In recent years, “seagrass die-off”—a phenomenon in which seaweed can no longer grow in the ocean due to rising sea temperatures—has become a global marine environmental issue. It is said that Japan’s natural seaweed beds are disappearing at a rate equivalent to 1,200 Tokyo Domes worth per year. Alarmed by this situation—in which the foundation of the marine ecosystem is being undermined, affecting the fishing industry as a whole—Kochi Prefecture-based “Sea Vegetable LLC” (hereinafter “Sea Vegetable”) launched the world’s first land-based cultivation of aonori using underground seawater in 2016. By expanding seaweed farms across the country in collaboration with local partners and actively pursuing both land-based and offshore cultivation, the company aims to preserve the richness of the ocean and the culinary culture centered on seaweed.

Cultivating Aonori, Which Disappeared from the Shimanto River, on Land

Kochi Prefecture is known for its intense sunlight streaming down from the blue sky and its warm climate. The prefecture has a narrow, east-west shape, with the Pacific Ocean to the south and the Shikoku Mountains towering to the north. At Sea Vegetable’s land-based facility, “Suji Aonori”—known as the highest-grade variety of aonori—is being cultivated using the world’s first land-based cultivation technology.

My deep love for the ocean, which I’ve felt since my college days

Co-founder Jun Hachiya, a native of Okayama Prefecture, conceived a business plan for “integrated aquaculture of abalone and seaweed using deep-sea water” while still a student at Kochi University. With the cooperation of co-founder Yuichi Tomohiro, he conducted demonstration research aimed at commercializing the project. Deep-sea water is seawater drawn from depths of 320 to 374 meters off the coast of Muroto in Kochi Prefecture; it maintains a stable, low temperature of approximately 10 degrees Celsius year-round.

Mr. Hachiya says he originally enjoyed diving into the ocean and catching fish he could see up close. “Every year, whenever I dived in the same spot, the number of fish visibly decreased. I realized that wherever fish gathered in large numbers, there was always seaweed, and driven by a desire to bring fish back to the ocean, I threw myself into seaweed research.”

Rising sea temperatures due to global warming have altered fish habitats and impacted Kochi Prefecture’s seaweed industry. The brackish water zone near the mouth of the Shimanto River—known as “Japan’s Last Pristine River”—where freshwater and seawater mix, was once the nation’s premier natural fishing ground for “suji aonori” (striped green laver), but by 2020, the catch had dropped to nearly zero. It is believed that the decline in catch is directly proportional to the rise in water temperature in the estuary.


Mr. Hachiya took action to revive the “suji aonori,” which could no longer be harvested naturally. He explained that his determination grew stronger as he thought, “If seaweed can no longer grow in the ocean, let’s grow it on land,” and “I want to take on this challenge to ensure that the culinary culture of seaweed does not die out.”

In a large tank built near the Pacific Ocean, blue-veined nori drifts about

When you visit Sea Vegetable’s land-based facility along the coast overlooking the Pacific Ocean, you’ll be amazed by the rows of massive circular tanks. The largest one has a diameter of about 25 meters—roughly the length of an elementary school swimming pool.

Suji aonori grows at an astonishingly fast rate; under the right conditions, it can double in size in a single day, and it’s said to possess such vitality that its appearance changes between morning and evening. The tanks come in four sizes, and about once a week, the grown Suji Aonori is transferred to larger tanks.

“There’s an ideal size for harvesting that’s considered the most delicious, so we designed these four sizes of circular tanks by working backward to ensure the seaweed grows to that size,” explains Mr. Hachiya.

Pump up the “underground seawater” and continue stirring

The tanks are filled with “underground seawater,” which reportedly maintains an ideal environment for seaweed growth throughout the year. Pumped from a depth of 20 meters underground, this “underground seawater” is naturally filtered as it passes through layers of sand and other geological strata from the ocean, ensuring clean water and a stable temperature. Furthermore, when it rains, freshwater mixes in, and on sunny days, photosynthesis flourishes. For seaweed that thrives in brackish waters where the sea and rivers meet, this location provides an environment close to nature.

Furthermore, the “groundwater” in the tanks circulated slowly in a circular pattern. Since striped green laver absorbs nutrients from the surface of its thallus and grows through photosynthesis, an environment with constant water flow and even light exposure is essential. Generally, seaweed grows normally by attaching itself to substrates such as stones or rocks using holdfasts, but here, the blue-striped laver is attached to one another. It spreads radially from the holdfasts—which function as roots—and is cultivated as it drifts through the water in a form resembling a bundle of fine threads, allowing it to grow to a uniform size.

Land-based cultivation, which holds potential different from that of marine cultivation

When I reached into the tank, the green suji aonori swayed gently and brushed against my fingertips. When I put it in my mouth raw, its fresh, vibrant green flavor spread throughout my mouth. I’ve heard that dried suji aonori turns a more vivid green and has a stronger aroma than the fresh variety. I’ve also heard that fresh suji aonori can be eaten as tempura, but either way, the natural, refreshing quality of the seaweed is sure to stand out.

Since suji aonori is widely distributed from Hokkaido to Okinawa, even within the same species, characteristics such as temperature tolerance and growth rate vary by region. When Sea Vegetable began land-based cultivation in Kochi, they focused not only on these characteristics but also on selecting elite strains with superior aroma and texture as food ingredients. They reportedly screened suji aonori from across the country and underwent a process of trial and error.

Next, I tried the eating method recommended by Mr. Hachiya. When I sprinkled powdered land-cultivated Suji Aonori onto a bag of lightly salted potato chips, I could taste the umami of the sea and experience its deep aroma. They say that growing it on land allows for meticulous nutritional management, resulting in a richer aroma and umami.

Looking Beyond Aonori: A Vision for the Future

Since seaweed reproduces via spores, the conditions for germination and growth vary by species. At Sea Vegetable, research is ongoing to identify the optimal cultivation methods while unraveling the characteristics of each individual species.

Black nori cultivation is now in full swing

They have also established a land-based cultivation technique for black nori, which has long been a cornerstone of Japanese food culture. They plan to successfully achieve mass production of black nori via land-based cultivation (300 kg or more in dried weight) by fiscal year 2025 and begin preparations for mass production starting in fiscal year 2026.

Mr. Hachiya stated, “There is a huge global market for black nori, so first, we want to establish the technology for land-based production and provide it to fishermen and companies in coastal areas who are losing their livelihoods, thereby creating new sources of income. At the same time, Japan has unique species of seaweed in each region, and quite a few are at risk of extinction. We are also considering raising seedlings for these species on land and releasing them back into the sea in their respective regions to establish aquaculture beds.” Ultimately, the goal is to restore the natural abundance of seaweed in the ocean.

However, per capita consumption of seaweed in Japan has fallen to about half of what it was 30 years ago, due to the diversification of the diet. Seaweed, which once naturally graced dining tables alongside traditional Japanese cuisine, is losing its presence as Western and Chinese cuisines become more widespread in daily life. Mr. Hachiya says, “The potential of seaweed isn’t limited to Japanese cuisine. Aonori goes well with pizza, and sprinkling it on potato chips releases a surprisingly rich aroma. I feel that the key to solving the problem of declining consumption lies precisely in genres we haven’t tried before, so I want to conduct various tests and share our findings.”

Develops Soy Sauce Made from Suji Aonori and Opens a Seaweed Specialty Store

One of their new challenges is “Aonori Soy Sauce,” made from Suji Aonori. This seasoning is produced by fermenting only aonori, salt, and rice—without using soybeans or wheat. It has a pale amber color. When tasted, the aroma of the sea fills the mouth, making it a perfect match for seafood. Because it is gluten-free and soy-free, the company receives many inquiries from overseas, and the product has become a symbol of the new value of seaweed.

Near Tokyo Station, we’ve opened “Sea Veg Stand,” a restaurant specializing in seaweed cuisine. It serves dishes like Suji Aonori Potatoes, dishes featuring “Mirin”—a rare red seaweed traditionally eaten in regions like Kumamoto—and ramen generously topped with seaweed, making it a hub that showcases the appeal of seaweed from multiple angles. This is where our effort to revive the “culture of eating seaweed” is beginning.

Researchers Hold the Key to Success

The lab is the key to Sea Vegetable’s business. It handles the most critical initial stage of land-based cultivation of Suji Aonori. Aonori harvested and cultivated at the lab is transferred to the land-based facility after about one month, where it is grown for another month before being harvested.

The mind-boggling task of sorting spores

“To succeed in land-based cultivation, the most important thing is to consistently harvest spores from the parent plants of striped green laver and raise them without letting them die,” says researcher Nigi. “If they die at that stage, there will naturally be nothing to send to the cultivation site. It’s crucial to remove anything—such as bacteria—that could harm the green laver spores and successfully raise them.”

The greatest challenge in cultivating Suji Aonori is maintaining the parent strains in a constantly healthy state to ensure a stable supply of spores throughout the year. It also involves the process of extracting spores from the parent strains and ensuring they grow stably without dying. To raise the spores healthily, it is necessary to thoroughly eliminate harmful impurities, such as bacteria, and maintain appropriate temperature control.

Holding a small petri dish, Mr. Nigi explains, “At first, they’re really just round specks about 10 microns in size.” Ten microns is 0.01 millimeters. Although the spores are invisible to the naked eye, they can be observed under a microscope, and after a few days, you can see them growing into the characteristic shape of aonori.

Nigi was performing a painstakingly delicate task, repeatedly and carefully using a pipette to aspirate the approximately 10-micron spores, isolating only the “high-purity spores.”

シーベジタブルを支える研究者

Furthermore, Mr. Nigi explains, “The harvest season for natural nori runs from fall through early spring; since growth stops in the summer, it wasn’t suitable for harvesting. However, to maximize the utilization of our facilities for land-based cultivation, we need to grow a combination of strains with different temperature tolerances. So, even within the same ‘Suji Aonori’ variety, we’ve tested about 100 different strains from Hokkaido to Okinawa to find the most suitable ones.”

Generally, land-based cultivation involves significant capital investment and operating costs, making profitability crucial. That is precisely why selecting strains that are resilient to environmental conditions and grow efficiently is the key to establishing this as a viable industry. Researchers are tackling this challenge as they strive to pave the way for the future of seaweed cultivation.

When seaweed returns, the future of the ocean will change

Seaweed forms the foundation of the marine ecosystem. As natural seaweed beds decline, a research report by the Good Sea General Incorporated Association reveals surprising results: using seedlings grown on land for offshore cultivation can increase fish populations by up to approximately 36 times compared to uncultivated waters.

As seaweed increases, fish return, and the ocean regains its abundance. Seaweed cultivation is not only a way to preserve our food culture but also an initiative that supports the future of the ocean. Sea Vegetable aims to become a reliable force—extending beyond the borders of Japan—to pass on a bountiful ocean to the next generation.

The post “Sea Vegetable LLC,” based in Kochi City, Kochi Prefecture, aims to preserve seaweed culinary traditions and the richness of the ocean through the world’s first land-based cultivation of aonori using underground seawater. first appeared on NIHONMONO.

Kochi Prefecture boasts the highest production volume of binchōtan in Japan. Muroto City is at the heart of this industry. Tosa binchōtan is made from freshly cut Ubame oak and is fired over a process lasting about 20 days. The leading charcoal maker in this field is dedicated to activities that look toward the future of Muroto, including training the next generation, securing raw materials, and environmental conservation.

The Climate of Muroto: Nurturing a Treasure Trove of Charcoal

Muroto City, located in eastern Kochi Prefecture, was once famous for being repeatedly hit by major typhoons. While the coastal area thrives as a fishing town, deep in the mountains, kilns for Tosa Bincho-tan charcoal are still scattered about, quietly giving off smoke. One of these is the workplace of Seichō Morimoto, a charcoal maker who has been producing charcoal for over 47 years.

The kiln where Mr. Morimoto burns Tosa Binchotan is located upstream along the clear Hane River, which flows through Muroto City. The history of white charcoal production in Tosa dates back to the Edo period. Here in Muroto, heavy and hard woods—including Ubame oak, which grows in the harsh environments of the coastline and rocky areas, as well as Arakaashi and Urajiro oak—grow wild. During the Meiji era, charcoal burners from Kishu moved to the Hane area, passing down their advanced techniques. Local artisans worked diligently to further improve the kilns, and eventually, Muroto gained national attention as a production center for Binchotan.

Research on earthen kilns is a lifelong endeavor.

Mr. Morimoto, who is now a prominent figure in the charcoal industry—having been selected as a “Master of the Forest” by the Public Interest Incorporated Association for the Promotion of National Land Greening in 2017—had actually aspired to become a pilot in his teens. After graduating from high school, he enrolled in a vocational school specializing in avionics, but gave up on that dream partway through. He worked as a salaryman in Tokyo until he was 30, then returned to his hometown with an eye toward the future.

At the time, while running a rice farm and raising livestock, he would cut down trees such as Ubame oak in the mountains and sell them to paper companies as raw material for pulp. The turning point came when a senior colleague—the only person in the area producing binchōtan—suggested, “It’s a waste to send this to be made into pulp. I’ll teach you—why don’t you try making charcoal?” That was his first encounter with binchōtan.

     By the Showa 30s, the charcoal industry was rapidly declining due to the development of household appliances and other products. As a result, many charcoal makers left the mountains. Mr. Morimoto restored an earthen kiln that had been left behind in the mountains and, seeking advice from his senior, went through a process of trial and error. Although he was a novice, he managed to produce charcoal of reasonably good quality. “Even my father was surprised,” Mr. Morimoto laughs.

“Even though I was following the same process, the quality of the charcoal gradually began to decline. When I investigated, I found cracks in the kiln walls that were letting the heat escape. After repairing them and trying again, the charcoal turned out to be of such high quality it was unrecognizable. That sparked my interest in the kiln itself, and I began to study the craft in earnest.”

At the time, there were many veteran charcoal burners in the area, and he says he drew inspiration from their individual techniques—even down to the shape of the kiln ceiling, noting that some specialized in “tokkuri” (sake flask) shapes while others preferred circular ones. “The heat retention capacity of the kiln floor, the kiln’s airtightness, and its structural strength—these three points are the most crucial elements in kiln construction,” Morimoto explains.

A blazing furnace. Standing there, feeling its heat with every fiber of my being.

Black charcoal and white charcoal are distinguished not so much by the type of wood used as by differences in “firing and finishing methods.” White charcoal, which includes Tosa Bincho-tan, is carbonized rapidly at temperatures exceeding 1,000 degrees, then scooped out of the kiln while still red-hot and rapidly cooled by covering it with soil and ash. The white ash that forms on the surface due to this rapid cooling gives it its name. The charcoal is hard and dense; when struck, it produces a clear, metallic ring, and it burns with intense heat for a long time. In contrast, black charcoal is burned slowly at a relatively low temperature; after being carbonized in a sealed kiln, it is left to cool inside the kiln. The finished product is black and soft; because it ignites easily and is simple to handle, it tends to be preferred for leisure and household use, unlike white charcoal, which is favored by specialty restaurants and other professional establishments.

Muroto became Japan’s leading producer of binchōtan—arguably the quintessential white charcoal—due to a confluence of several factors. These included an abundance of naturally growing oak species, particularly Ubame oak, which is ideal for use as raw timber; and in Meiji 40 (1907), Kuraji Ueno, a charcoal craftsman from Kishu who visited Muroto on the Shikoku Pilgrimage, recognized the shortcomings of Tosa’s rudimentary kilns at the time and taught the region the charcoal-making techniques used for Kishu Binchotan; and the fact that kilns were modified to suit Tosa’s climate, leading to the establishment of techniques for mass-producing high-quality charcoal in large kilns.

Above all, the establishment of a sustainable production system—achieved through the efforts of Mr. Morimoto and others to train successors and plant new trees—has been of immense importance.

So, how is this Tosa Bincho-tan charcoal made? First, Mr. Morimoto harvests Ubame oak from the mountains and arranges the logs side by side in the kiln, as if tossing them in. In doing so, he deliberately leaves gaps between them to create air pathways. He then lights the fire and heats the wood, steaming it for about a week to drive out the moisture from the logs. Mr. Morimoto emphasizes that managing this stage is crucial. If the moisture content of the logs remains too high, cracks will form later on, resulting in charcoal of inferior quality. During the initial stage when moisture levels are high, white smoke emerges from the chimney, but as drying progresses, the smoke gradually becomes transparent. While enduring the heat, he holds his hand over the smoke; if it feels damp, it’s not ready yet, but when it feels dry to the touch, that’s a sign the drying has progressed.

Once drying is complete, the kiln is sealed, and a very small amount of air is introduced to steam-bake the logs, carbonizing them. This process is called “nerashi” (refining) and is a crucial step for burning off impurities contained in the charcoal. Once carbonization is complete, the kiln door is opened to let in air, generating temperatures exceeding 1,000 degrees inside. The wood, now glowing red like iron in a blast furnace, is scooped out, and “subai” (a mixture of soil and ash) is applied to rapidly extinguish the fire and cool the charcoal, causing its surface to turn whitish.

This hard charcoal, unparalleled anywhere in the world, produces a beautiful, clear, metallic ringing sound—like “keen”—when struck.

The process from loading the kiln to unloading it takes about 20 days. The finished charcoal is sorted according to shape and thickness, standardized by size, and then placed in a dehumidification chamber to prevent moisture from re-entering.

The World’s Finest Charcoal, Supporting Culinary Culture

“Good binchōtan looks beautiful and burns for a long time,” Mr. Morimoto says, gazing straight ahead. High-quality charcoal can continue burning for three or even four hours. However, he candidly admits that it’s difficult to produce perfect binchōtan. If the “nerashi” (carbonization process) is overdone, the charcoal may look beautiful, but too many combustible components are lost, causing the heat output to drop. His words, “You have to strike that delicate balance,” reveal the depth of charcoal-making backed by years of experience. Then, his eyes sparkle like a young boy’s as he adds, “This binchōtan contributes to food culture—it’s the world’s finest charcoal.”

Binchōtan not only burns for a long time but also produces no smoke, so it doesn’t impart any unwanted odors to the food, allowing the natural flavors of the ingredients to shine through. Demand from high-end restaurants, eel restaurants, and yakitori shops—all seeking delicate flavors—is constant, and the charcoal is perpetually in short supply. While being pressed by wholesalers for more stock, he says he plans to fire up the kiln three times every two months this year as well.

We warmly welcome successors

Of course, things haven’t always gone smoothly. Starting in the late Showa era, inexpensive Chinese-made binchōtan began flooding the market, dealing a severe blow to domestic producers. Even Mr. Morimoto, who was still a young craftsman at the time, reportedly went through a prolonged period when his charcoal wouldn’t sell. Later, in the 2000s, China banned the export of charcoal; however, in the less than 20 years since then, the number of charcoal makers—which had been around 60—has dropped to about 20, with two-thirds of them having left the trade.

Currently, while production volume is limited, demand continues to come not only from within Japan but also from overseas, resulting in a persistent shortage of binchōtan. “If there are young people who want to make binchōtan their career, they’re more than welcome,” said Mr. Morimoto, expressing his desire to expand his ranks. To make it easier for newcomers to take that first step, he has promoted the adoption of labor-saving kilns that generate a steady income and the use of mechanization. He also lobbied the mayor of Muroto City, leading to the creation of a successor training program in 2011 that accepts about three trainees each year. Even after they become independent, he continues to provide ongoing support, including assistance with procuring ubame oak, the raw material for charcoal.

More than 30 people have already learned the craft from Mr. Morimoto, and about 10 of them have gone on to establish their own kilns both within and outside Kochi Prefecture. Currently, there are about 30 charcoal makers in Muroto City.

Experiencing the Harshness of the Mountains Firsthand

About a 10-minute drive from Mr. Morimoto’s kiln lies a mountain he owns. To reach the summit of this obviously rugged mountain, he personally operated heavy machinery to carve out a zigzagging path and graded it so that transport vehicles, such as four-wheel-drive light trucks, could climb it. Everyone uses chainsaws to cut down the Ubame oak trees located deep within the summit area. In places where transport vehicles cannot reach, they use wires to hoist the logs out.

Connecting the Future of Tosa Bincho Charcoal

In addition to planting “layering cuttings”—which are created by making incisions in the branches or trunks of parent Uba-megashi trees to induce rooting—the cooperative also commissions forest cooperatives and other organizations to plant saplings. A single charcoal maker uses approximately 5,000 Uba-megashi trees per hectare annually, and a 40-hectare area is sufficient to ensure a stable cycle from growth to harvest.

The reason for this is that Uba-megashi, the wood used for Bincho-tan, regenerates over approximately 20 years through “sprout regeneration,” in which new shoots sprout from the stump after felling. If the 40 hectares are harvested sequentially by section in accordance with this cycle, by the time the cycle is complete, the first section will have grown sufficiently. This eliminates the need for replanting or land clearing, thereby maintaining an environment where a single charcoal maker can continue working.

“Last year, we planted 40,000 saplings over 8 hectares, but we still need to plant about another 100 hectares,” he said as he led me to an area lined with rows of seedling pots. “This is Ubame oak; over here are Urajiro oak and Kunu oak. We plan to focus on planting these three species. Urajirogashi can be used for medicine and makes good charcoal. Kunugi is used for kiku-sumi charcoal in the tea ceremony. The acorns serve as animal feed. If we’re going to protect the natural environment, broadleaf trees are definitely better. They put down deep roots to prevent landslides, and even if the trees are cut down, the area returns to its original state,” he explained.

Registration as an Intangible Cultural Heritage: Toward the Dreams That Lie Ahead

Although this marks their third attempt, the prefecture and the charcoal makers are aiming to have Tosa Bincho-tan registered as an “Intangible Cultural Asset.” Mr. Morimoto says, “Preserving the technique and ensuring consistent quality. As long as we bear the name ‘Tosa Bincho-tan,’ we want to maintain a certain standard of quality.” He adds with a smile, “If it’s designated as an Intangible Cultural Asset, I feel like we might even be able to aim for World Heritage status.” “We aim to ensure the semi-permanent sustainability of the raw material—Uba-megashi oak—across the entire region and make this industry viable. We’ll reduce carbon dioxide emissions and protect the environment. I feel there is no other circular model quite like this,” he said, expressing his vision.

Training the next generation, securing raw materials, and preserving the environment. While tackling these three challenges, the veteran charcoal makers continue to forge a path toward the future of Tosa Binchotan and the region, showing no signs of stopping.

The post “Sumino Morisei, LLC”—a charcoal master dedicated to preserving the techniques of Tosa Bincho-tan, expanding its community, and actively promoting the afforestation of raw materials / Muroto City, Kochi Prefecture first appeared on NIHONMONO.

“Pure sun-dried salt” is produced using only the heat of the sun and the craftsmanship of the artisans, without any use of fire or electricity. This “living salt” is attracting keen interest from top chefs and confectionery manufacturers both in Japan and abroad. What is the story behind the life of the man who has come to be hailed as Japan’s foremost salt artisan, and what drives his passion for salt-making?

The Courage to Give Up Your Career

Located about 55 km east of Kochi City, facing Tosa Bay, lies Tano Town—Shikoku’s smallest town, measuring 2.2 km east to west and 4 km north to south, yet packed with charm. One of its defining features is its reputation as the “Town of Salt.” The town is home to the “Tano Town Pure Sun-Dried Salt Production Experience Facility,” where many tourists come to observe and participate in salt-making.

The cornerstone of this culture was “Tanoya Enjiro,” who founded his business in the town. Chefs and media from across the country flocked to the town in search of the salt he produced, and pure sun-dried salt became a brand that symbolizes the town.

He is originally from Hiroo, Minato Ward, Tokyo. During his student days, he devoted himself to rugby, and his previous job was at a company in Tokyo that manufactured and sold surfboards and snowboards. At the age of 35, driven by the desire to “work by the sea and become the best in Japan,” he conducted research and narrowed his options down to becoming a tuna fisherman in Oma, Aomori Prefecture, or a “pure sun-dried salt” artisan in Kochi Prefecture. However, becoming a tuna fisherman in Oma required fishing rights and permits managed by the local fishing cooperative, making the barrier to entry too high; thus, by process of elimination, he chose the path of a salt artisan. He abandoned his previous career and applied to become an apprentice under Takeshi Yoshida, who at the time had pioneered the category of “pure sun-dried salt”—the only one in Japan that uses absolutely no fire or electricity—but he says he was completely ignored at first.

“I went to Kuroshio Town in western Kochi Prefecture without an appointment, bowed my head, and asked to become his apprentice, but he wouldn’t even give me the time of day. Out of sheer stubbornness, I couldn’t give up, so I kept visiting him several times, prostrating myself on the ground and begging, ‘Please just teach me the basics. I don’t need a salary—I’ll do anything, even cleaning.’ From there, I spent two years being thoroughly drilled in the fundamentals,” he recalls. After completing his apprenticeship under Mr. Yoshida, he searched for a place to set up his own business. He looked at coastal towns throughout Kochi Prefecture, but nowhere would take him in—until was the mayor of Tano Town, who responded, “Please come here. Make the best salt in Japan.” At the time, there were no expressways, and it was about a four-hour drive from Mr. Yoshida’s saltworks, so he also reasoned that this wouldn’t cause any trouble for his master. “When my master bestowed the business name ‘Tanoya’ upon me, it was meant to tell me to repay the debt of gratitude to the town that had accepted me,” he explains.

Ever since I’ve been able to talk to Shio,

The sea lies right in front of Crystal House. Seawater drawn on days of the full moon or spring tides is poured into wooden crates. Unlike the methods used by many salt producers—such as boiling down the salt or using electricity to concentrate the seawater—”completely sun-dried salt” involves using no fire or electricity whatsoever; instead, we patiently wait inside the house for natural evaporation driven by the heat of the sun. By avoiding any heating process, we manually stir the mixture to lock in the approximately 80 types of minerals found in the seawater. 

“I wanted to do something no one else was doing, so I brought a sleeping bag into the greenhouse and lived there alongside the salt. After about a month of that lifestyle, I began to notice what kind of scent the salt gave off and what sounds it made at night. As I continued this dialogue with the salt, I learned to recognize its changes, which gave me confidence—and suddenly, I was able to produce salt that truly satisfied me.”

To maximize both efficiency and precision in his work, the wooden boxes are custom-made to fit Enjiro’s exact body measurements. It is truly a space where the artisan and his tools become one.

Rather than “delicious salt,” it’s “the salt that humans need.”

Kochi Prefecture boasts the highest forest coverage rate in the nation at 84 percent. The Nahari and Yasuda Rivers, which carry abundant nutrients, flow through the eastern and western parts of Tano Town, supplying organic matter from the mountains to the sea. Because the population is small and there are no public beaches, the seawater is exceptionally clean. Furthermore, the Kuroshio Current, which flows off the coast of Tosa Bay, brings high-quality minerals.

Mr. Enjiro checks the seawater in the approximately 130 wooden boxes once an hour and stirs it repeatedly as he monitors the conditions. Because he is fully focused on the salt-making process, he rarely leaves this spot unless there is an urgent matter.

“Crystallization occurs at the very end of the entire process. By observing it every day, I’ve learned to control the process—for example, thinking, ‘Right now, this much potassium is being released. In that case, I’ll keep it in the seawater and extract the sodium first.’ My goal isn’t simply to make ‘delicious salt’; I want to create salt that people instinctively need—salt that restores the body’s balance when consumed.”

He explains that cutting the surrounding weeds would alter the quality of the salt. “We aren’t the main actors here; we’re merely allowed to play a small role within nature’s cycle,” he says with humble awareness—and it is this mindset that underpins the salt’s flavor.

Control both the grain size and the flavor exactly as you like

Salt is extremely sensitive to temperature changes. “A single summer thunderstorm can ruin the flavor,” says Enjiro, who pays meticulous attention to the weather, humidity, and wind patterns. He allows the salt to crystallize slowly over a period of three to four months—or as long as four years in some cases.

He masterfully controls everything from the balance of the five basic tastes (sweet, salty, spicy, sour, and bitter) to the size of the crystals. Word of his craft has spread by word of mouth, and he now receives a constant stream of custom orders from chefs around the world. It is rarely found on the open market, and there is a waiting list of several years for reservations. This is why it is called the “phantom salt,” a favorite even among Michelin-starred chefs. The highest price reaches 1 million yen per kilogram. Even “Shiojiro (Black),” the brand’s most standard product, costs around 4,000 yen per 100 grams—a far cry from the salt sold at mass-market retailers.

Salt embodies the very essence of a region’s charm.

The first product created when the business first opened was “Taiyo Crystal Salt: Enjiro.” Two years later, he developed a version with different grain sizes and a more pronounced sodium flavor; today, using this as a base, he fulfills over 2,000 different custom orders. “Salt is, after all, just a supporting role,” the artisan explains matter-of-factly. “We even calculate the rate at which it dissolves so that, the moment it melts into the main dish and becomes one with it, customers can experience the most delicious flavor.”

Furthermore, he continues to take on challenges that go beyond conventional boundaries, such as “flavored salts,” where ingredients like pufferfish, strawberries, and truffles are added to seawater to infuse umami during the crystallization process. The idea of creating high-value, rare products—such as those utilizing Tosa Buntan blossoms—also came up in conversation.

Although Enjiro continues to pursue the “ultimate salt,” now at age 55, he voiced an unexpected vision for the future. “I feel like I’ve done everything I can with salt. When I turn 60, I want to spend another 10 years aiming to be number one in Japan in a completely different industry. I get bored easily,” he says with a mischievous smile.

The sea, sun, wind, and vegetation of Tano Town. Enjiro’s completely sun-dried salt, born through a dialogue with all of these elements, is the very vitality of the land crystallized in its purest form. Before we know it, we find ourselves drawn into his profound and pure worldview.

The post Grain size, flavor—experience the life of “Tanoya Enjirō,” the salt artisan who masters it all / Tano Town, Kochi Prefecture first appeared on NIHONMONO.

The sea off Kochi, with its beautiful horizon stretching far into the distance, sparkles as it reflects the sunlight. About a 30-minute drive from downtown Kochi City, at the base of the Yokonami Peninsula jutting out into the Pacific Ocean, lies the Kochi University Comprehensive Research Center’s Marine Biology Education and Research Facility—a spot surrounded by palm trees and exuding a tropical atmosphere.
Upon entering the building, your eyes are immediately drawn to a giant fish specimen. This fish is the “Akame,” a carnivorous species native to Japan and representative of Kochi Prefecture. Although it is a rare species at risk of extinction, many Akame still inhabit the Shimanto River estuary and Urado Bay in Kochi Prefecture. The presence of this giant fish, which can grow to nearly 2 meters in length, has long been seen as proof of the richness of the ocean and brackish waters. However, that abundance is now being seriously threatened.
Comments from fishermen—such as “We can’t catch as many as we used to” and “The fishing season has shifted”—indicate that changes in the ocean are definitely underway.

A Quiet Crisis That Began in the Seas Where Seaweed Is Disappearing

“While the global average temperature has risen by 0.6 degrees over the past 100 years, the temperature along the coast of Kochi is rising at roughly twice that rate,” says Professor Masanori Hiraoka of Kochi University, a leading expert in seaweed research.

Kochi Prefecture lies near the southern limit of temperate seaweed distribution, and in the 1970s and 1980s, the coast of Kochi was home to extensive “seaweed beds” teeming with temperate seaweed. These seaweed beds, also known as “ocean forests,” serve as hiding places for juvenile fish and as spawning grounds for squid. Abalone, turban shells, and sea urchins grow by feeding on the seaweed in these beds. Furthermore, larger fish that prey on these small fish and crustaceans are attracted to the area. The abundance of seaweed—which forms the foundation supporting marine life—was a direct reflection of the richness of the marine ecosystem itself.

A 1-degree rise in sea temperature dramatically changes the ocean

However, due to global warming, sea temperatures are rising, and these seaweed beds are now rapidly disappearing. For example, seaweeds such as aonori and kelp grow in the cold waters of winter. However, once the temperature exceeds their upper growth limit, photosynthesis and metabolism become difficult, and they can no longer maintain their cellular structure. When water temperatures rise and the seaweed senses a threat to its survival, it releases spores to ensure the survival of the next generation rather than extending its fronds and growing further, and its body eventually disintegrates and disappears.

In addition, tropical seaweeds have proliferated rapidly in recent years. Tropical species, which were rarely seen in the 1970s, expanded their range year by year throughout the 1980s, 1990s, and 2000s, and it is said that tropical species have now replaced the seaweeds most commonly found in Kochi.

A prime example of this is the tropical seaweed known as Hondawara. Whereas the native temperate Hondawara thrived almost year-round, the tropical variety grows only during warm periods, causing fish that used to inhabit the seaweed beds during colder months to lose their habitat.

Furthermore, changes in the coastal environment also affect fish further offshore. Hondawara growing along the coast can break off and drift out to sea. In Kochi, juvenile yellowtail gather around this “drifting seaweed.” Fishermen catch these juveniles—which they call “mojako”—and use them for aquaculture. Although the mojako fishing season is limited to early spring, tropical kelp does not drift ashore until summer. There are concerns that this will eventually affect the mojako fishery as well.

Furthermore, while tropical kelp can grow up to 2 meters in length, it is not suitable for human consumption, and its industrial use has not progressed.

The professor states, “Before being a food source, seaweed is the ‘foundation’ that supports the marine ecosystem. If seaweed disappears, fish migration routes will change, and the habitats of shellfish will be lost. Furthermore, it will affect the fishing industry itself.”

The Day the Aonori Disappeared from the Shimanto River

Particularly striking are the changes that have occurred at the mouth of the Shimanto River, known as the prefecture’s only seaweed production area. The seaweeds that have long supported Kochi’s food culture—Sujiaonori and Hitoegusa (Aosa-nori)—grew in the estuary where river water and seawater mix. The Shimanto River estuary, in particular, was renowned as Japan’s premier natural fishing ground for Suziaonori, and the sight of Suziaonori growing to over one meter in length was a hallmark of winter in Kochi.

Suziaonori has a strong aroma and is known as a high-quality ingredient essential for okonomiyaki and takoyaki. Hitoegusa has long been enjoyed in tsukudani and tempura. However, changes in the natural environment caused by global warming have dealt a blow to both of these species. The annual harvest of striped aosa, which once ranged from 10 to 20 metric tons, has dropped to zero in the wild since 2020. Cultivated hitoegusa has also been unavailable since 2021, and Kochi’s sole seaweed industry once completely vanished.

Kochi University Aims to Revitalize the Seaweed Industry Through Its World-Renowned “Land-Based Aquaculture”

Around the time the seaweed in the Shimanto River began to disappear, researchers at Kochi University were the first to confront this change.

“If this continues, the seaweed culture itself will disappear”—it was this sense of crisis that quietly spurred the university into action.

What turned the tide was land-based aquaculture technology. In 2004, to rebuild a sustainable seaweed industry in Kochi, Kochi University developed a land-based aquaculture system using deep-sea water off the coast of Muroto City, Kochi Prefecture, and succeeded in producing striped aonori. Muroto is one of the few places in Japan where deep-sea water can be drawn from near the shore. The deep-sea water, drawn from depths of 320 to 374 meters, maintains a stable, low temperature of approximately 10 degrees Celsius year-round, creating an environment where aonori—a type of seaweed traditionally harvested only in winter—could be cultivated year-round.

Furthermore, as research progressed, the team developed a patented technology called the “spore agglomeration method,” which involves simultaneously releasing spores, agglomerating them, and then culturing and suspending them to ensure uniform growth. The ability to stably produce high-quality, tangle-free seedlings through this method was groundbreaking even on a global scale. It dramatically improved spore survival rates, enabled mass production on land, and paved the way for industrialization.

The volume of land-based cultivation of Suziaonori initially stood at 1 metric ton but increased to 3 metric tons within a few years. It now exceeds 10 metric tons, meaning that more than half of the amount once harvested from the wild is now being regenerated on land. Land-based cultivation of Hitoegusa (Aosa nori) is also beginning in large tanks, and a stable supply is expected in the near future.

A Leading Region in Seaweed Research and Land-Based Aquaculture

Although land-based aquaculture requires significant capital investment and efficient cultivation techniques are essential, more than 20 companies nationwide have adopted Kochi University’s technology and are working to restore seaweed beds. Furthermore, there are high hopes that this technology can be applied to the restoration of natural seaweed beds and contribute to the revival of seaweed communities that have disappeared due to high water temperatures.

From Food to Energy: The Future Shaped by Seaweed—A Challenge Beginning in Kochi

The cumulative results of research—beginning with the successful land-based cultivation of seaweed in 2004—are opening up new possibilities beyond the realm of food. In Kochi, a major initiative known as the “Shimanto Seaweed Eco-Innovation Co-creation Hub Project” is currently underway. It is an effort in which government, businesses, researchers, and local residents are collaborating to cultivate seaweed and create new industries. Professor Hiraoka serves as the project leader.

Seaweed is viewed as a promising material for the future, with ongoing developments such as paper, fibers, and edible jellies made from seaweed—which can multiply three to four times in a single day—as well as biodegradable plastics derived from seaweed and research on the seaweed species Kagikeno, which, when added in small amounts to the feed of ruminants such as cattle, reduces methane emissions from their belches by 90 percent. Furthermore, given that one metric ton of seaweed absorbs one metric ton of CO₂, cultivating seaweed itself contributes to protecting the global environment. As a result, seaweed is currently attracting worldwide attention as a food source, a resource, and a material for shaping the future.

The post Vanishing Seagrass Beds and a Future of Regeneration: The Ocean’s Revival as Envisioned by the “Kochi University Comprehensive Research Center Marine Biology Research Facility” / Tosa City, Kochi Prefecture first appeared on NIHONMONO.

Kochi Prefecture is a tropical region rich in natural beauty, nurtured by the bounty of the Pacific Ocean and its mountains and rivers. Among its areas, Haruno-cho in Kochi City is a warm region facing the Pacific Ocean. It features breezes blowing in from the sea, abundant sunshine, and a landscape where plains and hills intertwine. Drawing on these natural blessings, Farm Vegeco is paving the way for the future of agriculture.

Growing Vegetables in Greenhouses in Winter: A Reversal in Agriculture

About 90 percent of Kochi Prefecture’s land area is mountainous, and rivers flowing from the Shikoku Mountains rush down as rapids before emptying into the sea. As a result, sediment does not accumulate over wide areas, and the terrain is characterized by a lack of large-scale plains. So, how can this limited flat land be put to good use? Greenhouse horticulture—which yields high crop yields even on small plots—has developed as a solution to this challenge. Open-field cultivation takes place in the mountainous areas during the summer, while greenhouse cultivation occurs in the plains during the winter. By skillfully adapting to the seasons and the terrain, a unique agricultural system specific to this region has taken shape.

The cucumbers grown by Nagasaki Asahi at Farm Vegeco are transplanted in early October, and harvesting continues daily from mid-November through June. This is a reverse approach: growing in winter crops that typically bear fruit in summer when grown in open fields. The cucumbers, having endured the cold, lose their grassy bitterness and become sweeter. Cucumbers grown in winter greenhouses possess a quiet yet robust flavor distinct from their summer counterparts.

However, in cold regions, the high cost of heating makes it difficult to expand winter cucumber cultivation on a large scale. In this regard, the Pacific coast—with its warm climate and abundant sunshine—is an ideal region for growing winter crops. Among these areas, Kochi Prefecture ranks among the top in the nation for cucumber production, hovering around 6th or 7th place in recent years. It maintains a stable position as a major production center.

Prepare the soil, observe the leaves, and grow the fruit straight

Everything hinges on the three-month summer off-season for Farm Vegeco’s cucumbers. The Nagasaki family, who are also rice farmers, incorporate large amounts of rice husks and rice bran—byproducts of rice cultivation—into the soil and allow them to ferment. This soil preparation is the reason why their winter cucumbers are surprisingly sweet. Just as nuka-zuke pickles become sweet, soil enriched with rice bran brings out the cucumbers’ natural sweetness.

The Vitality of Greenery Thriving in the Greenhouse

Inside the greenhouse, farmers carefully identify the vines—which resemble a “body” and “limbs” extending from a single cucumber plant—and adjust the number of leaves to control the amount of photosynthesis. Each leaf plays a role in nurturing the nearby fruit, so farmers must be careful not to remove too many or leave too many.

In Japanese markets, “straight cucumbers” are in demand. If a cucumber touches a leaf, it bends; if it touches the ground, it turns yellow. Farmers watch over the growth of each individual cucumber, sometimes thinning the fruit and sometimes shaping it by hand to produce “Grade A” produce. “Grade A” refers to standard products that meet specifications for shape, color, and size, with few blemishes or bends. Of course, the taste remains the same even if they’re bent. Nevertheless, the reality is that market standards dictate farmers’ incomes.

Inside the greenhouse, the cucumber vines stretch out thinly as if searching for air, their tips—which have yet to touch anything—gently swaying in midair. It is a quiet movement, almost like hesitation, before they reach out for support.

Within that subtle hint of movement lies the plant’s unwavering will, striving to choose the path its life will take from here on.

A Farm That Has Been in Operation for 50 Years and the Legacy Left by My Family

The history of Farm Vegeco dates back more than 50 years. My father, who had been working at a travel agency, was adopted into a farming family that had been growing melons and tomatoes since my grandmother’s generation, and he took over the farm. He had no prior experience in farming. Nevertheless, with his artisan’s spirit, he engaged with the soil, immersed himself in every task, and honed his skills.

By his side was my mother, who had also worked at the same travel agency. My mother, who possessed the ability to forge connections between people and nature, established the Farm Vegeco brand under the philosophy of “Vegetable Communication & Collaboration.” Valuing dialogue with chefs, she grew not only cucumbers but also herbs and a diverse range of vegetables, continually responding to the needs of culinary professionals. Furthermore, by personally visiting supermarkets in Tokyo and actively participating in product competitions, she quietly yet steadily spread the name of Farm Vegeco among the general public.

To protect the farm his parents had built and pass it on to the next generation, Mr. Nagasaki chose to work the fields himself after a stint as a salaryman in Tokyo. However, in May 2025, his mother passed away due to illness. It was his fourth year back at the farm. Though the time he spent learning directly from her was brief, the spirit she instilled in him—farming to bring joy to people’s faces—remains unchanged and continues to breathe life into the very heart of this farm.

The Reality Facing Farmers Caught Between the Market and Direct Sales

Currently, 70% of Farm Vegeco’s produce is shipped to markets, while 30% is sold directly to consumers. The farm has stopped shipping through the JA. JA shipments involve high commission fees, which can sometimes cut farmers’ take-home pay in half. Pricing is also determined by the JA, making it difficult for farmers to proactively choose their customers. On the other hand, there are significant advantages to entrusting collection, sorting, and sales to the JA, as this ensures stable sales channels.

The appeal of shipping to the market lies in the low commission—around 10 percent—which increases the farmers’ take-home pay. However, this requires farmers to handle all sorting, packing, and shipping themselves, and they are responsible for maintaining consistent quality and building trust. Even so, their love and pride in the cucumbers they grow led them to choose the path of building their own brand.

The unit price of cucumbers is determined by market rates, and farmers have no say in setting the price. Even Grade A cucumbers fetch only about 30 yen per cucumber. It’s a harsh world where non-standard cucumbers sell for just 50 yen per kilogram. Rebuilding a greenhouse costs between 30 million and 40 million yen. Even repairs alone cost millions of yen every year. This is why the number of young farmers isn’t increasing.

Even so, Mr. Nagasaki says, “Farming is fun.”

“I was fortunate to have a foundation because I took over my parents’ farm. But starting from scratch presents a high barrier to entry. If the government had a system to lease unused greenhouses to young people, the farming population would surely grow,” he says.

Increasing direct sales and building connections with chefs and supermarkets that buy at fair prices—that is the path to survival for small-scale farmers. In fact, since winning the Grand Prize at the Vegetable Sommelier Summit in 2013, Farm Vegeco’s profile has risen, and chefs from Tokyo restaurants and international hotels have begun visiting Kochi in search of the farm’s cucumbers. Some overseas chefs even seek out tiny cucumbers still bearing their blossoms. The creativity of these chefs is bringing new perspectives to the farmers.

A “Flavor” We Want to Preserve for the Future: The Aspirations of a Young Farmer

When you take a bite of a cucumber from Farm Vegeco, juice bursts out immediately after harvest, filling your mouth with freshness. What’s more, that freshness is slow to fade, even after several days. Growing slowly in winter tightens the cells, strengthening the fruit’s ability to retain moisture.
Furthermore, the fruits that have endured the winter cold have little of that grassy taste and are surprisingly sweet.

Mr. Nagasaki says, “Even after my father is gone, the last thing I want to hear is that the taste has changed.” . He has no intention of expanding the number of greenhouses. Rather than chasing scale, he prioritizes preserving flavor. And he aims to connect with people who truly appreciate their produce and are willing to pay a fair price for it. That is the future vision for Farm Vegeco.

A single cucumber grown during the winter in Kochi. Behind it lies a family’s history, the local climate, the memory of the soil, and the bonds between people. Inside the quiet greenhouse, even today, a small vine striving to grow straight is reaching out, searching for support.

The post Carrying our family’s hopes into the future. With love from “Farm Vegeco” / Kochi City, Kochi Prefecture first appeared on NIHONMONO.

Safe and secure “Nikomaru” brand rice

Rice from Kochi may not be a familiar name to many people. However, “Nikomaru,” produced in Niida Town, is a brand-name rice that has won awards in numerous contests, including the Rice and Taste Analysis Contest and the Monde Selection.
NIKOMARU is a heat-tolerant variety that originally originated in Nagasaki. In Niida Town, 63 rice farmers cultivate this rice using only organic fertilizers. The rice is also milled and shipped with the utmost care. It may not be familiar in the Kanto region, but it is quite popular in western Japan and is sold at high prices in local stores.

The town of Niida has been known as a rice-producing area since the days of the Tosa Clan. The reason why the rice tastes so good is said to be the large temperature difference between daytime and nighttime of more than 10 degrees Celsius during the summer and pre-harvest period due to its high altitude, and the clear water of the Shimanto River. Miyauchi Shoten’s contract farmers also insist on “safe and secure rice production. Seedlings are grown before rice planting, and it is important to disinfect the seeds at this time. If this is not done, the seeds can easily become sick and cause serious damage. However, the farmers contracted by Miyauchi Shoten do not use pesticides for disinfection, but instead use an environmentally friendly method of rice cultivation called “hot water disinfection of seed rice” in which the rice is soaked in hot water at 60°C for 10 minutes. In addition, the farmers have repeatedly devised and researched various other methods, and their rice has won awards for 15 consecutive years in the “Rice and Food Taste Analysis Contest,” in which rice production areas nationwide compete for the best taste of their rice.

Sweets made with rice

The freshly cooked rice was indeed glutinous and tasty. The rice is indeed glutinous and tasty, and when served with bonito tataki, a specialty of the highlands, one’s chopsticks are sure to go straight to one’s mouth. You also make sweets, don’t you?
Hidetoshi Nakata, who loves rice but also has an eye for sweets, was attracted by the Niida rice sponge cake. Miyauchi Shoten sells sponge cakes, baumkuchen, roll cakes, and other products made from Niida rice flour. The moist and glutinous texture makes them popular as souvenirs. We have been making rice-flour pastries since 2006, and thanks to the recent increase in the number of gluten-free customers, they are becoming increasingly popular,” he says.
There is no reason why sweets made from rice that are made with the finest ingredients can’t be delicious. The reason for the name “Nikkomaru” is that it is delicious and makes people smile. The “Nikomaru” grown in Niida Town is bringing smiles to many faces in various ways.

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Makino Botanical Garden, a comprehensive botanical garden

Tomitaro Makino (1862-1957), a botanist from Kochi, Japan, is known as the “father of Japanese botany.” At a time when Japanese flora had not yet been fully understood, he walked the country on his own two feet and conducted almost self-taught botanical surveys and research. He named more than 1,500 species of plants, including new species and varieties, and left behind about 400,000 specimens and botanical drawings. The Makino Botanical Garden was opened in 1958 as a facility to pass on his achievements to future generations. When it opened, it was a public botanical garden that mainly cultivated and exhibited plants native to Kochi Prefecture, but in 1999, the Makino Tomitaro Memorial Museum was opened, and it has become a comprehensive botanical garden that conducts plant research, disseminates plant knowledge, and provides a place for relaxation through plant exhibits.
The museum is currently engaged in the research, collection, and conservation of wild plants in Kochi Prefecture and Japan, as well as the elucidation of plant diversity overseas and the exploration of resource plants, making it a facility that attracts plant experts from around the world,” said Seiko Fujii, Cultivation Technology Section.

Translated with DeepL.com (free version)

Dr. Makino’s study is recreated at the Makino Botanical Garden

The vast area, which covers almost the entire upper half of Mount Godaisan in Kochi City, is home to more than 3,000 species of plants that delight the eyes of visitors. In addition to the actual specimens and botanical drawings left by Dr. Makino, the park also features a recreation of his study “Yojo Shokuyoku,” a room filled with his materials. There is a café and restaurant in the garden, serving original blends of Makino Botanical Garden tea based on plants related to Dr. Makino, as well as a botanical store, making it a good place to take a break during a stroll.

Makino Botanical Garden recreates natural conditions

Learn about the great achievements of Dr. Tomitaro Makino at the Memorial Hall and stroll through the park. The Tosa Botanical Ecology Garden, which recreates the nature that nurtured Dr. Makino, an area with traditional Japanese horticultural plants and other Oriental plants that add color to the four seasons, and a greenhouse with a water garden and jungle zone, are all overgrown with trees that look like they were originally there in the wild, but in fact they have been precisely arranged to recreate the natural state of the forest. The large greenhouse is home to rare tropical plants and ecology. In the large greenhouse, visitors can learn about the ecology of rare tropical plants, but “in mid-summer it is so hot that it is cooler in the greenhouse (laughs).

Sustainability is also the theme of the architecture.

Another highlight of the botanical garden is its architecture, which is based on the theme of sustainability and uses an abundance of wood. The circular entrance gives a sense of openness, as if the sky has been hollowed out, and the corridor leading from there to the Tomitaro Makino Memorial Museum is in perfect “symbiosis” with the many plants. The building was designed by one of Japan’s leading architects, Mr. Hiroshi Naito. It has received numerous awards, including the 13th Togo Murano Award, as an outstanding building that shows the direction of environmentally friendly architecture that takes the landscape into consideration.
The Makino Botanical Garden is a botanical garden that can be enjoyed by those without much interest in plants. Just walking around or taking a deep breath is pleasant. The fact that one naturally becomes interested in the plants as one strolls through the garden is probably due to the fact that Dr. Makino’s passion and love for plants has been passed down to him.

The post The Kochi Prefectural Makino Botanical Garden, where you can experience the plants loved by Tomitaro Makino, the father of botany in Japan. first appeared on NIHONMONO.

Fully fermented tea “Gosekicha” for good health

There are many types of tea in Japan, but a rare fermented tea is produced in Otoyo-cho, Nagaoka-gun, Kochi Prefecture, in the middle of Shikoku. Goishi tea, a fully fermented tea that has been attracting attention in recent years as a health food rich in lactic acid bacteria, has been produced for more than 400 years in this mountain town rich in nature.

It is said that Goishi tea was introduced from China about 400 years ago. It is characterized by its unique flavor produced through a two-step fermentation process. At its peak, more than 100 tons were produced, but by the end of the Showa period, only one house was producing it, and it was in danger of disappearing for a while. But a cooperative was formed to preserve this traditional tea, and now four farmers and one corporation make Goishi tea.” (Yuji Yoshimura, Otoyo Town Goishi Tea Cooperative)

Take a sip of Goishi tea and a slightly peculiar sour taste fills your mouth. It tastes similar to pu-erh tea, a fermented Chinese tea, but it has a mellower taste, and as you get used to the sourness, the deeper taste becomes addictive. The vegetable lactic acid bacteria contained in abundance by the two-step fermentation is said to be 23 times more than that in Pu-erh tea, and since vegetable lactic acid bacteria work in the body without losing out to other microorganisms, it has a beneficial effect on intestinal regulation, hay fever, flu prevention, hyperlipemia, inhibition of arteriosclerosis, and lowering of blood pressure. The effects of plant lactobacilli have been announced at academic conferences and other occasions.

Tea that can only be made in Ootoyo Town, Kochi Prefecture

While black tea, a type of fermented tea, undergoes oxidation fermentation, Goishi tea is fermented using microorganisms. First, tea leaves are placed in large barrels along with their branches, steamed, then the branches are removed, and the leaves are spread out on mats to allow air to circulate and mold to form. In the second stage, the leaves are placed in wooden barrels for fermentation. The tea leaves layered in wooden barrels resemble “tea pickles.” These are then cut into small pieces and sun-dried to complete the Goishi tea. Due to the fermentation process using microorganisms, Goishi tea can only be made using the mats and wooden barrels from Ootoyo Town in Kochi Prefecture.

“Goishi tea is made from June to August. We choose sunny days for sun-drying, and the name comes from its pitch-black appearance when dried. When viewed from a distance, the sun-dried tea resembles a row of go stones.”

Fermenting tea using microorganisms is rare worldwide, with only a few places like Yunnan Province in China and the border region between Thailand and Myanmar known for it. Yet, in Japan, there are four production areas, and three of them are in Shikoku, which is quite intriguing.

Like many agricultural and traditional industries, the production of Goishi tea is facing an aging population, making it difficult to pass down the craft. However, once people discover its taste and benefits, I believe more fans of Goishi tea will emerge. It’s delicious and healthy. I hope more people around the world come to know about this tea that exists in Japan.

The post Goishi tea, a fully fermented tea that is attracting attention in Japan, a nation of fermented foods / Otoyo Town, Kochi Prefecture first appeared on NIHONMONO.

Located in Tosa City, Kochi Prefecture, this bonito flakes manufacturing company has won the Minister of Agriculture, Forestry and Fisheries Award, and is well known to those in the know.
It is said that the tradition of making dried bonito flakes spread from Tosa City.
They preserve the taste of Tosa-bushi in the original place of dried bonito flakes making.

Takeuchi Shoten’s traditional dried bonito flakes compete with high quality.

When one thinks of bonito, one thinks of Kochi, and when one thinks of Kochi, one thinks of bonito, so we went to Takeuchi Shoten in Tosa City. Takeuchi Shoten is a well-known manufacturer of dried bonito flakes that won the Minister of Agriculture, Forestry, and Fisheries Award at the 2012 National Dried Bonito Flakes Fair. The company’s name is well-known throughout Japan, and many chefs come to the store to buy their dried bonito flakes for the taste of the soup stock they produce.

Kochi and Kagoshima are famous for katsuobushi, but Kagoshima is by far the largest producer. Kagoshima produces 74% of all bonito flakes in Japan, and Shizuoka 25%. Only 0.6% is produced in Kochi,” says Taichi Takeuchi, senior managing director of Takeuchi Shoten.

Quality over quantity. While preserving traditional techniques, Takeuchi Shoten pursues high quality and taste. You can feel their pride as the originator of katsuobushi production.

Traditional dried bonito flakes and its making process

The tradition of making dried bonito flakes spread from Tosa. Many people moved to Makurazaki and passed on their skills, and until a short time ago, Tosa dialect was sometimes used in Makurazaki,” says Executive Director Takeuchi.

If the quantity of Tosa-bushi is small, there is no other way but to produce quality Tosa-bushi, so Takeuchi Shoten continues to produce katsuobushi with the traditional flavor, color, and shape. The recipe is the very essence of their commitment.

There are three types of dried bonito flakes: “Ara-bushi,” “Kare-bushi,” and “Hon-kare-bushi. Ara-bushi” is made by removing the bones one by one from boiled bonito and smoking it for about a month, which gives the bonito a charred black color. This “ara-bushi” is what is usually sold. Kare-bushi” is made by fermenting and aging the dried bonito in a room called “muro,” and then drying it in the sun. The kare-bushi produced at Takeuchi Shoten, however, is made by repeating the process of kabi-ing and sun-drying, which takes nearly half a year to complete. The result is “honkare-bushi,” which is full of flavor and richness.

The company ‘s mission is not to preserve tradition, but rather to produce the best tasting bonito flakes possible. We don’t think that just because it’s “authentic” and we put a lot of time and effort into making it, that’s enough, ” says Takeuchi.

Japanese food is now attracting attention from around the world. The flavor of dried bonito flakes is at the core of the history of Japanese food. The people who preserve the “real” taste support the foundation of Japanese food.

More than preserving tradition, we place importance on how to make delicious dried bonito flakes. We don’t think that just because it is authentic and we put a lot of time and effort into making it, that makes it okay. We are happy if you can enjoy the pure taste of our dried bonito flakes.

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The post Traditional bonito flakes that won the Minister of Agriculture, Forestry and Fisheries Award Tosa-bushi Takekawa Shoten Taichi Takekawa, Executive Director / Tosa City, Kochi Prefecture first appeared on NIHONMONO.

This workshop makes Tosa knives, a traditional craft that has been passed down in Kochi for over 400 years.
While 90% of Japanese kitchen knives are made in Osaka and Sakai, 60-70% of these knives are actually made in Kochi.
The workshop is constantly improving its skills to “raise the value of Tosa kitchen knives even higher.

Tosa knives have been handed down for more than 400 years.

The traditional Kochi craft of “Tosa cutlery ” is said to have started when Motochika Chosokabe, the lord of the time, brought back sword smiths when he participated in Hideyoshi Toyotomi’s conquest of Odawara. Thus, the history of Tosa cutlery is long, and it has been carefully passed down through the years to the present day.

Makoto Tadokoro of Tosa Kitchen Knife Studio Tadokoro Cutlery, one of the best sharpeners in Japan, says that he first trained at an “edging shop” in Susaki City.

At first, I just watched and was not allowed to touch the knives. I hated to lose and felt frustrated, so I began to think that I should learn the technique too, and before I knew it, I was hooked. The harder I worked, the more skill I acquired, so it was much more fun than studying or playing.”

Incorporating Sakai’s knife technology into the new Tosa cutlery

After 17 years of training in his hometown, Mr. Tadokoro traveled around the country to various knife production areas in order to further enhance the value of Tosa knives. There, he met his current master in Sakai, Osaka, the home of kitchen knives.

He said, “I wondered what I had done in Kochi, and my previous skills and knowledge were not applicable. If we were to do the same work in Kochi, there would be 10 processes, but at my master’s place, there would be 20 or 30. Anyway, he puts in a lot of time and effort to sharpen the work. I really felt that I had to learn this technique.

The sharpening process is divided into “rough sharpening,” “medium sharpening,” and “finish sharpening. Mr. Tadokoro, who was shocked at Sakai, spends a whole day carefully sharpening his knives in order to breathe new life into Tosa knives.

He grinds by feeling everything: the vibration, the sound, and the color of the sparks transmitted to his hands. As I gain more experience, I acquire a sense of these things.

The sharpness of the knife makes the food tasty.

Tadokoro’s knives, the result of his careful work, are beautiful and have excellent sharpness.

A knife that sharpens well does not put pressure on fish, meat, vegetables, etc., so the food tastes better,” he says.

In fact, if an ingredient is cut with a knife that is difficult to cut, it may taste bitter and cloying, and the flavor may be lost. A sharp knife is not only beautiful to look at, but also has great power to change the taste of food.

It is said that 90% of Japanese kitchen knives in Japan are produced in Sakai, but in fact, 70% of them are made in Kochi.

We cannot continue to be a “subcontractor” to Sakai forever. I think we must somehow raise the value of Tosa kitchen knives.

Mr. Tadokoro continues to pursue sharpness today in order to enhance the value of Tosa kitchen knives.

Japanese kitchen knives are attracting attention not only from Japanese chefs but also from all over the world, so much so that French chefs sometimes come all the way to Japan to buy kitchen knives. If you use a good kitchen knife, your food will taste better. Please try a good knife and see how sharp it is.

You can find more information here.

The post Traditional kitchen knife sharpening makes cooking more delicious Tosa Kitchen Knife Workshop Tadokoro Cutlery Makoto Tadokoro / Tosa City, Kochi Prefecture first appeared on NIHONMONO.