Name: 水景佈石的極致奧義：巖組水景的藝術！ (Mastering Iwagumi: The Art of Rock Formations in Aquascaping)
Uploaded: 2026-02-24T16:47:28.000Z
Duration: 14 min 23 s

過去簡單式

You heard me use the word iwagumiwagumi about a thousand times on this channel before.

你們應該聽我在這個頻道上講過 iwagumi 大概一千次了。

我們之前也大概解釋過是什麼。

If you simply want to translate Iwagumi to English, it means rock formation or rock arrangement.

如果你只是想把 Iwagumi 翻譯成英文，它的意思就是岩石結構或岩石佈置。

Nowadays, people call Iwagumi any aquarium that has rocks only and no other type of hardscape.

現在，大家會把只有石頭、沒有其他造景材料的水族箱都叫做 Iwagumi。

But an Iwagumi was actually developed by none other than Takashi Amano, father of aquascaping.

但 Iwagumi 其實是由水景之父 Takashi Amano 所開發的。

它有非常非常明確的規則，但是

the style itself has actually changed a lot and has actual route of development.

這個風格本身其實改變了很多，也有實際的發展脈絡。

And we're going to talk through that today.

今天我們就要來好好聊聊這個。

Well, I'm going to talk you through that today and also I'm going to try to give you some tips on how you can make great Iwagumi scapes.

今天我就來跟大家聊聊這個，也分享一些做出超棒 Iwagumi 技巧。

Doesn't really matter if we are talking true classic Iwagumi or some of the new stuff.

不管是經典的 Iwagumi 還是比較新的風格，其實都差不多。

Iwagumi started over 30 years ago now, and

Iwagumi 大約是三十年前開始的，

when we visited Japan and visited the ADA Gallery, I was lucky enough to go to the spot on the seaside in Japan where Takashi Amano used to go out and take regular photos about how the scenery changes and how nature forms the rocks on the seaside.

我之前去日本參觀 ADA Gallery 時，很幸運地去了海邊， Takashi Amano 以前常去那裡拍照，記錄海邊風景的變化和石頭的形成。

The reason for going back to the same place and taking photos of the same rocks over years as to see how they change, because a lot of stuff in Japanese culture goes back to wabi sabi, which is really difficult to explain.

之所以會多年來重複去同一個地方、拍同一塊石頭，是為了觀察它們的變化，因為日本文化很多都源於 wabi sabi，這真的有點難解釋。

I don't want to say that I completely understand it, but

basically it means that you find perfection in imperfect things.

但基本上它的意思就是在不完美的事物中找到完美。

This sort of philosophy is in Iwagumi very, very deeply and a very big part of it, placing the rocks in a way that they are actually imperfect.

這種哲學在 Iwagumi 中非常非常深層，也是很重要的一部分，就是把石頭擺成看起來不完美的方式。

But when you look at the whole thing in one, then it is perfect, it is balanced, it has harmony.

但當你整體看起來時，它就是完美的，是平衡的，是有和諧感的。

And this is what Takashi Amano examined by looking at the same spot many, many, many times to see how nature develops that scene over time, To understand how strict these rules are.

而這也是 Takashi Amano 多年來重複觀察同一個地方，看大自然如何隨著時間發展出那個場景，來理解這些規則有多嚴謹。

I think the most important stuff is that the rocks are actually named.

我覺得最重要的一點是，石頭其實都有名字。

In an Iwagumi scape, every single piece has its purpose.

在 Iwagumi 景觀中，每一塊石頭都有它的功用。

It starts out with oyashi, which is the main rock, the parent stone.

它從 oyashi 開始，也就是主石、母石。

Now, this is obviously the biggest stone in the scape.

當然，這顯然是景觀中最大的石頭。

It should take about 2/3 of the complete weight of the aquarium.

它應該佔據水族箱整體重量的 2/3。

it's very important that it's always offset to one side to follow the rule of thirds.

而且很重要的一點是，它總是會偏向一邊，以遵循三分法規則。

And in most cases it's slightly tilted and hence starting to create the imperfection by creating imbalance in the scape.

而且在大多數情況下，它會稍微傾斜，藉此透過在景觀中製造不平衡來開始創造不完美。

And the secondary stone, the fukuishi, is there to give balance back, but without creating symmetry.

而次要的石頭，也就是 fukuishi，則是為了平衡而存在，但不會造成對稱。

So the second stone, it usually stands against the main stone to create the balance, but

所以第二顆石頭，通常會靠著主石來創造平衡，但是

Now, the third type of stone is the soi, which can already be multiple stones, not just one.

現在，第三種石頭是 soi，它可以是多顆石頭，不只一顆。

These are supporting stones, and by support, I mean physical support and visual support.

這些是輔助石，我說的輔助，是指物理上的支撐和視覺上的支撐。

These stones don't have to actually touch the main stones.

這些石頭不一定要真的碰到主石。

Obviously they are smaller than the first two stones, usually drastically smaller, so about half the size of the secondary stone.

顯然它們比前兩顆石頭小，通常會小很多，大約是次要石頭的一半大小。

And they actually again add to the balance and the harmony of the whole layout.

它們實際上再次增加了整個佈局的平衡與和諧。

And then there's the fourth type of stone, which is suteishi.

然後還有第四種石頭，也就是 suteishi。

And again, these can be multiple stones and.

而且，這些石頭也可以是多顆。

And it translates into sacrificial stone.

Now, these stones are sometimes not even visible by the end.

其實這些石頭有時候到最後是看不見的。

這些是圍繞在造景周圍的細節。

Again, they have the purpose in the main visuals, but

一樣，它們在主要視覺上也有它的作用，但是

it's not a problem if later on the plants actually hide them or they just disappear in the process of nature taking over the space that we provided for it.

如果之後植物把牠們藏起來，或是牠們在我們提供的空間裡，隨著自然發展而消失，那也沒關係。

There is a misunderstanding about Iwagumi saying that you can only use three stones and then the sacrificial ones.

有一種誤解是關於 Iwagumi，認為你只能用三顆石頭，再加上捨石。

There can be as many stones as you want in an iwagumi, as long as they follow these actual rules.

只要符合這些實際的規則，Iwagumi 裡可以有你想要的任何數量的石頭。

But it's very, very important that you need to use an odd number of stones.

但非常非常重要的一點是，你必須使用奇數數量的石頭。

When you have even number of stones, it creates symmetry in your mind.

當石頭數量是偶數時，會在腦海中形成一種對稱感。

Using odd number of stones is very, very important aesthetically in any Iwagumi.

在任何 Iwagumi 裡，使用奇數數量的石頭在美學上都非常非常重要。

And actually I think in any kind of aquascape, and

事實上，我認為在任何種類的 aquascaping 中，

we're going to get into this later on, that these rules, even though we don't follow them word by word in other types of aquascaping, or in aquascaping in general, a lot of this stuff actually reflects in any kind of aquascaping.

我們之後會深入探討，即使我們在其他類型的 aquascaping 或 aquascaping 總體上不逐字遵守這些規則，但這些東西其實都會反映在任何種類的 aquascaping 中。

Now, looking at nature and examining what nature does is important because we are looking for flow in an aquarium.

現在，觀察大自然並檢視大自然的做法很重要，因為我們在水族箱中尋找的是流動感。

And I'm not talking about the water flow created by our filters.

我說的不是過濾器造成的水流。

I'm talking about a visual flow and that exists in nature.

我指的是視覺上的流動感，而這在大自然中是存在的。

So when you are putting hardscape elements in a tank, you need to think about how the flow goes through the tank.

所以當你在魚缸裡擺放硬景觀元素時，你需要思考流動感要如何穿過魚缸。

And again, an iwagumi scape itself can represent huge mountains, or it can represent just a small part of A riverbed.

同樣地，一個 iwagumi 造景本身可以代表巨大的山脈，或者只是一個河床的一小部分。

If I look at this tank, it's obviously not a mountain, is it?

如果我看看這個魚缸，它顯然不是一座山，對吧？

This could represent distant mountain range achieved.

Now, second, very important part of Iwagumi is minimalism, both in the stones, and

接著，Iwagumi 的第二個非常重要的部分是極簡主義，無論是石頭方面，

So usually in a classic Iwagumi scape, you get one or maximum three species of plants.

所以在經典的 Iwagumi 造景中，你通常只會有一到最多三種植物。

Usually there is a big carpet all around the tank.

通常魚缸周圍都會有一大片地被植物。

And then as secondary plants, you can sometimes see small bushy plants like staurojoin repens in the cracks in between the rocks.

然後作為輔助植物，你偶爾會在石頭縫隙間看到像 staurojoin repens 這樣的小型叢狀植物。

If you have two pieces of rocks behind each other and you have the same plants going in between them, then they are closed.

如果你有兩塊石頭前後擺放，中間種植相同的植物，那它們就是閉合的。

But if you put different kind of plant in between, then that creates layers for you.

但如果你在中間種植不同種類的植物，那就會為你創造層次感。

And then your mind thinks that the rock behind is actually further away.

然後你的腦袋就會覺得後面的石頭其實離你比較遠。

And then the third would be something in the background.

Especially in a riverbed scape, you could have some kind of long grass that represents how the riverbed starts going upwards and starts going out of the river.

尤其是在河床造景裡，你可能會放一些長長的草，模擬河床往上延伸、流出河流的樣子。

Actually, every single plant has its purpose, just like the rocks in the new moonscape.

其實每一種植物都有它的目的，就像新月造景裡的石頭一樣。

So if I want to summarize what a classic Iwagumi is, it's balance created by imbalance and imperfection, it's flow and it's minimalism.

所以如果我想總結一個經典的 Iwagumi 是什麼，那就是由不平衡和不完美所創造的平衡，是流動感，也是極簡主義。

And that's actually what attracted to me into aquascaping.

這也是一開始吸引我投入 aquascaping 的原因。

All that said, let's look at a few examples.

說了這麼多，我們來看看幾個例子吧。

我主要會給大家看我自己的景。

So here we have what I talked about, the riverbed, we have the main stone, the secondary stone.

所以這裡就是我剛剛說的，河床、主石、副石。

And these are actually already especially this one, because you can only see this in the reflection.

然後這些其實已經，特別是這一顆，因為你只能在倒影裡看到。

These number fours are the sacrificial stones.

I'm sorry, I'm not going to write to you the Japanese names because, well, I don't want to now again, and

抱歉，我不會寫日文名稱給你們，因為，嗯，我現在又不想了，而且

This is again physical support as well, because this part of the soil wouldn't stand if I didn't have this type of weight in front of it.

這也是物理上的支撐，因為如果沒有這種重量在前面，這部分的土就不會站住了。

And then the sacrificial stones, these can be considered classic Iwagumi scapes.

然後犧牲石，這些可以算是經典的 Iwagumi 景觀。

你沒有辦法去標記石頭的數量。

You can't say which one is the main stone or the secondary stone, because this is actually made from multiple stones.

你沒有辦法去說哪一個是主石、哪一個是副石，因為這個其實是由好幾顆石頭組成的。

This piece, I think it's actually three pieces of stones, but all together they create a main stone.

這一個，我覺得它其實是三顆石頭，但它們合在一起就變成了一個主石。

I don't even know how many stones, but definitely multiple ones would be my secondary stone.

我也不知道有幾顆石頭，但絕對是多顆，會是我的副石。

The whole thing together, visually, it creates a secondary purpose.

整個加起來，視覺上，它就創造了一個副石的用途。

And then I have supporting stones here and I have sacrificial ones all around the scape.

然後我這邊有輔助石，周圍有犧牲石。