Calm and gentle, with a solid sense of presence. The wooden trays created by Shibaji Ochiai, a woodworker, have the power to transform a landscape just by placing them there. We visited his workshop at the foot of Mt. Hira in Shiga Prefecture, where his works come in a variety of colors and shapes, and where he continues to receive orders from galleries and select stores nationwide.

Facing each piece one by one at the workshop in the forest in Shiga Prefecture

Minamikomatsu, Otsu City is located at the foot of Mount Hira on the west side of Lake Biwa. Mr. Ochiai’s workshop is located in a quiet forest with a clear stream running nearby. The site is also home to the workshop of his wife, Sachiko Yano, a maki-e and lacquer craft artist. Many of the houses that stand in the vicinity are vacation homes with few people coming and going, making it a perfect environment for the artist couple to concentrate on their work.

The northern area of Otsu City is home to many immigrants. Some people are engaged in manufacturing.

Incidentally, the northern part of Otsu City in Shiga Prefecture, where the Ochiai’s workshop is located, is close to the large scale nature of Hira Mountain and Lake Biwa, while Kyoto is only a 30-minute train ride away. The area is known for the large number of immigrants from outside the prefecture, especially those of child-rearing age. In addition, some of the newcomers are engaged in manufacturing, and the area has been attracting a bit of attention in recent years.

The word “craftsmanship” covers a wide range of activities, including artists like Mr. and Mrs. Ochiai, gallery and restaurant operators, designers and writers, and new farmers, etc. Mr. Ochiai, who is from Kyoto, chose this location for his workshop 10 years ago by chance. He says he likes living here, where nature is close by and it is easy to get out to the city, because it provides a good stimulus for his life as a writer, which tends to be solitary while he works.

He never took up an apprenticeship, but established his own style as a woodworker in his own way.

In 2000, Mr. Ochiai completed the lacquerware course of the Kyoto City Training Program for Traditional Industry Technicians, and in 2001, he learned the basics of woodworking at awoodworkingschool run by the Jyurinsha woodworking shop in Kyoto’s Minami Ward, which was known for its famous woodworkers. The following year, he expanded his style by learning the woodworking wheel from the late Uzuo Ogura in Eigenji, Shiga Prefecture, known as the home of woodworkers.

I was not born into a family of traditional craftsmen, so I entered the world of woodworking without knowledge or tools. I didn’t have the opportunity to apprentice myself to anyone in particular, so I guess you could say that I created my own style using the techniques and knowledge I learned from many people in different places,” he recalls.

From lacquered bowls to trays. The enjoyment of creation has expanded.

Mr. Ochiai, who studied lacquer ware in Kyoto, says that when he first started his career, he mainly made lacquered bowls. However, he says that he began to feel ” stuck” with the bowls he was making.

The reason, he says, is that it was difficult to add original individuality to bowls whose size, shape, and use were fixed to some extent. Rather than designing by painting or lacquering, Mr. Ochiai wanted to pursue expression by utilizing the individuality and texture of the wood, and began to explore options other than lacquered bowls.

One of the major clues he found was the ” kurimono ” technique he learned at the Jyurinsha. Using the technique of kurimono, in which a single solid piece of wood is carved out with a chisel and a planer, Ochiai creates trays in a variety of colors, shapes, sizes, and types of wood.

While it is important to know the characteristics of each type of wood and how to handle it, including its characteristics and how to cut it, there are relatively few other rules governingthe making of wooden trays, which allows for a high degree of freedom. He finds this appealing, and says that he enjoys making trays even more than before.

Trays that are “free” for the user as well

It seems that Mr. Ochiai’s wooden trays are just as free and exciting for the user as they are for the creator himself.

A search for “#Ochiai Shibaji” on social networking sites reveals that some people use the trays in the style of a Japanese course meal, others in the style of a home meal, others in the style of entertaining by placing a small amount of food on several small plates, others in the style of a cafe with a cake and coffee on a small tray, and still others display the trays with their favorite dishes on them instead of using them for a meal, Some people use the tray to display flowers in a vase.

It can also be used as an oshiki, a tray that is used to create a special atmosphere and for entertaining, or as a casual tray for drinking alone. Its use is up to the person who has it. Such freedom seems to be attracting fans all over Japan.

Design inspiration comes from “old things

Ochiai’s trays add a sophisticated atmosphere when combined with Japanese items such asearthenware,sake cups, and bamboo baskets for serving Japanese food, and an exquisite calmness when combined with Western taste such aslinen cloths,Western tableware, and wine glasses.

Such versatile designs are often inspired by “old things. For example, old pottery, antique tools, Yi Dynasty ceramics, and crafts, as well as non-woodworking objects, are also useful references. Ochiai often goes to antique markets in Kyoto, less than an hour away from his studio, to find inspiration.

Handcrafting a single solid piece of wood

The distinctive feature of Ochiai’s work is the meticulous finishing, which is done by hand with a round chisel, leaving a solid hand-carved mark. Machines are used to cut large boards to the required size, rough carve, and form outlines, but the rest of the work is done by hand. He says he loves the “imperfect beauty” that only human hands can produce, which gives the piece a slight sense of fluctuation.

The key to shaving is ” to carve with the same tension. He says, “The key to carving is to carve with the same tension.” He says that the carving is finished beautifully when it is done in a straight line, with the same rhythm, thickness, and depth. He showed us the actual carving process, which was light and speedy. However, even on the same piece of board, there are hard and soft parts, so the carver adjusts the amount of force each time while carving. He repeats this process over and over again.

This might give the impression of monotonous work that requires a lot of patience, but Mr. Ochiai laughs, “My hands get sore, but strangely enough, I never get tired of it. He says it is interesting to see the grain patterns gradually take on a three-dimensional appearance as he carves. I could tell that Ochiai loves the time he spends working with his hands and facing the wood.

Perhaps it is because of this that when I look at or hold one of Mr. Ochiai’s wooden trays in my hands, I feel a sense of happiness that fills my heart with a sense of serenity. They are elegant, yet somehow gentle and warm.

Bringing out the individuality and expression of the wood

Another important point in Mr. Ochiai’s style is to ” bring out the original character of the wood.

Ochiai’s wooden trays are made of various types of wood, includingchestnut, cherry, zelkova, mizume, yellow cedar, and tabu. They come in a wide variety of colors, including deep black, soft beige, dark brown, reddish brown, and strong yellowish ochre. In some cases, oil finishes are used to bring out the original color of the wood, while other finishes such asiron-borne dyeing, ammonia smoke, and fuki-urushi (wiping lacquer) are used to add variety. They are constantly introducing new methods while considering the compatibility with the type of wood they are using.

No matter what type of finish is used, however, the artist insists on bringing out the individuality and expression of each type of wood. For this reason, the most commonly used finish is oil, which brings out the true color of the wood. When lacquer is used, the lacquer is not applied in a glossy lacquer finish, but rather is wiped off to finish the wood.

Splits and Knots are Also Part of the Wood’s Character

Ochiai also makes use ofknots andsplits in wood, which are often regarded as defects in wood, in his work. He says that when he cuts a large piece of wood and obtains 10 boards, there are usually 2 to 3 boards with knots or splits in them, but he wants to use them instead of throwing them away.

Knots, which are at the base of the branches of the tree, appear as a circular pattern when the wood is milled into boards. Although knotty boards are often avoided because they reduce the strength and appearance of the wood, Mr. Ochiai says they are interesting and tasteful. In fact, many people like trays with knot patterns and choose them.

The same goes for the cracks in the wood, which are used to accentuate the design of the piece. Compared to soup bowls and buckets, trays can be made without worrying about water leakage.

The Goodness of Things That Cannot Be Mass-Produced

The style of production that makes full use of wood, which is now a precious commodity, and the beauty of daily utensils made with exquisite handcraftsmanship have the power to appeal to many people, especially in this age of information and goods.

Mr. Ochiai has held exhibitions throughout Japan, but his guides to these exhibitions include a request for a limit on the number of items that can be purchased. Because most of the process of carving is done by hand, it is difficult to mass-produce his works.

Therefore, the purchaser must face the individuality of each piece and find the one that is right for him or her. It is not difficult to imagine that this process creates an attachment to the piece and that it will be used with great care for a long time. It is only natural wood that can ” grow up ” with the depth of color as it is used.

The wooden trays created by Mr. Ochiai’s hands, while not perfect, have a certain beauty that makes us happy every time we use them, and they will be a small comfort in our hectic days. I felt as if I had seen an answer to the question of what crafts, which have been refined over time and through skill, can bring to people living in this era.

The post Hand-carved trays with “beauty that is not perfect. Ochiai Shibachi’s wooden tray that grows with time / Otsu City, Shiga Prefecture first appeared on NIHONMONO.

A long-established sake brewery founded at the end of the Edo period

The town of Ryuoh, where the Matsuse Sake Brewery is located, lies between Lake Biwa and the Suzuka Mountains to the east. Surrounded by mountains on all sides, Shiga Prefecture is actually a hidden rice-producing region, and has long been a sake brewery, with more than 30 breweries scattered throughout the prefecture.

The history of the Matsuse Sake Brewery dates back to the Edo period (1603-1868), when it was involved in the sake brewing business from the mid-1600s, but temporarily closed down due to the turmoil at the end of the Edo period. Since then, the company has continued to brew sake that makes the most of nature’s bounty, using carefully selected sake rice andbrewing water pumped up from 120 meters underground.

In recent years, the brewery has won gold medals at the National New Sake Competition for three consecutive years and was selected as the sake for JAL’s international business class flights, and has become a well-known sake brewery in Japan and abroad.

Matsu no Tsukasa, a famous sake representing Shiga Prefecture

Matsunoshi ” is the only brand of sake brewed at Matsuse Shuzo. The brewery produces more than a dozen varieties of sake, varying the rice used, the degree of rice polishing, the amount of water, and the yeast. The name “Matsu no Tsukasa” is a combination of a 200-year-old male pine tree that once stood on the property and “Matsuse,” the founder’s family name. The word “Tsukasa” means “most gallant figure,” and the name expresses the company’s wish that its sake will be like this majestic pine tree. The sake brewed with soft, fluffy water from the Suzuka Mountains and 100% contract-grown sake rice has a freshness and dignity that has made it extremely popular in the Kansai region, especially in Shiga Prefecture.

I want to grow Yamadanishiki produced in Ryuoh.

The distinctive feature of the Matsuse Sake Brewery is its commitment to rice. Hearing that the secret lies in the soil, we asked Tadayuki Matsuse, the sixth-generation owner of the brewery, to show us the rice fields in his hometown of Ryuoh, where the sake rice is grown.

Until about 40 years ago, we used to make sake using Nipponharu rice, but we realized that we could not continue to do so if we wanted to make sake that would continue to be drunk in the future, so we began to use Yamada Nishiki, which at that time was called the “king of sake rice. Yamada-Nishiki, the “king of sake rice” at that time. Yamada-Nishiki was popular and hard to find, so we asked farmers to grow it in our hometown of Ryuoh to see if we could harvest it, and that’s how it all started.

Yamada-Nishiki is mainly grown in Hyogo Prefecture. Yamada-Nishiki is tall and easily falls over and is susceptible to disease and pests, so its cultivation in other areas had not progressed well. Even when they did start growing it, the climate, water, and soil were different. Even if the same growing methods were used, the rice would not be the same as in Hyogo. There were years when the rice ears fell over due to wind and did not produce well, and he realized that it was not a simple matter.

Different soil makes sake taste different.

Even so, through repeated trial and error with local farmers, they realized that even within the same town of Ryuoh, the Yamada Nishiki produced in different rice paddies differed. Rice grown in clay fields that are well watered and fertilized produces a fuller, heavier rice, while rice grown in gravel fields that are well drained produces a firmer, more delicate rice. When sake is brewed using the same brewing method, the full rice produces a dense, voluminous sake, while the delicate rice produces a pleasantly light sake with a floral aroma.

We wanted to somehow increase the amount of Yamada-Nishiki, so we planted it throughout Ryuoh Town, which led to interesting results. Just by having different soils, the taste of sake can change so much. I think it was also good to realize that the taste is different from that of Hyogo Prefecture and unique to this area. It was then that I began to think that it is our job to pay attention to the individuality of the land and convey its value.

Matsuse Sake Brewery currently brews sake in separate tanks for each soil type and sells it under different labels.

Azolla,” a symbol of clean rice paddies

Around 2000, the company began to engage in pesticide-free cultivation. Shiga Prefecture, where most of the rivers in the prefecture flow into Lake Biwa, has a high level of environmental awareness among its residents, and for six consecutive years has boasted the largest area devoted to environmentally friendly agriculture in Japan. Mr. Matsuse himself has a strong desire to protect Lake Biwa, and at the same time, he wanted to express the goodness of the rice paddies as they are, without any extra work, in his sake.

He also wanted to express in his sake the quality of the rice paddies as they are, with no extra work done to them. The azolla blocks light into the water, making it difficult for new weeds to grow.

Sake made with pesticide-free rice has a different power. It has a clear, clean minerality in the aroma. Perhaps it is the awareness that the sake is made from rice grown in clean rice paddies, but above all, I feel that it is sake that should be drunk. Just like rice cultivation, sake cultivation is also an agricultural activity,” smiles Mr. Matsuse.

Sake brewing that makes the most of the rice’s unique characteristics

The man in charge of sake brewing at Matsuse Brewery is Keizo Ishida, who has served as toji, the chief brewer of sake, for the past 10 years.

When I joined the brewery in 2001, the Yamada-Nishiki variety itself had great value, and the best was from Hyogo Prefecture. Then, how about the Yamada-Nishiki from Ryuoh? That was the extent of my understanding of the Yamada-Nishiki of Ryuoh Town. However, as we brewed and compared each farmer, we began to realize that the taste of sake made from sandy soil is different from that of sake made from clay soil. It was a minute difference, but there was an absolute difference that did not change no matter how many times we did it,” he said.

The taste of sake is largely determined by human hands, such as the degree of rice polishing and the brewing process, and Mr. Ishida felt uncomfortable with the idea of changing the taste of sake one after another to suit personal tastes and trends, and then being told, “This is our local sake. He brews rice grown in a natural environment as neutrally as possible. He says he wants the resulting sake to show the differences in the soil, climate, and environment.

The history of the brewery creates the taste of the sake.

Matsuse’s brewery is neither air-conditioned nor equipped with state-of-the-art equipment. The walls and ceilings are coated with persimmon tannin for preservation and protection against insects, and the building is carefully cared for and used. Mr. Ishida calls these warehouses ” antiques ” because of the beautiful luster and candy-colored tints they have acquired. Generally, antiques are objects to be held in one’s hands, such as vessels and furniture, to be enjoyed with the eyes and cherished. It is a rare happiness to be able to work in the midst of antiques and be surrounded by them. The history of the brewery and the wisdom and thoughts of its predecessors may also be important factors in determining the taste of sake.

Returning to the starting point and simplifying

Mr. Ishida says that the best sake is made at this brewery using local rice and water. He wants to keep the sake as neutral as possible so that the character of the land can be expressed. With this in mind, he started the ” kimoto” brewing method, which was mainly practiced in the Edo period (1603-1868) to encourage fermentation by the power of nature.

I believe that if you only aim for recognition in the sake competition, you will only be able to think in an industrial way. I believe that is not good. In my current process, I don’t add yeast or lactic acid, and I don’t do much analysis such as measuring acidity. Even so, it is still possible to make sake. Sake brewing was originally done with pesticide-free rice, using the “ikuhashi-zukuri” method. If we can go back to the techniques and thoughts of the people who faced this process, I believe we can express craft in the true sense of the word.

What kind of sake is Mr. Ishida aiming for? He replied, “It should have a familiar texture. It should be a sake with a familiar taste, one that you can naturally feel when you drink it and think, ‘That’s the usual taste.

Blue” series brewed by soil

The “Blue” series is made from Yamada-Nishiki produced in Ryuoh, and brewed according to different soils. This junmai daiginjo has the flavor and richness typical of rice, and when compared, it is easy to see how the expression of the rice changes depending on the soil in the rice paddies where the rice was grown. If you look at the brand page “Origins of Blue” and learn about the differences in soil and the scenery seen from the rice paddies before drinking, you will feel as if you can even feel the wind blowing in the area and the sound of swaying ears of rice.

The brewery selects a few regions each year, so you can enjoy the combination of each year’s wines and compare them with each other.

AZOLLA” expresses nature

AZOLLA” is an evolution of the “Blue” series and symbolizes Matsunoshi ‘s commitment to rice.

It is made from Yamada-Nishiki grown locally in Ryuoh, without any pesticides or chemical fertilizers during the growing period. The name “Azolla” was chosen to symbolize the pesticide-free nature of the brewery.

The clear, gentle, yet dense flavor is considered ” one of the ideal forms ” of Matsu no Tsukasa.

Grateful for the land, we create a taste that can only be found here.

Matsuse says that he is still searching for what makes Ryuoh unique. I want to use pesticide-free rice grown in Ryuoh to make sake that people around the world will say tastes great. I am happy to continue to do so,” he says, his face calmly and happily gazing into a future he has yet to see.

The post As the Soil Changes, So Does the Taste of Sake: The Challenge of Matsuse Sake Brewery to Express the Characteristics of the Land with Sake / Ryuoh Town, Shiga Prefecture, Japan first appeared on NIHONMONO.

Lake Biwa is the largest lake in Japan. The people of Shiga Prefecture, where Lake Biwa is located, have a unique food culture that has been passed down through the generations by people who have lived alongside the water. Just as the mountain trout and char caught in the rivers are called “river fish”, the fish caught in Lake Biwa are called “lake fish” in Shiga Prefecture. The most representative of these lake fish is the ayu, which boasts the largest catch of any lake fish. What’s more, it is said that this is a special ayu that can only be caught here.

A special “koayu” that lives only in Lake Biwa, a treasure of Shiga Prefecture

Ayu (sweetfish) is a freshwater fish that has been loved in Japan since ancient times. Its refreshing aroma, delicate flavor and slightly bitter taste are loved by the Japanese, and even the famous gourmet Kitaoji Rosanjin said that the best way to eat ayu is “to grill it without removing the entrails, and then to dip it in a mixture of salt and watercress vinegar that is so hot it will burn you. The freshly caught ayu has a scent similar to that of watermelon or cucumber in early summer, so it is called “the scented fish”, and it is also called “the queen of clear streams” because it likes clear, clean streams.

In Japan, ayu are generally born in rivers, grow up in the sea, and then return to the rivers, but the ayu of Lake Biwa are a little different. They are called “koayu” (small ayu), and are unique to Lake Biwa. After being born in rivers, they go down to Lake Biwa and live there. While ayu generally grow to around 20 cm, the largest koayu adults are only about 10 cm. They stop growing at around the same size as young ayu. You would think that they would grow bigger as they live in the vast Lake Biwa, but the fact that they don’t is due to the environment of Lake Biwa, where there is a lack of algae that ayu feed on. The ayu of Lake Biwa are the only ayu in the world that live in this special habitat.

Strong, delicate flavor

The ayu season is from May to early August. During this time, local supermarkets will be selling ayu from Lake Biwa, and the aroma of soy sauce cooking tsukudani will be wafting through the air around the lake. The way ayu is cooked varies from region to region, household to household, and even from processor to processor, and it has been passed down as a food culture that is deeply rooted in the local area and unique to Shiga Prefecture.

Ayu is characterized by its fine, smooth scales and soft skin and bones, which means that it can be eaten whole. Although they are about the same size as young ayu, they are fully grown fish, so they have a stronger flavor than young ayu, but without any strong taste. They also have a slightly bitter taste that is unique to ayu, and they are widely loved by people of all ages in Shiga Prefecture, from children to adults, as a kind of soul food, in dishes such as the local dish of Shiga Prefecture, tsukudani, as well as tempura, marinated dishes, and nanban-zuke.

Could the ayu from all over the country have their roots in Lake Biwa?

The small ayu from Lake Biwa were thought to be different from the ayu from rivers because they did not grow large even when they grew up. However, when they were released into the Tama River in Tokyo in 1913, it was discovered that they grew large in the same way as ayu from rivers. Since then, ayu from Lake Biwa have been shipped all over the country for release into rivers and for aquaculture. There may be quite a few ayu seen in rivers all over the country that have their roots in Lake Biwa.

There is a saying that symbolizes the Omi Merchants who were active based in Shiga Prefecture: “Ayu from Lake Biwa grow bigger when they go out into the world.” This is said to mean that just as ayu grow bigger in rivers after being released into rivers all over the country after leaving Lake Biwa, people from Shiga also grow by going out into the world.

Ayu no mise Kimura” sells lake fish dishes that are particular about the ingredients.

There is a shop in Hikone City, Shiga Prefecture, that processes and sells ayu from Lake Biwa in a variety of foods. “Ayu no mise Kimura” is a specialty shop for ayu that was established in 1970. In 1953, before the shop was established, it pioneered ayu farming nationwide, and it continues to pursue the production of high-quality ayu that is not inferior to natural ayu.

The company produces and sells lake fish dishes made with fresh ingredients, such as the “jewel of Lake Biwa” Biwa trout and funazushi (fermented crucian carp), a specialty of Shiga Prefecture, as well as ayu fish raised in their own aquaculture and small ayu caught in Lake Biwa.

Aquaculture methods that bring out the full flavor of ayu

“Sometimes even the locals are surprised to learn that there is a large fish farm in the middle of the city. There are about 40 ponds at the fish farm, and there are currently about 15 tons of small ayu in total, but we will raise them to a larger size and eventually they will reach 20 to 30 tons,” says Mr. Masahiro Kimura, the fourth generation of the company. Indeed, it is quite an unusual sight to see such a large fish farm behind a store in the middle of a city with shops and houses lining the streets. Perhaps this is a sight that can only be seen here.

Ayu are cultivated using mineral-rich spring water pumped up from 300 meters underground, and are raised slowly over a period of 5 to 6 months in relatively cool water. Also, because ayu are sensitive to changes in their environment and easily stressed, in order to raise them in an environment as close to nature as possible, a waterwheel is used to recreate the fast-flowing water of a river upstream. By making them swim vigorously, they are said to develop a firm, elegant, and light taste. In order to create a place where ayu can play, the pond is made into an octagonal shape. “Ayu die quickly when there is not enough oxygen, so we circulate the water to ensure that there is plenty of oxygen in the water, and we raise them in an environment as close to nature as possible,” says Mr. Kimura. This is the kind of thorough attention to detail that you would expect from a long-established company that started out as a fish farm.

Caring for the resources of Lake Biwa

In general, wild ayu eat algae that grows naturally on the riverbed, so they have a rich aroma, while farmed ayu are said to contain a lot of fat. However, the ayu farmed at this company are very aromatic and have a firm texture. “To raise good ayu, the feed and water are important. We feed them our original feed, which is made from fishmeal with little fishy smell, and also includes algae and propolis. The ayu we raise have a flavor that rivals that of wild fish, and they are very popular with customers at restaurants all over the country. We even ship them alive to Toyosu in Tokyo,” says Mr. Kimura.

For the aquaculture, they always use natural fry caught in Lake Biwa. In other prefectures, there are producers who farm artificially hatched ayu, but in Shiga Prefecture, it is customary to farm ayu by bringing in live fry from Lake Biwa. For this reason, they do not artificially hatch eggs. This is truly a job that makes the most of the wonderful resources that can be found here.

Incidentally, this benefit also affects the taste itself. It is said that ayu from Lake Biwa have finer, smoother scales, softer bones and skin, and a better texture than artificially hatched ayu. The natural ayu are carefully raised in a safer environment. It is this commitment to quality that has made Mr. Kimura’s ayu so popular.

Enjoy the natural bounty that can only be found here with “small ayu simmered in soy sauce

Ayu no mise Kimura’s “small ayu simmered in soy sauce” is a dish made by expert chefs who spend several hours simmering small ayu caught from Lake Biwa in the morning in small kettles, so that they remain fresh. As they are cooked in small batches with care, they do not fall apart, and they are finished with a sweet and mild flavor using locally produced soy sauce and sake.

Ayu fish tsukudani is a traditional local dish from Shiga Prefecture. The ayu fish, which has no strong flavor but is very tasty, is cooked until it is tender, even down to the bones, so it can be enjoyed as a side dish with rice or as a snack. It is a popular signature product, not only with regular local customers but also with tourists as a souvenir.

Ayu fish grilled with salt” lets you enjoy the rich aroma in its entirety.

Kimura-san recommends “grilled ayu with salt” as “the best way to eat it”. Among lake fish, people like to eat biwa trout and carp sashimi, but many people say that grilled ayu is the best way to eat it.

At Ayu no mise Kimura, they quickly chill the ayu they have just taken out of the tank with ice, and then grill it on a skewer while it is still fresh. By slowly roasting the fish with the mouth facing down, the excess fat is said to remain inside the ayu, and the fish is finished with a delicious aroma right down to the core. In addition to being able to enjoy the aroma and flavor of the ayu itself, the skin is crisp and fragrant, and the flesh is light and fluffy and soft. This is a dish that we also recommend to those who don’t like river fish.

We want to convey the appeal of ayu caught in Lake Biwa.

In recent years, small ayu have become particularly popular. “In the past, it was normal to send ayu that had been grown in fish farms and then packed in ice to the market, but recently, people have come to prefer the smaller ayu. Compared to the larger ayu, the bitterness of the liver is weaker and it is softer, so you can eat the whole fish, including the bones, and still enjoy the distinctive ayu flavor. The characteristics of the smaller ayu go well with tempura and fried dishes, and there is an increasing number of inquiries from restaurants in the Tokyo area and elsewhere about this easy-to-enjoy summer delicacy,” says Mr. Kimura.

While the ayu that grow to a large size reach their peak season, the ayu from Lake Biwa have a special value in that you can enjoy their seasonal flavor while they are still small. “I want to continue to propose new ways of eating and cooking while also preserving the traditional food culture”. Mr. Kimura’s thoughts like this will open up new possibilities for the ayu from Lake Biwa and give them the power to swim further afield.

The post A summer tradition of Lake Biwa: Ayu no mise Kimura, a restaurant that conveys the deliciousness of Shiga’s ayu/Hikone City, Shiga Prefecture first appeared on NIHONMONO.

There is a phrase, “touching the kin-sen,” which means to be moved by something and have one’s heart tremble. The Japanese people have long compared the emotional response of being moved by something to the beautiful sound of the strings of the koto, or Japanese harp. In Shiga Prefecture, there is the only company in Japan that continues to produce the strings for Japanese musical instruments, which produce such delicate tones, using traditional techniques that do not involve the use of machines. The company is Marusan Hashimoto Corporation, which has a history of over 100 years in Nagahama City.

Making Japanese musical instrument strings started in a silkworm-raising village in Shiga Prefecture.

Marusan Hashimoto Co., Ltd. is located in Nagahama City in the northeastern part of Shiga Prefecture. Blessed with high-quality water from the foot of Mount Shizugatake, the city has been engaged in sericulture and silk spinning for more than 1,000 years.

In the past, the strings used for Japanese musical instruments such as the koto (Japanese harp) and shamisen were all made of silk. The “namabiki” method of thread-making, which has been handed down in the Oto district of Nagahama City, is said to have taken root in this region because it was particularly suitable for making the strings for Japanese musical instruments, which require great strength.

Produces over 400 types of strings

About 120 years ago, my great-grandfather learned how to make strings for the gidayu shamisen, which was popular in Osaka at the time, and returned to Nagahama to begin making strings for Japanese musical instruments,” says Hidemune Hashimoto, the fourth-generation owner of Marusan Hashimoto Co. Since then, the company has produced more than 400 types of strings for Japanese instruments, according to the thickness of the strings, type of instrument, and rank, while focusing on the strong and deep sound that only the company can produce.

For example, our shamisen strings are used at the Kabuki Theater in Tokyo and in Bunraku ningyo joruri (puppet theater), a classical performing art in Osaka,” says Hashimoto. In particular, the company boasts an almost 100% share of the professional market for gidayu shamisen, an essential part of ningyo joruri bunraku (puppet theater).

Only three companies in Japan continue to produce silk strings

Silk strings used to be the mainstay of Japanese musical instruments, but due to food shortages during and after World War II, mulberry fields, which provided food for silkworms, were converted to fields and rice paddies. The rapid spread of polyester threads also made it common for the strings of Japanese musical instruments to be made of synthetic fibers. Nowadays, more than 95 percent of the strings used for the koto are made of polyester. Silk, a natural material, is inevitably susceptible to moisture and breaks easily, so it seems to be shunned today, when durability is more important. However, there are still many people who demand silk for shamisen and biwa, so we continue to make them while maintaining the traditional production method,” he says. Currently, there are only seven companies in Japan that make strings for Japanese musical instruments, and only three of them are still producing silk strings.

The only company in the world to inherit the “Dokuraku Twisting” technique

Of the three companies that continue to produce silk strings, only Marusan Hashimoto has inherited the “Koma-yori” process. In this process, several thin raw silk threads drawn from cocoons are twisted together to make a single string. The key point of this process is that the thin threads are not just gathered together, but twisted as they are twisted together.

Normally, the dokuraku twisting is done by three people: one person stretches the thread by running a distance of about 16 meters, while the other two twist the thread by spinning the dokuraku with a board held in both hands. The work is hard, requiring the workers to sit on their backs and use their legs to twist the strings. It is said that it takes 10 years to become a full-fledged craftsman.

“Japanese sound” transmitted through traditional techniques

In string making, the stronger the twisting, the thinner the string with fewer gaps between the fibers, and the fewer the twisting, the softer the string with more air. The strength and method of twisting have a direct effect on the tone of the instrument.

In the past, when there were no machines, everything was twisted using the Dokugaku method, and we are the only company in Japan that still uses this method. We are the only company in Japan and probably the only company in the world that still uses this method. When twisted by machine, the twisting is too strong, resulting in a choked sound, but when done by hand, a slight space is created in the yarn, allowing the sound to fly far, even in a large hall. The sound from the instrument spreads randomly through the air, which sounds very comfortable to us Japanese,” he says.

Selected for a project to restore a one-of-a-kind treasure

The Dokugaku twisting technique attracted particular attention in 2011, when work began on the reproduction of a raden sandalwood five-stringed biwa, a five-stringed biwa in mother-of-pearl inlay. The raden shidan five-stringed biwa is a musical instrument of Indian origin believed to have been made in the Nara period (710-794), and is a unique treasure representing the Shosoin Repository. The Imperial Household Agency decided to make an elaborate replica in order to clarify the production techniques of the time, and Marusan Hashimoto was selected to make the strings. Usually, Dokugaku twisting is used to make thin strings for shamisen and other instruments. To make thicker strings for the biwa, he prepared a 1.5-kilogram Dokugaku, which is not usually used, and spent four months perfecting the strings, paying careful attention to the thickness and direction of twisting. During the production process, I felt as if I was talking with the people who made this biwa a long time ago,” he said. The technique that has been passed down through the ages for more than 1,000 years is now in my hands. It gave me a chance to rethink my desire to preserve this technology and the sounds it produces.

To preserve the culture and the tone that has been nurtured in the region

In the old days, there were many companies like ours making strings all over the country, and each culture, such as Edo, Kamigata, and Kyushu, had its own distinctive sound. For example, in Kamigata, a bright and relaxed sound is preferred, while in Kanto, a solid and hard sound is preferred. Local string makers produced the sound of their region, but now there are only a few makers left in the country,” he says. The existing manufacturers inevitably understand and reproduce the sounds of other regions. In response to a wide variety of requests from professional players, such as “I want a more shadowy sound,” “I want a sound that falls into the back,” or “I want a rounder sound,” the sound of that region or school of music is reproduced. Mr. Hashimoto says that the most difficult thing of all is to find out how to incorporate this into the manufacturing process to achieve the target sound.

Until about 10 years ago, he had been making strings only for Japanese musical instruments, but now he is turning his attention to the world. He has been making strings for a variety of instruments, including ukulele strings, which he became interested in when he met a musician, the Korean “haegeum” xiqin, and the traditional Chinese “kokin” instrument.

In 2011, we participated for the first time in an exhibition in China, and although there were about 1,800 booths, we were the only company that exhibited with silk strings. In China, where silk strings have been used for over 3,000 years, steel strings are now the mainstream. Silk was introduced to Japan via the Silk Road, and now we want to pass it on from Japan to China. When I said this while showing pictures of the Silk Road, everyone was very happy. Mr. Hashimoto happily says that the whole of Asia becomes a family when silk strings are used. Knowing how to make traditional strings, the history of the instruments, and the tastes for sound in other countries will probably deepen his knowledge of tones that are unique to Japan.

Pursuing the value of “sound” as a string manufacturer

From 2022, Mr. Hashimoto also serves as vice president of the National Federation of Traditional Japanese Musical Instruments Associations. He hopes to engage in activities that will encourage people in Japan to pay more attention to Japanese traditional musical instruments. As an industry, it is obvious that we are tapering off if we don’t do something about it. The silk strings we make are not only rare in existence, but also have great value as an invisible “sound. I believe that if more people appreciate the sound, the value of preserving them will increase.

These days, the opportunities to hear the sound of silken strings have been drastically reduced. Why not experience the “real” sound while paying attention not only to the music and the performers, but also to the manufacturers behind the music?

The post Marusan Hashimoto, a manufacturer of strings for Japanese musical instruments first appeared on NIHONMONO.

The “tenmoku” pottery is a type of pottery with sparkling silver flecks floating on a jet-black background. The mysterious beauty of this type of pottery has been called a “copy of the universe,” and it has attracted many historical figures and potters, including Oda Nobunaga. Noriyuki Furutani, one of the contemporary tenmoku artists, dares to use a wood-fired kiln and continues to challenge new expressions of tenmoku, while many artists use electric or gas kilns that can easily control the temperature.

Wood flames create works of art beyond imagination.

Mr. Furuya’s studio is located in Shigaraki Town, Shiga Prefecture. Shigaraki is known for the tanuki pottery often seen on the eaves of local taverns, and is one of the six oldest kilns in Japan.

“It’s getting up to a nice temperature,” Mr. Furuya welcomes us, and we face the “Anagama” kiln with red flames blazing right in front of us.

Anagama is a traditional kiln in which wood is heated slowly, and is said to be the oldest style of kiln in Japan, having been introduced from the Korean Peninsula during the Kofun period. While it is difficult to control the temperature and the firing tends to be uneven, the expression of each piece changes depending on how it is exposed to the flame and how the ashes are covered, and no two pieces are alike.
I make tenmoku and daily-use vessels,” he says. Of course, I sometimes use a kerosene kiln or an electric kiln, but I always fire tenmoku in a wood-fired kiln. I feel that firing in a wood-fired kiln makes the black glaze deeper and darker with more presence,” he says. Another major reason he continues to fire with wood is that he never knows what will come out each time he unloads the kiln, and the combination of his control and the power of nature produces pieces that exceed his imagination.

The shock of seeing the national treasure “Aburitate Tenmoku” was unforgettable and led him to the world of Tenmoku.

Mr. Furuya was born the third son of Michio Furuya, a potter who revived the anagama kiln in Shigaraki. He studied design at a local high school, and upon entering college, he began his career as a ceramic artist. It was when he was 18 years old and a university student that he began researching tenmoku, which he says was triggered by his fascination with the national treasure “oil drop tenmoku” he saw at an art museum.

My father was a Shigaraki potter, so I grew up seeing traditional Shigaraki ware. So when I saw tenmoku for the first time, I was shocked and wondered if this kind of pottery existed. It was completely different from the pottery my father made, but I was attracted by the interesting glaze and fell in love with the world of tenmoku.

After graduating from university, he visited pottery production areas throughout Japan to learn various techniques, and now has a studio in Shigaraki, where he continues to study tenmoku while making vessels for daily use.

Tenmoku was introduced to Japan during the Kamakura period (1185-1333). It was first introduced to Japan during the Kamakura period (1185-1333), when Japanese Zen monks brought back tea bowls with a black glaze called tenmoku glaze from Tianmu Mountain in China, where tea leaves were produced. At that time, a mortar-shaped tea bowl with a black glaze was called tenmoku, but today, when various types of vessels such as sake cups, tokuri (Japanese rice wine cups), and flower vases are produced, the term tenmoku has come to refer to all pottery with a black glaze. According to the patterns that appear on the bowls, there are different types of tenmoku, such as yohen tenmoku, oil drop tenmoku, and jomoku tenmoku, etc. A legendary book from the Muromachi period describes yohen as the best type of tenmoku, and oil drop as the second best. There are only four Yohhen Tenmoku pieces in existence in the world. All of them are located in Japan, and Tenmoku artists from all over Japan are continuing their research to reproduce this rare type of Tenmoku and to create their own unique expressions.

Research on oil drop tenmoku

At the same time as researching tenmoku, he also continues to produce tableware for daily use. The tableware that Mr. Furuya makes is characterized by a simple monotone design that is comfortable for daily use. He believes that “a vessel comes alive only when it is used to serve food,” an idea that was greatly influenced by the Karatsu potter Takashi Nakazato.
I was introduced to Mr. Nakazato when he came to Shigaraki as an instructor at the Shigaraki Ceramic Cultural Park, and since he was going to stay for about two months, he said, ‘I’ll be here for a while, so why don’t you practice the potter’s wheel here? To my surprise, Mr. Nakazato started by making tableware to be used during his stay. He made the plates and bowls on the spot and arranged them together with a soy sauce holder and chopstick rests that he had brought with him to create a neat dining table. After that, she was asked, “I’m going to the U.S., would you like to come with me?” He then asked me to come with him on a trip to the U.S., and as we traveled around the world and throughout Japan, we ate together, made dishes together, and learned all kinds of things while sharing food, clothing, and shelter together. We eat and live every day with the tableware we made. We express ourselves with the clay that is there and the kiln that is there. I learned a lot from that experience. While accompanying him, I learned how to use a “gyubira,” which is useful for shaping vessels, and I became less wasteful in turning the potter’s wheel, which greatly increased the speed at which I could make tableware. The generosity and delicate beauty of Furuya’s tableware, which accepts any kind of food, must have been cultivated through this experience.

The post Nobuyuki Furutani, a ceramic artist pursuing his own unique expression first appeared on NIHONMONO.

Vessels of various styles are lined up in a concrete space filled with soft natural light. Located in Nagahama City, Shiga Prefecture, Toki no Kumo is a gallery that permanently sells works and antiques by artists active in Japan and abroad, as well as Chinese tea ceremony utensils, a rarity in Japan. It is loved by fans who visit from all over Japan and by the artists, who call it “a place to come back to.

A dignified space that accepts any kind of work

The center of Nagahama City, Shiga Prefecture, where Ki no Kumo is located, is a castle town where Nagahama Castle was built by Hideyoshi Toyotomi. Passing through the busy tourist street in front of the station and continuing on to a quiet residential area, you will see a white building that catches the eye. Open the large steel door, and you will find an open gallery space with a 5-meter-high ceiling. The gallery holds special exhibitions twice a month, displaying and selling works by a variety of artists, including ceramics, lacquerware, glass, woodwork, and metalwork.

When I went to New York on my honeymoon, the ceilings were so high everywhere I went, including restaurants and stores. I admired the sense of openness and modern atmosphere, and I gave shape to that. We didn’t make the interior too much from the beginning, leaving room for decoration and other changes to suit the image of the moment,” says owner Toyomi Nakamura. Artists are also pleased with the space, as they can bring in large vases that cannot be exhibited anywhere else, or works that hang from the walls.

I want a job I really love that I can be proud of for my children.

Until his 30s, Mr. Nakamura was an ordinary company employee. When he got married and had a child, he thought, “I want to do a job I really like that I can be proud of for my child,” which led him to set up his store here. However, he did not start the gallery from the beginning. He says, “I first opened a dining bar, which had always been a dream of mine. I wanted to open a place where customers from all over Japan could come and enjoy sake while eating freshly grilled dishes prepared on a charcoal grill,” he said. He has been fond of tableware since that time, and as he served rare sake and dishes using artist’s tableware, his fan base grew, and people from as far away as Tokyo and Kanagawa began to visit the restaurant after hearing rumors of his work. A few years later, the restaurant was converted from a dining bar to an Italian restaurant, with a gallery to display the dishes. In 2023, Nakamura says it will be 20 years since he started the gallery. I enjoy growing old together with the regulars who have been coming to the gallery for a long time, and recently I have had young people tell me that they came to the gallery because they saw it on social media. It’s great to have people of all ages coming to the gallery,” she smiles.

The world of antique tools that lay beyond the love of tableware

The first floor of the two-story store is a gallery space with special exhibitions and permanent works, and the second floor is a sales space for old tools that Nakamura has purchased and collected. He says he fell in love with old things after starting the store, and as he looked at artists’ vessels on a daily basis, he became interested in things made even older. What I have in my house are not so much antiques as old tools and junk (laughs). I don’t know what they are used for.

I don’t know what they are used for, but I like them better. It’s interesting just to imagine what the tools are for and how they are used.

The space where Japanese antiques and Western antiques are mixed together is like a secret base built in an attic. Old vessels that Nakamura has kintsugi (metal-jointed) are also displayed, making the experience like a treasure hunt.

More than 100 connected writers

Ki no Kumo hosts more than 20 special exhibitions a year, and has hosted a total of more than 100 contemporary artists for special exhibitions and sales of their works. In addition, the shop continues to enjoy working with many other artists, such as the signature of Taizo Kuroda, a world-renowned white porcelain artist, which remains at the entrance, and Masanobu Ando, who runs “Galerie Hyakuso,” with whom the shop has been in contact since its opening. Nakamura says that even when he thinks, “I don’t want to add any more artists,” he still feels compelled to introduce them to his customers when he finds a good one. He and his wife always visit new artists together before asking them to do business with them. After 20 years of doing this, even artists who were just starting out in their 20s when he first met them have now become accomplished mid-career artists in their 40s. Ryota Aoki, who is now active on the world stage, is one such writer. When I see them become popular or very successful, I think to myself, ‘I’m so glad I did this. Discovering unknown artists and witnessing their growth is one of the best parts of being in the gallery.

Where new winds and inspiration are born.

Ki no Kumo is also a valuable place for artists to interact with each other. On the first day of an exhibition, many of the artists visit the gallery, and we always ask them to have dinner and drinks at our place that night. It has become a standard practice for everyone to eat dinner, have drinks, and stay at our house. Many of them usually stay at their studios, so when there is an exhibition, they come to the gallery to deliver the products themselves, and then go to the gallery to have drinks with the local people, or go fishing if they have time. Many people also look forward to a little refreshment,” says Nakamura. Dozens of artists gather at the annual New Year’s party. When everyone gets together and drinks together, artists who have never met each other before become good friends and start talking about having a two-person show, or a ceramic artist and a lacquerware artist stay up late into the night talking. Nakamura smiles and says that it is a pleasure to see new ideas and inspirations emerge from such encounters, and that this is also the role of the gallery.

Vessel making that began in the daily life of a restaurant

In fact, Mr. Nakamura himself has a side as a creator. I am not an artist, so I don’t have any work at ……,” Nakamura said as he showed us his home workshop.

Mr. Nakamura began making pottery when Ki no Kumo was still a restaurant. When he saw that the dishes used in his restaurant were frequently broken or chipped, he thought, “If I have to replace them so often, I might as well make them myself. This is a challenge unique to Mr. Nakamura, who is willing to try anything he likes or is interested in. Many people think of the potter’s wheel when they think of pottery, but Nakamura’s technique is “tatara” making. First, a plaster mold is dug, then clay is applied to the mold, allowed to dry, and then removed from the mold and fired. Nakamura’s pottery was started in pursuit of practicality, and his standard is to create vessels that are hard to break, easy to use, and above all, look good with food. Nakamura’s desire to “make things I want to use” is expressed in his simple yet beautiful vessels and plates that can be used over an open flame, which are also popular in the Ki no Kumo gallery.

Encounters with Chinese Tea Utensils and Connections

He became interested when he saw Taiwanese tea masters buying items made by Japanese artists, and he and his wife, Keiko, started a Chinese tea ceremony class to which they invited tea masters. As he studied Chinese teaware by listening to the stories of Chinese customers when they came to visit and visiting China himself, he realized that there were no artists specializing in making Chinese teaware in Japan, nor were there any galleries dealing in Chinese teaware. He then asked some Japanese artists with whom he had a relationship to produce Chinese tea ceremony utensils, and they were a big hit. She had been making only tableware for everyday use by Japanese people, so the production of Chinese tea ceremony utensils was a new experience for her, and most of the artists readily agreed to try it.

Keiko also holds not only Chinese tea classes at her gallery, but also “Chayuki,” a tea party project in which she travels to various places and regions to work together with tea masters to create a tea ceremony. The concept of this event, which has been held in Japan, various parts of China, and Mongolia, is “a journey to seriously play with tea, conveying and feeling its charm wherever you go. The visitors are, of course, local people, and through tea and tea utensils, people are connected to each other.

I want people to feel closer to the work by holding it in their hands.

We are a gallery. We want people to be able to touch, feel the weight and texture of the work, and then buy it. I think the beauty of a gallery is that you can feel the work more closely,” says Nakamura.

Today, it is becoming commonplace to search online for anything you want and purchase it as is. While it is convenient to be able to pinpoint exactly what we want, we are probably less likely to have the experience of stumbling upon something that attracts us by chance and broadens our horizons for some reason. It is precisely because we live in an age in which “waste” is being eliminated that there is a demand for “blank spaces” that contain possibilities. The existence of galleries that offer encounters with wonderful works of art that have yet to be seen and that expand one’s worldview will continue to attract attention not only from visitors and collectors, but also from the creators of the works, and will continue to enhance their value.

The post Serious Play, a gallery connecting encounters born in Shiga, “Toki no Kumo”. first appeared on NIHONMONO.

Japan has three major brands of Wagyu beef: Omi beef, Kobe beef, and Matsusaka beef. Of these, Omi beef is the oldest Japanese beef brand, dating back more than 400 years. We visited Fujii Ranch, one of the few farmers producing Omi beef that engages in integrated management of breeding and fattening, and asked them about their passion for producing healthy and delicious beef.

Omi Beef” was born in an era of meat bans.

The history of Omi beef goes back 400 years. During the Edo period (1603-1868), when meat was still banned in Japan, the Hikone clan was the only clan officially allowed to slaughter cattle, as it was customary for the clan to offer cow hides to the shogunate every year for use in the camp drum. Although slaughtering cows was done for self-sufficiency of cow hides, once the hides were removed, the meat remained. Omi beef is said to have originated when the clan began selling beef marinated in miso as a nourishing medicine, without violating the prohibition on meat.

Omi beef is characterized by its fine and tender texture and its beautiful “sashi” (a grain-like grain). Sashi is a mesh of fat in the lean part of the meat. Omi beef has a good mixture of meat and fat, and the sweet fat is said to melt in the mouth.

Ohnaka District, a major production area of Omi beef

Omihachiman City is located in the eastern part of Shiga Prefecture. The Ohnaka area, located in a corner of the city, is a major production center of Omi beef, with one-third of the prefecture’s beef cattle concentrated in an area of about 10 square kilometers.

The area was initially the largest among the areas around Lake Biwa that were reclaimed as a means of solving the postwar food shortage, and agriculture centering on rice cultivation was prosperous. There are about 40 livestock farms in the district, some of which raise only Omi beef, while others raise large crossbreds that are a cross between Holsteins and other dairy cattle and Wagyu cattle for food.

The definition of Omi beef is “Japanese black cattle bred for the longest time in Shiga Prefecture. Compared to other beef brands, which have strict standards for meat quality grade and number of days of fattening, this definition may seem a bit broad, but this is one of the characteristics of Omi beef that makes the differences among producers stand out.

One of the Few Producers Engaging in Integrated Management

Mr. Norio Fujii, who runs the Fujii Farm, is engaged in integrated management of Omi beef breeding and fattening in the Ohnaka area. His father’s generation settled in the area and converted to livestock farming together with neighboring farmers when the policy of reducing rice acreage was introduced. Mr. Fujii has loved cattle since childhood, and after studying agriculture at a junior college, he chose to become a farmer without hesitation.

In general, beef cattle production is separated into “breeding management,” which aims to produce calves, and “fattening management,” in which the calves are raised to adulthood and shipped.

The work involved in breeding and fattening is completely different, and it is very difficult for a single farmer to do both. The reality is that many people who start out quit soon after starting because if they fail, their productivity immediately drops and they cannot make ends meet as a farmer,” says Fujii. For example, in terms of breeding, the key to management is how to reduce the number of days of empty births by inseminating the animals without missing the timing of estrus, which differs from one individual to another. On the other hand, in fattening, the key is to feed the cows as much food as possible and keep them healthy and stress-free.

If we want to continue to do this, we have no choice but to try integrated management.

Fujii says that it is very difficult to combine breeding and fattening, each of which requires completely different knowledge and experience, but it is worth the effort.

The number of farmers running breeding operations is gradually decreasing due to the aging of managers and lack of successors, and the price of calves is on the rise. But that does not mean that the selling price of meat will continue to rise. We were originally a farmer specializing in fattening cattle, but if we continue to only fatten cattle, we will be caught between buying expensive calves and selling them at a low price. We decided that if we wanted to continue raising Wagyu cattle, we had no choice but to do it all ourselves.

Does feed determine how tasty a cow is?

It is said that the quality of beef depends largely on the pedigree of the cattle. However, according to Fujii, the quality of the fat is greatly influenced by the type of feed fed to the cattle.

If you feed too much high-calorie feed, the fat will become tough and the meat will cause indigestion. Also, if you feed too much formula feed to calves because you want them to grow quickly, they will get too fatty and easily get sick, and eventually they will not continue to eat a lot of feed until the end of their lives. It is important to first create a stomach that will allow the cows to continue eating plenty of food, by considering the balance between roughage (mainly grass) and compound feed mixed with corn and other feeds.

Aiming for sustainable livestock farming through “recycling-oriented farming

According to the Ministry of Agriculture, Forestry, and Fisheries of Japan, the self-sufficiency rate for animal feed in Japan is low, at about 25% in 2021. In particular, only 13% of feedstuffs, such as corn and other concentrated feeds, are produced domestically. Even for cattle raised in Japan, the majority of feed is from foreign countries.

I want to raise Omi beef on home-grown feed from birth to shipment . By growing his own straw and grass, which are necessary for raising Omi beef, he is able to prevent diseases caused by imported feed that does not suit his constitution and to ensure stable production of calves. The cattle grow fodder in the rice paddies, eat the grass that is produced, and return the cattle manure to the rice paddies to make more fodder. The use of cattle manure helps reduce the use of chemical fertilizers, and the self-sufficiency of feed helps reduce production costs. This recycling of resources is the key to a sustainable rearing method.

Pursuing deliciousness without being restricted by ratings

The highest grade of beef is considered to be “A5 rank 12. The conditions for the highest grade are a high degree of tannin and good marbling, and only one out of every 30,000 head of beef can be rated as A5. But is this rare meat really “good for everyone”?

People say, “It is a matter of course that the beef is A4 rank or higher, but anything lower than that is called Omi beef. However, for us, A2 or A3 beef is Omi beef. They are all raised in the same land with the same care and attention. The most important thing is that they are healthy and stress-free, and that they continue to eat well until the end of their lives. We are not only concerned with the amount of sinew, but are also conscious of creating a good balance of lean and fat so that the aroma when the meat is cooked is appetizing. We want to raise cattle that will be delicious to all kinds of people.

Fujii Farm has about 100 head of cattle. It is not a large ranch, but the cows are eating freely in a spacious barn with plenty of sunlight and good ventilation. In the ever-changing livestock industry, we could see a ray of hope for those involved in the meat industry in Mr. Fujii’s efforts to create new possibilities with a heart for the gift of life.

The post Fujii Farm, which is engaged in integrated management of Omi beef, producing healthy and tasty cattle / Omihachiman City, Shiga Prefecture, Japan first appeared on NIHONMONO.

Shiga Prefecture is said to be the birthplace of Japanese tea. The origin of Japanese tea is said to date back to 1200 years ago, in the early Heian period, when Saicho, the founder of the Tendai sect of Buddhism, brought back seeds from Tang China and planted them at the foot of Mount Hiei. We visited Mr. Haruki Fujimura, representative director of “Greentea Tsuchiyama,” a tea farmers’ cooperative in Shiga Prefecture, which is working to pass the baton of the tea industry to the future.

Tea production area developed in the Edo period (1603-1867)

Tsuchiyama-cho, located in the southeastern part of Shiga Prefecture, boasts the largest tea production and cultivation area in the prefecture. 805, Saicho, who returned from Tang Dynasty China, introduced tea cultivation to Omi Province, which is now Shiga Prefecture, and tea production also began in Tsuchiyama. Since Tsuchiyama was an inn town on the Tokaido Highway, tea was sold to people passing by, and its production expanded dramatically in the Edo period ( 1603-1867). At its peak, Tsuchiyama used the same tea leaves as green tea to make black tea and export it overseas, but this became difficult after World War II began, and the region gained a foothold as a producer specializing in green tea.

Tea that can be enjoyed from the second brewing

There are several traditional tea production areas in Shiga Prefecture, such as Asamiya and Masadokoro, but Tsuchiyama is characterized by rolling hills with long hours of sunlight, rich underground water from the Suzuka mountain range, and a temperature difference between day and night. This makes it possible to grow long, thick tea leaves, which have a strong flavor and aroma, and are said to be delicious even after the second or third brewing. Characterized by its elegant, mild, and deep flavor, it has long been a specialty of Shiga Prefecture.

Producing “Kabusecha” with a strong flavor

Another characteristic of Tsuchiyama is that it is known as a famous producer of “Kabusecha” tea. Kabusecha is a type of tea in which tea leaves are covered with a cloth or other covering before plucking to suppress the production of catechins and enhance the flavor and sweetness of the tea. The tea leaves that have been covered for a longer period of time are called “gyokuro,” and those that have been dried without being rubbed are called “tencha. Tencha is ground into a powder using a millstone, and this powder is called matcha, which is used in the tea ceremony.

Kabusecha production is thriving in Tsuchiyama, and has a solid track record, winning first place in Japan in the kabusecha category of the National Tea Fair.

Healing Tea from Tsuchiyama to the World

Haruki Fujimura is the representative director of “Green Tea Tsuchiyama,” an agricultural cooperative that produces tea with the concept of “bringing healing tea to the world. He has been in the tea industry since he was 22 years old, and has been in the business for 30 years this year. He wanted to acquire knowledge and skills beyond just making tea, so he became a certified Japanese tea instructor, also known as a “tea sommelier,” and is also involved in training young people at an agricultural university as an agricultural instructor.

In Tsuchiyama, many growers have traditionally produced Kabusecha, but about five years ago, we started producing about two thirds of our tea from Tencha, which is used to make Matcha. Japanese matcha has been booming overseas for the past few years, and the need for tencha will increase even more in the future.

Although the region as a whole has been increasing the percentage of its tea production from tencha processing every year, the price of tea itself has been declining in recent years, and producers are now facing a difficult situation.

From individual competition to regional cooperation in tea production

In order to overcome the difficult situation surrounding tea farmers, various reforms are being implemented in Tsuchiyama. One of these reforms is the establishment of an agricultural cooperative, Greentea Tsuchiyama.

One of the features of our company is that each member of the corporation is a farmer, but we all share the same fields and factories. In tea production areas, even though the factory is shared, it is rare to find an organization in which everyone shares the same fields. There is no such thing as an individual farm, but rather a system in which everyone works together to increase sales,” says Mr. Tsuchiyama.

Green Tea Tsuchiyama was originally established by Fujimura’s father in cooperation with five tea farmers.

At the time, when most tea farms were privately owned, many farmers were trying to ship their products as quickly as possible in a small area, which caused shipping times to overlap. To prevent this, Greentea Tsuchiyama was established to promote the joint purchase of fertilizers and the joint use of factories. Today, many young farmers belong to the company, and it has grown to the point where it produces about one-tenth of all tea produced in Shiga Prefecture.

Overcoming the adversity of being called a “cheap production area

Green Tea Tsuchiyama handles all aspects of tea production in-house, from cultivation to processing and sales. In 2018, the company built a new factory for tencha, the first in the prefecture, with the aim of producing its own tencha, the raw material for matcha, to boost sales and meet demand for the tea in a wide range of products such as chocolate and confectionery.

The factory is located in the Tsuchiyama area, where frost occurs in early spring, so the early sprouts are damaged by the frost. Tea can only be harvested safely in Tsuchiyama after May, the middle of the season. It has often been said that “Tsuchiyama is an inexpensive production area” because the harvest here begins when harvesting is completed in all production areas in Japan, and the tea can finally be shipped when the price of new tea has dropped completely. So, in order to survive, we need a stronger ground than other production areas,” he says.

Original products that meet the needs of the times and applications

At the same time as establishing a tea production system, the company is also focusing on the development of original products.

KOKUTAN,” with its luxurious black packaging, is a special Kabusecha blending two varieties, a gem that offers the sweetness of “Sae-midori” and the refreshing crispness of “Okumidori”. It is made from the most aromatic and rich tea leaves harvested at Greentea Tsuchiyama.

Other products include Hakuji, a top-grade Kabusecha tea that is mild and recommended for daily use, and Hekiryoku, an extra-grade sencha with a refreshing aroma and moderate astringency.

Developing sweets to enjoy with tea

In an effort to further expand its product lineup, the company has begun developing products other than tea leaves, including “Matcha Financier” and “Roasted Tea x Benifuuki Financier,” the first processed foods made with the company’s own tea, which went on sale in 2020. We thought, “Why not have confections that are not limited to tea leaves alone? The development of confections that go well with tea has been well received by employees and customers alike. Mr. Fujimura’s goal is to increase the number of original products using tea, such as chocolates and cookies, and eventually sell them in his own stores.

Bringing the potential of tea to the future through the efforts of the entire tea-producing region.

In 2022, a team of tea farmers, tea artisans, and agricultural cooperatives will launch a new hojicha brand called “Tsuchiyama Overnight Hoji. This initiative was started to make the name “Tsuchiyama” widely known. The tea leaves grown with great care in Tsuchiyama-cho are left to wilt naturally overnight (12 hours or more) to lose water, which gives the tea a flowery aroma. When the tea leaves are roasted, the sweet aroma of Taiwanese tea is followed by a savory aroma unique to hojicha, making it a tea that goes well with both Japanese and Western-style teas and meals. The tea is named “Overnight Hoji,” and is sold in a variety of variations by several businesses participating in this initiative.

I consider tea to be a luxury item, just like alcohol. In the past, people thought it was enough to just make tea as it is and sell it, but now I feel that the ideal way for a production center is to make tea that they can truly enjoy through trial and error, and then promote it. How many people can we create who will appreciate the taste of Tsuchiyama’s tea? That is what is necessary to continue tea production. With an eye on the future of tea, they are expanding beyond the boundaries of producers and companies. We look forward to the new challenges ahead for Mr. Fujimura and his team.

The post Green Tea Tsuchiyama” to explore the future and possibilities of tea in Omi, the birthplace of Japanese tea / Koka City, Shiga Prefecture first appeared on NIHONMONO.

Hyakusaiji Temple, selected as one of the 100 best places in Japan for autumn foliage and known as one of the best autumn foliage spots in Shiga, is one of the oldest temples in Shiga, founded by Prince Shotoku. Outside of the fall foliage season, it is an atmospheric old temple surrounded by tranquility, and is said to have been praised as “heaven on earth” by the Portuguese missionary Luis Frois.

A power spot where you can feel the breath of nature

Hyakusaiji Temple is a temple of the Tendai sect of Buddhism located in the Koto area on the east side of Lake Biwa. Together with nearby Saimyoji Temple and Kongorinji Temple, it is known collectively as the ” Koto Sanzan” (three mountains of Koto ), and is crowded with many tourists who enjoy the autumn leaves in autumn.

Located deep in the mountains in the middle of the Suzuka mountain range, the temple grounds cover an area of 83 hectares, with approximately 5,000 deciduous trees and 25,000 evergreen trees growing wild. The temple is also known as ” Hyakusai-dera (Temple of a Hundred Colors )” because of the variety of plants that adorn the temple from season to season, including fresh greenery, autumn leaves, and snowy landscapes.

One of the oldest temples in Omi Province

Hyakusai-ji Temple is said to have been built by Prince Shotoku more than 1,400 years ago during the Asuka period (710-794) in imitation of “Ryuun-ji Temple” in Baekje Province for the Baekje people (Kudarabito) who came from the Korean Peninsula. It is one of the oldest temples in Shiga, which has many historic temples. After the Tendai sect was established on Mt. Hiei during the Heian period (794-1185), it became a temple of the Tendai sect and prospered through the Muromachi period (1333-1573).

Longing for the country of Baekje beyond the setting sun

Baekje Temple is located on the 35th parallel of north latitude, and Baekje Province was 880 km away to the west via Mount Hiei and Mount Kurama. It is said that many visitors remembered their homeland beyond the setting sun from the Baekje Temple.

Heaven on Earth” that fascinated Nobunaga and Luis Frois

It is also known as a historical stage for famous figures. It is said that Nobunaga Oda, a great leader of the Warring States period, was so fascinated by this temple that he decided to make it his only imperial temple during his lifetime. The missionary Luis Frois, who was visiting Japan from Portugal at the time , praised the temple as “Heaven on Earth, 1,000 monks” and said it was such a splendid temple. Later, however, Hyakusai-ji Temple was judged to have been used to hide Rokkaku’s army, which was hostile to Nobunaga, and the temple was burned down by Nobunaga.

In the Edo period (1603-1867), the Tokugawa Shogunate and the Hikone Clan donated funds to rebuild the main hall, Niomon Gate, and Sanmon Gate (Red Gate), which still remain today.

A “famous garden with a distant view of the world” where the historical stage of Omi can be seen from all over the country.

About 400 meters up the approach from the Hyakusai-ji Temple gate is the “Honbo Kikenin,” a large pond-viewing garden named ” Famous Garden of the Distant View from Above” facing the Shoin.

The garden is built with a combination of various huge rocks with the Suzuka Mountains in the background, and a mountain stream flows from the mountain into the pond where the carp swim.

The garden continues toward the mountain, and from the viewing platform at the top of the garden, one can see Mount Hiei, the historical stage of Omi, and the Koto Plain.

Mysterious space created by moss-covered rocks

Around the garden, huge moss-covered rocks remain in their original state. Around the temple, massive stone walls and stone steps remain as they were when the temple was built, giving it the appearance of a mountain castle, and it has been used as a filming location for many historical movies and TV dramas.

Just standing in this mysterious space where nature and history are in harmony seems to heal and purify the mind.

The main hall, Niomon gate, and temple gate are just a few of the highlights of the temple.

The main hall of Hyakusai-ji Temple houses a 3.2-meter tall statue of the eleven-faced Avalokitesvara Bodhisattva, one of the largest existing in the Nara period. It is one of the largest existing wooden Buddhas of the Nara period. It is also called “Ueki-Kannon” (meaning “Goddess of Mercy”), because it is said that Prince Shotoku found a sacred cedar tree in the mountains that emitted light and carved the tree while it was still standing. When the main hall of the temple was burned down by Nobunaga, the monks carried the tree 8 km deep into the mountains and escaped the disaster.

Akamon (red gate), the entrance to Hyakusai-ji Temple

The vermilion-lacquered gate at the entrance to the temple grounds is commonly called ” Akamon (red gate). The contrast between the green of the fresh greenery and the orange of the autumn leaves makes it a beautiful spot for photographs. There is only a temporary parking space here, so if you are visiting by car, be careful not to drive past the gate.

It is said that touching the large straw sandals (about 3 meters long) displayed at the Niomon gate will bring good luck for physical health and longevity without illness. It is said that Hiroyuki Itsuki, the Naoki Prize-winning author of “Hyakudera Pilgrimage,” also touched the straw sandals to pray for the fulfillment of his wish to visit Hyakudera.

Bodaiju tree in full bloom in summer

The south garden stretches from the gate to the front gate. In summer, the lovely flowers of the linden tree are in full bloom, and an elegant fragrance wafts through the air. The flowers are the offspring of a 1,000-year-old linden tree that grows beside the main hall. The fragrance of the flowers attracts bees and other small insects, which gather to feed on the nectar and make their wings sing. The fragrance of the flowers is a reminder of the small life that lives in this area.

In addition, there are a variety of other spots within the temple precincts, such as the 430-year-old Kannon cedar tree, Benten-do Hall, and the approach with its moss-covered stone walls, all of which have remained unchanged for 1,400 years.

While the autumn foliage season when the entire mountain is dyed bright red is a good time to visit, the morning precincts are quiet and the sunset over Lake Biwa is a sight to behold, so enjoy not only the autumn leaves but also the “hundred colors” of the temple.

The post Ancient temple founded by Prince Shotoku. Hyakusaiji Temple, which retains the atmosphere of a mountain castle/Higashi-ohmi City, Shiga Prefecture first appeared on NIHONMONO.

Masadokoro is located in the mountains of the Suzuka Mountains on the east side of Lake Biwa. This small village with thatched roofs and clear water flowing from the verdant mountains has been producing “Masadokoro tea” since the Muromachi period (1333-1573). The tea is grown without the use of any pesticides or chemical fertilizers, and because of its rarity, it has been called “phantom tea.

Uji is a traditional tea production center, and tea is a traditional political center.

Masadokoro tea is said to have originated in the Muromachi period (1336-1573), when villagers were encouraged to cultivate tea for medicinal purposes in anticipation of the medicinal effects of the clear water of the Aichi River, which originates in the Suzuka Mountains on the border with Mie Prefecture, and the fog that forms in the valley. During the Onin War, when people evacuated from the capital of Kyoto to this area, the monks of Eigenji served tea grown in the temple, which became popular for its delicious taste. This led to the tea of Masasho being widely consumed in Kyoto, and the cultivation of tea leaves, which had been practiced only at temples, was introduced to the private sector, making Masasho a tea-producing area.

It is said that this Masasho tea was served to the young Mitsunari Ishida during the “Sankencha” episode, which led to his being taken in as a vassal by Hideyoshi Toyotomi.

A rare native species that has survived the harsh environment

Masasho tea is cultivated on a mountain slope at an altitude of 350 to 450 meters above sea level. The cultivation limit for tea is said to be 600 meters above sea level, so this is not a particularly high altitude, but the land is characterized by snowfall of more than 2 meters in winter. In addition, because of the short daylight hours in the mountains, the tea trees are covered with more than one meter of snow for about four months of the year. The harsh environment makes it difficult for varieties brought in from elsewhere to take root, and while the majority of tea trees grown throughout Japan are of the “Yabukita” variety, native varieties that have been handed down since the Muromachi period account for 70% of all tea trees in Masadokoro.

Fascinated by the original landscape of Japan, the land attracts young power.

Tea cultivation was once so important to the people of Masadokoro that it was said that “tea and forestry alone were enough to make a living. However, with the rapid economic growth after World War II, tea production declined as more and more people went out to work. The area of tea fields was reduced to one-thirtieth of its peak, and Masadokoro tea, which was no longer marketable, came to be known as “phantom tea.

Currently, there are about 60 Masasho tea growers. However, the scale of production is small, and most of them grow only enough for their own consumption and ship the surplus as a commodity. The lack of commercialization has allowed tea production to continue in a more natural way, leaving behind a unique landscape where tea fields blend into the daily lives of the people. Attracted by such an original Japanese landscape, young power is now beginning to gather in Masasho.

I found myself offering to do it myself.

When I first came here, I saw the old men talking about Masadokoro tea, and it was so cool. I wanted to do something to help, and that’s how it all started,” said Ren Yamagata, the representative of “Cha En Musubi.

Ms. Yamagata first encountered Masasho 10 years ago. While attending disaster-stricken areas as a disaster volunteer following the Great East Japan Earthquake, he began to think that he wanted to live in a place with strong community ties. It was around this time that he was invited to visit Masadokoro by his former teacher from his college days. When Mr. Yamagata met a local man of nearly 80 years old for the first time, he told him, “The tea here is entrusted to us by our ancestors. I want to take good care of it, but I don’t want my children to have to go through the same hardships we did. I want to take good care of it, but I don’t want my children to have to go through the same hardships that we did. That was my wish, but I want to preserve this tea somehow, ” she said earnestly. She was so moved by his words that she decided to move to the area , saying, “If I have to throw it away anyway, please let me do it! and decided to move to the area. While promoting the appeal of Masasho tea to the outside world through Cha Enmusubi, Yamagata also serves as the director of the Masasho Tea Production Promotion Association and is working to establish a production and sales system for the tea industry.

Tea plantation he inherited while working as a doctor

Another tea farmer who started growing tea after meeting Mr. Yamagata is Shigetaka Sato. He is a radiologist, which is surprising.

I was surprised to learn that he is a radiologist. ” Tea is a very familiar drink, but when I thought about it, I suddenly realized that I knew nothing about it. I wanted to learn more about it, so I was looking for a place in the prefecture where I could visit the production site, and that’s when I met Mr. Yamagata. The first time I was allowed to help pick tea, I enjoyed it more than I expected. After half a year of helping out every chance I got, he suggested to me, “If you’re going to help out so much, why don’t you start your own farm? I started growing my own tea.

Now, while attending the Masaki-cho in between work, he is enthusiastically working on tea cultivation with the help of the people around him. Under the name “Shige-Lu tea garden,” he grows tea leaves and promotes Masasho tea through workshops.

Tea trees over 300 years old

Tea plantations are usually thought of as neat rows of tea trees trimmed in the shape of a mantis, but Masasho’s tea plantation is a little different. The tea trees are scattered on the mountain slope and are generally short.

All the trees in this area are native species that are more than 100 years old,” he said. In the Masasho area, fields planted exclusively with native varieties are still scattered about as they were in the past,” says Yamagata.

The tree that spreads its branches as if crawling on the ground is over 300 years old, and is the oldest tree in the village. Of course, it is still in use today, and is designated as a natural monument by Shiga Prefecture. The tea trees in Masasho do not grow upward because of the heavy snowfall in winter, which causes the branches to bend under the weight of the snow. In spring, when the snow melts, a flattened tree emerges from the bottom and rises up from there,” Sato continues. The traditional native tea trees have disappeared since the end of World War II, due to the mechanization and diversification of the tea industry, and now only a few percent of them remain in Japan.

No pesticides are the norm.

Walking around the village, one comes across clean spring water here and there. In Masadokoro, such spring water is still used for daily life.

The village of Masadokoro is located at the headwaters of the Aichi River, which flows into Lake Biwa. The people of Masadokoro believe that it is wrong to pollute the water if we, who live in the headwaters of the river, pollute the water, and it is natural that they do not use agricultural chemicals or chemical fertilizers. They do not even use insect repellant spray in their tea fields to prevent any chemical residue in the tea. The people here consider the standard of “good tea” to be the taste of the tea itself, and by extension, the taste of the local climate. Tea production has continued here since long before the advent of pesticides. I want to carry on the tradition of Masasho tea using the same production methods as in the past,” says Mr. Yamagata, revealing the pride of a production center that has been in existence for hundreds of years.

Hirabancha, a new Masasho staple

In Masadokoro, tea leaves that have matured and become hard are harvested by the branch at the end of March to make Bancha. The tea leaves are packed into a large wooden bucket, steamed, and dried after the branches are removed.

Before Mr. Yamagata came to Masasho, there was a lack of manpower, and the tea leaves were often left untouched after they were cut down to make Bancha, but now the Masasho Tea Production Promotion Association systematically harvests them. Until recently, people used to say, “Bancha is a tea for daily use. However, since its commercialization as hira-bancha, the number of fans has increased, and now the image of “Masasho as hira-bancha” is gaining ground. Its low caffeine content and sweet, gentle flavor make it easy to pair with any meal, which is probably another reason for its popularity. Some sommeliers drink it between glasses of red wine because it washes away tannins.

The packaging was devised to make it accessible to the younger generation, and tea bags were also created for easy drinking. As a result, new sales channels have been acquired, such as being placed in cafes and beauty salons, and the number of people who know about Masasho tea is steadily increasing.

I don’t want to destroy a scene that has continued for hundreds of years.

It is still not easy to make a living only from the tea business. Still, I don’t want to see something of value that has continued for hundreds of years to be lost. There is a charm to this land that I don’t want to see lost,” says Mr. Yamagata. Seeing Mr. Yamagata and Mr. Sato happily continuing to make tea, more and more people are coming to the Masadokoro, saying, “I want to try it, too. These changes are also creating opportunities for young people who once left Masadokoro to return to the area.

While strengthening its foothold as a tea-producing region, Masadokoro will pass on its unique tea production to the future. The breakthrough of Masadokoro tea, which has made a new start, has only just begun.

The post 600-year-old “fantastic tea” – “Masasho-cha” produced by the original Japanese landscape will be handed down to the future/Higashi-ohmi City, Shiga Prefecture first appeared on NIHONMONO.