In the gallery of “Mifune Kiln,” nestled in the mountains, two types of pottery crafted by twin brothers are on display: “yakishime,” in which clay and fire create a powerful texture, and “seiji,” which captures light within its layered glazes. The younger brother, Hitomu Tsugane, chose the path of seiji, considered the most difficult form of pottery.

My Father’s Kiln: The Era of Everyday Tableware

The Mifune Kiln is located in a forest nestled in the mountains, a short distance from the city center. About 40 years ago, my father left his corporate job to study the techniques of Takada-yaki—a ceramic tradition with a history of some 400 years in Yatsushiro City, Kumamoto Prefecture—and eventually struck out on his own. That was the beginning of his journey, when he built his kiln here. While Takada-yaki is known for its celadon, my father did not pursue celadon. Instead, he focused on creating everyday tableware, such as ash-glazed pottery—using glazes made from plant ash derived from straw and wood—and powder-coated ware. It was an era when pottery studios were springing up everywhere amid a pottery boom, but my father’s pieces gained popularity, and on weekends, so many people visited the kiln that the parking lot could not accommodate them all.

From Pottery Studio to Artist: The Gamble of Celadon 

Raised in such an environment, Mr. Tsugane studied the fundamentals of ceramics at the nation’s only vocational school specializing in ceramics, located in Arita, Saga Prefecture, and returned to his hometown after graduation. Following graduation, he worked as his father’s right-hand man, producing dozens of tea bowls for daily use and receiving a lump-sum payment once the exhibition was over. It was a “craftsman”-like way of working, producing the required quantities in a predetermined form. However, the times had changed, and it had become difficult to sustain the kiln by simply making everyday tableware in a kiln nestled in the mountains and waiting for customers, as had been done before.

“We can’t go on like this.”

Realizing this, Tsugane began to consider a path focused not on quantity, but on engaging with the works themselves.

“If so, what should I do as an artist?”
When he asked himself this question, he arrived at celadon. It is considered one of the most difficult genres in the world of ceramics, and few potters attempt it. That is precisely why he wanted to master it. The origins of celadon date back to ancient China. When a transparent glaze is applied to the clay body and fired in an oxygen-deprived kiln, the iron in the glaze reacts to produce a blue hue. However, since glazes made from natural raw materials have unstable iron content, the final color varies depending on the clay body and the conditions of the fire. Producing the exact shade of blue one envisions is no easy task. Due to this difficulty, celadon was once said to be a craft that “ruins your livelihood if you try it.” With virtually no formal training available, Tsugane collected books and, supplementing his understanding of difficult concepts with other texts, pursued his research into celadon entirely on his own.
“I started working with celadon because I felt I couldn’t go on as I was, but once I began, I found myself becoming more and more engrossed in it.”

Thick Glaze, Thin Clay—The Art of Crafting Celadon 

At first, things went surprisingly smoothly. I even won an award at a regional exhibition. But when I entered the world of the Japan Craft Association, I was told, “That’s not celadon. Have you ever seen the real thing?”

In the world of the Japan Crafts Association, the evaluation criteria are completely different from those of regional exhibitions. It is a world where “whether it is authentic craftsmanship” is rigorously scrutinized, taking into account not only the quality of the work but also the materials, techniques, and historical context. Tsugane’s understanding was completely overturned. Celadon is not simply about appearing blue or green. Its defining characteristic is the application of an astonishingly thick layer of glaze. While the glaze on ordinary pottery is less than 1 millimeter thick, on celadon it is 2 millimeters or more, and in some cases exceeds 4 millimeters. Within this thick layer of glaze, light reacts with the iron content to produce that deep hue.

Because the glaze is so thick, the underlying vessel must be made extremely thin to achieve the desired elegance. However, the thinner the vessel, the more likely the clay is to collapse or warp during firing.
This is where the process of creating the clay itself becomes essential. Mr. Tsugane tested clays from all over Japan, gradually adjusting factors such as strength to withstand firing, ease of shaping, and stability in the finished piece to develop his own unique blend. Even when he thinks, “This is good,” he feels compelled to make further adjustments. It is a constant cycle.

The lines drawn by time. An expression called “crazing” 

Applying the glaze is just as labor-intensive. Three coats on the inside—drying and building up each layer—and three on the outside. Before firing, the piece looks so far from the finished product that one might doubt it will ever truly become celadon. Moreover, even the slightest change in conditions inside the kiln can easily throw off the color. “Depending on the oxygen levels alone, celadon can even take on a yellowish hue. It’s not about creating the color; rather, it’s about drawing out the coloration of the iron within the thickly applied glaze. That, I believe, is what celadon pottery is all about,” says Mr. Tsugane.

Among Tsugane’s works, the most distinctive are those known as “crazed celadon.” Crazing refers to the fine cracks that form on the surface of a piece as it cools after being removed from the kiln. In celadon, slight differences in the shrinkage rates of the clay and the glaze cause fine cracks to appear in the glaze. Some pieces look as if a thin layer of ice has formed, while others feature red lines created by rubbing vermilion into the cracks. Generally, these cracks are considered to occur by chance. However, Tsugane meticulously adjusts the thickness of the glaze, as well as the firing and cooling conditions, to deliberately shape the pattern of the cracks themselves into an integral part of the work’s expression.
Crackling does not necessarily occur the moment the piece is removed from the kiln. Sometimes, several days or even a month later, it may appear with a sudden “crack.” The red lines that emerge and the transparent lines that appear later—their interplay transforms the vessel’s appearance the more it is used.

What Defines the Quality of Celadon

Since being selected for the first time for the “Japan Traditional Crafts Exhibition”—Japan’s premier open-call exhibition organized by the Japan Crafts Association—Tsugane has gained increasing recognition, with his works even being purchased by the Imperial Household Agency. Furthermore, through achievements such as winning the “Japan Crafts Association Award,” he has established a solid reputation in the field of celadon. At the same time, however, he notes that attitudes toward awards have changed significantly over the past decade or so. In the past, winning an award would attract department store events, and customers would visit specifically to see the winning pieces. Now, however, more people choose tableware based on their personal taste, and Tsugane notes, “We are no longer in an era where awards decide everything.”
Nevertheless, what remains unwavering for him is the “dignity” expected of celadon. His goal is to achieve a water-like, clear blue known as “Uka-tensei” (the blue of the sky after rain). To approach this ideal, he studies the lineage of Chinese celadon and travels to China. He believes that understanding the roots provides a solid foundation for new forms of expression.

He uses a gas kiln. His philosophy is not to be particular about the type of kiln, but to choose the flame that best suits the work. For celadon, a strong, stable flame with few impurities is essential.

Furthermore, in recent years, the raw materials themselves are becoming scarce. Fewer people are digging for clay, and he has even been told that the clay he has used for many years “can no longer be obtained.”
Tsugane secures whatever clay he can while searching for new sources, and he meets with suppliers on-site to build relationships. “If there are no longer people digging for clay, we won’t be able to make our work either.”

It is perfected through use

My goal is to become a potter who makes people think, “Tsugane celadon is beautiful. I’d love to own one.” I don’t want to make pieces that are simply displayed in a box; I want to create tableware that is actually used at the dinner table—the kind that makes someone ask, “Whose is that?”

Celadon is understated, and the apprenticeship is long. The yield rate is by no means high. Yet, drawn to the dignity that lies beyond the difficulty, I never gave up. “Even master craftsmen over 70 have mountains of failed pieces in their scrap piles.” When I heard that, I felt the tension melt away.

“I’ll do this for the rest of my life.” I quietly savor those words.

A piece of pottery isn’t finished once it comes out of the kiln; it is gradually completed through use. Tsugane’s work, too, is being built up slowly in that same way.

The post “Mifune Kiln”: Where Light Shines Through in a Mountain Kiln / Mifune Town, Kamimashiki District, Kumamoto Prefecture first appeared on NIHONMONO.

“Yoheho~, yoheho~.”The “Yamaga Lantern Festival” features about a thousand women dancing gracefully to the folk song “Yoheho-bushi.” The lights flickering above the dancers’ heads are Yamaga lanterns, traditional crafts. Hirotaka Nakajima is the fourth-generation master of Yamaga lantern making. While grounded in tradition, he is not afraid to adapt to the times.

The ethereal lights flickering above the dancers’ heads are traditional crafts

————No bones, no flesh, Yoheho, Yoheho————

The “Yamaga Lantern Festival” features approximately 1,000 women dancing gracefully with supple movements to the folk song “Yoheho-bushi.” Held every August, it is a major event in Yamaga City that typically attracts over 100,000 visitors annually. Legend has it that the festival originated when the villagers of Yamaga guided Emperor Keiko, the 12th emperor, who had lost his way in thick fog, by holding torches aloft.​​The source of the fantastical light flickering above the dancers’ heads in the darkness of night is the “Kin-tōrō,” a type of Yamaga lantern that is a traditional craft.Although they appear to be made of metal from a distance, they are actually made of paper. Without using any wood or metal fittings, they are assembled into three-dimensional forms using only Japanese paper and a small amount of glue, weighing a mere 180 grams. Achieving the substantial and luxurious appearance that defies belief that they are made of paper requires exquisite craftsmanship, and their creation is entrusted to artisans known as “lantern masters.”

Hirotaka Nakashima is the fourth-generation member of a family of lantern makers with a history spanning over 100 years. While his great-grandfather and grandfather ran both a lantern-making business and a clock shop, his father’s generation focused solely on lantern-making, and today he operates “Yamaga Lantern Shop Nakashima,” a specialty store along the Buzen Kaido.Born as the second son in a family of lantern makers, Nakajima worked as a company employee until the age of 33. However, realizing that the craft would die out if none of his brothers took over the family business, he made a determined resolution. He became his father’s apprentice, entered the path of lantern making, and has continued on that path to this day.

He switched careers from a different industry and mastered the craft under his father, his master

Making the career switch from a different industry was not easy. Although he had watched his father create lanterns up close since childhood and had been training even before the switch, the skills of a traditional craftsman are not easily acquired. The production of Yamaga lanterns involves a continuous series of meticulous tasks that cause pain in the fingertips, eye strain, and stiff shoulders. It requires extraordinary concentration and perseverance. Moreover, he received relentless criticism from his father, his master.“But looking back now, I’m grateful to my father for treating me as a disciple rather than going easy on me just because I was his son,” says Nakajima. To be recognized as a lantern maker, one must undergo about 10 years of apprenticeship and have one’s skills acknowledged by other lantern makers. Nakajima received his certification in 2017, after he had already entered his 40s.

Yamaga lanterns feature traditional styles, including the aforementioned gold lanterns, as well as “Miyazukuri” (shrine-style), which takes inspiration from shrine and temple architecture such as main halls, gate towers, and five-story pagodas, and “Zashikizukuri” (parlor-style), which mimics traditional Japanese houses.In addition, there are many works created by the lantern makers themselves, resulting in a diverse and extensive range of styles. These are primarily used for the “dedicatory lanterns” described below, and some are designed to be displayed without a light. Furthermore, they are often displayed in local homes as substitutes for lanterns during the first Obon memorial service, and custom orders featuring family crests are also available.

There are three criteria for Yamaga lanterns: “use only hand-made Japanese paper and starch paste,” “the main components of the lantern must be hollow,” and “do not create overlapping edges on curved sections.”Consequently, the designs are free and diverse, with examples ranging from Benkei from the *Kanjincho* to trains and battleships. Among these, the gold lanterns attract particular attention, not only because they are the symbol of the Yamaga Lantern Festival but also because they represent a rite of passage for lantern artisans. They embody the full range of skills required of a lantern artisan, and successfully completing a gold lantern is considered the first step toward certification.

A traditional craft deeply rooted in the life of the local community

The creation of a gold lantern involves endless work precise to the millimeter.Thick washi paper, onto which the design has been traced, is cut and assembled. While this may sound simple, because the lantern is hollow and lacks a framework, its shape and structural integrity must be maintained solely through the layering of washi paper. This is why the Yamaga lantern is nicknamed the “boneless lantern.” This is also the reason behind the line in the folk song mentioned at the beginning: “No bones, no flesh.”

Since there are neither bones nor flesh, even the slightest misalignment in the layered washi paper causes the structure to collapse. And to ensure a perfect fit, the washi paper must be cut with absolute precision, without the slightest deviation. A gold lantern consists of approximately 200 parts and takes about three days from preparation to completion. Hearing Mr. Nakajima say, “To create a Yamaga lantern, you need the perseverance to see it through without losing focus,” I find myself nodding in agreement once again.

The lanterns made in this way are placed atop the dancers’ heads and are also used as dedication lanterns. Dedication lanterns are those commissioned by neighborhood associations and other groups from lantern artisans specifically for the festival; they are so named because they are dedicated to the local Ōmiya Shrine after being displayed during the festival period. There are no regulations regarding their shape, and the motifs are decided through consultation between the group and the lantern artisan.Every year, 27 to 28 lanterns are made, and after the dedication, they are stored and displayed in the “Lantern Hall” within the shrine. They are replaced with new lanterns one year later in August. “It happens every year, but it truly makes me happy when the clients are pleased. It’s the moment when I feel rewarded for all my hard work,” says Mr. Nakajima.

To Pass Tradition On to the Future, We Must Ask Questions

Legend has it that Yamaga lanterns originated about 2,000 years ago when the 12th Emperor Keikō was on a royal tour of the Tsukushi region and his path was blocked by thick fog; the people of Yamaga guided him using torches.Afterward, the people continued to offer torches to Omiya Shrine, which enshrines Emperor Keikō, and during the Muromachi period, these torches evolved into Yamaga lanterns. Then, in the Edo period, influential figures in the town began competing to create the most lavish lanterns for their offerings, leading to the full blossoming of the Yamaga lantern culture.

Currently, there are seven active lantern makers in total. Five of them are women and two are men, with most in their 50s and 60s.There are three apprentices aiming for certification. While the number of lantern makers has remained stagnant over the past few decades, all the apprentices are in their 20s. Nakajima believes, “The future of Yamaga lanterns is by no means a situation to be optimistic about, but it’s not one to be pessimistic about either.” However, he also notes that “questions” are necessary to pass the tradition on to the future.

“I want to expand the occasions where people purchase them not just for festivals, but as traditional crafts for everyday use. If their usage is limited, the tradition will only dwindle. To achieve that, I need to ask: What kinds of products will sell? How can we make Yamaga lanterns feel more accessible to consumers…?”

By constantly asking these questions, Nakajima strives to bring new creations to the world. “By making gradual updates in line with changing times and needs, there are surely traditions we can preserve.” Continuing to craft lanterns while holding these questions in mind—it is this accumulation of effort that will carry the light of Yamaga into the next generation.

The post Asking questions and keeping the light alive. “Yamaga Lantern Shop Nakashima” – Hirotaka Nakashima / Yamaga City, Kumamoto Prefecture first appeared on NIHONMONO.

You could call him a thoroughbred. Born into the “Fumoto Kiln”—which boasts six climbing kilns, among the largest in the Kodai-yaki tradition with its nearly 400-year history—Naoyuki Inoue is the son of Yasuaki Inoue, considered a master of Kodai-yaki. While this privileged environment was a source of pride, it also meant he was constantly subject to comparison and judgment.

Is what I want to do really pottery?

The sound of firewood crackling fills the air. As the flames spread upward, seemingly racing up the slope of the climbing kiln and breathing life into the pottery, I see the history of Kodai-yaki—passed down unbroken for nearly 400 years—overlapping with this scene.

Kodai-yaki is one of Kyushu’s representative ceramics. Its origins are said to date back to 1632, when Hosokawa Tadatoshi, accompanied by potters, established a kiln at the foot of Mount Shodai in northwestern Kumamoto Prefecture.Characterized by a rustic, robust texture created using Shodai clay—rich in iron and small pebbles—and bold designs achieved by applying glazes made from local natural materials, such as straw ash and wood ash, its appeal lies in a simple yet profoundly deep presence.It was designated as a National Traditional Craft in 2003, and today, 11 kilns remain, primarily in Arao City and Minamikan Town, Tamana District.

Among them, the “Kodai-yaki Fumoto Kiln” in Fumoto, Arao City, is a renowned kiln that has produced many apprentices and boasts six climbing kilns—the largest number among existing Kodai-yaki kilns. The founder, Yasuaki Inoue, won the top prize at the Japan Folk Crafts Museum Exhibition and received awards at numerous other exhibitions; he is known as an indispensable figure in the development of Kumamoto’s traditional crafts.

Born in 1975 as Yasuaki’s eldest son, Naoyuki Inoue has incorporated his own identity into the craft’s approximately 400-year history and tradition. He is a popular artist renowned for his unique “slipware” (pottery decorated with a slip, a type of decorative clay) inspired by old British ceramics.As a child, he played with chipped pottery pieces as if they were a dollhouse set, and naturally assumed he would become a potter one day. However, during high school, he suddenly paused to reflect. Was pottery really what he wanted to do? Though he enrolled in a local design college while still uncertain, the answer remained elusive. Looking back on that time, Naoyuki lowers his eyebrows and laughs, saying, “To be honest, I was just drifting along.”

The Fusion of Traditional Kodai-yaki and Slipware

Naoyuki set out on a journey. He visited acquaintances of his brother Taishu in Tokyo, Tochigi, and Okinawa, and while he was shown pottery and workshops in each place, nothing really clicked. But for some reason, Koishiwara was different. Upon seeing the “Ota Tetsuzo Kiln,” a representative of Koishiwara-yaki, he naturally felt, “I want to study here.”After that, he spent four years apprenticing under the kiln’s founder, Tetsuzo Ota, before returning to his family’s Futomogama kiln. Feeling anxious as he watched his senior apprentices far ahead of him, he continued his training. But when he finally sat down at the potter’s wheel, Naoyuki felt at a loss. Now that he was actually in a position to create, he couldn’t see what he wanted to make.

The clue came from “pon-gaki,” one of the techniques he had learned under Mr. Ota. This decorative technique involves pouring glaze from a special container onto the surface of the vessel to create lines and patterns.Naoyuki sensed a kinship between this “pon-gaki” and “slipware”—pottery decorated with slip, a tradition originating in England—and sought “what he wanted to create” by studying old slipware and related literature. He eventually arrived at a unique style that fuses Kodai-yaki with slipware. He had found his identity within the approximately 400-year history and tradition of the craft.

Creations Born from Local Materials and Universal Designs

Naoyuki’s works utilize Kodai clay that he excavates himself. Just like traditional Kodai-yaki, he uses local natural materials: wood and straw for the ash used in glazes, and pine wood for firing fuel. Before the shaped clay has completely dried, he pours over it a mixture of clay dissolved in water, and then drips another color of clay dissolved in water from a syringe-like tool onto the surface to create patterns.

His designs are based on universal patterns selected from old British texts, which he reinterprets and reconstructs in his own unique way. This stems from his belief that “universal things have been passed down to the present precisely because people never grew tired of them.” The variations are diverse, ranging from wavy lines and crosses to shapes resembling ribbons. His free-flowing, dynamic lines reflect Naoyuki’s easygoing and carefree personality.

While Naoyuki’s style is now widely supported by consumers, he faced strong criticism when he first began, with critics claiming, “This is not traditional Kodai-yaki.” However, the words of a certain benefactor—“Even if nine out of ten people are against you, there is one who is on your side. I am on your side”—became a source of strength for Naoyuki and have sustained him to this day.

A Craftsmanship Rooted in the Earth and Fire

Naoyuki uses a six-chamber climbing kiln to fire his works. It was completed by Taishu approximately 50 years ago, in 1977. A climbing kiln, which requires continuous feeding of firewood and temperature management over several days, is much harder to control than a gas kiln. It is said that “it might take a lifetime to fully understand it” and that “the condition of the kiln determines the quality of the work.”Because conditions inside the kiln—such as temperature and oxygen levels—cannot be kept uniform, defects like cracks and warping are common; at the “Kodaiyaki Fumoto Kiln,” the yield rate remains around 60%. Even so, many ceramic artists are captivated by the beauty—beyond human understanding—woven from the ash and flames produced by the firewood. Naoyuki, however, states firmly, “I don’t want to use the climbing kiln as either the reason for the quality of my work or as an excuse.”This is because he believes that the method of firing is not what matters; rather, the quality of the finished piece itself should be the focus of evaluation.

The interior of the kiln deteriorates with repeated use. The “Kodai-yaki Fumoto Kiln” has long since exceeded its estimated lifespan of 100 firings and continues to be used while undergoing repeated partial repairs. Naoyuki is unconcerned, stating, “I’m not fixated on climbing kilns, and even if it becomes unusable, I have a plan in place, so it’s not a problem.” Yet he also acknowledges its appeal, noting, “There is a unique charm found only in climbing kilns.”

After a long period of uncertainty and inner conflict, Naoyuki has found his place within history and tradition. Now, standing beside him is his son, Ryoga, who returned to the family home in 2024 as the third-generation head of “Kodaiyaki Fumoto Kiln” after completing his apprenticeship at “Iwai Kiln” in Tottori Prefecture. Not only the tradition of Kodaiyaki itself, but also the craftsmanship rooted in a continuous dialogue with clay and fire is now being passed on to the next generation.

The post Finding identity in a history and tradition spanning some 400 years. Naoyuki Inoue of “Kodai-yaki Fumoto Kiln” / Arao City, Kumamoto Prefecture first appeared on NIHONMONO.

Cows stroll leisurely across a small hill where the reddish-brown soil lies bare. Their lean, muscular builds, which exude a sense of wildness, are the result of being raised entirely on free-range pastures in the mountains. The ranch owner, Nozomi Yano, is a former engineer. After leaving her corporate job, she spent 10 years developing a plot of land roughly three times the size of Tokyo Dome, where she now raises 30 Jersey cows.

She entered the mountains penniless, cleared the land, and started a dairy farm

Tamana City, located in northern Kumamoto Prefecture, is blessed with abundant natural beauty—including the Ariake Sea, Mount Kodai, and the Kikuchi River—and enjoys a mild climate. It is an agricultural town where rice, vegetables, and fruit cultivation thrive. It was around the year 2000 that Yano took her first steps in this region.

Originally from Kitakyushu City, Fukuoka Prefecture, Mr. Yano had been working as a plant engineer designing equipment for a local steel mill, but he suddenly felt a sense of unease about continuing his life as a company employee. Having suffered from allergies since childhood, he began to fundamentally reevaluate his lifestyle and diet. During this process, he met a farmer practicing natural farming methods that use neither pesticides nor fertilizers, and his interest in food and agriculture deepened.In his late 20s, he left his corporate job and decided to settle in the mountains where his current ranch is located, aiming for self-sufficiency and sustainable agriculture.

“Settling” refers to entering uncharted territory and starting a new life there. Mr. Yano came across the site of a former ranch, now overgrown with mixed woodland at an elevation of about 200 meters, and was convinced that here he could pursue a form of mountain dairy farming unique to Japan. In 2000, he decided to move there penniless, bringing with him one cow, one pig, and one dog.He built a small hut in a corner of the land, cut down and thinned out the trees, cultivated the barren soil, and established Tamana Farm.

It wasn’t until seven years later, in 2007, that Mr. Yano was able to begin dairy farming in earnest. While selling milk, he also started processing and selling cheese to break even, gradually building the kind of ranch he envisioned. The ranch is named Tamana Ranch, after the local area. It took a full decade to expand the ranch to its current size, all while making a living by selling rice, vegetables, and eggs raised using natural farming methods.

A farm where vigorous, nature-oriented farming thrives

Thirty dairy cows live on the vast 15-hectare property. The cows are of the Jersey breed. Compared to the Holstein breed, which accounts for over 90% of the domestic herd, Jerseys are about 200 kg lighter and produce less milk. However, this makes them less prone to knee and hoof injuries caused by their own weight, making them well-suited for grazing on hilly terrain.

Beyond their suitability for this environment, we chose Jersey cows because the milk they produce is exceptionally rich in fat and protein, giving it a rich, creamy texture—a key factor in setting our milk apart in terms of taste.

Incidentally, Tamana Farm does not feed the grain or mixed feed typically used in conventional dairy farming. When the cows are hungry, they eat the grass that grows naturally in the mountains; when they are full, they take walks or doze off.

While most farms have barns to house and manage their cattle, Tamana Farm has no barns; the cows spend the entire year roaming freely on the mountain pastures. Naturally, they defecate and urinate in the mountains, but the manure from cows that eat only grass looks just like a clump of soil. It’s not watery, and it doesn’t have that pungent, nose-stinging odor.Mr. Yano picked up a piece, and it looked fluffy to the eye; it crumbled between his fingers and blended right into the mountain soil. Watching this, it’s easy to imagine how it returns to nature without human intervention and circulates within this land. There are only about 20 dairy farms nationwide that practice free-range grazing like Tamana Farm.

The cows at Tamana Farm have visible spines and faintly visible ribs. If you imagine the Holsteins kept in barns, they might seem thin, but Mr. Yano says this is a state closer to the wild.Since they do not feed the cows high-protein, high-calorie feed to accelerate growth and maximize milk production, the cows remain slim, and their milk yield is less than half that of typical Jersey cows. Yet, this is precisely why they are healthy. Because they eat a diet that does not strain their bodies, get moderate exercise, sleep well, and live stress-free lives, they do not become obese and are less prone to illness. The cows breed naturally in the mountains, and calving occurs without human assistance—the cows give birth on their own.

Tamana Farm is alive with a vigorous rhythm that follows the laws of nature. Mr. Yano believes that this cycle represents the ideal form of dairy farming, and that mountain dairy farming is the best choice for producing the finest milk.

Tamana Farm’s Dairy Products Reflecting the Seasons and Local Climate

The milk from cows raised in this environment is characterized by a creamy color with a faint yellowish tint. While the average milk fat content of commercially available milk is around 3% for Holsteins and 4% for Jerseys, Tamana Farm’s milk reaches 5%. This high milk fat content creates a rich, full-bodied flavor, yet the aftertaste is surprisingly refreshing.Another distinctive feature of Tamana Farm’s milk is that its flavor subtly changes with the seasons, influenced by temperature and the condition of the pasture grass. While high-temperature pasteurization—heating milk to 120–130°C for 3 seconds—is the standard in Japan, Tamana Farm uses low-temperature pasteurization at 65°C for 30 minutes, resulting in minimal protein denaturation. This preserves the raw milk’s natural, clean flavor and the seasonal nuances, giving it a smooth, light mouthfeel.There is no heaviness from proteins or fat clinging to the tongue; instead, it leaves a lingering aftertaste that fades away cleanly.

Made from this milk, Tamana Farm’s signature product—the original chèvre-style cheese “Lumière”—first surprises you with its aroma. A refreshing, faintly sweet scent reminiscent of fresh grass gently wafts up. When you take a bite, a rich depth and umami slowly spread across your tongue, yet you also sense a crisp freshness like mountain air. As it ages, the flavor gains depth, and the way it melts smoothly is another highlight of Lumière.Developed by Mr. Yano after searching for a production method that perfectly suited the quality of the milk he produces himself, this cheese encapsulates the natural environment where the cows live and the changing seasons. It is a masterpiece that won the Grand Prize at the Kumamoto Food Science Research Association Awards in 2011.

Passing on sustainable dairy farming that supports a livelihood to the next generation

Tamana Farm’s dairy products—including milk, cheese, and butter—are sold directly to the public and enjoy strong support from chefs, pastry chefs, and natural food stores both within and outside the prefecture. However, Mr. Yano’s goal is not to increase production beyond current levels, but to maintain quality.

The ranch, developed on a mountaintop, has many slopes, and grass struggles to grow in shaded areas. Furthermore, due to the frequent torrential rains in recent years, soil erosion has become a reality, making it increasingly difficult to secure enough grass within the ranch itself. While they currently make up for the shortfall by growing grass on separate fields, securing sufficient land for the ranch remains an immediate challenge.

Mr. Yano also feels a sense of responsibility toward the next generation of dairy farmers. While there is a constant stream of visitors coming to observe and train with the aim of adopting farming methods like those at Tamana Farm, it is not uncommon for them to face obstacles related to funding and land.Mr. Yano believes that agriculture is only sustainable when it not only produces food but also provides a livelihood. To achieve this, he believes it is important not only to pass on know-how to the younger generation but also to create an environment where they can take on new challenges with confidence. He also notes that to address these issues, consumers need to change their criteria and mindset when choosing food.

To this end, Tamana Farm actively conducts farm tours and events aimed at both consumers and producers to encourage them to think about food and its production environment. Perhaps as a result of these efforts, consumers, producers, chefs, and even local governments who resonate with Mr. Yano’s vision have begun voluntarily promoting the appeal of Tamana Farm’s products and the excellence of its initiatives.In this way, the seeds sown by Mr. Yano are gradually bearing fruit, and the circle of his activities is expanding—deepening understanding of the potential and value of mountain dairy farming in Japan, where approximately 70% of the land area consists of mountains and plateaus.

The name of the cheese into which Mr. Yano has poured his heart and soul is “Lumière.” Just like this cheese, whose name means “light” in French, the small light born from life in the mountains has now reached maturity and is beginning to illuminate the next generation.

The post Mountain Pastoral Farming: A Vision for the Future of Dairy Farming. Nozomi Yano of “Tamana Farm” / Tamana City, Kumamoto Prefecture first appeared on NIHONMONO.

Unexplored region Shirakawa “Takefue”

Shirakawa Onsen in Kumamoto is a small collection of onsen located to the north of Aso Kuju Park in Minami Oguni-machi. The water consists two of the three elements known as “bijin senshitsu” or elements creating beauty. Shirakawa water source is also located nearby, one of the top sources of quality spring water, making Shirakawa Onsen a very popular spot.

One of the traditional Japanese style ryokans in the area, Takefue is a hideaway known to very few. 12 guest rooms are scattered about the very large property with tens of thousands of bamboo trees.

The guest rooms are very serene, designed like traditional Japanese homes with different varieties of bamboo used throughout. The color tones and lighting are also carefully chosen to ensure that the view of the beautiful bamboo trees stand out. Bamboo is used for the furniture, décor and even the wine cooler. Every room has a Japanese style room, an “irori” or open hearth for dining, and a uniquely designed hot spring bath that has an expansive view of the bamboo forest. 8 of the independent guest rooms also have outdoor baths where you can immerse yourself in the beauty of the bamboo trees.

Takefue also has their own pâtissier who makes the Baumkuchen served as a welcome sweet. The light sweetness and moist texture is a wonderful pairing with the stone ground coffee available in the room.

Dinner is served in the guest rooms by the “irori” and includes bounties from both the ocean and land. Fresh seafood is delivered from Beppu Peninsula and combined with Kumamoto Kuroge Wagyu to create an appetizing Japanese style “kaiseki” course dinner. For breakfast, enjoy rice cooked in a pot, eggs, local delicacy “gojiru” and fish grilled in the “irori”.

Beautiful outdoor bath surrounded by bamboo groves

There are 3 baths that can be reserved for private use as well as a special bath reserved for exclusive use by guests staying in the adjacent villa, Chikujo no Ma. It is a large outdoor bath measuring 7m x 5m with magnificent views of the grand bamboo trees which are lit up at night. Guests can enjoy a thoroughly relaxing moment in this expansive bath which also has a room with speakers and glass light fixtures, or even float in the hot spring using the inflatable boat.

There are special touches scattered all throughout as you wander the halls connecting the guest rooms, hot springs and spa. Enjoy the free ramune drinks or local ice cream which are free to guests. As they check out, guests also receive a complimentary copy of a book about this enduring ryokan along with the Baumkuchen served at arrival. Not only is Takefue a premier hot spring, it is definitely a ryokan that you will want to visit again.

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Local restaurant loved by local writer Kundo Koyama

Sakitsu, Kawaura-machi, Amakusa-shi. There is a tiny sushi restaurant. Umitsuki, a restaurant where you can enjoy fresh seafood caught in local Sakitsu, in a Showa-style interior of a renovated house.
One of their standard dishes is ”Tako-inari (sushi wrapped in fired tofu).” This is a ”gomoku-style inari sushi” containing a lot of local ingredients such as octopus, burdock root, carrots, and ”shiitake” mushrooms, with a nostalgic and simple taste. The most popular dish ”Takoyaki-style inari-sushi” is the original creation of store manager Miyashita who trained in Osaka. Eel sauce (teriyaki sauce), dried bonito flakes, green dried seaweed, and mayonnaise are put on the ”Tako-inari”. This dish has been covered by the media on numerous occasions. It looks just like ”takoyaki” but for the lack of steam.

Amakusa, a town of underground Christians

Amakusa is often associated with the image of underground Christians. During the mid-sixteenth century, Christianity was transmitted to Amakusa which located in the southwest of Kumamoto prefecture. After Anti-Christian Edicts were issued, traces of underground Christians are can be seen all around this area. Even now, it is said that a cross can be found in some homes when you open a door next to a household Buddhist shrine.

Sakitsu Cathedral and Statue of Mary on the Ocean

Sakitsu Statue of Mary on the Ocean can be seen on the cape close to Sakitsu Cathedral, located at the gateway of Sakitsu fishing port. It was built by local Christian fishermen in the in the 1960s. Since then, it has been quietly watching out for the safety of fishing boats, and for a hefty catch. Fishermen give a prayer to the Statue of Mary before going out to sea, and again when they return.
This Statue of Mary is not that famous in Kumamoto because it was not built for sightseeing. However, the town of Amakusa which has a lot of history around Christianity and the anguish of the underground Christians, and the chalk white Statue of Mary which stands elegantly on the bluff, are both definitely worth a visit.

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Traditional pottery from the Kanei period

Shodai-yaki is pottery made by using the local soil of Mt. Shodaisan, and has a history that dates back to the beginning of the Edo era. Pottery becomes black after being kilned. However, after trial and error, it was discovered that pottery turned out whitish when they were kilned with straw ash glaze (glaze made mainly from baked straw ash), so straw ash glaze became the glaze of choice. However, pottery made with Shodai clay turns out a pale blue due to the high iron content of the soil. Using a technique called ”nagashi-kake” which is unique to Shodai-yaki, freestyle lines of pale blue adorn black pottery, giving it a simple yet strong looking finish.

Climbing kilns, wisdom from the past

There is a climbing kiln of many tiers behind the workshop. Firewood is placed in the lowest kiln. When the temperature reaches 1300°C, the fire is put out and the wood is placed in the next tier. The second kiln has already reached a temperature of 1000°C at this point, so the temperature only needs to be raised another 300°C with the firewood. The structure of climbing kilns, and the use of residual heat are both wisdom from the past.

Making 10,000 teacups to be considered proficient

“The basic style of Shodai-yaki is a teacup. When a teacup is carefully spread using a potter’s wheel, it becomes a rice bowl. When it is spread further, a dish is made. It is said that one must make 10,000 tea cups in order to be considered proficient as a potter. It takes at least another 3 years to make items referred to as ”fukuromono,” such as a ”tokkuri” (sake bottle) and a single-flower vase. After Nakata tried making pottery, Yasuaki Inoue, the founder of Shodai-yaki Fumoto-gama said with a smile on his face. ”It changes your perspective when you actually try making one for yourself, doesn’t it? You can appreciate how it’s actually made.”
The personality of the potter may be reflected in the simple and strong style of Shodai-yaki.”

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Rice, a staple that Japan can be proud of

”Mori-no-kumasan” is a rice brand that was developed in Kumamoto. The name is said to have come from the literary figure, Soseki Natsume referring to Kumamoto as the ”city of wood”. The name combines the word meaning ”produced (san)”, ”wood (mori)” and ”Kuma”moto (bear).
This rice grown in the nature of Kumamoto, with its leafy land, beautiful skies, and clear streams, ranked top in the 2012 ”Rice Eating Quality Ranking” released by the Japan Grain Inspection Association and was selected as the most delicious rice. This is a food staple that Japan can be proud of.

Wanting to leave something for the next generation

We visited with Ogawa, a farmer who produces ”Mori-no-kumasan” in Yamaga city, Kumamoto. At present, there are only 1400 farmers who produce this variety in Kumamoto. Although they want to increase production because it is a popular variety, the number of producers are decreasing due to aging.
”We put our heart and soul into producing the rice, but we don’t know how much longer we can continue. We know that we have to create some kind of system for the younger generation, but it has been difficult.” his wife told us.

Understanding the full appeal of rice

”Mori-no-kumasan” increases in sweetness as you chew. Compared to ”Koshihikari”, it has a chewy and sticky taste. ”Mori-no-kumasan” is a hybrid of ”Hinohikari” and ”Koshihikari”. The best qualities of each brand has been maximized.
”Previously, we made a large volume of rice which we sold. Now, we think about what kind of rice tastes good. As producers, we need to also think about ways that rice can be served.” Ogawa commented.
Delivering delicious food in a delicious style. Those who have a full understanding of rice will give their total effort.

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Experience high quality performance art at “Yachiyoza”

”Yachiyoza” was built in 1910 by business people living in Yamaga called ”danna-shu (gentlemen).” The building conveys the traditional style of playhouses from the Edo era.
Many famous artists came from all over Japan to perform at ”Yachiyoza” which was the focal point for people to enjoy high quality performance art such as ”kabuki” and ”shingeki”. In 1988, it was designated as a National Important Cultural Property, and came to be known across the country.

Traditional building with attractive design

There is a ”hanamichi” walkway on the left. The ”masuseki” located in the middle is a tatami box seat for eight people where patrons sit on cushions. The wooden partitions are called ”ayumi-ita” and vendors walked on it selling ”sake”. ”Sajikiseki” is on the right. There are very few columns so as not to block the view to the stage.
A variety of pictures adorn the ceiling, but they are all ads. The colorful ads on the ceiling were reproduced based on dozens of original drawings that were found at the time of reconstruction. Every effort was made to restore the original ambience when repairs were being made. The ads in the ceiling advertising are also based on original drawings.

Overcoming crisis

At that time, Yachiyoza was a symbol of wealth and used classic Edo era styles. However, during its history of over 100 years there were times when it faced the possibility of closure. In the 1940’s, different forms of entertainment appeared such as movies and television, and Yachiyoza fell behind the trends.
”For a period of time, Yachiyoza was closed down due to a lack of patrons. Yachiyoza fell into ruin with holes in the roof, but members of a local senior citizen’s group who used to frequent Yachiyoza as children, collected funds to repair the roof. This activity caught the attention of young people who supported their efforts.” We were told by one of the playhouse staff.
Thanks to their efforts, it was designated as a National Important Cultural Property in 1988. There used to be 6,000 to 7,000 playhouses in Japan at one time, but there are only 20 remaining. Yachiyoza is one of the few that have survived.
”Chiyo ni Yachiyo ni.” It is our hope that the wishes of the local people can be continued for 1000 years and 8000 years.

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“Sake” made in Kumamoto prefecture

We visited KUMAMOTOKEN SHUZOKENKYUSHO (sake brewing laboratory). Kyushu has a strong image of ”shochu” (a distilled spirit). However, ”sake” made with the clear waters from Mount Aso is delicious as well. As the name suggests, KUMAMOTOKEN SHUZOKENKYUSHO is a ”sake” brewery that researches Japanese ”sake” as well as ”sake” brewing. Kumamoto yeast developed in this laboratory by Kinichi Nojiro who is known as the ”god of sake” is now used in ”sake” breweries across the country, and is indispensable in ”sake” brewing. It is not an overstatement to say that the development of Kumamoto yeast has greatly contributed to the boom of high grade ”sake” across the country.

Using originality and ingenuity to protect the traditional taste

We tasted seven types of ”sake” including the ”daiginjo” and ”junmaiginjo” variations of ”Kouro”, all of which are brewed at KUMAMOTOKEN SHUZOKENKYUSHO. Kouro was awarded a gold prize by ”Zenkoku Shinshu Kanpyokai”, and ranked top in a variety of competitions in the country. Yamadanishiki and Shinriki rice are used for ”sake” brewing at KUMAMOTOKEN SHUZOKENKYUSHO. In addition to the development of yeast, a lot of innovation was applied in the manufacturing to improve quality. For example, ”Nojiro-type top light” (ventilation system for the ”koji” room), ”Niju-oke shikomi” (using two barrels for preparation), and ”Fukurotsuri Joso” (squeezing by hanging a bag). People do not tire of drinking ”Kouro”. It features a consistently rich flavor and fresh taste. In particular, ”daiginjo” has a gorgeous scent and mild taste.

Popularizing “sake” around the world

With ”sake”, the sensation of how the flavor of rice fills the mouth is very important. But the balance of how it goes down the throat, and the sharpness after it is swallowed are also just as important. The taste differs by the temperature of the ”sake” as well.
For wine, a sommelier can give advice. However, for ”sake”, there are few such opportunities. The techniques involved in ”sake” brewing are wonderful, however, for it to become more popular around the world, it may be important for the information to be organized so that it can be communicated effectively.

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