Complete Guide to Koi Varieties

Quick answer

Koi varieties are not separate biological species or breeds in the conventional livestock sense. They are recognised visual forms of Nishikigoi—ornamental common carp—classified mainly by combinations of ground colour, pattern colour, scale type, metallic lustre and special scale effects. A koi can therefore be described by several layers at once: for example, a fish may be a Showa by pattern, Doitsu by scale type and Ginrin if it carries reflective scales.

For beginners, the easiest way to learn varieties is to start with the major visual families rather than memorising dozens of names. Learn Kohaku, Taisho Sanshoku (Sanke), Showa Sanshoku, Utsurimono, Bekko, Asagi, Shusui, Goshiki, Koromo, Tancho, metallic varieties, Ginrin varieties and the broad group of Kawarimono or Mujimono. Once those foundations are clear, most unfamiliar koi names become much easier to decode.

1. What does “koi variety” actually mean?

All Nishikigoi are domesticated ornamental forms of common carp. The word “variety” is used by breeders, dealers, hobbyists and show organisations to describe a recognisable appearance. That appearance may be defined by pattern, colour, scale structure or metallic quality. The system is practical rather than perfectly taxonomic, which is why the same fish can sometimes be described differently in a sales context and in a show-entry context.

This distinction matters. A dealer may use a highly specific name to communicate what a fish looks like or how it was bred, while a show organisation may place that fish into a broader class so that judging remains manageable. Zen Nippon Airinkai (ZNA), for example, states that there are well over one hundred Nishikigoi varieties if pattern and colour differences are divided finely, yet it currently organises normal show entries into 17 principal variety categories, with additional male classes for larger koi. ZNA also notes that a fish is judged by its actual appearance rather than simply by the variety name attached to it.

The practical lesson is simple: learn the visual characteristics first and the label second. A name should help you describe the fish, not replace careful observation.

2. The building blocks used to identify a koi

Most koi names become easier to understand when you break the fish into a few visual components. These components overlap, and experienced keepers mentally assess them almost at the same time.

Ground colour

The ground colour is the base on which other markings are displayed. White is the most familiar because Kohaku, Sanke and many other varieties rely on a clean white ground, but koi can also have blue-grey, black, yellow, brown, tea-coloured, orange, red, platinum or other base tones. The quality of that ground matters as much as the hue itself. A white ground that looks thick, luminous and even is very different from one that appears thin, yellowed or dull.

Pattern colour

Japanese koi terminology frequently describes the coloured markings themselves. Hi or beni generally refers to red pigmentation, while sumi refers to black. On blue-based koi such as Asagi, the blue reticulation and the placement of red along the sides become defining traits. In Goshiki and Koromo, darker scale effects interact with the underlying red-and-white pattern in ways that create an entirely different visual impression from Kohaku even when the basic red pattern may appear related.

Scale type

Most koi are fully scaled. Doitsu koi descend from German mirror or leather carp introduced into Japan in the early twentieth century and show reduced scaling. Some Doitsu fish are nearly scaleless, while others carry rows of larger scales along the dorsal line or lateral areas. “Doitsu” is therefore usually a scale-type modifier rather than a standalone colour variety: Doitsu Kohaku, Doitsu Sanke, Doitsu Showa and Doitsu Hariwake are examples.

Metallic lustre

Metallic koi have a reflective sheen that extends beyond isolated sparkling scales. This lustre changes the way colour is perceived across the body, head and fins. Hikari-mujimono refers to single-coloured metallic koi such as Yamabuki Ogon or Platinum Ogon; Hikari-moyomono covers metallic patterned koi that are not Utsuri-based; Hikari-utsurimono covers metallic forms related to the Utsuri/Showa family.

Ginrin

Ginrin is a scale effect rather than a basic colour pattern. Individual scales reflect light strongly, producing a glittering appearance. A koi can therefore be Ginrin Kohaku, Ginrin Showa, Ginrin Goshiki, Ginrin Ochiba and so on. ZNA separates Kinginrin into different show groups, and its guidance requires clear, organised rows of reflective scales for a koi to compete appropriately in Ginrin classes. Random sparkling scales do not automatically make a fish a strong Ginrin specimen.

Special pattern concepts

Some names describe the location or character of a pattern. Tancho is the best-known example: in show classification, Tancho refers to koi whose defining coloured marking is a single head spot, with the rest of the body lacking that same pattern colour. Maruten, by contrast, describes a separate round head marking accompanied by additional body pattern. This is why a Maruten Kohaku should not be confused with a Tancho Kohaku.

3. The major koi variety families at a glance

The following table is a practical learning map. It is not meant to replace the rules of a particular koi show, because show classifications can differ between organisations and can be revised over time.

4. Gosanke: the three varieties every koi keeper should learn first

Kohaku, Taisho Sanshoku and Showa Sanshoku are commonly grouped as Gosanke. They dominate much of traditional Nishikigoi appreciation because they combine demanding skin quality with strong pattern requirements and, in Sanke and Showa, challenging sumi development. Learning to distinguish them trains the eye to notice the basic elements used throughout the hobby.

Kohaku

Kohaku is defined by red markings on a white ground. The apparent simplicity makes weaknesses easy to see: body shape, the purity of the white skin, the depth and evenness of the red, the edges of the pattern and the distribution of pattern along the body all matter. A visually exciting pattern cannot fully compensate for poor skin or weak conformation in a high-level fish.

Pattern names such as Nidan, Sandan, Yondan, Inazuma and Maruten describe layouts or characteristics of the red markings; they do not create a separate fundamental variety. The same principle appears elsewhere in koi terminology: many names are descriptive layers rather than completely independent categories.

Taisho Sanshoku (Sanke)

Sanke combines a white ground, red pattern and black sumi. Compared with Showa, the visual foundation is usually read as a red-and-white fish decorated with black accents. Good Sanke sumi should add rhythm without destroying the clarity of the underlying white and red. The head is traditionally expected to remain free of black in the classic expression, although pattern appreciation is ultimately about the complete fish rather than a single isolated rule.

Showa Sanshoku

Showa also uses red, white and black, but black is structurally more important. Sumi may wrap around the body and can appear on the head. Motoguro—black at the base of the pectoral fins—is an important traditional feature in many Showa and Utsuri. Modern breeding has produced Showa with more white than older examples, so beginners should avoid relying on a simplistic “mostly black versus mostly white” rule. The relationship and behaviour of the sumi are more useful clues.

Young Showa are particularly educational because sumi can emerge, consolidate, recede or change apparent balance as the fish grows. Buying solely on the black pattern visible at a small size can therefore be misleading. Bone structure, skin, beni quality and the potential placement of underlying sumi often matter more than immediate photographic impact.

5. Utsurimono and Bekko: understanding black pattern structure

Utsuri and Bekko are easy to confuse because both can include black and white. The difference is not merely the amount of black. It is the structural relationship between black and the ground colour.

Utsurimono are black-based, two-colour koi. Shiro Utsuri combines black and white, Ki Utsuri black and yellow, and Hi Utsuri black and red/orange. Strong Utsuri often show bold sumi that wraps the body, with the black functioning as a foundational pattern rather than isolated spots. Sumi on the head is normal and can be essential to balance.

Bekko are traditionally understood as koi with a white, red or yellow base carrying separate black markings. Shiro Bekko is the most familiar. Because the ground colour reads first and the black sits on top as discrete markings, the visual feeling differs from Utsuri even if a single photograph contains similar proportions of black and white.

When learning the distinction, ignore the variety name provided by the seller for a moment. Ask: does the black look like the underlying structural pattern, or does it look like separate markings placed on another ground colour? That question is usually more useful than counting black patches.

6. Asagi and Shusui: scale order, blue skin and controlled red

Asagi is one of the oldest major Nishikigoi varieties and is visually different from Gosanke. Its appeal centres on the orderly reticulation of the scales, a clean head, blue or indigo character over the upper body, and controlled red or orange along the cheeks, pectoral areas and lower sides. Because the pattern is built into repeated scale structure, disorder is immediately visible.

The best Asagi are not simply the darkest or most colourful. Many experienced keepers value a clean, youthful appearance with even netting and red that remains in appropriate lower areas rather than climbing excessively over the body. Asagi can darken with age, and environmental conditions, genetics and development all influence the finished appearance. This is a variety where patience is often more valuable than choosing the most dramatic juvenile.

Shusui was created by crossing Doitsu carp with Asagi lineage and retains the family relationship in a reduced-scale form. Instead of a full reticulated back, the eye is drawn to the line of larger dorsal scales, the cleanliness of the skin and the balance of side colour. Irregular dorsal scales are difficult to hide on a Doitsu fish, so scale alignment can become a major quality point.

7. Goshiki and Koromo: when reticulation meets red-and-white pattern

Goshiki literally conveys a “five-colour” concept, although modern Goshiki can look very different from one bloodline to another. Many show a Kohaku-like red pattern over a darkened or reticulated ground. Some retain clean red plates sharply separated from darker background scales, while others develop more integrated dark effects. The range is part of the variety’s fascination, but it also means that predicting development requires knowledge of the breeder and bloodline.

Koromo, or Ai Goromo-type fish in the classic expression, also combine a Kohaku-like structure with darker scale edging or overlay, but the effect is usually associated more specifically with the red patterned areas. Beginners often confuse young Goshiki and Koromo because both can show incomplete dark development. Rather than memorising photographs, study where the dark scale effect is intended to appear and how it interacts with the white ground and red plates.

8. Metallic koi: Hikari-mujimono, Hikari-moyomono and Hikari-utsurimono

Metallic koi are identified by a reflective lustre that should appear across the skin, head and fins, not merely as a few glittering scales. A strong metallic finish gives the fish a polished, almost luminous presence under natural light.

Hikari-mujimono

These are single-coloured metallic koi. Yamabuki Ogon, with a yellow-gold body, and Platinum Ogon, with a bright silver-white body, are well-known examples. Because there is little or no complex pattern to distract the eye, body shape, uniform colour, clean fins and uninterrupted lustre become especially important. On a large Ogon, any weakness in conformation or metallic consistency is obvious.

Hikari-moyomono

These are metallic koi with two or more colours, excluding the Utsuri-based metallic family. Examples include Hariwake and Kikusui. The challenge is to combine a clear pattern with strong metallic sheen. A fish can have attractive markings yet still feel flat if the lustre is weak or inconsistent, particularly across the head and fins.

Hikari-utsurimono

This group combines metallic character with the black-pattern family associated with Utsuri or Showa. Kin Showa and related forms are examples. Because both sumi and metallic lustre are visually powerful, balance is important; muddiness in either element can quickly reduce the clarity of the fish.

9. Tancho, Ginrin and Doitsu: modifiers that beginners often treat as separate worlds

Three concepts cause repeated confusion because they can sit on top of another variety identity.

Tancho

Tancho is defined by a single focal marking on the head, with the body lacking that same pattern colour. Tancho Kohaku, Tancho Sanke and Tancho Showa are the most familiar, but show rules can group a wider range of Tancho forms together. The quality of the head mark includes shape, placement, colour and its relationship to the head itself. A perfectly round mark is highly attractive, but overall koi quality still matters; a beautiful circle does not rescue poor conformation or weak skin.

Ginrin

Ginrin describes reflective scales. The effect should enhance, not obscure, the underlying variety. A Ginrin Kohaku must still be a good Kohaku. A Ginrin Showa must still have convincing Showa qualities. For serious selection, assess the fish twice: first as the underlying variety, then for the quality and organisation of the Ginrin. This prevents glitter from disguising weaknesses.

Doitsu

Doitsu refers to reduced scaling. Again, the underlying variety still matters. On fully scaled koi, slight irregularities may be visually softened by the repeating scale pattern. On Doitsu koi, the skin surface and the few large scales are exposed, so irregular scale placement can become more obvious. Doitsu varieties can look exceptionally clean and dramatic, but this clean look makes imperfections difficult to ignore.

10. Kawarimono and Mujimono: the broad family beyond the classic show groups

Kawarimono has historically functioned as a broad home for non-metallic varieties that do not fit neatly into more established classes. Depending on the show system, solid-colour koi and particular families may now be separated into Mujimono or other categories. This is a good example of why show classifications should not be treated as permanent biological taxonomy.

Important koi in this broader world include Chagoi, Soragoi, Karashigoi, Ochiba Shigure, Kumonryu, Beni Kumonryu, Matsukawabake, Karasugoi-related types and many more. Some are valued for unusual changing patterns, some for impressive growth and body volume, some for calm temperament, and some for subtle skin quality rather than dramatic contrast.

A common beginner mistake is to assume that “miscellaneous” means inferior. It does not. The class may be miscellaneous from an organisational perspective, but individual koi can be extremely high quality, technically difficult to breed and highly prized.

11. How to evaluate any variety without getting lost in names

Variety identification is only the first step. A correctly named koi is not automatically a good koi. When comparing two fish of the same variety, begin with fundamentals that apply across the hobby, then move to variety-specific details.

Body conformation

Conformation is the architecture of the fish: head shape, shoulder strength, body depth, width, balance, tail tube and the way the body tapers toward the caudal peduncle. ZNA terminology specifically recognises the importance of the ozutsu, or caudal peduncle, as an indicator of future body conformation. A powerful body is not the same as a short, fat body; the goal is proportion, structural strength and the ability to carry volume as the koi matures.

When judging juveniles, look beyond current bulk. A young koi that has been heavily fed can appear impressive temporarily, while a better-framed fish may have more long-term potential. Head width, shoulder transition, backbone line and tail tube are often more informative than simple body weight.

Skin quality

Skin is one of the hardest qualities to learn from photographs. High-quality skin has depth, lustre and a sense of softness or translucency that makes colour appear to come from within rather than sitting flat on the surface. White skin should look clean and luminous; metallic skin should show continuous sheen; blue and grey grounds should look even and refined rather than dirty.

Lighting can deceive. Phone sharpening, saturation and reflections can make weak skin look stronger or alter the apparent hue of beni and sumi. Whenever possible, evaluate valuable koi in controlled natural light, video and direct viewing rather than relying on a single edited photograph.

Colour quality

Colour should be assessed for depth, uniformity, cleanliness and suitability for the fish’s age. Mature-looking colour on a small koi is not always an advantage if it indicates limited future development. Conversely, unfinished sumi on a young Sanke or Showa is not automatically a defect if the skin and underlying indicators suggest future potential. This is where breeder knowledge becomes important.

Pattern

Pattern creates individuality, but it should be considered after body and skin rather than before them. A pattern should lead the eye through the fish, remain balanced from front to back and from side to side, and make good use of the body as it grows. The “best” pattern is not always the most symmetrical one. Controlled asymmetry can create movement and elegance.

A popular educational shorthand used by some koi judging instructors is a 50-30-20 emphasis on conformation, quality and pattern. It is useful as a reminder not to overvalue pattern, but it should not be treated as a universal mathematical rule for every show, judge, size or variety. Official judging systems and real judging decisions are more nuanced.

Overall presence

The final impression is sometimes described as dignity, presence or imposing quality. Two koi can be technically close yet feel very different when swimming. A mature fish with strong body, calm movement, luminous skin and coherent pattern can command attention before the viewer consciously analyses the details. Presence is difficult to score mechanically, but it is a genuine part of advanced appreciation.

12. Development: why a koi variety cannot be judged from one moment in time

Koi are living animals, and many visual traits change as they grow. The rate and direction of change depend on genetics, sex, age, feeding, water temperature, growth rate, water chemistry, husbandry and individual variation. This is why an experienced buyer asks not only “What does this koi look like today?” but also “What stage of development is it in?”

Sumi may emerge later, especially on varieties such as Showa. Beni can stretch as the body grows and may appear softer on a rapidly growing juvenile. Asagi reticulation can become darker and more defined with age. Goshiki can transform dramatically as darker ground colour develops. Kumonryu and related varieties may change black pattern seasonally or over longer periods. Metallic lustre can look different under different conditions, and Doitsu scale irregularities can become more obvious as the body enlarges.

Development is also why copying a “finished champion” photograph is a poor way to select a tosai. The correct juvenile appearance for a future high-quality adult may be less dramatic. Buying young koi is partly the art of recognising unfinished quality.

13. Size, sex and age change how variety quality should be read

Standards do not disappear as koi grow, but priorities shift. At small sizes, pattern can dominate visual impression because the body has not yet developed. At larger sizes, conformation and skin quality become increasingly difficult to ignore. A pattern that looked perfectly proportioned on a 20 cm koi may spread differently across an 80 cm body.

Female koi are often favoured in high-level jumbo competition because many bloodlines produce greater body volume in females, but males can also be exceptional. ZNA’s current international show system includes additional male classes for koi of 55 bu and larger, illustrating that sex can be accounted for within competition structure rather than treated as a simple measure of quality.

For a hobbyist choosing a pond fish, sex should be considered in relation to goals, stocking density, expected size and budget—not as a rule that one sex is always “better”. A beautifully finished male koi can provide outstanding colour and pattern in a smaller pond, while a female from a strong growth line may require substantially more space and long-term management.

14. Choosing koi for your pond: a practical sequence

The easiest way to make expensive mistakes is to shop by variety name alone. Use a fixed evaluation sequence so that excitement does not overpower fundamentals.

1. Confirm health and swimming behaviour first. Do not evaluate beauty before basic health, balance and respiration appear normal.
2. Identify the underlying variety. Determine whether the fish is fundamentally Kohaku, Sanke, Showa, Utsuri, Goshiki, metallic, etc.
3. Identify modifiers. Is it Doitsu, Ginrin, Tancho, metallic, or a combination?
4. Assess body frame. Look at head, shoulders, spine, body depth, tail tube and proportional taper.
5. Assess skin and colour quality. Ignore the pattern for a moment and ask whether the surfaces themselves are high quality.
6. Assess the pattern in relation to future growth. Consider whether the design will still work on a larger body.
7. Consider development stage. Ask what is unfinished and what is already complete.
8. Consider the breeder and bloodline when buying young koi for long-term potential. Development tendencies are not identical between lines.
9. Only then consider price. A cheaper fish is not good value if the features you care about are structurally weak.

15. Common mistakes when learning koi varieties

Memorising names without understanding structure: This creates confusion as soon as a fish does not look exactly like the example photograph. Learn the relationship between ground colour, pattern, scales and lustre.

Assuming every dealer uses names identically: Commercial naming can be more specific or more flexible than show classification. Verify the fish visually.

Judging all varieties by Gosanke rules: A perfect Asagi, Ogon or Chagoi is not trying to look like a Kohaku. Each variety has its own defining strengths.

Choosing pattern before body and skin: A striking pattern can make a weak fish look attractive for a few seconds. Long-term quality begins with structure and skin.

Expecting juvenile koi to look finished: Some of the best future koi look unfinished when young. Development potential is part of the purchase.

Treating Ginrin or metallic shine as decoration only: These effects have quality standards of their own and should be consistent, not random.

Confusing Doitsu with a colour variety: Doitsu describes scale character. You still need to identify the underlying variety.

Believing show class equals biological identity: Show classes exist to organise competition. They can change, and different organisations can classify some koi differently.

16. What Malaysian and tropical keepers should consider

Variety standards are global, but development conditions are not. In Malaysia, koi ponds may remain warm for much of the year, so growth, feeding and colour development can follow a different seasonal rhythm from traditional Japanese mud-pond cycles. Warm water can support strong metabolism and growth when oxygen, water quality and nutrition are excellent, but it also increases the cost of poor husbandry because oxygen demand and biological activity are high.

For colour appreciation, do not chase artificially intense colour at the expense of long-term skin quality or water quality. Strong growth must be supported by adequate filtration, dissolved oxygen and controlled feeding. Shade can also be useful in exposed tropical ponds because extreme sunlight and heat affect both water conditions and how skin and colour are perceived.

When buying imported koi, remember that transport, fasting, quarantine and a change from Japanese water to local water can temporarily alter the fish’s appearance. Evaluate health first, allow proper acclimatisation and quarantine, and do not assume a newly arrived koi represents its final skin condition within the first few days.

17. Show classification versus everyday appreciation

Koi shows need clear classes so that comparable fish can be judged together. ZNA currently lists 17 principal variety categories for standard judging, including Kohaku, Taisho Sanshoku, Showa Sanshoku, Utsurimono, Kinginrin groups, Bekko, Asagi, Shusui, Koromo, Kawarimono, Goshiki, metallic groups, Mujimono and Tancho. The precise arrangement reflects show administration and can be updated.

Everyday appreciation is broader. A hobbyist may love a koi because of temperament, growth, rarity, unusual seasonal change or sentimental value even when it does not match the strongest show ideal. The show standard is useful because it teaches disciplined observation, but the pond does not need to become a judging bench. Understanding standards should increase enjoyment, not reduce every fish to a score.

18. A fast visual identification method

When an unfamiliar koi appears in a dealer bowl, auction photo or farm video, use the following decision tree:

• Is the fish metallic across the skin, head and fins? If yes, start within the Hikari families.
• Is it mainly a single non-metallic colour? Consider Mujimono/Kawarimono families such as Chagoi, Soragoi, Karashigoi or Benigoi.
• Does it have only red on white? Kohaku family.
• Does it have red, white and black? Compare Sanke versus Showa by the structural role of the black.
• Does it have black plus one other major colour? Compare Utsuri-type structure with Bekko-type structure.
• Does it have blue netting or ordered reticulation with red along the lower body? Asagi family.
• Is it a reduced-scale Asagi relative with a strong dorsal scale line? Shusui.
• Does a Kohaku-like pattern carry dark reticulation or overlay? Consider Goshiki or Koromo.
• Is there a single head marking with the corresponding pattern colour absent from the body? Consider Tancho classification.
• Are the scales strongly reflective? Add the Ginrin/Kinginrin modifier where appropriate.
• Are most scales absent or replaced by rows of larger scales? Add the Doitsu modifier.

Practical checklist: what to look for before buying

• ☐ Correct identification of the base variety
• ☐ Any modifiers: Doitsu, Ginrin, Tancho, metallic
• ☐ Straight backbone and balanced swimming
• ☐ Proportionate head and strong shoulder transition
• ☐ Good body depth without deformity or artificial-looking bulk
• ☐ Strong caudal peduncle / tail tube appropriate to the fish
• ☐ Clean, healthy skin with no obvious lesions or damaged fins
• ☐ Even, high-quality ground colour
• ☐ Colour quality appropriate to age and development stage
• ☐ Pattern that remains coherent across the whole body
• ☐ Variety-specific features such as Asagi netting, Utsuri sumi, metallic lustre or Ginrin alignment
• ☐ An understanding of what is finished and what is expected to develop
• ☐ Breeder/bloodline information when long-term development is important
• ☐ Quarantine plan before the koi enters the main collection

Frequently asked questions

How many koi varieties are there?

There is no single fixed number because varieties can be divided very finely by colour, pattern, scale type and lineage. ZNA states that there are more than one hundred varieties when distinctions are made in detail, while its current show system groups koi into a smaller number of judging categories.

What are the three main koi varieties?

Kohaku, Taisho Sanshoku (Sanke) and Showa Sanshoku are commonly grouped as Gosanke and are the best foundation for learning traditional koi appreciation.

Is Doitsu a koi variety?

Doitsu primarily describes reduced scaling. A Doitsu koi normally still belongs to an underlying colour/pattern variety, such as Doitsu Kohaku or Doitsu Showa.

Is Ginrin a variety?

Ginrin is a reflective scale characteristic that can occur on multiple varieties. Show organisations may create dedicated Ginrin classes, but the underlying variety remains important.

What is the difference between Sanke and Showa?

Both use red, white and black, but Sanke is traditionally read as a white-based red-and-white fish with black accents, whereas Showa uses black as a more structural colour and can carry sumi on the head and wrapping around the body.

What is the difference between Shiro Utsuri and Shiro Bekko?

Shiro Utsuri is fundamentally a black-and-white Utsuri-type fish with black acting as a major structural pattern. Shiro Bekko is a white-ground fish carrying separate black markings.

Does a perfect pattern make a koi high quality?

No. Conformation, skin quality, colour quality, health and development are fundamental. Pattern is important, but it should not be evaluated in isolation.

Why can the same koi be labelled differently by different people?

Some labels are commercial descriptions, some are breeding terms and some are formal show categories. Show systems also differ and change. When in doubt, describe the fish visually and check the rules of the relevant organisation.

Which variety is best for a beginner?

There is no universal best variety. Kohaku is excellent for learning because its simplicity makes body, skin, red quality and pattern easy to study. Chagoi, Soragoi and Ogon can also be rewarding pond fish for keepers who value growth, visibility and temperament.

Do koi colours always improve with age?

No. Some traits improve or finish later, while others can weaken. Development depends on genetics, age, sex and husbandry. A good purchase decision considers future potential rather than assuming every unfinished trait will improve.

Takeaway

The fastest route to understanding koi varieties is not to memorise a catalogue of names. Learn the visual language: ground colour, beni, sumi, reticulation, metallic lustre, Ginrin, Doitsu scaling and the structural relationship of the pattern to the body. Then evaluate every fish using the same fundamentals—health, conformation, skin, colour, pattern, development and overall presence—before applying the rules unique to its variety.

Once those principles become familiar, the koi world stops looking like hundreds of unrelated names. It becomes a connected system in which each variety is a different expression of the same breeding art.