There is a rice shochu with a fresh, crisp aroma, reminiscent of wildflowers drenched in morning dew. When you take a sip, a gentle sweetness spreads across your palate, then vanishes as quickly as mist. Its creator, Kazunobu Torikai, spent about 10 years developing a flavor that sets this shochu apart from all others. The name of this shochu is “Ginka Torikai.”

At age 24, he returned to his hometown to take over a 400-year-old sake brewery

The Hitoyoshi-Kuma region, located at the southern tip of Kumamoto Prefecture. Encircled by the Kyushu Seiryo Mountain Range, this crescent-shaped basin experiences sweltering summers and winters when the entire region is shrouded in thick fog. High-quality water springs from the beautiful yet rugged mountains, forming the Kuma River—one of Japan’s three major rapids—which flows down through the center of the basin, bringing fertile soil and abundant water resources to its watershed. The climate, characterized by the large temperature fluctuations typical of basins, combined with the fertile land, has made this area one of Kumamoto’s leading rice-producing regions, and “Kuma Shochu”—a shochu made from this rice—boasts a history of approximately 500 years.

In 1949, Kazunobu Torikai was born in Hitoyoshi City to the Torikai Shuzo distillery, a 400-year-old producer of Kuma Shochu. The Torikai family is said to have moved from Kyoto during the Heian period, and records from the Edo period show that they produced brewed sake, shochu, vinegar, miso, and soy sauce.

Mr. Torikai was the youngest of seven siblings. After graduating from a local high school, he moved to Tokyo to pursue a career as a painter. His second-eldest brother had taken over the brewery, so Mr. Torikai had never even considered getting involved in the family business. However, in 1973, at the age of 24, he received a call from his eldest brother informing him that their father had fallen ill. At that time, his second-eldest brother—who had taken over the family business—had also stepped down due to the brewery’s financial struggles. With each brother pursuing a different path, the question arose as to who would take the second-eldest brother’s place and safeguard the brewery; ultimately, the choice fell on Mr. Torikai. Thus, Mr. Torikai unexpectedly found himself taking over the family business.

Aiming to Develop a New Shochu Based on Its Ginjo Aroma

In my grandfather’s day, the family business had been resting on its laurels as the fifth-largest among the 37 Kuma shochu distilleries at the time. However, it was gradually pushed to the brink by the momentum of neighboring distilleries that were constantly striving to improve their taste, quality, and sales channels. By the time Mr. Torikai took over, it had fallen to the very bottom of the 34 remaining distilleries. His daily routine began—working nonstop from early morning until late at night just to keep the distillery afloat. He did everything from polishing the rice to making koji, brewing, bottling, and collecting empty bottles.

But in business, hard work doesn’t always translate to increased sales. Price competition within the small basin grew fiercer year by year, so Mr. Torikai took the bold step of selling directly to consumers in a bid to survive. Furthermore, the second shochu boom of the early 1980s intensified competition with major manufacturers. Although “Kiyotama,” the rice shochu his family had brewed for generations, had once won first place at a tasting competition, it lacked a distinctive character and was getting lost among the products of other breweries. Consequently, Mr. Torikai resolved to develop a new shochu.

His starting point was “ginjo-ka”—the components that produce the fruity and floral aromas generated during the fermentation of sake yeast. In the sake industry, this is known as ginjo-ka.

It was an era when distillers were asking, “Aroma is flavor—can we capture the aroma produced by yeast in a distilled spirit?” Since then, he pored over ancient documents and academic papers, visited master brewers and researchers known as “master craftsmen,” and repeated his research and experiments. Even when they thought an experiment had succeeded, upon closer inspection, the aroma would often differ from their ideal or prove impossible to reproduce. It was not until 1994 that they finally perfected the shochu they sought—nearly 10 years after they first resolved to develop it.

In a revitalized natural environment, we are on a quest to create a new shochu

He named the shochu—a masterpiece he was thoroughly pleased with—”Ginka Torikai,” after his own surname. The ginjo aroma stems from ginjo koji—made from rice polished to 58%—and yeast cultivated in-house. As a shochu with a distinctive and unforgettable flavor unlike any other, “Ginka Torikai” was immediately flooded with orders upon its release and won a Special Gold Award at the 1996 Monde Selection International Food Competition, alongside Johnnie Walker.

In response to this overwhelming reception, Torikai Shuzo decided to focus exclusively on the “Ginka Torikai” brand for sales. The company believed this approach would strengthen its branding power and dispel the negative perceptions associated with its older brands, which had been losing popularity. However, some 30 years after the creation of “Ginka Torikai,” Mr. Torikai continues to pursue the creation of new shochu. The turning point came with the completion of the “Kusatsu Distillery” and the “Yokitogi Koji Warehouse.”

Upon learning of plans to build an industrial waste treatment facility in the Kusatsu River basin—one of the few remaining clear streams in the Hitoyoshi Basin—Mr. Torikai purchased 150 hectares of forested land in 2000 to stop the project.

Over the course of five years, they worked to restore the natural environment, which had been ravaged by excessive deforestation and mudslides. As part of the company’s operations, they built stone retaining walls, removed fallen trees and boulders, and planted broadleaf trees to restore the clear stream. In 2005, the Kusatsu Distillery was completed. Subsequently, in 2012, the Onokuri Koji Warehouse was completed on a 15-hectare site created by leveling abandoned farmland and forested land.

Mr. Torikai explains the reason he undertook these initiatives by saying, “Everything—including caring for the environment—is part of sake brewing.” He believes that revitalizing the forests and rivers to produce pure water is an essential prerequisite for improving the quality of the shochu. Currently, at these two facilities, he continues to refine and produce “Ginka Torikai” while also experimenting with new shochu recipes. He is also considering whether “Seikyu”—once the distillery’s flagship product—can be reintroduced in a form suited to the present era.

The “Sake You Can’t Find Anywhere” I Even Dream About

The Kusatsu River, which Mr. Torikai showed me, was so pristine that it was hard to believe it had once been so degraded. The water used to clean the tanks at the distillery is transported off-site for treatment. The rice is washed at the koji warehouse before being transported to the distillery. The reason they repeat these tasks—which might seem like nothing but extra work—is their determination not to discharge any wastewater into the Kusatsu River, even if it has been purified. I truly felt that the clear stream before my eyes is being protected by this series of deliberate choices.

Mr. Torikai has never relied solely on intuition when deciding how to brew sake or interact with nature; instead, he has analyzed every aspect, thought things through from multiple angles, and moved forward without compromising his convictions.

“A sake that possesses all the finest qualities of sake, yet is unlike any other. Sometimes I wake up from a dream in which I’ve created just such a sake.”

Perhaps what Mr. Torikai is pursuing is not merely a “new sake.” It is likely a single drop that transcends time and space, imbued with the climate and nature of Hitoyoshi-Kuma, as well as the daily lives and very concepts of its people. “I don’t think completion is that far off,” he said. Mr. Torikai’s cheerful voice melted into the crisp mountain air.

The post Refining aromas, protecting the mountains, and dreaming of sake. Kazunobu Torikai of “Torikai Shuzo” / Hitoyoshi City, Kumamoto Prefecture first appeared on NIHONMONO.

A transparency reminiscent of glass. “Hakuji Yuzogan” (white porcelain inlay), one of ceramic artist Shin Egami’s series, is striking for its translucent appearance—despite being a ceramic piece. Born into a kiln that traces its roots to “Takada-yaki,” a traditional craft representative of Kumamoto, Egami is exploring new possibilities while preserving tradition and pursuing his own unique form of expression.

He took over the kiln his father had established and became a potter.

“Koda-yaki Ryugen Kiln” is located on the banks of a spring-fed pond in the Yatsushiro Plain. Mr. Egami is the second-generation head of “Koda-yaki Ryugen Kiln.” He has won awards at exhibitions such as the Kumamoto Prefectural Art Association Exhibition, the Western Japan Traditional Crafts Exhibition, and the Japan Traditional Crafts Exhibition.

Mr. Egami graduated from a local high school and went on to attend a university in Kumamoto City. His father, Gen, who opened “Kodayaki Ryugen Kiln” in 1987, never once asked him to take over the kiln, and because their home and workshop were located far apart, he rarely saw Gen at work making pottery. As a result, he says he never even considered becoming a potter. The turning point for Mr. Shin came during his job search.

“When I thought about what kind of work I wanted to do, memories of my grandfather, who was a Western-style painter, came flooding back,” says Mr. Egami. Recalling how he had been moved by the beauty of the oil paintings and sculptures he saw in the studio he visited as a child, he realized that, deep down, he had always harbored a longing and interest in creating things. It was then that he first recognized he was in the ideal environment to pursue ceramics.

After graduating from college, she studied the basics of ceramics at the Saga Prefectural Arita Ceramic College and returned to her hometown at the age of 26. There, she began devoting her days to creating pottery alongside her father at “Takada-yaki Ryugen Kiln.”

“Ryugen Kiln,” which carries on the legacy of the “Higo Imperial Kiln”

“Takada-yaki Ryugen Kiln” traces its roots to Takada-yaki, a traditional craft that represents Kumamoto. Takada-yaki has a long history; it is said that in 1632, during the early Edo period, Sonkai established a kiln in what is now Yatsushiro City. Sonkai was a Korean potter who was taken into the service of Hosokawa Tadaoki, lord of the Buzen Kokura Domain, in 1602. Although he initially built a kiln in Ueno (present-day Fukuchi Town, Tagawa District), which Tadaoki governed, he moved to Yatsushiro following the Hosokawa family’s transfer of their domain. Takada-yaki, also known as “Yatsushiro-yaki,” was protected as the official kiln of the Higo Domain but lost that patronage after the Meiji Restoration. The three surviving Takada-yaki kilns are the “Ueno Kiln” (the head family), the “Den-shichi Kiln,” and the “Ryugen Kiln.” Mr. Egami’s father, Motosan, trained at the “Den-shichi Kiln” before opening the “Ryugen Kiln.”

An attempt to reinterpret tradition and create something new

Mr. Egami’s father, Moto, sought to create Takada-yaki that broke free from conventional molds while preserving ancient traditional techniques. Mr. Egami, too, is exploring new possibilities for Takada-yaki and pursuing his own unique style, all while carrying on the tradition.

“I believe that by preserving and simultaneously reconstructing the three elements that define Takada-yaki—‘clay, glaze, and inlay’—I can present a vision of ‘Takada-yaki for today,’” says Ms. Egami. These three elements are the essential core of Takada-yaki and serve as the starting point for her creative process.

Among these, clay preparation is one of her greatest passions. While many contemporary potters use commercially available clay, Egami goes into the mountains himself to dig up raw clay. He transports the raw clay to his studio, mixes it with water, and sifts it through a fine-mesh sieve to remove impurities. This process is both time-consuming and labor-intensive, but by selecting the clay with his own eyes and refining it with his own hands, he produces clay with a finer texture than commercially available varieties. This clay is then transformed into works free of imperfections such as spots.

Egami’s philosophy is reflected in his body of work. His pieces can be broadly divided into three categories: “Celadon Inlay,” “Yakisime Inlay,” and “White Porcelain Glaze Inlay.” “Celadon Inlay,” which accounts for the majority of his award-winning works, is characterized by the striking contrast between the brown clay he produces himself and a uniquely formulated celadon glaze that brings out its beauty. “Unglazed Inlay” is created by applying inlay to the base material and firing it in a pit kiln without glaze, resulting in a texture that conveys warmth and strength. Finally, “White Porcelain Glazed Inlay”—mentioned at the beginning—involves pouring glaze into indentations made in white porcelain; the glass-like transparency and the shadows cast within the indentations create a beauty of subtle mystery.

Tradition is not something to be preserved, but something to be created.

In 2018, Mr. Egami was certified as a “Full Member of the Japan Crafts Association”—a status granted only to artists who have been selected for the Japan Traditional Crafts Exhibition four or more times. The Japan Crafts Association is an organization composed primarily of Holders of Important Intangible Cultural Properties, commonly known as “Living National Treasures,” and full membership is highly selective, with only about 1,300 members nationwide. The Japan Traditional Crafts Exhibition is considered the nation’s premier open-call craft exhibition, and being selected for it four or more times signifies not merely a fleeting recognition but a sustained and public acknowledgment of one’s skill. Yet Ms. Egami is not content to rest on her laurels; she continues to explore new forms of expression to this day.

“Within the framework of Takada-yaki, I want to pursue ‘ceramics unlike anything seen before.’ I believe tradition is not something to be preserved, but something to be created,” says Egami. These words have been forged amid the tension inherent in a craft deeply rooted in the local community. While unveiling new works at department stores in the Tokyo metropolitan area, he also holds solo exhibitions every year without fail in his hometown of Yatsushiro City. There, he faces the watchful “eyes” of the local community, which has watched over Takada-yaki for some 390 years. “In Yatsushiro, there are people who take pride in Takada-yaki as a local treasure. They are well-acquainted with my father’s work and have been observing Takada-yaki for even longer than I have.” Although her new artistic style sometimes draws harsh criticism, Ms. Egami does not dismiss it; instead, she accepts it as a learning experience for her next step.

In the world of traditional crafts, change is not always welcomed. That is precisely why her attitude—challenging herself to find new forms of expression while discerning what must be preserved—serves as a guiding principle for the artisans who will follow in her footsteps. As Ms. Egami speaks, gazing at both her father’s works and her own, her eyes show respect for the past while firmly looking toward the future. The challenge faced by this single kiln, rooted in the local community, overlaps with a universal question confronting the craft world as a whole: how to pass on a tradition spanning approximately 390 years to the next generation.

The post Pottery that carries on and reinterprets tradition. “Takada-yaki Ryugen Kiln,” Shin Egami / Hikawa Town, Yatsushiro District, Kumamoto Prefecture first appeared on NIHONMONO.

There is no doubt that high-quality ingredients are one of the key elements that make a star chef’s dish stand out. In Amakusa City, Kumamoto Prefecture, there is a fishmonger who serves as the expert eye behind this. His philosophy is to select the very best fish and live up to the chefs’ trust, while also keeping the livelihoods of local fishermen in mind. The man who bridges the sea and the kitchen is Mitsuteru Honda.

料理人を通して、天草の魚の価値を再認識

Mr. Honda has always loved fish and used to work at a local fish market. He was influenced by a chef from the Kansai region he met there, which made him realize the importance of experiencing the “outside” world. “Because Amakusa is an island, I rarely had the chance to leave it,” Mr. Honda said. “But as I began seeing fish from other regions and dining at famous restaurants, I felt my world expanding.” He felt a sense of pride upon learning that the fish from Amakusa, where he was born and raised, were being recognized by chefs.

At the same time, however, he also realized the reality that it is difficult to sell fish at high prices when selling locally. The number of fishermen in Japan is on the decline, particularly among younger generations, and the harsh business environment is cited as a major factor. “I thought that if I could find customers willing to pay a fair price, I would be able to buy fish from the fishermen at a higher price as well. I believed that doing so would help support the livelihoods of local fishermen,” he said.

Becoming independent to support the livelihoods of fishermen

He later left the fish market to open his own shop, “Honda-ya.” When he opened the shop, he reportedly received passionate encouragement from chefs he had known since his days working at the fish market, who told him, “It doesn’t matter how much it costs—just get us the best fish!” He then held numerous discussions with local fishermen and established a partnership to ensure the final quality by improving the quality of primary processing—such as temperature control immediately after the catch.

Look at all the fish at the market and bid on only the best ones

The Amakusa Islands, located in southwestern Kumamoto Prefecture, consist of 120 islands of various sizes. At the fish market in Hondō, Amakusa City—located at the heart of the archipelago—3 to 5 metric tons of fish are delivered daily from three fishing grounds: the Ariake Sea, the Shiranui Sea, and the East China Sea. On busy days, the market receives as many as 300 different species. At 7:00 a.m., the live fish auction begins, and the spirited voices of the auctioneers and middlemen ring out in unison. Mr. Honda, with a calm demeanor, confidently bids on and wins the fish he has his eye on, one after another, without hesitation.

Rather than targeting specific fish, Mr. Honda’s approach is to examine all the fish available at the market that day and purchase every one he deems to be of high quality. Conversely, it is also part of Mr. Honda’s philosophy that even if a chef has placed an order for a specific species, he will not bid on it if the quality does not meet his standards, and will simply tell the chef, “We don’t have it.” This is because, ultimately, it does not serve the chefs’ best interests to lower quality standards just to source a particular species. Mr. Honda’s honest approach and keen eye for quality have earned him a strong reputation, and he enjoys the deep trust of “star chefs” who have earned stars in the Michelin Guide, including “Shimazu,” a hard-to-book sushi restaurant in Tokyo; “Sushi Sanshin,” one of Kansai’s premier establishments; and “pesceco,” a restaurant in Nagasaki.

To the chef, in the best possible condition

Furthermore, Mr. Honda is particular about how the fish are handled at the restaurant. Immediately after being caught, fish are in a state of excitement; lactic acid and blood flow into their muscles, which degrades their flavor, and their flesh becomes firm and tight due to stress. For this reason, live fish purchased are first transported to the restaurant’s holding tanks and allowed to rest until their stress subsides. He then calculates the time it will take for the fish to reach the chefs and personally performs the nerve-cutting and bleeding procedures himself. “My job is to deliver the very best fish to the chefs. It’s not just a matter of winning the bid and sending them off—I have a responsibility to hand over fish that have been prepared to be in their optimal condition,” says Mr. Honda.

On this day, Mr. Honda prepared three types of sashimi for us to taste: grouper, Ishigaki sea bream, and yellowtail. Aged for about a week, the fat had melded so deeply into the flesh that it practically repelled the soy sauce, and we were amazed by the flavor—a true concentration of umami. It’s no wonder that fishermen and chefs from all over the country visit his shop to learn from Mr. Honda’s knowledge and techniques, such as how to condition live fish and how to properly prepare them.

Supporting fishermen also helps protect the ocean.

“In the past, it was all about selling as much as possible, but things are different now. Due to various factors, the marine food web has collapsed; the seaweed and plankton that serve as food sources have declined, and fish populations are shrinking,” says Mr. Honda. As a result, fish prices have been rising year after year, and he fears that if this trend continues, fish will become a food item accessible only to a select few who can afford it.

Mr. Honda believes that if we can create a society where high-quality fish are traded at fair prices, fishermen will be able to earn a fair income. He believes this will not only prevent overfishing but also ensure that the fishing industry is passed down to the next generation, ultimately helping to preserve our rich oceans. The opening of “Honda-ya” was the first step toward realizing that vision.

In 2026, “Honda-ya” will mark its 10th anniversary. Mr. Honda’s eyes sparkle as he says, “I can feel the circle of people I’ve connected with—all because of this work—expanding year by year.”

His discerning eye at the market, his dialogue with fishermen, and his sense of responsibility toward chefs.

Each of these small steps has become a path leading him, little by little, toward the future he has envisioned: “a society where fish is traded at a fair price.” Looking ahead, Mr. Honda expresses his desire to continue meeting artisans from various fields and learning from them. Ten years after opening, the journey of “Honda-ya”—which was meant to be just a “first step”—is now transforming into a tangible sense of accomplishment. Today, as always, Mr. Honda stands between the sea and the kitchen, constantly thinking about what he can do to prepare for the next decade.

The post A fish connoisseur who has earned the unwavering trust of star chefs. Mitsuteru Honda of “Honda-ya” / Amakusa City, Kumamoto Prefecture first appeared on NIHONMONO.

The first bite is rich and creamy; the second is smooth and refreshing. “Milkoro Aging Yogurt,” a two-layer bottled yogurt, is a popular product that has won numerous awards, including the Minister of Agriculture, Forestry and Fisheries Award. Yusuke Oyabu, the mastermind behind the product and a dairy farmer himself, is creating a place where cows’ lives shine through “product development that wins consumers’ hearts.”

Hearing my father express his vulnerabilities for the first time, I decided to take on the family business.

Koshishi, a bedroom community of Kumamoto City, continues to see population growth. “Ooyabu Dairy Farm” is located in one corner of the city.

Founded in 1975, the farm began by raising Holsteins—a breed that accounts for more than 90 percent of Japan’s dairy cattle—and milking and shipping the milk. Yusuke Ooyabu, the current president, took over the family business and began farming in 2001. However, it wasn’t simply a matter of being forced into the family business; rather, he was inspired to become a farmer after meeting a dairy farming couple who traveled abroad every year for training in the United States. He was deeply moved by their way of life—one in which they used “dairy farming” to enrich and shape their own lives—and this encounter became the catalyst for his decision to enter the industry. He had long harbored doubts about the traditional dairy industry structure, but upon witnessing firsthand a standardized industrial system that no individual could possibly change—even if he were to rise to a high position within the industry—he gradually lost motivation and spent his days in a state of frustration.

What dealt the final blow to Mr. Oyabu’s morale was the nationwide production adjustment of raw milk. Production adjustment is a government policy implemented—for example, when dairy product inventories become excessive—that requires producers to curb raw milk production. It takes two years from the time a calf is born until it can be milked. Once the number of dairy farms or the herd size is reduced, it becomes difficult to restore production levels in the short term. For this reason, rather than limiting herd size, inventory levels are adjusted by requiring producers to discard raw milk.

The emotional state of producers who work tirelessly to raise their cows, only to be ordered to discard large quantities of the raw milk they have finally managed to produce, is not something others can easily put into words. Moreover, production adjustments are repeated multiple times depending on inventory levels, and each time, producers bear not only a psychological burden but also the heavy financial burden of declining profits.

In fact, in 2006, a massive surplus of raw milk occurred, and in Hokkaido alone, the equivalent of 900,000 cartons—approximately 900 metric tons—of raw milk was discarded.

That said, cows must be milked every single day; otherwise, they develop mastitis and, in the worst cases, die. It is precisely because of their sense of responsibility and love for these animals that farmers continue to care for them and milk them daily, even when they know the milk will be discarded.

Furthermore, it takes about three years from a calf’s birth until it can be milked for the first time. If we were to limit herd sizes now—for example, by culling cows—simply because there is a surplus of milk, there is a risk that supply would fall short in a few years if a nationwide heatwave were to cause milk production to drop across the country.

Furthermore, dairy farming is a “capital-intensive industry” requiring initial investments ranging from tens of millions to hundreds of millions of yen—covering barn construction, milking robots, tractors, and the dozens of cows themselves. Much of this is financed through long-term loans, so simply saying, “It’s too hard—I’m quitting tomorrow,” is rarely an option.

Overwhelmed by despair, Ms. Oyabu heard Masakatsu voice his frustrations for the very first time. It was a moment when her father’s figure seemed small to her. And she realized that, without even noticing, she had been averting her eyes from the harsh realities of dairy farming.

Ms. Oyabu decided to confront the family business head-on. There was no future in continuing with the same methods. In a dairy farming system where milk is simply shipped to the agricultural cooperative, they have no control over either the price or the volume of their shipments. If they remained trapped in a system where their efforts went unrewarded, it would be difficult to support their family or pass the farm on to the next generation. Feeling a strong sense of crisis about the farm’s current situation, Mr. Oyabu decided to make a major shift—moving away from a dairy farming model focused solely on shipping milk to one where they would create value on their own.

Original Yogurt That Only Dairy Farmers Can Make

What, exactly, could they do? How could they ensure that the lives of the cows born at “Ooyabu Daily Farm” were not wasted, but instead allowed to shine? As he searched for an answer, Mr. Ooyabu arrived at the idea of creating highly original dairy products under the farm’s own brand. Around that time, the farm had also begun raising Jersey cows, which have higher nutritional value than Holsteins and whose raw milk is relatively rare. Mr. Ooyabu learned yogurt production techniques from experienced dairy farmers and bacterial testing methods from a technical support agency in Kumamoto Prefecture. In 2012, he built a small, 2.5-meter-square processing facility on the farm grounds and began producing yogurt using raw milk from his own herd. This is how “Milkoro Aging Yogurt” was born.

“Milkoro Aging Yogurt” has only two ingredients: raw milk from our own Jersey cows and beet sugar. Generally, raw milk undergoes a process called homogenization to uniform the milk fat and stabilize quality, but at “Ooyabu Dairy Farm,” we do not homogenize the milk; instead, we use it as is. As a result, the fat separates and rises to the surface as a layer of cream. Because Jersey cow’s milk is high in fat, the cream layer becomes thick, resulting in a two-layered yogurt—one layer of cream and one layer of yogurt. Believing that this uniqueness adds to the product’s value, they chose raw milk from Jersey cows rather than Holsteins. The two layers have distinct flavors: the cream layer is rich and velvety, like a rare cheesecake, while the yogurt layer offers a smooth, refreshing taste. It possesses such complex aromas and umami that it’s hard to believe it’s made with just two ingredients. Furthermore, the cream layer acts as a lid, allowing fermentation to continue daily within the yogurt layer, where lactic acid bacteria multiply and the flavor evolves over time. That is why we call it “Aging.”

But these aren’t the only features of “Milkoro Aging Yogurt.” Jersey cows are raised on a diet primarily consisting of flaxseed—which is rich in omega-3 fatty acids, an essential component for various bodily functions—and their raw milk naturally contains high levels of omega-3 fatty acids. Furthermore, through repeated selective breeding on the farm, the Jersey cows at “Ooyabu Dairy Farm” have been bred to produce beta-casein A2 milk. Beta-casein A2 milk is said to have a structure similar to that of human breast milk; it is easily absorbed and less likely to cause inflammation in the digestive tract, so it is said to be less likely to cause stomach rumbling when consumed.

“Ooyabu Dairy Farm’s” product development capabilities, which leverage the unique characteristics of its milk, have been recognized nationwide, earning the farm numerous awards, including the Minister of Agriculture, Forestry and Fisheries Award at the 2019 Sixth Industry Awards. The farm has significantly expanded its sales channels, with its yogurt now served at breakfast on JR Kyushu’s luxury train “Seven Stars in Kyushu” and at some of Japan’s leading luxury hotels.

I don’t want to turn a blind eye to the fact that there are lives whose births are not celebrated.

It goes without saying that cows have genders. Female dairy cows produce milk, while males do not. Therefore, males are raised for beef. However, male Jersey calves are often culled shortly after birth because they are smaller in stature and grow more slowly than Holsteins, resulting in lower profitability.

The probability of a male calf being born is about 50%. Mr. Oyabu had long been troubled by the fact that he couldn’t bring himself to feel truly happy from the bottom of his heart when he learned that a calf born on his farm was a male. He didn’t want to turn a blind eye to the reality that there are lives whose births are not celebrated simply because of human convenience. Since they had been born anyway, he wanted to create a place where the lives of male calves could shine. Driven by this desire, he began an initiative to raise male calves until they were one year old—just barely within the break-even point—and then process them into meat. By incorporating this meat into the menu at “MILK’ORO LAB.”—a new café opened on the ranch grounds—he has created a system that carries the baton of life forward.

It was discovered that by raising male calves on a diet primarily consisting of flaxseed—which is rich in omega-3 fatty acids, just like the female calves—the meat contains “ALA (alpha-linolenic acid),” a type of unsaturated fatty acid that aids in anti-aging. Furthermore, the meat is tender and has excellent flavor. If it is not only functional but also delicious, that becomes a reason for consumers to choose it. These efforts have attracted attention even outside the industry, and in June 2025, the farm won second place at the “Japan’s Treasure Legend Grand Prix,” an event held at the Osaka Expo venue to honor outstanding regional foods.

“Developing Products That Stand Out” Will Be the Key to the Future of Dairy Farming

At “Ooyabu Daily Farm,” we actively conduct food education activities centered around “MILK’ORO LAB.” We offer hands-on experiences—such as milking and dairy processing—that allow participants to feel the warmth of life and understand the cycle of food, welcoming approximately 2,000 visitors annually, primarily local children.
Through dairy farming experiences, we hope visitors will feel the warmth of life, and through manufacturing experiences, we hope they will realize that we all depend on others for our survival. However, even if such complex concepts don’t immediately sink in, Mr. Ooyabu believes that simply stepping onto the farm and seeing the cows with their own eyes will allow visitors to feel something meaningful. He also believes that, so that children who develop an interest in cows and the farm will see dairy farming as a promising career, it is crucial for “Ooyabu Dairy Farm” to first establish a sustainable business model. To that end, “developing products that consumers choose” will be the key to the future of dairy farming. As he spoke passionately about his future vision, his eyes were filled with the determination and strength needed to carry the reality of life on the farm into the future.

The post “My mission is to create a place where the lives of cows shine.” Yusuke Oyabu of “Oyabu Dairy Farm” / Koshi City, Kumamoto Prefecture first appeared on NIHONMONO.

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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