Showa Sanshoku: Complete Variety Guide

1. Why Showa is one of the great teaching varieties

Showa teaches almost every advanced skill in Nishikigoi appreciation at once. The body has to support a complex pattern. The shiroji must remain bright enough to separate two strong pigments. The beni needs the coherence expected of Gosanke. The sumi must have depth and luster, yet its placement is more structural than on Sanke. The fins contribute to the design through motoguro. The head can carry both red and black, so even the face becomes part of the three-colour composition.

Because Showa can change so dramatically, it also teaches humility. Hobbyists quickly discover that a single photograph is not a complete description of the fish. Sumi may be submerged beneath the skin, partly emerged or temporarily weak. White can look different under stress or temperature change. The body itself stretches the distances between markings as the koi grows. Good Showa selection therefore depends on separating what is known from what is merely hoped for.

At show level, Showa is a major ZNA Group 1 variety and is judged separately from Kohaku, Sanke and Utsurimono. Tancho Showa is entered in the Tancho category rather than ordinary Showa, while Doitsu Showa is treated as a specific form within the Showa variety. Current ZNA rules also provide a separate male Showa Sanshoku category for 55 bu and larger male koi.

2. What exactly is a Showa Sanshoku?

A practical definition is: a three-coloured Nishikigoi whose sumi behaves as Showa-type black rather than Sanke-type black. ZNA’s Japanese description expresses the traditional concept even more clearly: Showa is fundamentally associated with a black base carrying white and red, with strong sumi rising from the lower body toward the back. Modern examples may expose far more white, but their sumi still tends to behave in broad, wrapping, structural bands rather than isolated spots laid mainly over the top of a white fish.

Head sumi is one of the easiest visual clues. ZNA notes that Showa normally displays black on the head, including classic hachiware or menware patterns and V-shaped head sumi. Sanke, by contrast, is traditionally characterised by an absence of black on the main head plate. This is a useful shortcut, but experienced identification should also consider the fins, the way black wraps around the body and the overall character of the sumi.

Showa, Sanke and Shiro Utsuri: the most important distinctions

• Showa: red, white and Showa-type sumi. Head sumi is normal. Black may wrap upward from below the lateral line. Motoguro at the pectoral bases is characteristic.
• Sanke: white-ground red-and-black koi. Head sumi is generally absent, the black tends to appear more as discrete markings over the upper body, and pectoral black more often appears as stripes called tejima.
• Shiro Utsuri: black-and-white koi with the same broad family of Showa-type sumi but without red. Studying good Shiro Utsuri is useful because it makes the underlying relationship between white and Showa sumi easier to see.

No single clue should be treated as an absolute law. Kindai Showa can be very white and Sanke can carry substantial black. Some Showa have lighter motoguro and some individual Sanke can show unusual markings. Difficult fish should be classified by the character of the whole pattern rather than one isolated spot.

3. A short history: from dark early Showa to modern refinement

Standard koi histories credit Jukichi Hoshino with establishing the early Showa form in the late 1920s, although hobby sources differ on the exact year and parent combination. What is consistent across accounts is that the early fish were much darker and rougher than the Showa admired today: the white was often greyish, the red weaker, and the black heavy. The name “Showa Sanshoku” reflects the Showa era of Japan, which began in 1926.

A major refinement came decades later when breeders introduced stronger Kohaku influence to improve the quality of the red and white while retaining powerful Showa sumi. Tomiji Kobayashi is repeatedly credited in koi histories with a breakthrough during the mid-1960s. Later breeder lines further improved body size, skin quality and the balance of all three colours. This long process explains why modern Showa can look radically different from the dark, old-style examples pictured in historical material.

The important lesson is not to divide all Showa into “old” and “new” as if one were automatically superior. The history describes a shift in breeding emphasis. Some contemporary fish remain heavily black and dramatic; others expose large fields of white and are commonly called Kindai Showa. Both can be excellent if the body, skin, colour quality and pattern balance are convincing.

4. Essential Showa vocabulary

The following terms appear constantly in Showa discussions. Learning them makes it easier to understand breeders, dealers, judges and auction descriptions.

5. The correct judging order: do not begin with the pattern

Showa pattern is so dramatic that it can distract from everything beneath it. A buyer sees a bold menware, thick motoguro and a striking lightning-shaped sumi band and immediately decides the fish is “better.” Serious appreciation works in the opposite order. First confirm health and physical integrity. Then judge the body. Next evaluate skin and colour quality. Only after that should you decide how well the pattern uses the body and how much unfinished development is reasonable to expect.

This order matters because Showa can hide weaknesses better than almost any other Gosanke. Heavy black can visually narrow a weak body or distract from uneven red. A photogenic head pattern can make the rear half feel forgotten. Conversely, a young Showa with modest visible sumi can be dismissed too early even when the body, skin and red are excellent. Pattern should complete the quality; it should not be used to excuse the absence of it.

Step 1: health and integrity

Check swimming balance, breathing, both pectoral fins, the mouth, gill covers, dorsal line and tail. Look for injury, ulceration, missing tissue, deformity or persistent asymmetry. Transport stress can temporarily reduce luster, clamp fins and alter visible colour, so do not confuse temporary condition with permanent pattern quality.

Step 2: body before colour

The head should be proportionate and sufficiently broad for the intended future size. The transition through the shoulders should be smooth, the body depth appropriate for age and sex, and the ozutsu substantial enough to support growth. On a complex Showa, a weak frame becomes increasingly obvious as the fish grows because the pattern attracts attention to every change in proportion.

6. Body conformation: Showa still has to be a great koi before it is a great pattern

In serious judging, conformation has enormous influence. Showa is not exempt simply because its colours are exciting. A balanced head, strong skeletal frame, smooth shoulder transition and powerful caudal peduncle allow the three-colour design to remain convincing at larger size. The body should look connected rather than assembled from a broad head, narrow middle and weak tail tube.

Do not mistake temporary fullness for structure. A heavily conditioned koi can look massive in a photograph, while a younger female may look relatively lean yet have a much better long-term frame. Likewise, a male can look streamlined without being weak. Judge proportion, bone, symmetry and the continuity of the body line rather than using one stereotype for all ages and sexes.

The relationship between body and pattern is especially important on Showa. A large black band that appears overwhelming on a 30 cm fish can become proportionate on a 75 cm frame. A tiny head pattern that looks charming on tosai may become visually insignificant on a jumbo body. Future pattern balance therefore depends partly on realistic expectations of future body scale.

7. The black-based idea: what it means and what it does not mean

Traditional descriptions call Showa a black-based koi. That phrase is useful when it explains the behaviour of the pattern, but confusing if interpreted literally as “most of the fish must look black.” The concept refers to the Utsuri-family character of the sumi: broad structural black that can wrap around the body and interact with the fins and head, rather than isolated black spots sitting mainly on the dorsal surface.

Modern breeding has exposed much more shiroji in many high-level Showa. ZNA specifically recognises these whiter examples as Kindai, or modern, Showa. They may look superficially closer to Sanke, yet the black still behaves differently. Look at the head, the lower flanks, the pectoral bases and the way large sumi components connect across the body. These are more useful than asking what percentage of the fish appears black.

The black-based concept also helps explain why unfinished Showa can be deceptive. Sumi may sit beneath white or red areas and emerge later, sometimes changing the apparent distribution of the three colours. That does not mean every pale grey zone is “future sumi.” It means development should be read as a biological process rather than a fixed printed pattern.

8. Sumi quality: depth, luster and finish matter more than blackness alone

ZNA terminology distinguishes good sumi by more than colour. Hon-zumi is described as dark black with thickness and luster; the same terminology system distinguishes dull brownish nabe-zumi and submerged kage-zumi or shizumi-zumi. These concepts are useful on Showa because a photograph can make all black areas look equally impressive even when one plate has real depth and another is thin, grey or grainy.

High-quality finished Showa sumi usually looks dense and dimensional, as if it belongs within the skin rather than sitting as a flat stain. It should hold its visual power beside strong beni without becoming brown or washed out. Compare the different black plates on the same koi. Consistency is informative: one lacquer-black patch beside three weak grey areas tells a different story from a fish whose emerging black has a similar underlying character throughout.

Age matters. A tosai is allowed to be unfinished. A mature koi should not be excused indefinitely with the phrase “the sumi is coming.” The older and more finished the body and beni become, the more evidence a buyer should demand that the black can also reach the required quality.

9. Head sumi: menware, hachiware and the Showa face

Head sumi is one of Showa’s signatures. ZNA illustrates hachiware or menware as black running from the nose upward toward the front shoulder, visually dividing the head, and also recognises V-shaped head sumi. These patterns can create extraordinary impact because they connect the face to the body and immediately announce the fish as Showa.

A menware is not valuable simply because it is present. It has to fit the head. A thick black stripe can make a small head look cramped, while a fine line can disappear on a very powerful adult. The best head pattern uses the available white and red rather than covering them indiscriminately. There should still be enough clean skin for the face to remain readable.

The relationship between the head sumi and shoulder pattern is equally important. A black line that visually leads into the first major body sumi can create flow. A disconnected black cap with no support behind it may feel isolated. Some excellent Showa have less textbook head markings but superior overall integration, so do not turn menware into an absolute requirement.

10. Motoguro: small fin markings with enormous visual influence

Motoguro is concentrated black at the base of each pectoral fin and is characteristic of Showa and Utsurimono. ZNA describes it as a favourable sign for good Showa sumi and for the total pattern. It frames the head, visually anchors the fins and can make a powerful koi look more complete from above.

Good motoguro should not be confused with fins that are simply covered in black. The ideal impression is a strong, compact base marking with enough clear fin remaining for contrast. ZNA also notes that excessively large sumi spreading through the fins can be regarded as an indication that the fish is past peak condition. Fin black therefore has to be judged for quality, placement and proportion, not just quantity.

Symmetry is desirable but should not become an obsession. Real fish rarely produce two perfectly mirrored pectorals. A slight difference can be acceptable if both fins remain elegant and the overall balance is strong. More serious concerns are messy black spreading far into the fins, damaged pectorals, or motoguro so weak that the head lacks visual anchoring on a fish whose body pattern is otherwise very heavy.

11. Wrapping sumi: the feature that most clearly separates Showa from Sanke

Classic Showa sumi often rises from the lower body and wraps upward across the flank toward the dorsal surface. This creates the impression of black bands encircling the body rather than dots placed on top of it. ZNA’s Japanese description explicitly highlights this upward-wrapping character as the traditional nature of Showa sumi.

This matters because photographs taken only from directly above can hide part of the pattern. A Showa that looks lightly marked in a top-down image may carry substantial black along the sides and belly. When buying expensive fish, side-angle video or a clear bowl view can therefore reveal important information that the auction hero shot does not show.

Wrapping black also affects body perception. A broad vertical band can make the body appear shorter or more segmented, while a diagonal wrap can increase the sense of movement. Good placement works with the koi’s shape; poor placement can make even excellent pigments feel heavy. Again, the question is not “does the black wrap?” but “does the wrapping black improve the complete fish?”

12. Beni on Showa: powerful enough to coexist with black

The red component must be judged as seriously as on Kohaku or Sanke. Weak, uneven beni cannot be rescued by dramatic black. Showa works because the red and black are both strong enough to interact without one looking accidental. Look for even pigment, coherent plates, healthy luster and a red tone appropriate to the age and bloodline rather than simply choosing the darkest fish.

Showa beni is often visually affected by adjacent sumi. A black plate crossing or touching red can make the red appear deeper, narrower or more fragmented than it really is. When assessing quality, mentally separate the pigments and ask whether the hi itself is even. Irregular fading, windows, thin scale centres or mixed red tones deserve attention even when the overall three-colour picture is exciting.

Young koi can carry softer-looking beni that deepens with development, and very dark early red is not automatically more durable. Buying should be based on skin quality, evenness and known developmental tendencies of the breeder line, not a universal rule that a particular shade guarantees future quality.

13. Shiroji: the space that allows a powerful Showa to breathe

On old-style Showa, white may occupy less visual space; on Kindai Showa, it can become one of the dominant design elements. In both cases, clean shiroji is essential because it separates red and black, highlights the luster of the sumi and keeps the fish from becoming muddy. The whiter the style, the more obvious every imperfection in the skin becomes.

Judge the head, shoulder, flanks and tail region carefully. Yellowing on the head can weaken the whole presentation because the face is seen first. Dirty white between black plates can make otherwise high-quality sumi look less crisp. Yet temporary condition matters: transport, recent harvest, water colour, feeding and environmental changes can influence visible skin tone.

Scientific research supports the idea that koi colour expression is biologically plastic. Recent studies have measured seasonal and temperature-related changes in white, red and black skin characteristics and associated pigment metabolites. This does not give hobbyists a simple formula for “whitening” a koi; it is evidence that a single day’s appearance is not the entire biological story.

14. Kiwa and sashi on a three-colour fish

ZNA defines kiwa as the trailing edge of a red or black marking and sashi as the softer leading edge produced where lighter scales overlap the coloured scales beneath. On Showa, both beni and sumi may show developmental edges, making the fish more complicated to read than a simple two-colour variety.

A mature, well-finished Showa should increasingly show clean boundaries, especially around major red plates and emerged black. On young fish, a scale-width of sashi can be normal, while wide or uneven sashi deserves more caution. The difficulty is deciding whether an unclear edge is normal development, poor pigment quality or simply the result of stress and photography.

Do not confuse digital sharpness with true finish. Phone processing can darken black, intensify red and create an artificial crisp border around every marking. Video, neutral lighting and comparison with known reference fish from the same breeder are more useful than judging microscopic edge quality from a heavily processed auction image.

15. Pattern architecture: think in masses, not individual spots

Showa is best read as a distribution of visual weight across the entire body. The head pattern establishes the first impression. The shoulder determines whether the fish opens strongly. Mid-body markings create rhythm. The rear pattern needs enough energy to carry the eye toward the tail without making the koi feel back-heavy. White spaces are not empty; they are active parts of the design.

Because Showa sumi can wrap, the pattern should be imagined three-dimensionally. Two black components that look separate from above may connect along the side. A white window seen from the top may be narrower when the fish turns. Serious evaluation therefore benefits from movement. Watch the koi swim and ask whether the colours continue to balance as the body rolls slightly in the water.

There is no requirement for equal mathematical percentages of red, white and black. Judge sheets and hobby descriptions sometimes use “balance of the three colours” as shorthand, but balance is visual, not arithmetic. A mostly white Kindai Showa can be balanced, and a dark traditional Showa can also be balanced, if each colour has enough presence to support the composition.

16. Traditional Showa, Kindai Showa and Hi Showa

These terms describe visual styles rather than separate formal varieties. Traditional or old-style Showa usually refers to a darker fish with large structural black and less visible white. Kindai Showa, recognised by ZNA as modern Showa, exposes more white and can appear lighter and more elegant. Hi Showa is a hobby term for fish in which red occupies a dominant visual share.

Kindai does not mean “Sanke-like equals better.” A white-heavy Showa still needs Showa character. The head black, wrapping body sumi and pectoral motoguro should make sense. If the fish loses too much structural black, it can become visually weak rather than modern. Likewise, a dark Showa is not automatically old-fashioned if the skin, body and pigments are exceptional.

When comparing styles, ask what the fish is trying to be. A bold traditional Showa should have the body and skin to carry its dark pattern. A refined Kindai Showa should have brilliant shiroji and strategically powerful sumi. A Hi Showa needs sufficiently clean black and white to prevent the red mass from becoming flat. Style changes the challenge, not the fundamental standards of quality.

17. Showa versus Sanke: a comparison that goes beyond head sumi

The distinction matters when buying because the developmental expectations are different. A Sanke buyer often asks where individual black accents will finish. A Showa buyer must also consider whether structural sumi will rise, connect, wrap or change the balance of large sections of the fish. The future pattern uncertainty can therefore be greater on Showa.

18. Sumi development: why Showa can look like a different fish a year later

Black pigmentation in koi is genetically and developmentally complex. Research on ornamental carp has linked black pigmentation to regulation of melanophore-related genes rather than one simple “black gene,” and developmental studies show pigment cells appearing and changing through early growth. For the hobbyist, the practical lesson is that visible sumi is the output of biology, age and environment—not paint fixed permanently to the scales.

Showa sumi can rise from shadowy grey to deep black, temporarily recede, break into clearer components or become more dominant as the body matures. Some bloodlines are known by breeders for later-developing sumi; others show more black earlier. That knowledge is valuable, but it is still probabilistic. Even siblings from the same pairing can develop differently.

A common error is to interpret every blue-grey area as a future perfect sumi plate. ZNA’s terminology recognises submerged or shadowy black, but the presence of kage-zumi does not specify its future outline or quality. A credible development thesis should combine visible evidence with age, breeder line, parent information when available, and ideally previous photographs of the individual fish.

19. Selecting tosai Showa: buy evidence, not a drawing in your imagination

Tosai Showa can offer spectacular value because so much of the fish is unfinished. They also create the greatest temptation to invent a future pattern. Buyers see a pale shadow near the shoulder and imagine a perfect black band; they see weak motoguro and assume it will tighten; they see empty white and decide hidden sumi must appear there. Sometimes those predictions are correct. Many times they are not.

Start with the elements that require less imagination: sound body for age, clean skin, coherent beni, healthy fins and at least some visible sumi showing the quality you want. If the fish would be disappointing unless several invisible black plates appear in exact locations, the purchase thesis is too fragile. A good unfinished Showa should already possess enough quality to justify ownership even if development is less dramatic than hoped.

Pay attention to pattern scale. Tosai often carry markings that look large because the body is small. If the frame has credible growth potential, large structural sumi may eventually become proportionate. Conversely, a pattern made of tiny busy components can become visually fragmented as the fish grows. The best choice depends on the realistic adult size, not the tosai photograph alone.

20. Nisai, sansai and older Showa: uncertainty should decrease with age

By nisai, the body direction, sex in many cases, skin quality and sumi behaviour are usually easier to read. The fish can still be unfinished, but the story should make more sense. If a dealer describes major future black, there should be some developmental evidence, a known line tendency, or earlier images supporting the claim. “Trust me” is not a substitute for information.

At sansai and older, mature quality becomes more important. The body should increasingly carry adult proportion. Beni should remain even. Shiroji should retain luminosity. Sumi should show stronger depth and definition. A mature fish can still improve, but the buyer should be paying primarily for what exists rather than for a speculative transformation.

This is especially important with expensive show fish. A mature Showa marketed as high-level competition stock should not require the judge to imagine half the pattern. Finish, condition and balance on the day matter. Potential remains relevant for future ownership, but it should no longer excuse obvious weakness in the present.

21. The role of motoguro development with age

Motoguro can change along with body sumi. In some young fish it appears broad and messy, then becomes more compact as the fin grows and the relationship between black and clear tissue changes. In others it stays too extensive. The goal is not to force a universal developmental sequence, but to understand that pectoral markings should be read in the context of age and line.

When buying older Showa, motoguro should increasingly look intentional: strong enough to frame the fish, clean enough not to muddy the pectorals, and reasonably balanced left to right. Exceptionally large spreading black can be a warning sign, particularly when the rest of the fish also looks over-finished or past peak condition.

Never sacrifice healthy, symmetrical fins for textbook markings. Damaged or deformed pectorals are structural concerns. A Showa with slightly imperfect motoguro but beautiful healthy fins is preferable to a fish whose ideal black base marking sits on a compromised fin.

22. Female versus male Showa

For very large adult competition, females are often favoured because many develop the fuller body volume associated with jumbo koi. That is a tendency, not a quality guarantee. Individual genetics, parent set, skeletal structure, pond conditions, feeding and age all matter. A poorly built female is not superior to a beautifully structured male merely because of sex.

Males can show excellent colour finish and can be highly competitive. Current ZNA International Koi Show categories include male Showa Sanshoku for 55 bu and larger. For hobbyists, male Showa can also offer attractive value if the goal is high skin and pattern quality without paying the premium attached to proven jumbo female potential.

Choose sex according to purpose. If your objective is extreme adult size, seek evidence of female body potential and an environment capable of supporting it. If your objective is a striking fish for a moderate pond or a particular show size, a strong male can be entirely appropriate.

23. Doitsu Showa and Ginrin Showa

Doitsu Showa has reduced scaling, so the colour boundaries appear larger and more graphic. This can create extraordinary visual impact, but it also exposes every flaw. Irregular scale rows, weak skin, uneven pigment edges or poor symmetry are harder to hide on a smooth-sided Doitsu fish. Body quality remains just as important as on fully scaled Showa.

Ginrin Showa adds reflective scales. Under ZNA show classification, Ginrin Gosanke including Showa are entered in Kinginrin Group 1 rather than ordinary Showa when they meet the Ginrin requirements. The reflective scale pattern should be orderly and strong enough to read as a quality feature, not merely a few accidental sparkling scales.

Both forms should still look like Showa. Doitsu or Ginrin is not a substitute for proper three-colour balance, Showa-type sumi, sound body and healthy skin. Special scale type increases visual complexity, so it often raises rather than lowers the standard required for a coherent fish.

24. Tancho Showa: why the classification changes

A true Tancho pattern has a single round or near-round red marking on the head and no other red on the body. ZNA treats Tancho as a pattern category rather than a separate genetic variety. Therefore a Tancho Showa carries Showa-type black and white on the body with the red confined to the head, and it is entered in the Tancho category rather than the ordinary Showa class.

On Tancho Showa, the interaction between head sumi and the red crown becomes a major design issue. A black line crossing or framing the Tancho mark can be dramatic, but the red still needs to read cleanly and the head should not become overcrowded. The body then has to carry a convincing black-and-white Showa composition without additional red to help distribute visual weight.

25. Show classification and what judges are trying to reward

Current ZNA classification lists Showa Sanshoku as a Group 1 variety, separate from Kohaku, Taisho Sanshoku, Utsurimono and Kinginrin Group 1. Ordinary Showa excludes Tancho Showa; Doitsu Showa remains a specific form within the Showa variety framework; and larger male Showa have their own male category.

Show judging is not a search for one diagram. Judges compare actual fish of a particular size and class. Conformation, skin quality, colour quality, finish, pattern and total impression all matter. As koi become larger and more mature, body and quality generally become more decisive because weaknesses are magnified over a bigger surface area.

Sales phrases such as “GC pattern,” “show pattern” or “future champion” should therefore be treated cautiously. Pattern can make a koi suitable for competition, but it cannot guarantee an award. The field on the day, condition, size, sex category, classification and the fish’s degree of finish all affect the result.

26. Faults, weaknesses and differences of style

Weaknesses that deserve genuine concern

• Poor conformation, deformity, weak peduncle or a body that will struggle to carry the intended adult pattern.
• Uneven or deteriorating beni, obvious windows, weak red plates or inconsistent colour quality across the fish.
• Dull brownish or persistently weak sumi on an older fish whose other colours are already mature.
• Dirty shiroji that permanently reduces separation between black and red, after allowing for temporary stress and environment.
• Jami or scattered black that muddies the skin and makes the pattern look accidental.
• Pectoral black spreading so heavily through the fins that motoguro loses definition, especially on a mature fish.
• A pattern so front-heavy, rear-heavy or visually crowded that the body no longer reads smoothly from head to tail.

Features that are more about style than automatic fault

• A dark traditional Showa versus a white-heavy Kindai Showa.
• A perfect menware versus another strong head-sumi design that still balances the face.
• Large versus moderate motoguro, provided the fins remain elegant and the marking is proportional.
• More red-dominant Hi Showa versus a more evenly distributed three-colour fish.
• Asymmetrical markings. Nishikigoi patterns are not expected to be mirror images left and right.
• An unfinished young Showa with limited visible sumi, when the purchase is supported by real developmental evidence rather than sales hype.

27. Warm-climate keeping: interpreting Showa in Malaysia and other tropical regions

Showa kept in Malaysia may spend long periods in warm water compared with koi raised through strong Japanese seasons. That changes the husbandry context. Warm water can support fast metabolism and growth, but dissolved oxygen capacity is lower as temperature rises, feeding demand increases, and stable filtration becomes even more important. These factors affect health and therefore the way skin and colour present.

Research on koi pigmentation shows that temperature fluctuations and seasonal changes can alter measurable aspects of white, red and black skin colour and related metabolites. Another study found seasonal changes in black skin area and pigment-related pathways in koi including Doitsu Showa-type fish. These findings support a cautious conclusion: visible colour can respond to environment, but there is no scientific basis for simple hobby claims such as “cold water creates sumi” or “warm water destroys black.”

For tropical keepers, the practical goal is stability. Maintain strong aeration, adequate turnover, low chronic nitrogenous waste, appropriate stocking density and nutrition matched to temperature. Avoid manipulating pH, hardness, temperature or minerals aggressively just to force colour. A healthy fish expressing its genetics well is a better target than a stressed fish temporarily showing darker pigment.

Shiroji deserves special attention in warm systems because high feeding rates, suspended waste, algae and colour foods can all influence presentation. If preparing Showa for photography or a show, improve water clarity and general condition gradually rather than using abrupt changes that increase stress.

28. Buying Showa from photographs and online auctions

Showa is particularly difficult to buy from still images. Black is easy to deepen digitally, red is easy to saturate, and white balance can make shiroji look cleaner. A dark bowl can change the perceived contrast. Top-down images also hide wrapping sumi along the flanks and may conceal asymmetry in the motoguro.

For higher-value purchases, ask for neutral video showing the koi swimming and turning. Look for consistent body symmetry, both pectoral fins, the caudal peduncle, the side distribution of black, and whether the colour remains convincing outside the hero angle. If possible, request earlier photos or harvest images for unfinished fish. Development history is especially valuable on Showa because the pattern can change substantially.

Be cautious with annotations that draw future black directly onto the image or claim that every grey zone will rise. Treat those as hypotheses. A better seller explanation identifies what is already visible, describes the breeder line and age, and clearly separates observed evidence from prediction.

29. Common myths about Showa

Myth 1: A good Showa must have exactly one-third red, one-third white and one-third black.

There is no mathematical rule. Visual balance depends on body size, pattern scale, quality and style. Kindai Showa can be white-heavy, while traditional Showa can carry much more black. Both can be balanced.

Myth 2: Every Showa must have a perfect menware.

Head sumi is characteristic and a strong menware can be highly desirable, but an excellent fish can have a different head-sumi structure if the complete pattern works. The whole head and body matter more than one named marking.

Myth 3: More motoguro always means stronger future sumi.

Motoguro is an important Showa feature, and ZNA notes it as a favourable sign, but excessively spreading fin black can also be undesirable. Development must be judged in context rather than by quantity alone.

Myth 4: Grey shadow always becomes black.

Submerged sumi can rise, but its future outline and quality are not guaranteed. Hidden black should be treated as potential supported by evidence, not as an already-owned pattern.

Myth 5: Warm water permanently ruins Showa sumi.

Scientific studies show pigmentation responds to temperature and season, but the relationship is complex and partly reversible. Genetics, age, health and husbandry all contribute. Avoid one-factor explanations.

Myth 6: Showa should always be judged as a black fish with colours placed on top.

The black-based concept describes lineage and pattern character. Modern Kindai Showa may show extensive white. What matters is that the sumi still behaves as Showa-type structural black.

30. Practical buying checklist

31. Frequently asked questions

Is Showa basically Sanke with black on the head?

No. Head sumi is a useful identification clue, but the deeper difference is the character of the black. Showa sumi is more structural, can wrap upward from lower on the body and is associated with motoguro. Sanke black more often behaves as discrete upper-body accents with striped tejima in the pectorals.

Does Showa have to start life black?

Breeding descriptions commonly refer to black fry, or kuroko, being selected in Showa production, reflecting the variety’s black-based heritage. That does not mean an adult must remain predominantly black. Modern selection can produce very white Kindai Showa while retaining Showa-type sumi.

What is motoguro?

Motoguro is concentrated sumi at the base of the pectoral fins. It is characteristic of Showa and Utsurimono. Strong, compact motoguro helps frame the head and can support the total pattern, while black spreading excessively through the fins can be less desirable.

What is menware or hachiware?

It is a classic head-sumi pattern in which black runs from the nose upward, visually dividing the head and often connecting toward the shoulder. It can be very attractive, but it is not a mandatory template for every high-quality Showa.

What is Kindai Showa?

Kindai means modern. Kindai Showa refers to Showa with more visible white and often less dominant black than older styles. It remains ordinary Showa for variety classification; Kindai is a descriptive style term.

What is the difference between motoguro and tejima?

Motoguro is a compact black base marking in the pectoral fins of Showa and Utsurimono. Tejima is striped black running through the pectoral fin rays, associated with Sanke and Bekko.

Should I choose a tosai with lots of sumi or very little?

Neither extreme is automatically better. Choose body, skin and red first, then evaluate the quality and credibility of the visible and submerged sumi according to the breeder line. A fish with heavy early black can become crowded, while a nearly blank fish may require too much speculation.

Can Showa sumi disappear?

Visible black can change in intensity, recede or reorganise as the fish grows and its condition changes. Some sumi also remains submerged. Long-term development varies by genetics and individual fish, so no responsible prediction should be absolute.

Does a Showa need red on the head?

No single red head pattern is mandatory. The head needs a convincing three-colour composition for the style of fish. Some Showa have substantial head beni, others rely more on white and black. Balance and quality matter more than a fixed diagram.

Can colour food improve a Showa?

Dietary carotenoids can influence red/orange saturation, but feed cannot create superior genetics, repair a poor body or place sumi where the fish lacks the developmental potential. Heavy colour feeding can also affect the way shiroji presents, so it should be used carefully as part of overall nutrition.

Is a Kindai Showa automatically better than a dark Showa?

No. They are different styles. A brilliant Kindai Showa requires exceptional white and strategically strong black. A darker Showa requires excellent pigment quality and enough clean space to remain readable. The better fish is determined by body, quality, finish and total balance, not by style label alone.

32. A simple way to train your eye

When comparing several Showa, first ignore the named pattern terms. Rank the fish by body and skin alone. Next judge the red as if it were the only coloured pattern. Then judge the black only for quality and structure. Finally, restore the complete three-colour view and ask which koi uses its black to improve the body rather than merely decorate it.

On the second pass, watch each fish move. Look at the side wrap, both pectorals and the relationship between head sumi and shoulder pattern. Many Showa that look balanced in a still photograph become front-heavy or one-sided in motion. Conversely, some complex patterns make much more sense when the fish turns and the wrapping sumi becomes visible.

The best training material is a sequence of real development photographs from known breeders. Compare tosai, nisai and sansai images of the same fish. This teaches which submerged blacks actually rose, how motoguro changed, how the white expanded visually with growth and which early “rules” failed. Development history is more educational than memorising slogans.

33. Final perspective: great Showa is controlled power

A great Showa is powerful without becoming chaotic. The body gives scale. The skin gives quality. The red supplies warmth and mass. The white creates light and breathing space. The sumi provides structure—through the head, flanks, shoulder, wraps and pectoral bases. When these elements support one another, the koi can feel dynamic from every angle rather than merely busy from above.

For the buyer, the most useful discipline is to separate evidence from hope. Buy the body you can see, the skin you can see and the colour quality you can see. Give reasonable value to unfinished sumi only when age, line and developmental evidence justify it. Do not pay adult prices for a pattern that exists mainly in someone’s explanation.

If one rule deserves to be remembered, use this: a Showa should already be a high-quality koi before its future black is added in your imagination. That principle protects the budget, improves selection and leads naturally toward deeper appreciation of one of Nishikigoi’s most rewarding varieties.