Tamakonnyaku, a well-known type of konnyaku in Yamagata Prefecture

While Gunma Prefecture is Japan’s largest producer of konnyaku sweet potatoes, the raw material for konnyaku, in 2012, Yamagata City in Yamagata Prefecture is the largest consumer of konnyaku in Japan. Behind the consumption of about twice as much konjac as in the Tokyo metropolitan area lies the existence of “tama-konjac,” which is eaten at festivals, athletic meets, and other events.

The Yamagata way of eating konjac is to boil round konjac in a pot with soy sauce, sake, and surumeika, skewer it, and eat it with mustard. Tamakonnyaku ” is a common sight at tourist attractions and places where people gather. Everyone from children to adults can easily eat it, and it has become an established fast food.

In Yamagata Prefecture, there are several restaurants specializing in konjac cuisine. One of them, Tanno Konnyaku in Narashita-juku, is famous for its many varieties of konjac dishes. The owner, Masuo Tanno, who was originally a konjac manufacturer, opened Narashita-juku Tanno Konnyaku in 1986 with the hope that people would become more familiar with konjac and know how delicious it is.

Konjac as a Health Food

Mr. Tanno cooks konjac under the motto, ” I want to see your smile and send you good health.

Konjac has been attracting attention as a health food in recent years. It is especially popular among health-conscious people because of its low calorie and carbohydrate content, yet rich in dietary fiber. Dietary fiber has been shown to have many physiological functions, such as preventing constipation and regulating bowel movements, as well as suppressing elevated blood glucose levels and lowering blood cholesterol levels. The fact that it can be expected not only to help people lose weight, but also to improve their physical condition, is another reason why it has become so popular. In order to make konjac more accessible, Mr. Tanno is developing a variety of konjac products , including not only prepared konjac to add color to the dining table, but also dessert konjac that combines konjac with fruits and vegetables.

The Secret of Konjac’s Deliciousness

There are two major secrets to the delicious taste of Mr. Tanno’s konjac. The first is high-quality water. He makes konjac using “Masuei no mizu,” alkaline natural water rich in calcium, pumped up from more than 200 meters below the ground. The temperature of the underground water is kept at a constant 18 degrees Celsius, and in winter, the difference in temperature between the outside temperature and the spring water is so great that steam rises from the spring water. This stable temperature of calcium-rich groundwater produces konjac without any peculiarities or odor.

The second factor is the skill and passion of the craftsmen. Konnyaku changes its appearance with the seasons, and the craftsmen must be sensitive to these changes and respond accordingly. All kinds of conditions, such as the time of leaving the konjac to stand and the temperature at which the lime is dissolved, also affect the flavor of the konjac. He is particular about such small details in the production of his konjac.

Mr. Tanno also exhibits and sells his tama-konnyaku at product fairs throughout Japan, and while doing so, he visits local delicacies and conducts research in order to make the best use of them in konnyaku cuisine.

In the beginning, we didn’t have a cook, so we made our own dishes by trial and error,” he says. Konnyaku can be flavored in any way, it is just a matter of how to reproduce the tactile sensation,” says Tanno. This passion for exploring konjac cuisine is probably one of the reasons for the delicious konjac.

If you have not yet discovered the true taste of konjac, I encourage you to try Tanno’s konjac dishes. It will completely change your impression of konjac.

The post Delivering smiles with health food konjac Tanno Konnyaku, Tarushita-juku/Kaminoyama City, Yamagata Prefecture first appeared on NIHONMONO.

Salmon River Village in Yamagata Prefecture is known for its vast forests and treasure trove of natural mushrooms. Since the 1950s, mycorrhizal cultivation has flourished and the village is also known as the “Mushroom Kingdom. We visited “Mogami Maitake Co., Ltd.” which cultivates rare mushrooms such as “yamabushitake” and “tobiiro maitake” by making full use of their advanced technology.

Salmon River Village, Yamagata Prefecture, known as the “Mushroom Kingdom

Salmon River Village is a small village with a population of approximately 4,000 located in the Mogami region of northern Yamagata Prefecture. The village, with its vast forests, has a humid climate characteristic of a basin, and mushrooms grow wild on broadleaf trees such as mizunara oak, konara oak, and beech oak. As a result, there has long been a food culture of eating mushroom dishes. In addition to the natural mushrooms that can be collected, mycorrhizal cultivation is now thriving, accounting for approximately 60% of the prefecture’s total production. Eight varieties of mushrooms, including nameko mushrooms, shiitake mushrooms, and beech mushrooms, are produced at any given time, and the prefecture is also known as the “Mushroom Kingdom.

Mushroom cultivation started as a wintertime livelihood

Making mushroom beds, the basis of mushroom cultivation

In mushroom bed cultivation, sawdust and nutrient bodies (such as soy-derived materials) are mixed together and the moisture content adjusted to create a medium that can be used in place of raw wood. The medium contains fungi and bacteria other than mushrooms, and the presence of these organisms not only prevents mushrooms from growing in the mushroom bed, but can also cause harm to other mushroom beds. For this reason, it is important to sterilize the medium at a high temperature of 100 degrees or more. After sterilization, the culture medium is rapidly cooled to between 15°C and 20°C. Then, the “seed fungus” (a mass of cultivated mycelium and spores) is planted, and the fungus is allowed to spread in an environment with a temperature of around 25°C and a humidity of around 65%. The cultivation period varies depending on the species, and is around 25 days, 45 days, or 150 days.

Managing the temperature and humidity to be comfortable for the mushrooms

After cultivation, the mushrooms are grown by setting the optimal temperature and humidity for each variety. For example, in the case of natural mushrooms, the harvest time differs depending on the variety, with maitake mushrooms being harvested at the beginning of September and natural nameko mushrooms being harvested in the second half of November. When cultivating mushrooms indoors, it is important to adjust the temperature and humidity to suit each variety, taking into account the environment in which the natural mushrooms grow. When cultivating multiple types of mushrooms, it is necessary to have appropriate heating and cooling facilities, and as this is expensive, most places only grow one type of mushroom. However, at Mogami Maitake, they have compared the environments in which multiple types of mushrooms grow, and have introduced air conditioning systems that are suitable for the cultivation of maitake, yamabushitake and shiitake mushrooms.

Yamabushitake, which is popular for its unique texture

Mogami Maitake is involved in the production of “Yamabushitake”, which is produced by only three companies in the whole country. This mushroom, which has a mysterious texture, has long been known as a luxury item in China and is highly prized as one of the four great delicacies. It is also a species that grows wild in Japan, and its name comes from the fact that it resembles the Buddhist priest’s stole (bontan) worn by Yamabushi monks.

Normally, mushroom growers buy mushroom spawn, but the company president, Mr. Masato Araki, personally collects mushrooms from the mountains with a passion for producing mushrooms with a better taste. He then cultivates them to increase production.

The Yamabushitake variety of Mogami maitake mushrooms is characterized by its low bitterness and beautiful shape. It goes well with clear soup, Chinese-style eight-treasure hotpot, udon noodles, and oden, and is used in hotpots and medicinal hotpots at restaurants that deal with them. When made into soup, it has a texture similar to shark fin, and when deep-fried, it is similar to fried chicken, and it is said to be attracting attention as an alternative meat.

It does not lose its color and is used in Japanese food. The “Tobiiro Maitake” mushroom has an outstanding flavor and texture.

Tobiiro maitake is an original maitake mushroom produced only in the world’s best maitake mushroom, and its name comes from the color of the feathers of the Oriental cormorant.

When you put regular black maitake mushrooms in soup, the color of the soup darkens, but white maitake mushrooms don’t lose their color, but they lack flavor and texture.

In contrast, Tobiiro Maitake mushrooms do not lose their color and retain their beautiful color, and they also have a good flavor and texture. They are a mushroom with many good qualities: they are soft and have no astringent taste, they have a firm texture, and they do not fall apart when cooked. They are in high demand from Japanese inns and restaurants.

Reproducing the growth environment experienced by the president in the mountains

Like the yamabushitake, Tobiiro-maitake was also discovered by Araki-san during his many years of visiting the mountains to collect various mushrooms. He went into the mountains looking for maitake that would not lose its color when added to soup, and that had a good flavor and texture, and he discovered it at the beginning of autumn. After that, in order to check what kind of environment would be best for cultivation, the president went into the mountains and experienced the temperature and humidity first-hand. They cultivate the mushrooms in an environment with a temperature of 24°C and a humidity of 65% for about 45 days, and then allow them to grow for about 15 days in an environment with a temperature of 18°C and a humidity of 99% or more.

To preserve the freshness of the mushrooms, they are sold whole, without being cut up

Normally, maitake mushrooms are cut up and sold in packs, but Tobiiro Maitake is sold whole, in boxes with the whole mushroom intact. The reason for this is that if they are cut, the cells break down from the cut and the aroma and flavor are lost. By selling the whole mushroom, they can be enjoyed in their freshest, most delicious state after harvesting. This style of selling is also perfect for gifts. The large mushrooms with their beautiful shapes and colors have a strong impact and are said to be appreciated by many people.

Contributing to food, society and people through mushroom cultivation

With the motto of “contributing to food, contributing to society, and contributing to people”, Mogami Maitake is creating new values in the mushroom culture and communicating them to the world. One way they do this is through the production of processed products. They are actively engaged in the development of products that contribute to people’s health, such as mushroom powder and supplements. They also produce frozen maitake tempura and rice seasoning products so that busy people can easily enjoy delicious mushroom dishes.

In 2020, they completed construction of their new “Naramaya Farm” factory. They aim to achieve stable production of shiitake and maitake mushrooms, and to contribute even more to society.

Passing on the technology they have built up to the next generation

At Mogami Maitake, the challenge is to pass on the techniques to the younger generation in their 20s, and they are considering creating video manuals as a way of teaching that is suited to the times. Specifically, they are considering filming the work of both new and experienced employees to help them recognize the differences between them. Mr. Araki and his son, Managing Director Satoshi Araki, look to the future, saying, “We want to build better relationships with our employees as we pass on our techniques, and continue to make better mushrooms in the future.”

For decades, the Mogami Maitake Mushroom Company has been cultivating its technology steadily, with a passion for mushrooms that has seen them repeatedly visiting the forest to collect and cultivate mushrooms, and spending time in the forest to get a feel for the environment that mushrooms prefer. In their trial and error search for an environment in which mushrooms can live comfortably, they must have felt a love for their children. This love bore fruit, and led to the birth of the “Tobiiro Maitake” brand, the only one of its kind in Japan. I hope that the technology we have developed will be passed on so that many people can continue to enjoy the unique flavor and texture of this mushroom in the future.

The post Mogami Maitake” cultivates mushrooms with excellent taste and texture using advanced technology / Salmon River Village, Yamagata Prefecture. first appeared on NIHONMONO.

In recent years, we have seen more and more mentions of “Yamagata Akane spinach” in the media in Yamagata Prefecture. This spinach, which has taken root as a traditional variety and is not defeated by the snow that falls in winter, is characterized by its lack of bitterness and strong sweetness. We visited Mr. Yoshiaki Shibata, a producer of “Yamagata Akane spinach”, one of the prefecture’s traditional vegetables.

Spinach that has “evolved” to be able to live in this area.

The Kazama district is located about 20 minutes by car from the center of Yamagata City. Here, Mr. Yoshiaki Shibata has been growing Akane spinach for three generations.

Although Akane spinach is now gaining recognition as a traditional vegetable of Yamagata Prefecture, in the Kazama district where Mr. Shibata farms, spinach with red roots has been the norm for a long time. It seems that it was already around when Mr. Shibata’s grandfather was a child, and Mr. Shibata says that it has been rooted in this area for over 100 years.

The most striking feature of Akane spinach is its eye-catching red roots and their size. They are a size larger than the varieties you can find in supermarkets, and can grow to nearly 300g per plant. And the nearly 70cm roots and supple stems are related to the way Akane spinach grows. This is because it grows with its roots firmly planted in the ground and is able to withstand the weight of around 50cm of snow without breaking, so the stems are extremely flexible.

Speaking of the other major characteristic, the taste, Mr. Shibata says, “I think the sweetness of Akane spinach is due to the snow”.

The sweetness is on a par with fruit

The stems of Akane spinach are known for their sweetness. When tested with a sugar meter, they were found to have a sugar content of around 18 degrees. This is a level that rivals melon and Shine Muscat grapes.

Of course, it doesn’t have the specialized sweetness of fruit, but if you try a mouthful, you’ll be surprised at the sweetness that spreads in your mouth and the lack of astringency. The reason it has such a high sugar content is that it converts its starches into sugar to prevent it from freezing in the winter.

As you’d expect, there is a reason for everything. It must have evolved to survive in this area.

Field and greenhouse: a matter of pride

The number of producers of Akane spinach has increased since it started to receive attention in the media. However, unless it is cultivated in the snow with a lot of time and effort, it will not become sweet. It is also vulnerable to disease and groundwater, and if it rains for a few days close to harvest time, it will turn yellow and become unsuitable for shipping. It is a very difficult variety to handle, as it is difficult to harvest in large quantities in the first place.

So why does Mr. Shibata continue to cultivate Akane spinach?

The unchanged field of “Kazama’s Akaneko

In the days when local spinach was red-rooted, the spinach grown in the Kazama area was called “Kazama’s red-rooted spinach” and was well-loved by the people. Over time, however, the Western-type spinach, which has a high yield, became the standard on Japanese dinner tables, and the hard-to-grow Japanese-native type, such as red-rooted spinach, gradually disappeared.

In the Kazama district, there are probably no more than 10 farmers growing Akane spinach at the moment. Of these, Mr. Shibata continues to grow both open-field and greenhouse varieties.

Akane spinach is in season from November to February, but the open-field crop is harvested by mid-January. After mid-January, the main crop is grown in greenhouses, as the spinach spoils when it starts to thaw and forms puddles. Although they don’t deliberately cover the red-stemmed spinach grown in the greenhouses with snow, the soil inside the greenhouses freezes and the temperature drops to the point where the stems become limp. Also, because the environment is different from that of the open fields, they have had problems with the roots not becoming sweet. It is no ordinary task to grow and harvest the spinach in the open fields while enduring the snow, and in the greenhouses while enduring the freezing temperatures. What’s more, it is a difficult variety to handle. Mr. Shibata says that the only reason he continues to produce it is out of stubbornness.

“The fields that have been in my family for over 100 years since my grandfather’s generation are exactly the same as they were then. There are people who have been waiting for the Akane spinach that can be grown here, then and now. If that’s the case, I have to produce it. You can’t grow traditional vegetables without stubbornness.”

In the 1970s, when there were no greenhouses, the surrounding farmers would go away to find work during the winter, but this was not necessary in the Shibata family. This was because they could harvest Akane spinach even in winter. The motivation to continue growing Akane spinach, which has supported the family’s history, is also a driving force.

What they want is for people to “eat it deliciously”.

It is said that Akane spinach is sweetest when freshly harvested.

Unless it is cultivated for eating raw, it is usually boiled, but Akane spinach can be eaten raw. The sweetness of the red part of the stalk, combined with the freshness of the spinach, makes it taste almost like fruit. When Chef Masayuki Okuda of the Italian restaurant Al Checciano visited Mr. Shibata’s farm, he is said to have tasted the freshly harvested spinach straight off the vine without even saying hello.

“It makes me happy when people say it’s delicious. I want consumers to enjoy it,” he says, but he finds it difficult to increase production and distribute it nationwide.

The compatibility of traditional vegetables and mass production

Red-rooted spinach is a labor-intensive crop that requires the seeds to be grown in-house, and only one bunch can be harvested from each seed. It is extremely difficult to mass produce, but the farmers have received an offer from a major supermarket chain that has taken notice of its deliciousness.

The plan was that if they could get it into the distribution system, they could deliver Akane spinach all over Japan, but it was not to be, as Mr. Shibata said, “It’s hard enough to harvest 20 liters a year, so when they asked for 2000 liters, there was no way we could do it.

Mr. Shibata alone cannot produce enough to deliver nationwide, but he thought that if the other farmers in the area could help, it might be possible. However, there is also the problem that if everyone does not grow spinach of the same size and thickness, it will not be possible to put it together in a shipment lot and get it into the distribution system. In addition, because Akane spinach is bulkier than regular spinach, although it is not heavy, it takes up more space, so the transportation costs are also higher than usual. The reason that such a mass production system is not practical for traditional vegetables that are difficult to cultivate is that it is still only used for distribution within the prefecture.

Simple cooking brings out the flavor of spinach “ohitashi”

When I asked Mr. Shibata how to eat Akane spinach, he said, “It’s not really a recipe, but simply boiled spinach is exceptionally delicious.”

Boil the spinach briefly, then add a little bonito flakes and soy sauce. By using the traditional cooking method of not adding anything extra, you can really enjoy the strong aroma of the spinach itself. In addition, the sweetness of the stems, which retain their red color even after cooking, is brought out by the saltiness of the soy sauce, and you can’t help but agree that it’s completely different from regular spinach. It had a light flavor that you could eat even if there was a whole plateful, without any bitterness in your mouth.

Only by continuing can you see

Mr. Shibata, who stubbornly continues to grow both field and greenhouse crops, says that he “will continue to grow Akane spinach for another 20 years, and I think I can do it”.

It is not easy to protect traditional vegetables. They have to harvest the seeds themselves, and it takes a lot of effort to get to the point of harvesting, so they don’t think too much about the profit. However, they say that traditional vegetables have existed in this area for a long time, and they remain because there are reasons for them to remain, even if they don’t try too hard.

However, it is now quite difficult to make a living solely from the cultivation of Akane spinach. Farmers in particular are affected by climate change and market pricing, and they also face difficulties such as the fact that the cost of materials has risen but this is not reflected in the price. Mr. Shibata has taken over the family farm because “his parents did”, but in fact his children are working outside the home.

“That’s why you have to be determined to make traditional vegetables,” says Mr. Shibata. Perhaps because he has seen his parents’ backs, Mr. Shibata’s son seems to be thinking that he would like to study and eventually become involved in the production of Akane spinach.

As for Mr. Shibata himself, he says that he feels content with his current life.

He faces the Akane spinach and goes to sleep thinking that another day has ended safely. Repeating such days is ideal, and he is actually able to do that.

“But because I’ve continued to do just one thing for so long, it’s like a dream from my old self to have the Yamagata Akane spinach get so much attention, and to have the opportunity to meet so many different people through interviews,” said Mr. Shibata.

Mr. Shibata says he will continue for another 20 years. The tradition of the Akane spinach, which has taken root in Kazama, will be passed on from Mr. Shibata to the next generation, and beyond.

The post Yamagata Akane spinach, a traditional vegetable from Yamagata Prefecture that becomes sweeter as it withstands the weight of the snow. Mr. Yoshiaki Shibata / Yamagata City, Yamagata Prefecture first appeared on NIHONMONO.

Ltd. has been making paulownia boxes for three generations in Yamagata City, Yamagata Prefecture, Japan. 90 years of experience in the art of paulownia box making has enabled the company to produce a wide range of products, from traditional craft designs to modern lifestyle items. Wood, stone, glass. In this age of material diversification, the company is striving to expand the possibilities of paulownia products.

Making paulownia boxes that can be passed down from grandfather to grandson

Yoshida Ltd. has a workshop in Gokamachi, Yamagata City, about a 10-minute walk from JR Yamagata Station. The company has been producing wooden boxes, especially paulownia boxes, for more than 90 years since its establishment. The word “paulownia box” may conjure up prestigious images of traditional crafts, but the paulownia boxes made by Yoshida Ltd. are different. They can respond to a wide range of customer needs, not only traditional gift boxes made with the finest craftsmanship, but also custom-made items that fit in with modern life, such as paulownia bread cases and smartphone speakers. We interviewed Mr. Nagayoshi Yoshida, the third generation of “YOSHIDA Co., Ltd.” who has been inventing a series of creative products that are not bound by the conventional image of paulownia boxes.

The change of food culture made him choose the path of paulownia box making.

Mr. Yoshida’s grandfather, Chosuke Yoshida, started the production of paulownia boxes. Born in the Meiji era (1868-1912), Mr. Yoshida was originally a wooden craftsman who made tables and stacked boxes. However, as the style of eating gradually shifted from serving dishes to tables, the demand for serving dishes declined. He started making paulownia boxes using local paulownia wood.

The amount of ozen we make has decreased, so we started to make paulownia boxes when we were wondering what we should do. In the past, paulownia wood was harvested in Yamagata, and I was familiar with paulownia boxes as containers for storing important items,” says Mr. Yoshida.

The first generation, Chosuke Yoshida, began producing paulownia boxes in 1930. Later, his son, Choshiro, the second generation, started to produce paulownia boxes for local industries such as Yamagata cast iron, Yonezawa textiles, and cherries, while developing “Ecchu Toyama no Okiyaku” (medicine left in Ecchu Toyama) paulownia drawer boxes nationwide. The current representative, Mr. Nagayoshi, has been working as the third generation in the company since 1991. He has been developing not only traditional paulownia boxes but also a variety of products that fit into modern life.

His skills are so solid that the first generation, Chosuke, received the Yamagata City Technical Merit Award in 1980, the second generation, Choshiro, received the Yamagata City Technical Merit Award in 1993, and the Yamagata City Traditional Craft Industry Technology Merit Medal in 2020, while the third generation, Choyo, received the Grand Prix in 2019 in the Japanese Treasure JAPAN Grand Prix “Crafts and The third generation, Choyo, won the Grand Prix in 2019 in the Japanese Treasures JAPAN Grand Prix “Crafts and Sundry Goods Category” and the Yamagata City Medal of Technical Merit for Traditional Craft Industries in 2022.

Paulownia wood box suitable for long-term preservation of important items

One of the characteristics of paulownia boxes is their humidity control properties. In Japan, where humidity is high, people have long stored important items in paulownia boxes. This is because the humidity inside a paulownia box never exceeds 70%, making it difficult for mold to grow. It is also said that fruits and other produce last longer. The same is true for medicines, and the fact that they can be stored away from humidity makes them suitable for medicine boxes. In the case of medicine sales in Ecchu-Toyama, the medicines were originally transported in paper bags, but the first generation created a medicine box from the scrap wood of paulownia geta, and the second generation perfected it as the “‘Ecchu-Toyama’s leftover medicine’ paulownia drawer box” due to its functional qualities.

Paulownia wood, which can be used from about 30 years old, is said to be better when grown in colder climates, as its grain is more compact. This may be one of the reasons why Yamagata paulownia boxes developed from local paulownia wood. However, paulownia wood also has its weak points. It is a soft wood that is easily scratched. For example, a paulownia box will chip if the corners are not removed when it is finished.

“Nevertheless, I believe that the possibilities of paulownia wood are endless, and the good thing about paulownia boxes is that they can protect a person’s most precious possessions and leave them to the next generation. That is why it is important to challenge new things while preserving tradition,” says Mr. Yoshida.

The original products born from this attitude have brought “YOSHIDA Ltd.” into the spotlight.

Put in pasta, bread, and red seal book.

The paulownia boxes for gifts that YOSHIDA Co., Ltd. still mainly produces are basically a “wait-and-see” business that depends on the market and customer demand. In response to the belief that it would be impossible to survive under such circumstances, the company launched “KIRI STYLE” about eight years ago.

Mr. Yoshida, who creates custom-made paulownia boxes to meet any request, received a request for a rice bin. When it won a Good Design Award in 2015, he began to devise a paulownia box that was not only for gift-giving.

Also interesting is the naming of each product. For example, the paulownia box for bread is called “Yoshida Panzo,” the cutting board for bread is called “Pan no Harebutai,” the pasta storage box is called “Yoshida Pasta,” and the box for tea leaves is called “Tea Time Three Sisters,” each with a name that makes you giggle: “Reiko Yoshida,” “Yoko Yoshida,” “Midori Yoshida,” “Yoko Yoshida,” and so on. The names of the three daughters are “Reiko Yoshida,” “Yoko Yoshida,” and “Midori Yoshida,” respectively.
The paulownia wood bread case, especially designed “for bread lovers,” is said to protect bread from mold and dryness by taking advantage of paulownia’s humidity control and antibacterial properties, as well as its cushioning properties. Since it helps reduce food loss by making bread taste better and last longer, the company is not only meeting the needs of bread-loving consumers in general, but is now also selling paulownia boxes in collaboration with bakeries in Yamagata Prefecture.

In addition, the “Traveler’s KIRIBAKO Traveler’s KIRIBAKO” series includes a unique paulownia box that holds one red seal book in a box. The box is made of paulownia wood to preserve the memory of the traveler’s journey forever. The series “Shosoin of Books” won the grand prix in the crafts and sundries category of the “Nippon no Hozomon Japan Grand Prix. It is an item that has never existed before, a custom-made box to hold a single book, made at the request of a collector who was troubled by insect infestation of books.

Since we started our new paulownia boxes, we have been getting more attention and our sales have actually increased. We want to make our own original products so that we can launch our own business. However, I didn’t expect the bread box to be so well received when we made it,” says Yoshida.

Cherish the luster and characteristics of paulownia wood

Mr. Yoshida handcrafts a wide variety of products one by one. The lumber is milled on the first floor of the company building and assembled on the second floor. The second floor is equipped with a finishing machine, which is not seen anywhere else but in the box-making shop.

The finished boxes are so tightly closed that it is difficult to tell which side can be opened. Such elaborate workmanship is the result of his long-standing skills, and it is what distinguishes him from other box makers.

We make products that take advantage of the characteristics of paulownia wood, but in other words, if we can’t show the characteristics of paulownia wood, then we won’t make it. Otherwise, there would be no point in making them from paulownia wood, and no point in making them at our company,” he says.

One new product each year as a sign of growth.

While the number of box makers is decreasing due to aging and other reasons, the demand for paulownia boxes is rising, according to Mr. Yoshida. That is why he is trying to increase product development without being defensive.

If you just focus on what is thriving, you will decline, but if you take on new challenges, you will find a way forward.

What Mr. Yoshida would like to produce in the future is “a case that can store sneakers while showing them off” and “a paulownia box for vintage jeans. This is exactly what he is proposing, integrating the functional aspects of paulownia boxes, such as their superior humidity control, into the lifestyles of young people to the fullest extent possible. Who would have ever thought of storing sneakers in a paulownia box while decorating it?

The reason for creating innovative items one after another is not only to challenge something new, but also to “prove one’s growth,” according to the company. Regardless of whether the product sells or not, he “thinks about what will sell next and what kind of product will attract people’s attention. And when that idea takes shape and is completed as a product, he feels that he has grown during the year.

It will be interesting to see what kind of creative paulownia box will be born next.

The post Yamagata paulownia box that combines tradition and originality: Nagayoshi Yoshida of Yoshida Ltd. first appeared on NIHONMONO.

Murayama City, Yamagata Prefecture. Takagi Sake Brewery has been brewing sake for more than 400 years in a region with heavy snowfall. Mr. Tatsugoro Takagi is the 15th head of the brewery. Although he bears the famous “Jyushiyo” sign, he continues to challenge the future, mixing technical innovations with the traditions that have been spun from generation to generation.

Long-established sake brewery with over 400 years of history

Murayama City is located in the center of Yamagata Prefecture. Blessed with abundant and clear melted snow water due to the heavy snowfall, the Takagi Sake Brewery has been brewing sake for generations since 1615, in the early Edo period. The Takagi Shuzo is famous for its brand name “Jyushidai,” which has made a name for itself not only in Japan but also overseas. Even those who do not enjoy sake must have heard of it at least once. Without “Jyushidai,” it would be impossible to talk about the Takagi Brewery.

The head brewer of the Takagi Brewery is Akitsuna Takagi, who took the name “Tatsugorou,” which has been used by the head of the Takagi family for generations, in April 2023 after the death of his father in 2022.

Making sake by “hearing voices and seeing images”.

The best time of year for sake brewing is said to be from December to February, when the weather is extremely cold. Sake is extremely delicate and susceptible to temperature changes. Without proper temperature control, sake will deteriorate, and this is true not only during distribution and sales, but also during the production process. According to Mr. Takagi, the temperature should be roughly 0 degrees Celsius, and the indoor temperature should be about 6 degrees Celsius. If the air is not cool enough, the inside of the rice will not be cooled properly, leading to the growth of bacteria. Of course, it is possible to cool the air to 6 degrees Celsius in the summer, but there is a difference between the natural cold and the air conditioned air. It is surprising that sake brewed in winter tastes completely different from sake brewed between May and September, even when the sake is the same. For this reason, Takagi Sake Brewery concentrates on making its most important sake during the coldest months of January and February.

However, winters in the area where Takagi Brewery is located are extremely harsh: the lowest temperature from December to February is well below zero degrees Celsius, and in January and February, there is as much as two meters of snow. Murayama is an area of heavy snowfall. The winters are harsh, but the area is blessed with an abundance of melted snow, making it a wonderful place to make sake. The Takagi family’s ancestors may have started making sake here after realizing how wonderful the water here is.

It takes about 45 days from the time the rice is washed and steamed to the time the sake is made. During this time, the sake goes through a variety of processes, and Mr. Takagi is consistently concerned about “how to improve the environment for the bacteria. The microorganisms that brew sake have neither voice nor form. However, if you are in contact with them on a daily basis, you can hear the sounds and smells of their daily fermentation, and you can see what they are saying on the surface of the unrefined sake. This is the company motto of the Takagi Sake Brewery: “Hear what is not audible and see what is not visible.

Mr. Takagi, who maximizes the power of invisible microorganisms to create unrivaled sake, has had many twists and turns on the way to where he is today.

How the fantastic sake “Jyushidai” was born

In addition to the sake brewing area, the Takagi Sake Brewery’s grounds also include the Takagi family’s main house, the family home where Mr. Takagi was born and raised. In the past, the roles of the brewery were divided into three: the head of the family was the head of the brewery, the brewer was the brewer, and the toji (master brewer) was the toji. Mr. Takagi imagines, “The brewery master would sit in his living room and watch the entire brewing process. In fact, about 30 years ago, the brewery employed a toji (master brewer), but he retired due to old age. However, that person retired due to old age. This was one of the reasons Mr. Takagi returned to his parents’ home.

I was the eldest son of a sake brewer, so I knew I would one day take over the family business, but I thought I would be in charge of the brewery’s management. I never thought I would end up making sake myself,” he says of his feelings at the time. With an eye on his future, he moved to Tokyo when he was in high school and studied brewing at Tokyo University of Agriculture. However, he was not aiming to become a toji (master brewer). When it came time to find a job, he decided to study distribution in order to manage the brewery, and found a job at Isetan Queen’s Chef in Shinjuku. While he was learning firsthand about the distribution process as a sake sales representative, he received a phone call from his father, who said, “The toji has retired. The message was, “The master brewer is retiring. I am a member of the prefectural assembly, so I can’t see what is going on at the brewery. What are you going to do? He did not ask me to come back or take over the company. He just said, ‘What are you going to do? He was 25 years old.

My love for sake overcame my desire to stay in Tokyo.

At the time, the mainstream was clear, light, dry sake, but I always felt that there was something different from the sake aroma I had grown accustomed to smelling at home since I was a child. Then, at a store in Sangenjaya, Tokyo, I came across a certain sake. It was a mellow, umami, raw sake made from Yamadanishiki, a type of sake from Fukushima Prefecture. Takagi says, “I felt in my skin that it was similar to a smell I used to smell all the time when I was a child. It was the moment when his desire to make this kind of sake for the world to drink overcame his desire to stay in Tokyo.

Upon returning to his hometown, Mr. Takagi found the brewery in a difficult situation. The local people were engaged in an intensifying price war for sake. His father, who loved his hometown, was hesitant to sell products that were not in his own interest. Under these circumstances and with debts to pay, the brewery decided to make a fresh start.

Only one “Jyushiyo” passed the patent name deliberation.

The birth of the name “Jyushidai” was a result of what can in a sense be called coincidence or fate. Originally, Takagi Shuzo’s sake was known locally as “Asahi Taka. However, Mr. Takagi’s grandfather (Tatsugoro XIII), who wanted to put a trademark different from Asahi Taka, visited the Patent Office with the names “Jyuuniyo,” “Jyuusai,” “Jyuusai 14yo,” and “Jyuusai”. However, approval was strict at the time, and the numbers were rejected because they were used by everyone. The only name that mysteriously passed the examination was “14yo,” perhaps because the examiner read it as “toyoshiro,” rather than a number.

It is neither 13 nor 15, but rather “14,” a name that strangely enough, easily entered my mind. When he consulted his father, who had preceded him in the family, about the name for all the sake he would make, he was told to go ahead and use the name. Looking back, I think I was given a wonderful trademark,” says Mr. Takagi.

Making sake for the first time, rooted to the point of collapse.

The first thing Mr. Takagi decided to do when he started making sake was to express the deliciousness of rice. Rice is sweet to eat and has volume. He wanted to express this in sake as well. The goal was to create a sake that was clean, dry, and different from the mainstream sake of the time, but with a delicious taste like the sake I encountered at Sangenjaya. Mr. Takagi’s ideal sake brewing process began with the brewers, who he has known since childhood and are now elderly. However, the harshness of the work was beyond his imagination. His body screamed from the pressure of unaccustomed physical labor, limited sleeping time, and no possibility of starting over. He became ill in the middle of the project and was hospitalized for about a week after completion. However, the sake he made with the advice of his mentor at the university was close to the flavor he had envisioned, even in his first year of making sake. The sake he made with the advice of his mentor at the university was very close to the taste he had envisioned, even in its first year of production. It is a sake with a voluptuous, fruity flavor that is different from the light, dry style.

The finished sake needed to be sold. Mr. Takagi went to the chairman of Suzuden, a sake store in Yotsuya that had helped him when he was working in Tokyo. When he tasted the sake, the chairman said, “You did well, Mr. Takagi. This is neither dry nor sweet, but delicious. It is the best sake. I will sell it. This was the beginning of Jyushodai’s rapid success.

Making sake for the next generation

Takagi Brewery has indeed made a name for itself throughout Japan with its “Jyushiyo,” but this was not accomplished overnight. While preserving the tradition, the company has made improvements to its facilities and passed them on to the next generation. I think both my ancestors and my father had good times and bad times, but I think they had a great desire to pass the business on to the next generation,” he said. This is also the way Takagi Sake Brewery makes its sake, he says.

In fact, while the Takagi Brewery spares no expense in investing in equipment, it retains the traditional method of making sake using human hands. This is because they feel that the more time and effort spent, the better the sake tastes. Take koji making, for example. In a koji room, steamed rice is sprinkled with koji mold and koji is made over a period of about 50 hours, and human hands are also involved in this process. In addition to sprinkling the koji, the stacked koji covers are manually stacked every few hours to keep the temperature at a constant level. The boxes contain rice that has been sprinkled with koji mold, and the way the koji covers protect the outside of the boxes shows the long history of the brewery. According to Mr. Takagi, this was the basis of the original sake brewing process. It is said that well-made koji smells like chestnuts, but koji made carefully by hand with a well-used koji lid has a stronger chestnut aroma. This is because the koji is grown by hand. Although it is possible to eliminate this part of the process, the company dares to keep it because they want their employees to experience the difference in the method of making koji and the aroma of koji. It is truly a traditional aroma that cannot be experienced through mechanization.

In-house rice developed through extensive research to young brewers throughout Japan

There is something else to look out for at Takagi Sake Brewery. The company has developed its own three varieties of sake rice. They are called “Ryu no Otoko,” “Hashu Homare,” and “Sake Mirai,” respectively. Sake rice for sake brewing is much more scarce than rice for food, and in the past it was brought from Hyogo and other areas. However, in order to make better tasting sake in a cold region, Mr. Takagi’s father started to develop his own rice.

However, as it is said that “it takes 10 years to improve a rice variety,” it was naturally difficult to develop their own rice, but with the cooperation of farmers and the creation of test fields, Mr. Takagi managed to succeed in his generation. In the beginning, it was also difficult to make sake from the rice, and it took several years to determine what koji and yeast should be used.

One of the fruits of their efforts is “Sake Mirai”. They do not use this sake rice by themselves, but give it to young brewers all over the country to help them make sake. This is a fitting use of the name “Sake Mirai,” which was given by Mr. Takagi’s father with the hope that the sake industry would become a bright and shining example of what is to come.

The pride of Tatsugoro Takagi XV

When Mr. Takagi returned to his parents’ home, there were fewer than 10 brewers. Today, Takagi Sake Brewery has 31 employees, including 16 in production, and many of the brewery workers are young people from the area. The reason why there are so many locals is because they are accustomed to the harsh natural environment of Murayama. It is difficult to continue brewing unless one is willing to master the craft in this environment. This is because sake brewing is a steady process. While rice conditions vary every year, we must constantly produce products that consumers find delicious. If the taste is not what we want, we make improvements one step at a time. This is a repetitive process. Because I love sake so much, I approach sake brewing as if I were a first-year student every year,” says Takagi.

The brand name “Jyushidai,” which has gained a reputation for its delicious taste, now commands a premium price that makes it impossible to buy. Mr. Takagi, of course, is aware of this. From a business standpoint, it would seem that the popularity of the brand would lead to an increase in supply, but Mr. Takagi has no intention of shifting to mass production. He is proud to say that he only wants to produce sake of a quality that he is satisfied with and that will make the people who drink it happy.

Now that I have assumed the name Tatsugoro Takagi XV, I have to think not only about the development of the company, but also about the development of the community,” says Takagi. The taste of sake is also changing, and today’s sake is more drinkable and matches well with food. The alcohol content is also lower than in the past. We must always be diligent in our research, create sake that meets the needs of drinkers and distribute it to people not only in Japan but also around the world. He hopes to continue producing sake that will one day make people in other countries think, “Let’s go to Japan, let’s go to Yamagata” when they drink Takagi Sake.

Takagi Sake Brewery has been making sake in Murayama since the early Edo period. The brewery, which continues to take on new challenges while preserving tradition, is sure to continue to produce bottles that will shock drinkers and the sake industry. Let’s taste a clear drop of sake created by the nature of Murayama and the skill of the fifteenth generation.

No brewery tours, tastings, or sales are available.

The post What “Jyushidai” can do. Mr. Tatsugoro Takagi, the fifteenth generation of the “Takagi Sake Brewery” first appeared on NIHONMONO.

Ceramic artist Miun Suzuki creates pottery at her studio in Yamagata City, Yamagata Prefecture. Her simple vessels, free of excessive decoration, are created from clay she collects herself and from her own “kick wheel,” which she spins by kicking. Suzuki, who was fascinated by the Yi Dynasty, creates pieces with a face that fits easily into daily life without any effort.

Young potter creating simple yet powerful vessels

Miun Suzuki is a ceramic artist who makes pottery in Yamagata City. Originally from Chiba, Japan, she has been familiar with the Tohoku region since she was a child, as her parents are from there. She moved to Yamagata Prefecture when she entered the Tohoku University of Art & Design. The house he now uses as his studio and home originally belonged to his grandparents. He began living there when he was a student and took over the house after graduation.

Mr. Suzuki’s works are stoically simple vessels, devoid of any excessive decoration. As a student, he was influenced by the simplicity and beauty of Yi Dynasty ceramics, which were thick, sturdy, and rustic, and were loved by the Japanese who respected wabi and sabi (simplicity and simplicity).

Atelier in a residential area

Mr. Suzuki’s atelier was surrounded by a strangely tranquil atmosphere despite its location in a residential area near a main road. Yamagata City is the prefectural capital. However, the moment I stepped into his studio and home, I felt as if I had wandered into a mysterious space isolated from my surroundings.

This was because Mr. Suzuki appeared barefoot. The reason for this, I would later learn, was that it was February at the time. It was snowing and the outside temperature was estimated to be around freezing, but the sight of him walking barefoot in such light weather left a deep impression on me. Mr. Suzuki’s studio is also equipped with a kiln. He uses a kerosene kiln, which is similar to a wood-fired kiln. He chose the kerosene kiln because a wood-fired kiln can be fired in the traditional way, but it requires a lot of wood, as well as time and skill. The size of the kiln depends on the size of the piece, but it is large enough to fire about 30 pieces at a time. We set up the kiln with the permission of our neighbors because there are houses around us,” says Suzuki.

Unique handmade “kicking rokuro

Another eye-catching feature in Mr. Suzuki’s atelier is the “kicking wheel” installed in his workshop. In a sense, this is also Mr. Suzuki’s “work of art. The reason is that he made it himself. There are two types of wheels, manual and electric, and nowadays, the electric wheels are more widely used. In fact, at the Geidai Institute of Technology, where Mr. Suzuki attended, there were many motorized wheels, but only one hand wheel. While many students chose to use electric power, he chose the hand rokuro after receiving advice from an instructor who said, “If you like Yi Chao vessels, you should use the hand rokuro. Furthermore, while still in school, Mr. Suzuki received a log and made the “kick rokuro,” which he now uses in his workshop. As the name suggests, he spins the wheel by kicking it with his feet and forms the vessel with his hands. Not only that, but the hands and feet must be moved separately, and according to Mr. Suzuki, “it doesn’t turn very well. If he has to kick the potter’s wheel with his bare feet even in the coldest season and the rotation of the wheel is not good, one might think that it would be more efficient to replace the wheel with one that moves more smoothly, but he says, “The current hand wheel has air in it, so its movement is not so different from that of an electric wheel, and I can make pottery smoothly. However, “The current hand potter’s wheel has air in it. However, what I am longing for is the beauty of simplicity and imperfection of the old pottery. To express these qualities, I chose a kick wheel because it is primitive and does not turn very fast.

The Road of Ceramic Art as Determined by the Rokuro and the Yi Dynasty

It was the “rokuro” (potter’s wheel) and the “Yi Dynasty” that drew Mr. Suzuki into the world of ceramics, and were at a crucial stage in determining his later style.

His first encounter with ceramics was when he was a high school student at an art school. He was exposed to the potter’s wheel, and his desire to spin the wheel and continue to do so grew, leading him to enter the Crafts Course at Tohoku University of Art & Design, where he could study ceramics. While still in school, something happened that determined his current style. While studying past works, he was fascinated by Kawakita Handeishi’s kohiki, which led him to “Yi Dynasty” ceramics. Kawakita Hanadeko was a ceramic artist active from the Meiji period to the Showa period. He is also known as “Rosanjin of the East and Hanroko of the West,” and is known for his free expression that utilizes cracks and distortions in the kiln while maintaining a traditional base. Another influence on Suzuki’s style is the “Yi Dynasty. When the term “Yi Dynasty” is used to refer to vessels, it refers to ceramics made by the Yi Dynasty, a dynasty that existed on the Korean Peninsula from the late 14th to the late 20th century. The distortions that characterized Yi dynasty ceramics and their sturdy simplicity, which was the opposite of thin and elegantly finished ceramics, became the beauty of imperfection and captured the hearts of Japanese connoisseurs who loved wabi and sabi (quiet and quiet). Mr. Suzuki was fascinated by the characteristics of Yi Dynasty ceramics and their simple and rustic style without excessive decoration. He describes Yi Dynasty ceramics as “not too beautiful in a good sense.

Influenced by these styles, Mr. Suzuki’s style is quite simple. The simple combination of feldspar and ashes, and the flow and pooling of the glaze, give the piece a certain expression. The absence of excessive decoration conversely leaves a lasting impression that naturally makes you want to keep the piece close at hand.

Mr. Suzuki, who creates such one-of-a-kind vessels, is conscious of something that he has been doing recently.

Aiming to create products that can only be made in Yamagata

In recent years, Mr. Suzuki has been trying to “create products that can only be made in Yamagata. He wants to make the best use of local raw materials to create vessels that can only be made in this region.

Take clay, for example. Although he generally purchases soil from Gifu Prefecture, he sometimes uses soil from a nearby mountain, which he found on a walk in his neighborhood. The local soil is sandy and not suitable for pottery, but by mixing it with clean soil, he is able to give the finished vessels a more rustic feel. He also uses local materials for the ashes he uses to mix glazes. It is the ash of fruit trees. The glaze is made using ashes mixed with various fruits and fruit trees from Yamagata, which is said to be a fruit kingdom. Because he does not make his pottery at a kiln or in a kiln area, Mr. Suzuki hopes to incorporate elements unique to the area where he lives. That is because he “loves this land. A snowy country where it is so cold that the potter’s clay freezes is not the best place to make vessels. However, Mr. Suzuki loves the clean air and nature of Yamagata, and he says that being able to use his grandparents’ house as his studio to make pottery in this environment is a great advantage for him. Another reason, he says, is his fear that Yamagata pottery is a bit out of date these days, and he would like to make use of the characteristics and elements of the land where he now lives in his own pottery making.

Our goal is to create “vessels” that fit easily into daily life and are easy to use.

I would like to make vessels that have a wide range of uses,” says Suzuki, “vessels for daily use but that can also be used as tea utensils. This is similar to the image of Yi Dynasty ceramics, which were used as miscellaneous vessels in the local market, but were used as tea utensils after coming to Japan. Indeed, the vessels that Mr. Suzuki makes seem to transcend their original categories and can be used flexibly according to the user’s lifestyle, as in the case of a small bowl that can also be used as a small sake cup.

Another goal is “usability,” which comes from the weight and size. However, he says that in the past, he sometimes did not place much emphasis on ease of use. There was a time when he did not think much about size and shape, and thought that the heavier the vessel, the better. However, when he was advised that “in order for people to pick up a piece of pottery, you have to consider its usability,” he put “usability of the pottery” in the corner of his mind and started spinning the potter’s wheel. However, he still wanders about what kind of vessels he wants to make.

Beauty born of inadequacy

Mr. Suzuki describes his vessels by saying, “The vessels I make are the result of inadequate conditions. It is the result of “something missing,” such as the local clay, which is fragile and not suitable for ceramics, and a potter’s wheel that does not turn smoothly. However, it does not mean that he wants a convenient environment for pottery making. The vessels that are created from a situation where something is missing have a blank space or an impression of being left out. Mr. Suzuki values this “blank space.

When it comes to ceramics, difficult topics such as “wabi-sabi” and “traditional crafts” tend to follow, but Mr. Suzuki says that he does not think much about classifications or categories for his works. In his own words, “I am making ‘Utsuwa’ (vessels). He is not a traditional craftsman, nor is he completely devoted to the style of ceramics used in daily life, but is still hovering between the two. This attitude of “not categorizing his work” also seems to reveal the blank space that is one of the charms of Mr. Suzuki’s vessels.

Suzuki’s “vessels” are created in an imperfect environment, with a primitive, slow-turning wheel and clay that is not suitable for ceramics. The simplicity of his “vessels” has a mysterious charm that makes you want to keep one on hand, without any difficulty. Once you pick one up, it will fit comfortably into your daily life.

The post Simple yet powerful “vessels” created in harmony with the kicked potter’s wheel｜Ceramic Artist Miun Suzuki first appeared on NIHONMONO.

In the world of tea ceremony utensils, design is free as long as the tea can be served and the tea can be enjoyed. In Nishikawa-cho, Yamagata Prefecture, there is a potter who makes tea utensils that have a reputation for being easy to handle and easy to make tea with. Ken Tsuchida was born in Kyoto, the second son of the twelfth generation of the ‘Senke Jusoku’ (Twelfth Master of the Thousand Family), but realised his childhood dream and now makes ceramics in a mountain village in Yamagata Prefecture.

The world of the tea ceremony in everyday life

Ken Tsuchida has a climbing kiln, Chousetsu Kiln, in Nishikawa-cho, Yamagata Prefecture. After training in Kyoto and Karatsu, he moved to Ooisawa, Nishikawa in 2007 and produces mainly tea ceramics.

When he first started making ceramics, he just wanted to work with pottery. However, as she studied ceramics in earnest, she became fascinated by the depth of the art and developed a passion for creating her own works of art. Mr Tsuchida recalls that it was a natural progression for him to choose tea ceremony ceramics. She was born into a family of sack makers, who made bags for tea utensils, and from an early age was often taken to tea ceremonies by her mother, and was so familiar with the tea ceremony that she even made and drank her own tea. Such a family environment also led Tsuchida to tea utensils.

However, Ms Tsuchida was not born into a family of potters and did not even know what a potter did until she was in primary school. How did Ms Tsuchida end up becoming a potter?

Childhood dream of becoming a “potter”.

Mr Tsuchida was born in Kyoto as the second son of the twelfth head of the Tsuchida family of bag makers, who are involved in the production of bags for tea utensils and the fusas that wrap them, among the ten families of the Sansenke family, who have produced the tea utensils favoured by the famous tea ceremony family, the Omotesenke, Urasenke and Mushanokoji Senke, for many generations. He was born in Kyoto as the second son of the twelfth head of the Tsuchida family of tea ceremony sack makers, who were involved in the production of bags for tea utensils and the fusas that wrap them.

‘I’m the second son, so I always thought of myself as an insurance policy for my brother.

The family business was taken over by Tsuchida’s elder brother, but he always had it in mind that he would be the successor in the event of something happening to his brother.

This may have been one of the reasons why, even as he neared graduation from university, he still had no clear vision for his future, and was even thinking of embarking on a journey of self-discovery after graduation. At that time, her father told her not to just wander off, as if he could see right through her, and she reluctantly set about looking for a job.

After graduating from university, she worked for an incense manufacturing company in Kyoto City for about three years, when a turning point came. She began to think about her next career move when she felt that the birth of her brother’s first son had removed any possibility of her taking over the family business.

At this time, the words of a friend from a former primary school reunion came back to him. What happened to your dream of becoming a potter?” The question was, “What happened to your dream of becoming a potter?

When Mr Tsuchida was in the third grade of primary school, he wrote “potter” as his dream for the future. The reason for this was that he happened to watch a TV programme in which a craftsman was turning a potter’s wheel and thought it looked interesting. Until then, I didn’t even know what a potter was. His homeroom teacher remembers that time and said, “You are the only one who wrote that you wanted to be a potter, even though you are not the son of a potter”.

From there, Tsuchida decided to become a potter, thinking that “it might be cool to live a life that fulfils a childhood dream”.

Starting from “zero” experience

However, with no knowledge or experience of the world of pottery, Tsuchida began attending pottery classes at a culture centre while working. While consulting with the teacher there, he learnt that there was a training school in Kyoto if he wanted to pursue a full-fledged career in ceramics.

After learning the basics of kyoyaki at a training school, he trained in Karatsu, Saga Prefecture, where pottery originated, in order to acquire more in-depth skills. One of the reasons he chose Karatsu was that he wanted to learn how to use a climbing kiln. Nowadays, most places fire pottery with electricity or gas, but I thought that knowing how to fire with wood and not knowing how to fire with wood would be different, even if we were dealing with the same electric kiln.

In the world of the tea ceremony, Karatsu ware has long been known as ‘Ichiraku, Ni-hagi, San-karatsu’, and has established its position as a tea ceremony ware. The style of Karatsu ware that fascinated him is woven into Tsuchida’s current work.

At the time, Mr Tsuchida was single and thought that all he needed was an income to feed himself, and as the only potters he knew were successful ones who appeared in the media, he was not worried about making a living as a ceramic artist.

However, telling her father that she was going to pursue a career in ceramics was a big decision. He was surprised to hear that there are plenty of painters and potters in the world,” says Tsuchida. But his father said he wanted to do everything he could, and that gave him great emotional support.

After Kyoto and Karatsu, moved to Yamagata as a matter of nature.

After four and a half years of training in Karatsu, Tsuchida opened his own kiln in Ooisawa, Nishikawa, Yamagata Prefecture. The fact that he was led to this place “was all a matter of nature”, says Tsuchida.

Mr Tsuchida was born in Kyoto, but his mother’s family runs a restaurant called Agetama in Yamagata City, Yamagata Prefecture. When he was looking for a place where he could build a climbing kiln and where he would have no problems emitting as much smoke as possible, he was given an old house in Nishikawa-cho, which his grandfather had originally owned as a holiday home for mountain play, at the right time.

However, Ooisawa, Nishikawa-cho, stretches at the foot of Mount Gassan, a famous mountain in the north-eastern part of Japan, and is one of the heaviest snowfall areas in the prefecture, with many metres of snow piling up in winter. Even people who live in Yamagata say, “How did you decide to come from Kyoto to this snowy region?

Before deciding to move to Yamagata, he visited Yamagata for the first time with his wife. Seeing the beautiful fresh green landscape, they exchanged words, “It’s a nice place”. Later, when Mr Tsuchida suggested that they visit in winter too, his wife said, “I don’t want to. I don’t want her to want to go there after seeing it”. While it was a funny story, it was the first time he had tasted Yamagata in winter since moving here.

Although he was initially surprised by the depth of the snow, he was touched by the warmth of the local people, including a neighbour who was an expert in heavy machinery who helped him clear the snow, and a neighbour who was worried about the lack of food in winter and gave him some vegetables.

As he says, “I am blessed with people.” Since moving to Yamagata, his connections have been mysteriously linked one after another. While it is common for other artists to experience selling their work at galleries and exhibitions after becoming independent, Mr Tsuchida says he has no such experience.

An acquaintance introduced Ms Tsuchida to a gallery owner in Yamagata City, saying that he should support her, which led to an opportunity for Omotesenke and Urasenke teachers to visit her workshop. From there, talk of a solo exhibition came up, and in 2011 Tsuchida held her first solo exhibition in Yamagata City.

Starting with this solo exhibition, she has been actively expanding her activities not only within the prefecture but also in Sendai, Kyoto, Kanazawa and other places in Japan, including a pottery exhibition at an incense manufacturing company where she previously worked and a brother exhibition with her brother, the 13th generation head of the family.

‘If you make pottery deep in the mountains and sit still, no one will look at it.’

Her future goal is to hold solo exhibitions in all 47 prefectures of Japan and abroad, without regard to scale. She also has a passionate desire to make tea more accessible and enjoyable for the younger generation.

Not being particular is being particular.

I have lived in Yamagata for about 15 years. In the past, I had a fixed idea of what I had to make. Now, however, I aim to produce pieces that are created in harmony with nature, without any sense of intent, and which can only be produced in a rich natural environment, while preserving traditional techniques.

‘I was following my child’s ski club and the instructor started teaching me too, so I decided to get my licence.’

At first glance, this may not seem to have anything to do with pottery, but his character is so focused on one thing that he loses sight of his surroundings if he is only absorbed in his pottery making. The ideas that come from his life and play in Yamagata also lead to free and unselfish pottery making.

For example, one white glazed pottery was decorated with photographs of the landscape of Oisawa. In this way, the people who pick up the work can enjoy their own interpretation, for example, “Is this the colour of snow white?

Tea ceramics is also one of the tools used in the world of tea. While Mr Tsuchida believes that expressing passion is also the work of an artist, he says that the basic premise of tea utensils is that they should be easy to use and usable. I want people to use them more and more in their daily lives, not only on special occasions because they like them.

Tea is a circle of people, and it’s a session that they create on the spot. I hope it can be a tool for them to play well together there.”

And like Kyoto, where tea culture is deeply rooted, the work is somehow elegant and refined.

The style of ‘Oisawa ware’ is not set in stone.

In 2014, Tsuchida’s work was named ‘Oisawa-yaki’ by Kimura, director of the Kitamura Museum of Art in Kyoto, which is renowned for its collection of tea ceremony art.

The base is Karatsu ware, as he studied in Karatsu, but what are the characteristics of Ooisawa ware, which is not Karatsu ware?

The pottery that is called ‘Fatty’ pottery has been passed down through the ages for hundreds or thousands of years, and many things have been removed, and the good things remain. That is the characteristic of Oizawa-yaki, and it would be unduly presumptuous to talk about the characteristics of Oizawa-yaki while I am still alive. I hope to create something that will make people who see my work somewhere say, ‘This is Ooisawa ware, isn’t it’,” says Tsuchida.

He believes that Ooisawa-yaki, like Bizen-yaki and Karatsu-yaki, will establish its own characteristics over time.

Tsuchida’s Ooisawa-yaki, which is fired with great care in a climbing kiln, will be a part of the daily lives of those who use it and will continue to be loved for a long time.

The post Tsuchida Ken, a potter who makes pottery in a mountain village in Yamagata Prefecture, Japan. first appeared on NIHONMONO.

In Yamagata Prefecture, one of the country’s leading fruit-producing regions, Hundredberries grows lemons, passion fruit and blueberries, which are rare in the snow country. The completely pesticide-free fruit grown by the orchard owner, who has a unique background as a former company employee, is gradually gaining recognition as safe to eat, even down to the skin.

Unusual orchard growing lemons in snowy terrain.

Yamagata Prefecture is one of the country’s leading fruit-growing regions, thanks to its hot summers and severely cold winters. It is said that the climate, with its extreme temperature differences, is suited to the cultivation of fruit trees, but there are some unique farms producing lemons, passion fruit and blueberries, which are far removed from the image of a snowy region, and which are now attracting attention from within and outside the prefecture. Hand Red Berries is located in Yamagata City. Representative Hiroaki Ishioka’s parents were rice farmers. Growing up in a family with close ties to agriculture, one would think that he would have naturally followed this path, but Mr Ishioka’s background is extremely unusual.

From sales fields to fruit fields

‘I didn’t want to farm. After all, it’s hard work.

Mr Ishioka was born a full-time rice farmer. However, from a young age he had seen his family and felt the difficulties of farming so much that he not only left Yamagata to go to university, but also found work in the Tokyo metropolitan area after graduation. He worked as a sales representative in Ibaraki Prefecture. A turning point came about 15 years ago, when Mr Ishioka was 45 years old. He had worked as a salesman all his life, but when he reached the age of 45, he wanted to try something new.

At that time, Mr Ishioka’s son brought home a leaflet from school.
On it was written: ‘Blueberry tree owners wanted’. Somehow attracted to the idea, Mr Ishioka became the owner of one blueberry tree while continuing to work at his company. At the time, he had no idea that this would later change his way of life.

For the next two years, Mr Ishioka grew blueberry trees in Tsukuba. As he enjoyed the pleasure of harvesting, he began to wonder if he could do the same in Yamagata.

At the time, however, he was a company employee. Moreover, it was not easy to secure farmland in Tsukuba City. However, his parents’ farmland in Yamagata was still there. With this support, Mr Ishioka decided to quit his job in March 2011 and engage in blueberry cultivation in his birthplace. He was 51 years old when he set foot on Yamagata soil again.

From blueberries to passion fruit

One of the reasons he decided to return to his home town was that at the time of his U-turn to his birthplace, there were no farmers growing blueberries in Yamagata. Furthermore, Mr Ishioka saw potential in blueberries because “you don’t have to peel them” and they are “highly nutritious”. Why was he able to take the plunge and bet his life on blueberries, despite the fact that he was just starting out as a farmer? It was the belief that he would be able to manage for three to four years after starting his farming business with the savings from his time as a company employee, and his determination to use his experience as a company employee to open up his own sales channels and decide on prices and profits himself. Mr Ishioka learnt the basics of farming at an agricultural university and at the Agricultural Experiment Station in Sagae. As he visited blueberry farmers across the country to deepen his knowledge of cultivation methods, he became aware of “what would happen if I ate what I grew”. He thought about how to provide safe and tasty products that he would want to take the initiative in eating, and as a result, he naturally arrived at pesticide-free cultivation.

According to Mr Ishioka, “growing blueberries without pesticides is not that difficult if you have the knowledge and farming experience”. Of course, challenges can be found by trying it, and it may or may not work depending on the year. In those days, Mr Ishioka was not an experienced farmer by any means. Even so, he decided to try pesticide-free cultivation because he wanted to “take the initiative in providing food that I would want to eat”. His enthusiasm paid off, and Mr Ishioka acquired knowledge of cultivation methods from other blueberry farmers and succeeded in commercialising pesticide-free blueberries without the use of chemical fertilisers. Mr Ishioka’s next challenge was passion fruit, another fruit that is not associated with the snow country.

Mr Ishioka first encountered passion fruit when he was attending an agricultural college. The reason he decided to try growing it was that passion fruit is a variety that can be grown without pesticides.
He became interested in “green curtains” after a friend of his asked him if there was anything that could replace goya as a green curtain.
Green curtains are generally made of vines such as bitter gourd and loofah, which grow high under the eaves like a curtain. It has the advantage of preventing direct sunlight from entering the house, preventing indoor temperatures from rising, and absorbing carbon dioxide from the atmosphere for photosynthesis. It is a solution to the high temperatures inside the greenhouses, which is one of the challenges of summer farming, and is also more environmentally friendly than using air-conditioning or fans. I researched the possibility of growing green curtains with passion fruit, which is a vine like bitter gourd, and found that, sure enough, it can be done.

‘If I can do it with a fruit tree I was thinking of growing, then it’s just right,’ he said, and immediately took up the challenge of creating green curtains utilising passion fruit, both at home and in the greenhouse. However, no matter how hot the summer is, Yamagata is a cold region. There were doubts as to whether passion fruit, which is native to the subtropical zone and harvested in warmer regions of Japan such as Kagoshima, Okinawa and the Ogasawara Islands, could really grow in the cold region of Yamagata, but with a challenging spirit of “you never know unless you try”, Mr Ishioka took up the challenge and succeeded in harvesting in his first year. In addition, he felt that it was effective in controlling the rise in temperature in the greenhouses.

Mr Ishioka, who has put pesticide-free cultivation of both blueberries and passion fruit on track, is particular about “producing what I want to put in my mouth with peace of mind”. Another is that he ripens the fruit on the tree to bring out the sweetness of the fruit. Ripening on the tree” means that the fruit is ripened as it grows, unlike, for example, tomatoes, which are picked early so that they are ripe at the time of sale. Although distribution is limited due to the fact that the fruit does not last as long as early harvesting, the sweetness of the fruit is brought out to its full extent.

Mr Ishioka’s uncompromising approach to both taste and safety led to his encounter with the Snow Country Lemon.

The birth of the ‘snow lemon’.

Mr Ishioka thought it was impossible for lemons to grow in Yamagata.

It was a local man who brought lemons and Mr Ishioka together. The man, who was suffering from cancer, was on various dietary treatments for recuperation, one of which was to drink grated vegetable and fruit juice every day. However, while carrots and apples were available from a neighbouring farmer, he was unable to find pesticide-free, wax-free lemons. So, with a glimmer of hope, she visited Mr Ishioka, who was growing pesticide-free blueberries and passion fruit.
Mr Ishioka had thought that lemons could only be picked in warm places. However, after doing some research, he came across the Hachijo Fruit Lemon, a variety grown on Hachijojima that can withstand the cold. Hachijo Fruit Lemons, which are similar to the Meyer lemon variety, a cross between a lemon and an orange, are characterised by their orange-tinged rind. It is also more resistant to cold as well as heat than ordinary lemons, so the seedlings were brought back to Yamagata and pesticide-free cultivation began in 2014.

First harvest in the second year.

In the first year of his pesticide-free lemon cultivation, he was unable to harvest a single lemon. It is said that citrus trees are swarming with insects, and Mr Ishioka’s lemons were no exception, with the leaves blackened by aphids and butterfly larvae. However, in the second year, the first two lemons bore fruit. That was the moment the ‘Snow Country Lemon’ was born.

Mr Ishioka says he was surprised when lemons were really produced in a cold inland area with no sea or sunshine. This was partly thanks to the double plastic greenhouses that Mr Ishioka uses.

Creating a nurturing environment with the unique power of lemons.

Mr Ishioka’s lemon cultivation is carried out under “natural conditions to a certain extent”. A distinctive feature is the double plastic greenhouses: the air between the two sheets of plastic acts as a heat insulator, so that even in winter, when the sun comes out, the temperature inside the greenhouses is above 10°C, even if it is below freezing outside. Conversely, in summer, the greenhouses are too hot and foggy, so the ceilings are folded down to improve ventilation.

Lemons grown in such a near-natural environment are pruned repeatedly and grow bigger and bigger. Normal-sized lemons weigh around 150g each, but Snow Country lemons can weigh up to 300g. Ripening not only raises the sugar content to around 10 degrees, but also reduces the bitterness of the rind. A sugar content of 10 degrees is comparable in sweetness to citrus fruits such as mandarin oranges and fruit tomatoes. Furthermore, the lemons are grown without pesticides and do not use wax, which is used to maintain the lemon’s shape and prevent mould, which makes them edible with their skins.

In 2022, they were able to harvest 850 lemons, and in 2023 they are aiming for a further boost to around 1,000 lemons. Mr Ishioka is always thinking about how to make the lemons bigger and how to harvest more …… in order to produce good products, which is also his joy.

Do what others are not doing

It is important to differentiate yourself, said Mr Ishioka. For Mr Ishioka, this meant “doing what no one else is doing”. That is why he started growing blueberries in Yamagata, where he made a U-turn to farming. He then boldly took up the challenge of cultivating passion fruit and lemons without pesticides, and achieved results. Because he was the first to start, he went outside the prefecture to collect various information. In addition to fruit cultivation, he also collaborates with local dairy farmers to produce original gelato. The fruit-flavoured gelato is popular for its freshness, as 25% of the ingredients are fruits, which makes it feel as if you are eating the fruit itself. He says he started this business to convey the appeal of snow lemon and passion fruit from Yamagata.

Mr Ishioka says that what he would like to do in the future is to “get to the bottom of blueberry, passion fruit and lemon cultivation”.

Mr Ishioka says that since he started farming in 2011 (Heisei 23), he has been groping his way forward and has often faced various difficulties. However, Mr Ishioka’s efforts are steadily bearing fruit, as the harvest of lemons, which were said to be impossible to grow in Yamagata, has increased year after year, and the pesticide-free fruit he grows has become better known and more useful in restaurants and patisseries in the city. Not content to rest on his laurels, even now, more than 10 years after he started farming, he and his wife are still working together to produce better and tastier products within their means, and are repeating the process of trial and error. Mr Ishioka’s wish is to eventually make the Snow Country Lemon a speciality of Yamagata Prefecture.

He also hopes to turn his farm into a tourist farm. In 2022 (2022), he has already organised a blueberry-picking experience for a limited number of people. It was very well received, with parents and children taking part. In the future, Mr Ishioka says he is considering organising such experiences for guests of the hotels and ryokans to which he ships his products.

Snow Country Lemons, produced in Yamagata Prefecture. With its sweetness from being fully ripe, refreshing acidity that is not too strong, and slightly chewy skin, it would not be an exaggeration to say that it is a lemon made for biting whole. Why not try these sweet and sour lemons, filled with the nature of snowy Yamagata?

The post Completely pesticide-free snow lemon whose peel can also be eaten. ‘Handled Belize’, Mr Hiroaki Ishioka. first appeared on NIHONMONO.

In 2022, “Rice Master Minori Garden” won gold medals at the “International Rice and Taste Analysis Competition” and “Japan’s No.1 Rice Contest in Shizuoka” in succession at the largest rice competition in Japan. The garden is located in the mountainous area of Shinjo City, Yamagata Prefecture, a city blessed with nature, and grows delicious rice that is recognized around the world through “natural cultivation” that does not use pesticides, chemical fertilizers, or organic fertilizers.

Shinjo City, Yamagata Prefecture, is blessed with a natural environment ideal for rice cultivation.

Shinjo City in Yamagata Prefecture is located in the northeastern part of the prefecture and is surrounded by mountains such as Mount Tsukiyama and Mount Kamimuro, one of the heaviest snowfall areas in Japan. The melt water from the mountains is rich in minerals and has long been known for its ability to produce delicious rice. The climate is favorable for the rice plants, which are exposed to the sun during the day to produce flavorful ingredients, which are then locked in during the cooler nights and mornings.

The Igarashi family is a rice farmer who owns about 15 hectares of rice paddies mainly in the mountains of Shinjo City at an elevation of 150 meters. Rice farming has been the family’s occupation for generations since the Kansei era of the Edo period (1603-1868), and now the family, led by Shigeo Igarashi, the eighth generation of the family, is working together to farm.

Falling in love with the delicious taste of rice, Igarashi became a farmer with a single-minded determination.

Mr. Narusei was born in Omagari City (now Daisen City) in Akita Prefecture, but moved to Yamagata Prefecture when he entered university. After graduation, he was working as a cram school teacher when he met his wife, Eriko, who became his son-in-law.

Although Mr. Nario was not a farmer, his family ran a catering restaurant, so he was accustomed to eating good rice. However, when he first tasted the Igarashi family’s rice, he was shocked at how delicious it was. Hearing his father-in-law’s words, “I am thinking of leaving the farm in my generation because there is no one to succeed me,” Narusei said, “It would be a waste to quit the farm when we can produce such delicious rice. He decided to take over the farm and pass on the delicious taste of rice to the next generation.

Happiness of Living in the Natural Cycle of Human Nature

The Igarashi family’s rice cultivation style has been conventional, using pesticides and chemical fertilizers for generations. Having no farming experience, Mr. Narusei spent a year learning from his father-in-law how to use farm machinery and how to do the work from scratch. He felt that farming was his true calling, as it suited his personality in many ways, including his love of operating machinery, the freedom to spend time on his own, and his ability to learn and make improvements as he went along. In the mountainous rice paddies where he works, he can hear the sounds of animals and feel the changing seasons as the wind blows through the fields. He wakes up early in the morning before 5:00 a.m. to begin his work and finishes it at dusk. The feeling of living in such a natural cycle is a fresh and happy time for Mr. Narusei.

Carving Out Sales Channels with His Own Hands

However, it is not all happiness. After taking over the Igarashi family business, Narusei first became aware of the tight business situation. He thought the business had been in the family for generations and was doing well, but in reality, it was in dire straits and needed immediate improvement.

If we don’t make more money, we won’t be able to make a living,” he said. So, instead of relying on vendors to sell our products, we should develop our own sales channels. To help visitors understand what kind of products they were selling, they named themselves “Rice Master Minori Garden” and sold the rice directly to the visitors. As a result, the rice was well received and sold well. They were able to hear directly from consumers and felt a great response to their efforts to develop their own sales channels.

Natural farming started with a desire to feed young children

A diligent learner who used to teach at a cram school, Mr. Narusei participated in various study groups on agriculture. In addition to deepening his learning, he expanded his connections with other farmers. Then a major turning point came. He met a farmer who was growing his produce naturally.

At the time, Mr. and Mrs. Igarashi were raising their children and wanted to feed them food that was as safe and secure as possible. Therefore, natural farming, which does not use pesticides and is healthy for the farmer, seemed to be the best way to grow rice for both consumers and farmers.

Conventional cultivation generally uses pesticides and fertilizers to improve the taste of rice and prevent disease, but in natural cultivation, crops are grown by natural forces alone, without the use of pesticides or fertilizers. Easier said than done, but growing rice without the use of pesticides and fertilizers developed for good rice cultivation has never been easy.

Of course, they could not suddenly go all out and grow everything naturally, so they tried growing the Yamagata variety “Haenuki” naturally in a small 10-area rice field, which is about the size of five tennis courts. However, the Haenuki, which is originally short in stature, did not grow fully in natural cultivation, and the ears fell off when harvesting with a combine harvester, so they could not even harvest the crop. The next year, they tried again with Koshihikari, which is taller and tastier.

Carefully dealing with the hard work of weeding

Using a hand-pushed weeder, the farmers carefully weed the rice paddies from top to bottom.

However, since they do not use herbicides in their natural cultivation, they are faced with the problem of how to get rid of the weeds that are growing thick and fast.

His father-in-law, who was a man who never complained about the policy and allowed him to do as he pleased, thought it was fine to report the start of natural farming after the fact, but even he was shocked when he saw the overgrown paddy fields.

Even so, Mr. and Mrs. Igarashi did their best to meet the expectations of their father-in-law, who had understood their desire to continue natural cultivation. For example, they use a hand-pushed weeder to weed the roots of the rice plants so as not to damage them. It is hard work to stir the soil with one’s feet so that the soil can be oxygenated. The farm started with 10 hectares of rice paddies and gradually expanded to 1.2 hectares, an area about one-fourth the size of the Tokyo Dome, as his techniques improved. However, weeding a paddy field of that size takes 24 to 36 hours per weeding operation. This is done three times a season, and then the remaining weeds are hand-picked one by one. Compared to conventional cultivation, weeding is by far the hardest work, as it requires careful management of water volume to protect the rice plants from heat and cold.

Challenge to a Nationwide Competition

After years of natural cultivation, Minori Garden was presented with an opportunity. The president of the Association of Rice and Food Tasters visited Shinjo City to give a lecture. He measured the taste of Minori Garden’s “naturally grown Koshihikari” and found that it had a taste value of more than 70, which is well above the average. Generally, rice with a taste value of 70 or higher is considered tasty enough, but Minori Garden’s rice had a taste value of 85 or higher. Immediately, we were advised to enter the rice in the “International Rice and Taste Analysis Competition,” sponsored by the Association. They immediately entered both conventionally grown rice and naturally grown rice in the competition and found that the naturally grown rice had by far the highest taste score, which made them realize the great potential of natural cultivation. The first year they could not even pass the first round of judging, but since then they have worked hard to produce high quality rice every year, and as a result, the eating quality of Minori Garden’s naturally grown Koshihikari rice is now above 90.

Three varieties of rice won gold medals in the 10th year.

Finally, in the 10th year of natural cultivation, he won a gold medal at the “International Rice and Taste Analysis Contest. After that, with the encouragement of others, he entered the “Japan’s No.1 Rice Contest in Shizuoka”. Three varieties of rice, Tsuyahime, Koshihikari, and Yudai 21, won gold medals. He was also certified as “the world’s best rice ingredient for Toyo Rice,” a distinction given to only a handful of the gold award winners, and this was the beginning of his becoming a nationally known rice farmer.

We want to increase the number of young people who want to become farmers.

Minori Garden’s rice has the power to bring smiles to the faces of those who eat it, thanks to its gloss, aroma, and taste after cooking. This is the result of Mr. Narusei’s tireless efforts. He exchanges information with other natural farmers across the country to hone his techniques, and continues his steady work of careful weeding and homegrown seeds, which results in a delicious taste that increases year by year. This is reflected in the taste value, which has led to this wonderful award. Mr. Narusei’s next goal is to win the Diamond Medal in the International Rice Taste Analysis Competition. The Diamond Medal is awarded to growers who have won five or more gold medals and three consecutive gold medals in the overall category at this competition, and is a sign that they are “the best rice growers. I hope that this award will encourage more young people to aspire to become farmers. I would like to convey the charm of agriculture with my own backside,” says Narusei. He will continue to improve his cultivation techniques to brighten the future of the agricultural industry.

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Sakai Winery Ltd. has a history of over 100 years in wine production. Since the Meiji Era, when the company began cultivating vineyards and brewing wine in Akayu, Nanyo City, they have been making wine the old-fashioned way, using a non-filter method and the natural yeasts and microorganisms that exist in the area, while also making innovative efforts such as “mixed wine,” a blend of several different types of wine.

History of Sakai Winery

Nanyo City, located in the southeastern part of Yamagata Prefecture, has been cultivating grapes since the Edo period due to the temperature difference between day and night characteristic of the basin and the good drainage of the hilly terrain. Akayu is also famous as a hot spring resort with a history of more than 930 years. Since the late Heian period (794-1192) to the present, it has healed many visitors.

Nanyo City is also a wine-producing region with many small wineries. In fact, six of the 18 wineries in Yamagata Prefecture are located in Nanyo City, including Sakai Winery, which has both a brewery and a store.

It all started with the cultivation of vineyards.

Sakai Winery, founded in 1892, is the oldest winery in Tohoku. It is a brewing company that has been run by the Sakai family for generations, but wine production began in 1887, before the company was founded. The first prefectural governor of Yamagata Prefecture promoted the cultivation of fruit trees, and Yaso Sakai, the 16th head of the Sakai family, began cultivating vineyards.

The Sakai family was also running a hot spring inn business when they started growing grapes, and while running the inn business, they spent five years growing grapes and started brewing wine in 1892. In the beginning, their products were mainly for tourists,
At first, the products were mainly for tourists, and sweet port wine was the only way to sell. After the war, sake became the preferred drink, and wine sales slowed down. However, during the time of Matahira Sakai, the fourth generation of the winery’s founder, wine finally came into the limelight, aided by the spread of Western-style cuisine and the so-called “Itameshi boom. In 2004, Ippei Sakai, the 20th head of the Sakai family and current head of Sakai Winery, completed a master’s degree in brewing at Tokyo University of Agriculture and returned to Yamagata to take his place.

In the past, 90% of sales were to individuals, but now individuals account for 30% and liquor stores and restaurants for 70%. In addition, recent trends show an increase in exports, with distribution in Southeast Asia, the U.S., Sweden, and other countries,” says Sakai. He feels that the wine industry is changing with the times.

Natural farming methods suited to the land

Sakai Winery now has about 15 of its own vineyards in the Akayu area. The nearest one is a five-minute drive from the winery. However, when Mr. Sakai made his U-turn in 2004, there was only one vineyard. It was on a slope so steep that it was difficult to stand on it, and it had been abandoned. Since other vineyards in Akayu have similar topography, it became difficult to maintain the vineyards due to the declining birthrate and aging population, and some land was abandoned in the same way.

Sakai Winery, which purchased such land and increased its own vineyards, now grows a wide variety of varieties. The lineup ranges from traditional varieties such as Koshu, Delaware, Merlot, Cabernet Sauvignon, Chardonnay, and Malbec to varieties developed in modern times. The reason for this is that we are incorporating a variety of grape varieties with the aim of producing grapes that can withstand climate change. This is because in recent years, the summer temperatures in Yamagata Prefecture have risen to the point of extreme heat, causing serious problems such as an earlier harvest time and, in some vineyards, the spread of grape diseases that sometimes make it impossible to harvest at all.

It is natural that vegetation changes as the climate changes. I want to produce wines that can be considered unique, while accepting climate change,” says Sakai.

One of Sakai Winery’s unique attempts is to recreate the way farmers did things 100 years ago using modern technology. One such example is the sheep in their vineyards.

A small ecosystem spreading in our own fields

After becoming the representative of Sakai Winery in 2004, he began attending various study groups around 2007. He stopped using chemical insecticides that he had been using in his company and switched to pesticide-free cultivation. This was done in order to create a flow where the grapes live in the land without overworking and become wine without overworking. As a part of this, they have further introduced sheep.

The sheep’s role is weeding and composting. Because machinery is not allowed in the company’s vineyards on steep slopes, sheep, which feed on grass and squeezed grape residue, take on the role of weeding. In addition, the compost from the sheep compensates for the problem of the hilly terrain where melting snow washes away the nutrients in the soil.

The feces emitted by sheep that eat weeds and grape pomace from the winery nourishes the vineyards and allows the grapes to grow. It is truly a small ecological cycle that smoothly links the vineyard and winery.

Commitment to Unfiltered

In addition to sheep, there is something else that Sakai Winery is committed to. That is that they continue to use traditional methods of production that are rooted in the land.

Take, for example, the tools. The “Kai-ire-bo” (a bar to put in the wine) and wooden barrels made from chestnut trees in Akayu are still used as they were in the old days. By continuing to use them, the brewery’s own yeast is attached to them, giving the wine a unique character. The enamel tanks have also been in use for about 70 years, as they add depth to the wine’s flavor.

The non-filter method has been used since the establishment of the company. Instead of using filtering equipment, they wait for the wine’s lees to settle naturally in the tanks, then scoop out the supernatant and wait for it to settle further. This process is repeated, and finally the wine is aged with the lees in a sake bottle. The reason for using sake bottles is that “the bottom area of a sake bottle is larger than that of a tank, making it easier for the lees to come into contact with the wine. This is a very time-consuming process, but the lees is the yeast that has finished fermenting, and the flavor created by the lees is the same as that of the wine. The flavor created by the lees gives the wine a local character, so Sakai Winery has continued to use this method for a long time.

In addition, since about three years ago, they have been vinifying their wines completely with wild yeast. Wild yeast is a natural yeast found on grape skins. In other words, it is a yeast rooted in the land. Since there was no dried yeast available from the postwar period until Mr. Sakai’s father’s predecessor, they inevitably used wild yeast to make wine, but when Mr. Sakai took over, they used the dried yeast that had become popular around the world. However, more than 10 years ago, around the same time that they switched to pesticide-free cultivation, they started working on reverting back to wild yeast again. Today, they vinify using only wild yeast, which can be said to be the starting point of winemaking.

The latest technology is of course superior, but it is not enough to create individuality. The methods that were left to nature in the past can now be reproduced with modern technology, and by using these methods, the culture and individuality unique to Akayu can now be reflected in the wine, in a good sense.

Brands with the charm of Akayu

Sakai Winery, which grows a variety of grape varieties, also produces a wide range of wines. The names of the wines are also interesting. BIRD UP” is an English translation of the name of the area where the winery’s founder, Yaso Sakai, planted grapes, “Toriajizaka”. The name “Amedanuki” comes from the fact that the grapes are grown in the winery’s own vineyards in “Uruizawa” and “Mujinazawa. The name of the land was chosen in order to identify the characteristics of the wine, which is made from grapes grown in the vineyards.

Among the many brands available, Sakai recommends “Kohime” as the first bottle. The cute name is the name of the Delaware grape used by local farmers. In the past, wine made from Delaware became so popular that farmers became wealthy, so they gave it the name “Princess” and became familiar with it.

In addition to its name, “Mazekoze Wine” is also unique in its production method. This wine is aged in barrels without controlling the variety or year of harvest. Since the percentage of each grape variety is not known, the aroma of the land is said to be stronger.

In addition, the company has also taken on the challenge of producing orange wine, which has been gaining recognition in recent years as the fourth category following red, white, and rosé wines. Delaware, which is easy to find and suitable for the Japanese palate, but has only been used for sweet wines in Yamagata for over 100 years, was used to create a dry wine. Mr. Sakai says that he feels that orange wine, which is made by using red wine production methods to make white wine, has an appeal that has not been brought out in white wine up to now, and has the potential to evolve in the future.

Aiming for an unshakable presence

The Sakai family has been engaged in wine production in Akayu for over 100 years. Their goal for the future is to become an unshakable presence.

They cling to the land where they live, and make wine with the help of grapes while taking advantage of the vineyards and the surrounding environment. Mr. Sakai believes that since it is meaningful to continue on this land, there is no point in comparing ourselves with others. In fact, Sakai Winery, which has been in business for over a hundred years, even survived the World War. As such, he wants to be a winery that is not affected by outside influences.

Mr. Sakai feels that he has finally reached the starting point. There are many things he needs to do and wants to do, such as addressing the new problem of climate change and raising animals in the vineyards that may have existed here for a long time, in addition to sheep. Despite these challenges, he says he already has the conviction that “this is Sakai Winery’s wine.

We cannot take our eyes off Sakai Winery, which continues to take on new challenges while preserving the traditional methods of production.

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