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TRIAL ISSUE
All About IWAGUMI Layout Special Feature
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Nature Aquarium Goods have been developed from our experience ofmaking and maintaining aquariums, and with its rich product lineup, it
is possible to make aquarium layout of your own style. In order tobring you a sense of satisfaction and continuous joy, all products are
strictly controlled by the highest inspection standard and deliveredwith our quality assurance. All products are safe and free of radiation
contamination. You can create an ideal aquarium system with theNature Aquarium Goods.
NATURE AQUARIUMGOODS FOR THE IDEAL
AQUARIUM SYSTEM
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All About IWAGUMILayout Photographs by Takashi Amano
Text by Masatoshi Abe
Tsuyoshi Oiwa
Eriko Sekine
An Iwagumi layout reflects the tradition, culture, and spiritual-ity that have been cultivated over the long course of history,although it is modeled after natural scenery. This may bewhy it strikes a chord that resonates in the hearts of Japa-nese people. The number of Iwagumi enthusiasts is increas-
ing throughout the world as Nature Aquarium gains popular-ity. In this feature segment, we are going to study the appealand know-how of an Iwagumi layout from various angles.
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In real life, stones exist in natural environment. Therefore,
everything one can learn from observing stones in nature, for
example, the direction and angle of stones, and position with
other stones, gives an idea of making a beautiful Iwagumi.
Observing the nature
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StyleⅡ StyleⅣ
StyleⅥ
StyleⅤ
StyleⅠ
StyleⅢ
石組のスタイルパ
ターン
f you trace Iwagumi layouts to their
origin, you will find a layout that Takashi
Amano created approximately 30 years ago. It
was a simple layout created by arranging river
rocks and planting solely with Echinodorus
tenellus. According to Takashi Amano, while
some people did not seem to be surprised verymuch by the layouts that he had created through
trials and errors up to that point, when they saw
this Iwagumi layout, they seemed truly amazed
by its unique and unusual beauty. Iwagumi
layout style did not exist back then, and no one,
including Mr. Mitsuo Yamazaki, the importer of
E. tenellus, had any detailed information on the
plant. It was truly an original creation by Amano
that no one had seen before. Ever si nce that
time, various styles of Iwagumi layouts were
introduced by Amano and the allure and
fascination with Iwagumi layouts has increased.
I
This is the Sanzon Iwagumi
style that forms the founda-
tion of Iwagumi. The marked
presence of an Oyaishi
(main rock) dominates the
overall impression of the
layout. The role of each
rock is clearly defined in the
composition as in Oyaishi,
Fukuishi (secondary rock),
and Soeishi (supporting
rock). Rocks with a massive
appea r ance , s uch as
Hakkaiseki, are especially
suited for this style.
Unlike in other Iwagumi
styles, rocks are arranged
in the image of a reef or
bedrock instead of stand-
ing upr ight. Expansive
scenery with parts of an
immense monolith exposed
out of ground is easy to
express in a horizontally
long aquarium. A school of
small s lender fish gives
emphasis fur ther on the
vastness of the scenery.
While the composition of
this Iwagumi style follows
the Sanz on Iw agumi
pattern of the style II, a
different atmosphere is
created with the use of
cosmetic sand. Cosmetic
sand can brighten up an
aquas cape o r add a
sense of depth, depend-
ing on the way it is laid. It
also conjures up an image
of Kare Sansui (Japanese
dry garden style) built with
white sand and rocks.
This is considered a separate Iwagumi style
with a new t wist in expression, although it
still follows the basic compositional pattern.
Layouts in this style are created with master-
ful rock arranging skill, such as a composi-
tion with a pair of main rocks or another with
a novel rock arrangement using Ryuoseki.
This is an Iwagumi style in which slender
rocks are arranged in a radial pattern.
Since rocks are arranged pointing upward
and spreading outward, the shape of their
tips is especially important. R ocks are
arranged with careful attention to their
angles and the balance with other rocks.
This is a layout that was created with
petrified wood, a piece that is not used
much anymore due to its propensity to
increase water hardness, to produce an
impression of a highland. This Iwagumi
layout, which was planted solely with
Glossostigma, made a big splash when
published in 1991.
2003 W180×D60×H60
1993 W60×D30×H36
1991 W180×D60×H60
2005 W180×D60×H60
2001 W60×D30×H36
2002 W60×D30×H36
2002 W90×D45×H45
2002 W120×D45×H60
2007 W90×D45×H602009 W180×D60×H60
2001 W120×D45×H45
2001 W180×D60×H60
1997 W120×D45×H45
2003 W180×D60×H60
2006 W180×D60×H60
Origin
1985 W120×D45×H45
*The number below each photograph denotes the year the photograph was published.
T h e e s t a b l i s h m e
n t of N a t ur eA q u ar i um w a s al s o
t h e b i r t h of t h eI w
a g umi l a y o u t .I w a g umi l a y o u t s
c anl ar g el y b e d i v i d e d i n t o af ew
s t y l e s .
Iwagumi Styles
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anging stones in a tank based on what one has observed in
ure is nothing but recreating the nature. With the arrangement
he stones, one can create a water flow in the tank.
rranging stones in a tank
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重厚なる親石
の存在感
B
A
reating a layout using locally produced
rocks is another great way to enjoy an
Iwagumi layout. The Hakkaiseki that are
presented here are well-known viewing stones
found at the foot of the Hakkai Mountains in
Niigata. Those with the type of indentations
called Mushikui are highly prized. Such
well-shaped Hakkaiseki have the stately and
dignified presence of Oyaishi. T hese two
Iwagumi layouts are the type of work that takes
full advantage of the charm of Hakkaiseki. Both
of the Iwagumi layouts were created using the
same Oyaishi. The large panoramic aquarium
above has two groups of rocks and the tall
aquarium below has one group of rocks. Using
two grouping of rocks makes it easier in general
to create a composition in a horizontally long
aquarium. The planting of a single type of plant,
such as Echinodorus tenellus, works well to
accentuate the presence of Hakkaiseki. The
clean and simple composition of such a layout
strongly brings out the spirituality of Iwagumi.
C
Top: The distinctive charm of Hakkaiseki is brought out by the
dimples called Mushikui, which render unique shading in a layout.
Bottom: The left and right balance is achieved in a panoramic
aquarium using two groupings of rocks.
If the impression of Hakkaiseki as
Oyaishi seems too strong, some plants,
such as Eleocharis vivipara, should be
planted in the background. Doi ng so
can soften the impression of the rock.
This aquascape exemplifies Nature Aquarium Iwagumi layout.
H ak k ai s ek i – ar en own e d v i ewi n g s t on e
A w el l - s h a p e d H ak k ai s ek i
h a s a c
omm an d i n g pr e s en c e.
The substantialpresence of Oyaishi
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Spirituality and philosophy is often discussed
in reference to Iwagumi layouts. When did
you start getting conscious of such concepts
in relation to Iwagumi?
The material that I used for my first serious
attempt at creating a layout with aquatic
plants was, in fact, rocks. Iwagumi was
already established about thirty years ago. I
started getting conscious of the distinctive
realm of rocks around the same time in my
early 20’s when I started looking at Japanese
gardens. Many of the Japanese gardens
were created as symbols of power or abstract
images of nature rather than to recreate
nature faithfully. However, they served as a
useful reference in terms of the concept of
Iwagumi.
When did you consciously start studying
rocks and their formation in nature?
I think it was about the same time that I
thought of studying the formation of rocks in
nature. In the beginning, I went to rivers andlooked at river rocks. Later, I visited various
places and saw all kinds of rocks. Man-made
gardens are full of exaggerated expressions,
but rocks in nature are untouched and
genuine. I might have been getting firsthand
knowledge of the invisible law and order that
nature had created.
You have a lot of old books on Japanese gar-
dens and rocks on your desk. Did you collect
these books then?
Yes. When I get intereste d in a subject, I have
a tendency to pursue it to great depths from
various angles, so I read a lot of books. I was
interested not only in landscaping, but also in
a wide range of things, such as Suiseki (the
Japanese art of stone appreciation), Bonseki
(the Japanese art of creating miniature
landscapes on a black lacquer tray), and
garden rocks. There is a limit to how much
you can learn from aquascapes alone in
terms of compositions and creativity. Since
we are trying to create a layout and sublimate
it into art, it is good to explore various fields.
Speaking from a more general point of view,
you mentioned in a seminar that the choice
of aquatic plants vary depending on the per-
spective of an aquascape, such as, for
example, an aquascape created in the image
of a close-up view of a scene in a mountain
stream or that of a distant view of a mountain
range. What is the relationship between a
composition and plants?
You must be referring to the discussion on
matching plants with the perspective of a
composition, as in using aquatic plants with
large leaves for a close-up view and using
those with light colored leaves or fine leaves,
such as stem plants, for a distant view. It isthe same principle as the way scenery
appears in photography. Although I generally
have an idea whether it is going to be a close-
up view or a distant view when I start creating
a layout, its impression sometimes changes
when the composition is finished, or it some-
times changes with planting. We need to be
flexible when it comes to the expression of
perspectives.
You are quick and decisive when arranging
rocks nowadays. When you were still new at
creating Iwagumi, did you rearrange rocks
many times?
You cannot produce a good Iwagumi unless
you work at a quick pace, building momen-
tum. When you take time and think about it
too much, it often turns into a dull and unnatu-
ral looking layout, lacking a sense of rhythm.
However, there were times that I rearranged
rocks this way and that way for hundreds of
times. I often worked late into the night until I
was satisfied and then found the work quite
disappointing the next morning. Having
experience and instinct sometimes count
more than the artistic sense when arranging
rocks. Although I think that the artistic sense
is important in the end, it is important to first
have confidence in your idea that “rocks will
appear this way when placed like this”. When
you gain experience and develop your
instinct, you will gain speed and a sense of
rhythm, which will enable you to create an
unstable, difficult, and delicate composition
that renders the powerfulness and the sense
of stability of nature.
It was about thirty years ago that you were in
your 20’ s. Internet did not exist back then
and I believe that the information that you
could obtain was somewhat limited. Devel-oping your own concept of Iwagumi and
shaping the concept into the practical
method must have taken a lot of time and
efforts.
That may be true, but on the other hand, such
difficulties might have strengthened one’s
conviction in the past. It took a stronger
resolve to get what you wanted than you do
now. You can get just about anything quickly
and easily nowadays. Abundant information
may be making it difficult to develop the drive
to pursue something to the end with strong
conviction. Be it Nature Aquarium or ADA’s
products, I developed a burning desire to
produce them myself because they did not
exist at that time.
Things are very convenient nowadays, but it
seems that persistence may not be as nec-
essary as before.
It may sound like an exaggeration, but I
believe that the same thing is true with
Iwagumi. Although a lot of information is
made available and many different methods
are proposed, what’s important in the end is
how determined you are to create a good
layout rather than how much information you
have amassed. Especially in the case of
rocks, one’s efforts and passion are directly
reflected in the work since it is a type of
material that easily reflects the intention of a
designer and does not allow any fudging or
superficial cover-up.
What kind of attitude is important to master
Iwagumi?
As I mentioned earlier, while it’s necessary to
practice arranging rocks many times, it is
important to develop the sense to look atthings, not with your eyes, but with your heart,
because there are many aspects of Iwagumi
to consider such as rhythm, shading, stability,
powerfulness, tranquility, Wabi, Sabi* and so
on.
(*Translator’s note: Wabi-sabi represents a
comprehensive Japanese world view or
aesthetic centered on the acceptance o
transience. Source: Wikipedia)
How does one go about developing a sense
for the spirituality and philosophy that
Iwagumi possesses?
Flexible mind-set is required for creating a
layout as well, rather than making a faithful
reproduction by thinking only about your
know-how of the ratio and balance, you see.
There are many hints hidden in something
seemingly unrelated to things inside an
aquarium. For example, the amazement and
excitement that you feel when you come face
to face with nature provides a spark for the
originality or the natural feel of a layout. Or
you may get a feel for the arrangement of
rocks by watching rocks scattered in moun-
tain streams. These intangible expressions
that are often used for a layout, such as
“natural feel”, “flow” or “rhythm”, can only be
elucidated by replacing them with the senses
you have within yourself. These senses are
something you must develop yourself. The
wider the range of experience you have with
which to sharpen your senses, the wider the
range of expression becomes. Of course, it’s
important to do research and make efforts to
understand practical methods to create a
layout. No matter how many ingredients you
gather, you cannot make a tasty dish unless
you know how to cook them. I think it is impor-
tant to develop in a balanced manner both
practical skill through producing layouts andexpressive ability, which is acquired indirectly
I feel that the process to master Iwagumi wil
make my own way of life more profound as
well.
An interview with
Takashi Amano
The Philosophy of Iwagumi
Since the old days, rockshave been a product of naturen which people often find
some special meanings. InNature Aquarium, they havealso been a type of materialhat is often discussed witheference to a philosophical
element or profound spiritual-ty. In this interview, we askedhe founder, Takashi Amano,
about the profundity and phi-osophy of the Iwagumi layout.
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Stones are the objects created by nature, thus each one of
them is unique and has the beauty of nature. By understand-
ing such characteristics and optimizing their uniqueness and
beauty, one can create an impressive Iwagumi layout.
The beauty of natural material
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石組のもう一つの楽
しみ
After
Before
h i le p la n t s w i l l c h a n ge th e i r
appearance with the seasons in a
tural landscape, rocks have invariable
stence. The same is true with an Iwagumi
out. Sozo Haishoku enables us to replace
uatic plants without changing rock work
d enjoy a change in scenery. As shown in
se two layouts, the impression of an
agumi layout changed with the use of stem
nts in the background of the layout, which
s previously planted solely with Cuba Pearl
ass. Cuba Pearl Grass is often used with
uoseki. This aquatic plant is easy to
form Sozo Haishoku with, as compared to
er aquatic plants, since it does not root
ry deeply. Sozo Haishoku should be
ried out by replacing the Aqua Soil used
the substrate without breaking up the
agumi. An Iwagumi layout will appear
autiful and well-balanced after the Sozo
ishoku because the origina l rock
angement is solid and its composition is
cellent, as demonstrated by this layout.
W
Top: The combination of a sprawling rock arrangement and
fine-leaved Cuba Pearl Grass can create scenery of vast
expansive land. Bottom: Stem plants are shaped through
trimming by using the ridgeline of the Iwagumi as the guide-
line for trimming.
Because the layout is planted solely
with low-growing Cuba Pearl Grass,
the Iw agumi o f Ry uos ek i i ts e l f
becomes the main subject in the
layout and therefore requires an
advanced rock arranging technique.
Echinodorus tenellus, which is planted between the rocks and the
stem plants in the background, softens the impression of the
Iwagumi. The rock arrangement functions as the framework of
the U-shaped composition produced by stem plants in this layout.
The outline and continuity of the ridgeline of an Iwagumi is important for this type of layout
created in the image of a rock shore.
R y u o s ek i ,wi t h m an y v ar i a t i on s i ni t s ex pr e s s i on s ,i s q ui t e
s ui t a b l ef or anI w a g u
mi c r e a t e d i n t h ei m a g e of ar o c k y
s h or e.
H er e ar e s om e ex am pl e s f or S oz oH ai s h ok u
( c r e a t i v e pl an t r e ar r an
g em en t ) of s u c h al a y o u t .
Another Joyof Iwagumi
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he nature, stones do not exist by individual. If there is a
ne, several stones of same kind exist around it, a nd in
me cases, they are connected under the ground.
xpressing a series of stones
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02
01
構成する石は質感
を統一する
The surface of a relatively rare Mantenseki with a rounded shape. When slightly covered with algae on the surface, it will
e an appearance more settled in the life underwater.
ht: A fast swimming Slender Tetra goes well in panoramic scenery with a wide, open space.This layout was planted with Willow
Moss and Cobra Grass to accentuate
the details created with the small
rocks. T he slightly visible rocks that
are almost hidden by the aquatic
plants add depth to the scenery.
appearance of the aquascape [02] right after Mantenseki were arranged. The small
s were placed in the foreground to articulate details, and the small rocks toward the
k add perspective.
Since Mantenseki is not a river rock,
many of them tend to have this type
of rough surface. However, their
appearance varies greatly.
Green Neon Tetra with subtle hues
goes well with the combination of
warm-colored Mantenseki and Hair
Grass.
antenseki are well recognized as
standard rocks for an Iwagumi layout
among the fans of Nature Aquarium. The
supply is stable at present and a variety of
sizes are available at shops. The rock is often
thought to lack variations in the expression as
compared to other type of rocks, but this is not
true. The basic rule is to use the rocks with
the same texture for all the rocks, from Oyaishi,
Fukuseki, and down to Soeishi. Otherwi se, the
Mgroup of rocks lack uniformity and look
unnatural together. The two Iwagumi layouts
above are both arranged with Mantenseki.
The aquascape [01] was created with rugged
Mantenseki with sharp edges whereas the
aquascape [02] was created with rounded
Mantenseki. Although many rocks are used,
both layouts have natural and cohesive
appearances since their rock arrangements
are made of Mantenseki with uniform textures.
An Oyaishi should be selected first,
and then other rocks with the same
or similar texture. When selecting
an Oyaishi, check if there are other
rocks that can be arranged with it.
Select Rocks with
a Uniform Texture.
M an t en s ek i h a s b e c om e e a s i er t o o b t ai n an d t h er e-
f or em or er e c
o gni z a b l e.R o c k s s h o ul d b e s el e c t e d
n o t onl y b a s e d on t h ei r s h a p e an d s i z e , b u t al s of or
t h e uni f or mi t y
of t h ei r t ex t ur e a s w el l .
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Harmonious Combination of Iwagumi and Stem Plants
Iwagumi layout is occasionally produced in combination with stem
nts. In such a layout, if the sense of scale produced by the Iwagumi
different from the sense of scale produced by the stem plants, the
out will appear strange. Since the foreground of a layout forms the
se-up view and the background forms the distant view, the layout will
ve a more natural perspective if the close up view is expressed with
agumi and the distant view is expressed with stem plants. When the
tant view is expressed with Iwagumi, it spoils the perspective and
layout will appear unnatural. A somewhat large space should be
otted for planting by keeping this in mind, if using stem plants.
Tank /
Lighting system /
Filtration system /
Substrate system /
CO2 system /
Air /
Additives /
Water change /
Water quality /
Cube Garden W90×D45×H45 (cm)
Grand Solar I (NAG-150W Green / NALamp 3 6W Twin ×2) Lighting for 10 hours a day
Super Jet Filter ES-600 EX, Bio Rio, NACarbon
Aqua Soil-Amazonia, Power Sand Special M, Bacter 100, Clear Super, Tourmaline BC,
PENAC W for Aquarium and PENAC P
Pollen Glass Large 30Ø 3 bubbles per second with CO 2 Beetle Counter
Aeration with Lily Pipe P-4 (14 hours while lighting is OFF at night)
Brighty K & Green Brighty STEP 2
1/3 water change once a week
Water temperature: 25°C; pH: 6.8; TH: 20mg/
Rotala rotundifolia (Green)
Rotala macrandra (Green)
Rotala nanjean
Rotala sp.
Ludwigia arcuata
Myriophyllum mattogrossense (Green)
Echinodorus tenellus
Glossostigma elatinoides
Riccia fluitans
Aquatic plants / Trigonostigma hengeli
Caridina japonica
Otocinclus sp.
Fish species /
D A T A
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Each rock used in Iwagumi has its own name. There are
special rules of Iwagumi, such as the way its substrate is laid
and the order of rock placement. This section discusses the
basics of Iwagumi that every beginner should know.
Although the thickness of the substrate for a layout with
driftwood is kept low in the front of an aquarium and
increases gradually toward the back, the substrate for an
Iwagumi layout is laid thin and evenly initially. This is different
from the way the substrate is laid in other layouts.
●The names and functions of rocks
●Iwagumi Layout Procedure
●Oyaishi 親石 ●Fukuishi 副石 ●Soeishi 添石 ●Suteishi (a sacrificial stone) 捨石
●Lay a thin, even layer of the substrate.
It is the cardinal rule to start an arrangement by placing the
Oyaishi first. An attractive and well-balanced Iwagumi can be
created by placing the Oyaishi following the golden ratio of
1:1.618 (roughly 2:3).
●Arrange Oyaishi according to the golden ratio.
Following the placement of Oyaishi, remaining rocks are
placed in descending order of size: Fukuishi first, then
Soeishi, and Suteishi last. The positions of rocks are decided
by watching the balance of the angles and orientations of the
rocks.
●
Since aquatic plants can soften the
strength of rocks, aquatic plants are used
to create a balance in the strength among
the rocks. Low- growing plants are used
to accentuate the details of a rock
arrangement. Planting aquatic plants
next to or in-between rocks is key for
enhancing the natural feel of the layout.
●A key point for planting
Mound soil by spreading additional Aqua Soil over the
existing substrate using a small plastic container. Let some
Aqua Soil flow in between rocks to produce a sense of
continuity. Finish the substrate by spreading powder type
Aqua Soil over the mounded soil.
●Finish the substrate by mounding soil.
Oyaishi
親石
For someone who wants to try an Iwagumi layout for the first time
[ ∼ S p e c i a l e d i t i o n ∼ ]
An Introductory Guide to
Iwagumi
Fukuishi
副石
Soeishi
添石
Soeishi
添石
Suteishi
捨石 01 02
03 04
Th is is the p r im ary rock in
Iwagumi. It is the largest rock as
well. Select the best one in terms
of shape and character. Its height
should be approximately 2/3 of the
height of an aquarium.
This is the second largest rock and
is placed on either left or right side
of the Oyaishi. Selec t a rock with
the same or similar texture as
Oyaishi to give uniformity to the
overall Iwagumi.
It is smaller than Fukuishi and is
placed next to the Oyaishi, along
with the Fukuishi. It plays a key
role in the flow that the Oyaishi
creates by bolstering the presence
of the Oyaishi or accentuating the
strength of Oyaishi.
It is a small rock that does not
s t a n d o u t i n t h e o v e r a l l
arrangement of Iwagumi, and it
may even become hidden by
aquatic plants occasionally. Its
presence has a subtle, simple
elegance.
POINT! POINT!
POINT! POINT!
●What is Sanzon Iwagumi?(三尊石組)
It is the most basic composition of Iwagumi
in which the largest rock is placed in the
center and a smaller Fukuishi and Soeishi
are placed to the left and right of the Oyaishi.
This type of composition is called Sanzon
Iwagumi due to the resemblance of the rock
arrangement to Buddhist triads.
●
It is considered good to have an odd number
for the rocks that play the major parts in
scenery. An even number of rocks tends to
look symmetrical or makes scenery appear
split. Iwagumi looks more attractive if the
center of the balance is somewhat shifted to
one side or the other.
An even number of rocks
tend to split evenly.
Having an odd number of
rocks prevents the even split.
●
While Sanzon Iwagum i in Japanese
gardens, such as those in the dry garden
style, often appears upright, the Oyaishi in
Nature Aquarium is placed in an angle to
express the flow of water by appearing to
bear the force of the water.
❶
❷❸
Should the number of rocks be seven,five, or three? Why is the Oyaishi tilted?
Arrange the remaining rocks from the largestto the smallest in descending order of size.
2 3
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