any red patterns and Sanke for black patterns. A noteworthy difference from non-metallic, patterned varieties is that a clear window on the forehead is actually a desirable feature for Hikarimoyo.

Common problems
• Problems of shape, lustre and colour listed for Hikarimuji also occur for Hikarimoyo.
• Common pattern and pattern-edge problems discussed for Kohaku and Sanke are also seen.
• Pattern colours may lack contrast. It is difficult to achieve deep metallic red and black.
• Black spots and stains, particularly on the head and fins, often appear on many Hikarimoyo.
• Hikarimoyo are comparable in their diversity to Kawarigoi, with a common metallic theme.

Written by Kate McGill

Photo supplied by Kate McGill
 

Hikari Utsuri

Hikari Utsuri includes Gin Shiro Utsuri, Kin-Ki Utsuri, Kin-Hi Utsuri and Kin Showa. Metallic Utsurimono and Showa are uncommon, especially at a high standard. It is a memorable event to find a good example, combining the beauty of the shining metallic base with the distinctive features of Utsurimono or Showa.

Defining features
Koi in Hikari Utsuri are the metallic equivalents to basic Utsurimono and Showa varieties. They are expected to have black patterns on the head, pectoral fin joints (motoguro – Kin Showa, Gin Shiro Utsuri) or broad stripes (tejima, tezumi – Kin-Ki or Kin-Hi Utsuri), and deeply wrapping, large, jagged black patterns on the body. Kin Showa is silver, gold or metallic red and black. The metallic Utsuri have black patterns on a silver, gold or metallic orange/red base. Doitsu versions (maximum of four lines of scales, two along the dorsal line, one on each lateral line) are occasionally seen.

Origin
Crossbreeding experiments between Showa or Utsurimono varieties and Hikarimuji.

Basic appreciation points
• Appreciation points for the relevant non-metallic groups (Showa and Utsurimono), because most of them apply to Hikari Utsuri.
• A good shape; clear, unstained colours; and sharp edged, nicely balanced pattern elements are all important.
• As for any metallic Koi, good lustre is highly desirable, indicating high skin quality, but is difficult to achieve alongside deep colours like red and black.
• As for some Hikarimoyo, a clear silver window on the head of Kin Showa is a positive appreciation point, because the silver base should be incredibly shiny and shows to greatest advantage on the head.
• Leading edges and trailing edged patterns should be sharp on Hikari Utsuri.

Common problems
• Those of shape, lustre and colour listed for Hikarimuji also occur for Hikari Utsuri.
• Common pattern and pattern-edge problems discussed for Utsurimono, Showa (black patterns) and Kohaku (red patterns) are seen, together with poor growth characteristics.
• Very large Hikari Utsuri are rare indeed.
• Black patterns may look brownish or pewter coloured.
• Very extensive black patterns, particularly on the head and fins are also common, dominating the Koi.
• Small sumi speckles over base colours is a frequent occurrence.
 

Written by Kate McGill

Photo supplied by Kate McGill