Terrariums became all the rage in the last couple years and NY based friends Michelle and Katy ofTwig Terrariumsjust took them to a whole new level. I appreciate anyone who approaches life with a sense of humor and that's exactly what you see here...they create moss terrariums insideantique, vintage, and new glass containers, apothecary jars, science glass, kitchenware, and any other kind of unusual bins. The containers house tiny little scenes using itty bitty miniatures and the worlds they create are both sweet and kind of bizarro - from dinosaurs escaping, to muggings to brides and grooms to mob hits to graffiti artists getting caught to campers...it's all a little weird (see what i did there...) in the best way possible.
kusamono (literally "grass thing") and shitakusa (literally "undergrass") are potted collection of plants designed to either be viewed in accompaniment with bonsai, or alone.
Historically, Kusamono means herbaceous plants in contrast with woody Bonsai and has played a supporting role by acting as an accompaniment to the main tree Bonsai when displayed in the formal Japanese style. However, people are now beginning to appreciate Kusamono for its own merits. This is largely due to Mrs. Keiko Yamane, who was officially trained in a Japanese Bonsai Nursery as one of the first lady bonsai growers. After completing her apprenticeship she has since specialised in Kusamono and established her own style of planting by using a moss mound. Her method is now widely recognised throughout Japan and more and more people enjoy growing Kusamono on moss mounds these days.
Although a Kusamono can be created to fit into the palm of a hand, they are delightful in reminding us of the seasonal changes within nature. These enchanting and compact works begin to develop their own characteristics as you tend them throughout the seasons. In time it is easy to connect to the sort of feelings you already derive from your own full size gardens.
With a thoughtful choice of plants a Kusamono will change in appearance not only throughout the growing season but every year. It is with sensitive intervention and insight that you can thin out, prune or add plants to maintain its visual balance. The moss mound is also kept and developed without breaking up so that it matures along with the plants. As the design matures some species will disappear while others will establish and flourish. It is noticing these changes that add to the pleasure of growing Kusamono and in maturity gives it one of the most charming and important focal attractions to these exquisite hand size gardens.
This month we check out the very latest concept to hit the aquascaping market; Wabi-kusa.
Like any true art form, aquascaping has continued to evolve and develop with every new generation that indulges in it. Once aquascapers had mastered the art of creating living underwater gardens they wanted a new challenge. This, coupled with the ever growing, globalising population of the planet and the increasing scarcity of space naturally led the pioneers of aquascaping, like Takashi Amano, to explore a new concept; miniature aquascapes.
These miniature aquascapes provided a new challenge, desperately coveted by aquacapers and allowed even the most space-challenged households to indulge themselves in an aquascape and benefit from the many benefits of aquascapes; natural beauty, increased relaxation, reduced stress levels and a sense of artistic creation combined with a sense of natural science and evolution. These miniature worlds came to be known as ‘Nano’ aquascapes, and were closely followed by even smaller versions dubbed ‘Pico’ aquascapes.
The very latest, cutting edge wave of creation has been heralded by Takashi Amano and ADA of Japan who have introduced ‘Wabi-kusa’. This is a brand new and very exciting concept straight from Japan.
There is no literal translation of ‘Wabi-kusa’ in the English language. ‘Wabi’ denotes something aesthetic, imperfectly beautiful and natural (like in wabi-sabi). ‘Kusa’ means ‘grass’ or sometimes ‘plant’. Therefore ‘Wabi-kusa’ cannot be translated literally. It denotes something natural, beautiful, sweetly imperfect and involving plants. The English language is clearly not conceptual enough to have evolved a single word to express all those connotations, which is probably why we have kept the name ‘Wabi-kusa’; to maintain the simple elegance of the concepts the Japanese name denotes.
WHAT ARE ‘WABI-KUSA’?
Wabi-kusa are balls of substrate that are covered with plants that are grown in their terrestrial form, very similar to plants that are grown hydroponically in nurseries. These substrate balls are placed directly into a small glass container with some water in and then allowed to grow naturally. You can buy a TGM Substrate Ball here.
This is a very different approach to aquascaping techniques, where the layout of the aquarium is planned with exquisite care and the plants are carefully maintained. Wabi-kusa allow nature to flow freely, and as such they produce stunning results. Wabi-kusa is a celebration of the wildness and chaos of nature, and as such it is extremely seductive and inspiring – a piece of wilderness in your home, bedroom or office. The compulsive power of Wabi-kusa is undeniable.
Once the Wabi-kusa is placed in the Plant Glass container a few inches of water are added, depending on the plants and the shape of container you have. Once this is done, simply place the Wabi-kusa under a suitable light for plant growth, like the Do!aqua Branch Light. Then sit back and witness the simple beauty of nature’s chaotic complexity. It is important to make sure that the light is suitable for plant growth – any specialist retailer should be able to advise you on this.
Unlike aquascapes, Wabi-kusa tend not to use hardscape (rocks and wood), although they can be added if desired. The idea is just to let nature flow, rather than staging it. It has to be said that given the controlling nature of aquascaping there is something daringly seductive about Wabi-kusa.
CONCLUSION
Wabi-kusa are chaotic, beautiful and dangerously seductive, even for the most meticulous of aquascapers. They have a strange allure – a strong attraction to their chaotic simplicity that flies in the face of the forethought and planning that mainstream aquascaping demands. Wabi-kusa question our ideas and approach, they stand up to pre-conceived ideas and challenge our rules. And they succeed. They are beautiful, idyllic and captivating. Wabi-kusa questions all the rules and succeeds in the strongest way; by making us want it. Their magnetism is undeniable, unshakeable and enthralling. Aquascapers all over the world have been caught by Wabi-kusa like a rabbit in the headlights…and now I understand why.
TO MAKE YOUR OWN WABI-KUSA SET UP YOU WILL NEED;
A Wabi-kusa: use a TGM Substrate Ball to make your own. The TGM Substrate Ball was developed by James Findley
Takashi Amano, founder of Aqua Design Amano, creator of the Nature Aquarium concept and visual aquatics master passed away earlier this week at the age of 61. The news of Takashi Amano’s passing is causing quite a shake up of the general aquarium community the world over. While his craft was concentrated in the freshwater planted aquarium, the magic he created transcended fresh and salt waters, and even into mainstream and popular culture.
Calling Takashi-san the godfather of the Nature Aquarium is almost an understatement, as he singlehandedly created the art form that so many tens of thousands of people practice today. The very concept of “aquascaping” was a word that we had to create in order to describe what he did so perfectly for so many decades. Before Amano, aquascaping didn’t even exist but thanks to his tireless efforts at sharing his knowledge and inspiring generations of people at the magic that aquariums can create, the art of the Nature Aquarium and aquarium aesthetics will transcend his and our lifetimes.
We’ve reached out to some of Takashi-San’s contemporaries for their thoughts on the loss of such an immense aquarium icon. These are the people who will carry the torch of the Nature Aquarium and aquascaping in his honor, and we hope that the whole aquarium world will remember the man who made living art using aquariums, water and plants.
It is with the deepest reflection, and most profound reverence that we ponder this day the passing of Takashi Amano, the most important aquarist of our time. His unmatched influence on the aquarium hobby and broader industry was visionary, masterful, and sublime. He made the concept of aquascaping an integral part the aquarium keeping experience, and elevated everyone’s perception of what an aquarium could be.
His Nature Aquarium style and the revolution it created was unlike anything in the hobby before or since, spawning whole new categories of industry and careers for passionate aquarists to pursue. It was truly a new way of seeing and experiencing the aquarium, and it’s magic captured the hearts and minds of so many the World over. Even those who were not followers of his work or students of his principles were likely influenced by someone who was, as we find a little bit of Amano in each and every aquascaped aquarium.
Takashi Amano was a giant figure to so many, and I struggle to find words to fully express how deeply his life and work affected us. He changed the aquarium keeping culture, bringing his passion for nature, art, and life itself to everything he did. All of us in the aquarium hobby and beyond owe a debt of gratitude and deep appreciation for his contributions both great and small. He was a artist in the purist sense, a compassionate soul, and an incredible human being that will be both missed and revered for a very long time to come.
Our sincere condolences to his family, friends, and those closest to this extraordinary man we cherish so dearly. May his legacy stand the test of time, and may he forever rest in peace.
~Jeffrey Senske
Thankfully it is seldom in life we experience a feelings so heavy that we are at a loss for words. Like many, I’m sure, it took me hours to wrap my head around what an enormous loss the world had experienced. Takashi Amano. What else other than his name need be said about about a man so influential?
Growing up, staring at the glossy pages of the beautifully photographed aquascapes in the Nature Aquarium World books stirred something wild deep inside many of us. For me personally it not only opened up a new idea of what was possible in an aquarium but it ignited a passion and a desire to push passed what was previously thought possible in every facet of life. For one man to produce any body of work that captures the essence of what drives a human being is incredible on its own.
Takashi San effortlessly articulated the absolute meaning of this without fail. Repeatedly and consistently throughout his years finding new ways to inspire and move our souls. Showing us lessons to accept impermanence through his methodology and giving us the sight to see beauty in the imperfect. I’m truly grateful to have had the opportunity have met, known, and worked with you Takashi San.
There cannot be another like you. But, how I wish your final lesson was not an exorcise in tolerance and suffering an undeniable and true emptiness. Your breath may be gone but you leave an unwavering inspiration in us all. My most sincere condolences go out to Mr. Amano’s family, friends, and ADA staff as well as all those who were touched by his works.
~John Ciotti
With a heavy heart I am saying goodbye to the shining light of aquaristics, who has accompanied and influenced my work and myself for almost two decades. In the nineties, Takashi Amano has initiated a new epoch of our hobby and my job, and I can rightfully say that, without exaggerating.
Underwater landscapes as he showed in his books back then were unthinkable before. But he didn’t stop at that. He also introduced new plant species into the hobby, an algae-eating shrimp, and he contributed the art of photographing his underwater landscapes in a way we had never seen before.
He truly was a pioneer – and he remained one till the end of his life. Dedicating all his power to its creation, he has wrought a monument for himself with the gigantic aquarium in Lisbon.
His company, AquaDesign Amano, has set new standards regarding quality and aesthetics. Takashi Amano’s heart and knowledge have formed the products ADA sells today. This alone would be reason enough for continuing the company as he would have wished. For me, his ADA brand is the absolute flagship in the freshwater aquarium trade.
And let me mention the IAPLC contest, of course. Our hobby would be in a whole other place without this beautiful championship. Here, aquascapers from around the globe come together year after year to show their creativity and the feeling that binds them together: the passion, which was born by one person alone – Takashi Amano.
Today I am grieving for a passionate, honorable and cordial family man, and I wish Takashi Amano’s entire family a lot of strength to cope with their painful loss. I am going to miss you, Takashi Amano Sensei! In deepest grief and with the utmost respect
James used a TGM Substrate Ball which he had pre-prepared for planting. The Substrate Balls come dry and need to be prepared. This will be deailed in the video, and is a very simple process:
– Place a thin layer of your moss of choice over the entire Substrate Ball when it is still dry.
– Tie it tightly with Riccia Line.
– Then immediately place it in a clear, waterproof, plastic bag with an inch or two of water in it
– Place the bag in natural sunlight and leave for 2 or 3 days until the Substrate Ball takes on the moisture and become workable.
Once this has happened it is ready for planting.
2. Preparing your Plant Glass
Pour some sand or gravel of your choice into the Plant Glass. Make sure that the sand/gravel is suitable for aquascaping. This will act as a base for your Wabi Kusa. There are a wide variety of Plant Glasses available – here James used a Plant Glass Cube 1520.
3. Planting your Wabi Kusa
Remove your Substrate Ball from the bag and, with a pair of pinsettes, place holes in the Substrate Ball where you want to put the plants in. Then gently put the stems into the holes. When planting, mist the plants every 5-10 minutes to prevent them from drying out.
Next, place about 2.5cm of water in the Plant Glass.
Then carefully place the planted Substrate Ball into the Plant Glass so that it is gently resting on the sand or gravel (below)
Mist the planted Substrate Ball with a good quality foliar fertiliser (diluted in accordance with the instructions). Do!aqua be Bright is specifically designed for use with Wabi Kusa (below)
Next, cover the Plant Glass with cling film or a clear plastic bag so that the plants are in almost 100% humidity. This keeps the moisture inside the Plant Glass. Over the following 2-3 weeks, gradually reduce the moisture levels by placing holes in the plastic so that after 3 weeks (or 4 weeks in doubt) the plants are at room temperature. Then the plastic can be removed. This must be done to acclimatise the plants gradually to emersed growth because they have not yet developed root systems and cannot take up moisture properly through the roots until they are established, but if they are not kept moist they will lose water from their leaves and die quite quickly. once the plants are acclimatised this is no longer an issue but the plants should be misted at least once a day (preferably 2-3 times a day) and fertilised regularly with a good foliar fertiliser like Do!aqua be Bright.
The image below shows the completed Wabi Kusa, although the plants are not yet established, and will look even better in a few weeks when they have grown in.
More Wabi Kusa content is coming soon….
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Welcome back to The Green Machine, the nature aquarium specialists.
This video documents James Findley planting a TGM Substrate Ball to make a Wabi-Kusa display.
James developed TGM Substrate Balls to allow Wabi-kusas to be created easily and successfully. Wabi-kusas are an exciting and inventive development in the nature aquarium world: they are fantastic for beginners and also provide experienced aquascapers with a new challenge.
Once you have your substrate ball, when it is still dry, the first step is to cover the ball in moss. Riccia can also be used. James chose Weeping Moss for the base of this substrate ball, but most mosses are suitable. At this stage, the substrate ball is solid.
To attach the moss to the substrate ball, use Riccia Line: loop it around the ball once and then tie the riccia line tightly. A pair of pinsettes is used to ensure that the riccia line is tied very tightly so that it does not come loose. Make sure you leave a small length of riccia line that will be long enough to tie the other end to once the winding is completed.
Tie the riccia line around the substrate ball at least 25-40 times in each direction to ensure that the moss is firmly attached.
James also added some riccia to the substrate ball for some extra texture and colour.
It is possible to create a wabi-kusa style ball without a layer of moss, but James likes to add a layer of moss for aesthetic reasons: when looking at a forest or jungle, the forest floor is carpeted in plant life and can be seen from above through the patches of foliage. If the base of the substrate ball is left bare then it creates a patchy, unnatural and less beautiful effect. Adding moss creates a more aged, realistic and chaotic impression.
Once the winding is completed and secured, the second step is to rehydrate the substrate ball. This must be done immediately so that the moss does not dry out and die. To do this, simply place the substrate ball in a waterproof, clear plastic bag with some water in it. Then place the bag in sunlight and leave it there for 2-3 days or until the ball is rehydrated and pliable enough to work with.
The third stage is planting. Hemianthus Cuba is added to the substrate ball. This is done by simply pressing the hemianthus firmly into place.
Then some polygonum is added. Using a pair of pinsettes, place a hole in the substrate ball, which will now be pliable. Then gently push the stem of the polygonum into place.
(04.40) the leaves are trimmed so that they will lose less water. When the plants are first placed in the substrate ball their root systems are not developed: trimming the leaves of the polygonum reduces water loss and improves the health and growth of the plant at this early stage: it will take around 2-3 weeks for the plant to develop a good root system
05.13 Marsilea Hirsuta is added. This plant is fairly tall so adds height to the display and has a lovely, 4-leaf clover-like appearance which is very delicate and interesting
05.40 for larger plants, a slightly bigger hole is made in the substrate ball so the larger root ball can be pushed in.
06.18 ludwigia sp diamaond red is added to provide a nice variation in colour.
06.50 when working with the plants in this way it is important to mist them regularly as the plants do not have proper root systems yet. Stem cuttings are particularly susceptible to water loss and should be treated with extra care.
07.15 staurogyne repens is added – this is a very stunning plant when it is cut back and create an interesting, carpeting effect so is particularly useful for the front of the display.
07.20 hydrocotle triparta is added. This plant cascades as it grows, creating a very wild impression. It is a fast growing, prolific plant.
07.40 the fourth step is to carefully lift the planted substrate ball into position in the plant glass, placing the best side forward. James has already added a layer of sand to the plant glass: any sand or gravel suitable for planted tanks can be used for this.
08.30 finally, the water is added and the planted substrate ball is fertilised with a good foliar fertiliser: 1 capful is added to 500 millilitres of water and then poured onto the gravel so as not to disturb the plants. The plants are then sprayed with water again and then covered in plastic (a waterproof plastic bag can also be used) so that the plants are in almost 100% humidity.
It is very important that the display is covered in plastic for around 2-3 weeks in order to acclimatise the plants to emersed growth: the plastic keeps the moisture inside. The humidity should be gradually reduced over the following 2-3 weeks by gradually placing holes in the plastic until the plants are at room temperature and normal humidity. Then the plastic can be removed.
This must be done to acclimatise the plants gradually to emersed growth as they have not yet developed root systems and cannot take up moisture properly through the roots until they are established. If they are not kept moist they will lose water from their leaves and die quite quickly.
Once the plants are acclimatised this is no longer an issue but the plants should be misted at least once a day (preferably 2-3 times a day) and fertilised regularly with a good foliar fertiliser.
Now the planted substrate ball is complete, you can see the appeal of Wabi-kusa: they are elegant, artistic and easy to look after and add a real sense of nature to any room.
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Kusamono are potted arrangements of wild grasses and flowers in unique pots or trays. The name is composed of two Japanese characters-- “grass” and “thing”—which together suggest humble, everyday plants or even weeds. Originally, this name referred to the small, potted grasses displayed next to bonsai as accent plants.
Kusamono are potted arrangements of wild grasses and flowers in unique pots or trays. The name is composed of two Japanese characters-- “grass” and “thing”—which together suggest humble, everyday plants or even weeds. Originally, this name referred to the small, potted grasses displayed next to bonsai as accent plants.
The Art of Kusamono
In the summer of 2007, there was an exhibition at the National Bonsai & Penjing Museum focusing on a companion art to the art of bonsai—namely, the art of kusamono.Kusamono are potted arrangements of wild grasses and flowers in unique pots or trays. The name is composed of two Japanese characters-- “grass” and “thing”—which together suggest humble, everyday plants or even weeds. Originally, this name referred to the small, potted grasses displayed next to bonsai as accent plants.
Bonsai with accent kusamono >>> Libertia peregrinans --- New Zealand iris
More recently, creating kusamono has developed into an art form of its own. A well-chosen kusamono reflects the season in which it is displayed. Some compositions are designed to include plants that will look good in several seasons. Besides the season, a kusamono should suggest a specific natural habitat—such as a wetland, meadow or woodland. Whether using a single plant or a group of plants, there are three basic styles of planting: moss-ball, out-of-pot, or in a container.
While the final effect is one of artless nature, a great deal of time and preparation went into achieving that look for our exhibition. Young Choe, a kusamono artist and volunteer at the museum, began doing soil research in January. The soil needs to be a “sticky” muck that holds together in shallow containers or in ball shapes on flat tiles. Young combined soil from Tennessee, upstate New York, and Maryland’s eastern shore in different ratios depending on the pH needs of the plants.
Meadow kusamono planting >>> Carex pennsylvanica — oak sedge Lobelia cardinalis — cardinal-flower Sedum sp. — stonecrop
To create material for her compositions, she sowed seeds in the greenhouse in March, choosing many plants native to the mid-Atlantic region. Finding the right moss to cover the muck was a bit of a challenge. It needs to be thin and pliant in order to adhere well, especially on the rounded moss-balls. Moss is used not only for a pleasing aesthetic, as in bonsai displays, but also to help hold the muck together and slow evaporation.
When these preliminary preparations were underway, Young began to think of the ceramic containers she would need for the arrangements. Ideally, the plants should have a couple of months to settle in and be styled.
Watching Young create her compositions—selecting the plant combinations and matching them to containers—was like watching a painter work with a palette of different colors and textures. Unlike long-lived bonsai, kusamono are ephemeral creations. However, if cared for properly, they will survive for many seasons.
Bonsai with accent kusamono
Wetland kusamono planting
Meadow kusamono planting
Woodland kusamono planting
Moss-ball style planting
Out-of-pot style planting
Bonsai Museum volunteer, Young Choe, creates a moss-ball planting
