Since its founding in 1958 (Showa 33), Hata Suisan has been dedicated to the fugu industry in Shimonoseki City, Yamaguchi Prefecture, the heartland of fugu.

As a specialized wholesaler of fugu, we have focused solely on this craft for over six decades.

We handle a wide range of high-quality fugu, from rare wild-caught specimens to farmed varieties,

and our exceptional processing techniques have earned us a reputation for excellence, with a track record of exports not only domestically but also internationally. We continue to create products that showcase the unique charm of fugu.

Yamaguchi Prefecture is home to the nationally renowned “Shimonoseki Fugu,” one of Japan’s top fugu brands. For 65 years since its founding in Shimonoseki City, Yamaguchi Prefecture, “Hata Suisan Co., Ltd.” has been a leading wholesaler in the fugu industry. This article traces the achievements of the top-ranking Shimonoseki fugu wholesaler and explores the charm of Shimonoseki fugu.

The only one in Japan! Nanpu Market, a wholesale market specializing in puffer fish

The Haedomari Market in Shimonoseki City, Yamaguchi Prefecture, is Japan’s only wholesale market specializing in fugu (puffer fish). As a result, fresh wild and farmed fugu from fishing grounds and aquaculture farms across Yamaguchi Prefecture and other regions are transported to this market, located at the westernmost tip of Honshu, via land, sea, and occasionally air routes.

In the past, other fish species were also wholesaled here, but as fugu fishing grounds expanded and catch volumes increased, the market could no longer handle the volume, leading to its specialization as a fugu-only market. Thus, Haedomari Market became the only market in Japan where all aspects of fugu trade are handled independently.

In short, Shimonoseki’s fame for fugu is not merely due to its high catch volume, but also because the market attracts skilled craftsmen with the expertise and knowledge to discern the quality of various fugu species gathered from across the country.

The unique auction at Minamikaze-hama Market

At the auction at Minamikaze-hama Market, the size, color, and eye color of the fugu are checked. As a sample, the fugu is first processed by removing all toxic and inedible parts (known as “fugu-maki”) to leave only the edible parts. The presence of white roe, skin, flesh, beak, and internal organs are then inspected. This is done so that middlemen can assess the condition of the fugu purchased that day and judge its color and meat quality after it is processed.

By the way, this applies only to farmed fugu. Farmed fugu from the same farm during the same period are of the same species, so if you know where they were farmed, you can determine the condition of other fugu from the same farm by examining just one. On the other hand, wild fugu are all unique, so examining them is not helpful. Freshness also deteriorates, so they are judged in their whole state.

The auction method is unique, with auctioneers and wholesalers holding hands inside a cylindrical black cloth bag to determine the price through a method called “bag auction,” which has become a signature feature of the Nambuhama Market.

There are various theories about how this method originated, but the most widely accepted one is that it was developed to prevent fights over bids by hiding the prices from other companies.

If the price cannot be decided and there are multiple bidders with the same bid, they settle it by rock-paper-scissors, which is quite interesting. On the day of the interview, the highest price was 200,000 yen per box for wild fugu, and around 60,000 yen per box for farmed fugu.

Why Shimonoseki’s fugu is said to be the best in Japan

After the auction, the fugu are kept in tanks for two to three days to remove any stress they may have experienced during transport and to allow them to expel any remaining food and waste from their bodies. This process is called “ikashikomi.” This ensures that the fugu are in good condition and have high-quality flesh.

This process ensures that the fugu is delivered to markets nationwide, including the Tokyo Central Wholesale Market, in a fresher and safer state. If the fugu departs Shimonoseki by 5 a.m., it arrives at major urban markets like Tokyo on the same day, which is why the tradition of starting the auction in the middle of the night still persists in Shimonoseki.

Interestingly, fugu have four large, strong teeth resembling a beak, capable of crushing coral and hard shells with remarkable force. In farmed fugu, these teeth are typically broken from a young age, but in wild fugu, leaving them intact can lead to injuries from biting each other in tanks. Therefore, good-quality fugu have their teeth broken after being caught.

Such meticulous care is one of the reasons why Shimonoseki fugu is considered the best in Japan.

There are approximately 430 species of fugu worldwide, inhabiting various environments such as freshwater and seawater.

In Japan, only seawater-dwelling fugu have been discovered, with about 60 species confirmed, but only certain species are edible, and the catch volume varies by season.

Among them, the tiger fugu is considered the highest grade. Of course, in Shimonoseki’s market, its presence is unparalleled.

However, wild tiger fugu is extremely rare. As water temperatures drop, the flesh becomes firmer and the roe grows larger, but due to the effects of global warming, such high-quality individuals are becoming increasingly difficult to catch each year, further enhancing their rarity and value.

I want to eat fugu, but I value my life.

When it comes to fugu, the image of its toxicity is strong, and handling it requires a special license. Despite this, it continues to fascinate people.

Its appeal has been known for a long time, with records indicating that it was consumed in Japan as far back as the Jomon period.

There is even a proverb that goes, “I want to eat fugu, but I value my life,” highlighting its popularity. Its flesh is high in protein, low in fat, and has a light, delicate flavor, yet it is rich in umami and sweetness, with a crisp, elastic texture that makes it unforgettable. It is often referred to as the “king of whitefish.”

However, during the Azuchi-Momoyama period, the toxic parts were not yet clearly identified, leading to a series of fatal poisonings. As a result, it is said that Toyotomi Hideyoshi issued a “fugu eating ban,” and for a time, fugu became a fish that was off-limits to eat.

Incidentally, the toxin responsible for fugu poisoning, tetrodotoxin, is a compound word combining “tetraodontidae” (the scientific name for fugu) and “toxin.”

Tetrodotoxin is approximately 1,000 times more toxic than cyanide. Poisoning occurs approximately two hours after ingestion, causing numbness in the lips, tongue, and fingers, followed by vomiting and headaches. In severe cases, it can lead to respiratory failure due to nerve paralysis and death.

The toxic parts of pufferfish vary by species, and some pufferfish do not contain toxins. This irony led to the name “teppou” (meaning “gun”), as it was believed that being hit by a pufferfish was as deadly as being shot by a gun. This name has persisted, and pufferfish sashimi is still called “tessa” today.

The forbidden taste that captivated the heart of Hirobumi Ito

Although pufferfish are highly toxic, their deliciousness has remained unchanged throughout history, and many samurai continued to eat them in secret. As a result, some feudal domains imposed severe penalties on those who did so.

However, it was impossible to completely restrict something so desirable, and pufferfish cuisine continued to thrive in areas beyond the reach of the authorities.

The turning point came when fugu, this forbidden delicacy, became publicly edible.

During the Meiji era, when the first Prime Minister of Japan, Hirobumi Ito, visited Shimonoseki, he was served the best fish the city had to offer. However, at that time, the sea was rough, and almost no fish could be caught.

The innkeeper, after much deliberation, decided to serve fugu, risking her life. Upon tasting it, Ito Hirobumi exclaimed, “This dish harmonizes all flavors perfectly.” This incident led Ito Hirobumi to advocate for the promotion of fugu consumption to the governor of Yamaguchi Prefecture, and in 1888, fugu was officially legalized.

Even after legalization, challenges surrounding fugu consumption persisted.

Although fugu consumption was eventually legalized, cases of fugu poisoning continued to occur even after the ban was lifted.

Why was this the case?

In fact, fugu are not naturally poisonous fish.

Marine bacteria that contain toxic elements are present in the microorganisms that fugu feed on, and as fugu consume these bacteria, extremely potent toxins are produced within their bodies.

As a result, the toxicity levels vary depending on the fishing location and season, leading to continued incidents of fugu poisoning even after the ban was lifted. Despite this, research, management, and poisoning prevention efforts continued, and in 1983, the Ministry of Health, Labour and Welfare finally designated 22 species of fugu as safe for consumption. The toxic parts of each species were clearly identified, and it was established that they could be safely consumed after proper processing.

Following this, a fugu chef certification exam was introduced, and only certified individuals are now permitted to prepare fugu, further ensuring the safety of fugu consumption.

Hata Suisan’s Cross-Oceanic Challenge

Among the leading companies in the fugu industry in Shimonoseki, Yamaguchi Prefecture, which has been at the center of the history of fugu consumption, there is a wholesaler known as a pioneer in the industry. This is “Hata Suisan Co., Ltd.,” a fugu-specialized wholesaler that has been in operation for three generations. The company’s origins trace back to its founder, Hata Sakae, who worked as an assistant manager at a renowned fugu restaurant in Yamaguchi Prefecture. There, he learned the skills of procurement and processing, becoming captivated by the charm of fugu. Driven by a desire to share this charm with others, he decided to strike out on his own.

Some time later, Hata Suisan, which was operating as a wholesaler in Shimonoseki, faced a turning point. In 1984, the owner of “Restaurant Japan,” the first authentic Japanese sushi bar in New York, approached Hata Suisan with a request to export fugu to the United States. Eiji initially hesitated at the unprecedented proposal to export fugu, which had virtually no demand as food overseas due to its toxicity. However, he decided to take on the challenge, envisioning the future expansion of fugu cuisine and the development of Shimonoseki’s fugu industry.

The hard-won right to export fugu

Thus began the fugu export project. In 1985, they invited the head of the U.S. Food and Drug Administration (FDA) and served fugu sashimi with the toxic parts removed, but the FDA did not grant export permission.

Undeterred by their passion to export fugu, they meticulously responded to each of the safety-related documents requested by the FDA, submitting detailed evidence-based materials over a five-year period. As a result, the FDA granted export permission for processed fugu from Hata Suisan, a member of the Shimonoseki Export Association.

The long-awaited export rights were finally secured. On March 19, 1989, the first shipment of fugu arrived in New York.

Fugu cuisine was accepted in New York.

Sakae decided to promote fugu cuisine by first sharing its wonderful qualities with a wider audience. The first fugu sashimi he served in New York was presented with great attention to appearance, arranged in the shape of a crane. The thinly sliced fugu, so delicate that the pattern and color of the plate could be seen through, was intended to allow diners to fully appreciate the elastic texture and rich flavor of the fish. This dish was a testament to Sakae’s pride as a long-time fugu wholesaler.

The beauty, exceptional technique, and the firm texture and sweetness of the fugu were met with great acclaim overseas and widely accepted by local food connoisseurs. Mr. Sakae’s passion for fugu has been passed down through generations and is now carried on by the third-generation head, Mr. Eiji.

Carrying on the legacy of his predecessors, the third-generation head.

Currently, Eiji, who is the third-generation head of the family business, decided to take over the family business while attending university to help his father, who had fallen ill. After graduating from university in Yokohama, he immediately returned to Yamaguchi and joined Hata Suisan. He started by observing and imitating the work of veteran craftsmen, and continued to fillet fugu day after day. Of course, there was no favoritism simply because he was the president’s son. However, Eiji’s enthusiasm and determination gradually gained recognition from his colleagues, and the senior craftsmen began to take him under their wing, teaching him the trade thoroughly.

Eight years after joining the company, his father, the previous president, passed away. From that point on, Eiji began to feel a sense of responsibility to take on the role of leading the company.

When he first joined the company, Eiji had a casual attitude, thinking that if things didn’t work out, he could just close the shop. However, once he took on the role of leading the company, he developed the mindset that he couldn’t let his employees end up on the streets because of his own weaknesses.

He worked tirelessly.

First, he aimed to make fugu an ingredient that local people would accept.

“What should I convey through this work?” ”How should I carry on the aspirations of my predecessors?”

He arrived at the answer: to first spread Shimonoseki’s proud “fugu cuisine culture” within the local community. Even if the world recognizes Shimonoseki’s fugu, it would be meaningless if the local people didn’t eat it. Thus, he began activities to reintroduce fugu cuisine to the local community.

He started by providing fugu sashimi for 100 students at his alma mater. The idea came from wanting to share the deliciousness of fugu sashimi with children who had grown up in Shimonoseki but had never tried it. In the future, we plan to build a facility on our premises where the general public can visit and see live fugu in tanks. We aim to create a place where visitors can experience catching the fish from the tanks, having it prepared on-site, and then tasting it. All of this stems from a desire to make fugu more familiar to the local community.

Eiji’s immediate goal is for children in Shimonoseki to say, “My favorite food is fugu!” He believes that fugu can only be considered the highest quality ingredient when it becomes something that locals genuinely recommend. He will spare no effort to achieve this quality, and he believes that recognition from Japan and the world will naturally follow.

The future of fugu cuisine that the third generation aims for is clearly reflected in the smiles of the children of Shimonoseki.

In search of the finest fugu, we visit not only the market but also the production sites of our suppliers to carefully select the best fugu. The raw materials are processed using our unique preservation techniques and the skilled craftsmanship of our artisans, ensuring the highest quality. The latest rapid freezing technology keeps the flesh firm and fresh. We invite you to try our truly delicious fugu.

The post Hata Suisan Co., Ltd., a wholesaler that enhances the value of Yamaguchi Prefecture’s renowned fugu (puffer fish) / Shimonoseki City, Yamaguchi Prefecture first appeared on NIHONMONO.

Choi Je-ho (Choi Jae-ho) navigates between the contrasting realms of contemporary art and traditional craftsmanship, proposing a sensual take on the beauty of white porcelain. Though rooted in Korea, he chose Japan as his creative base, and his exhibitions and art collaborations across the country have garnered significant attention. What new world does Choi Je-ho add to the established norms of simple yet elegant white porcelain?

Pottery born in the mountains of Shunan City, Yamaguchi Prefecture, rich in nature

Located in the southeastern part of Yamaguchi Prefecture, Shunan City is home to Choi Je-ho, who runs his workshop in a quiet mountainous area rich in nature. Originally from Busan, South Korea, Choi moved to Japan in 2004 at the age of 33.

He is an artist specializing in “white porcelain,” a simple ceramic ware with a white base glazed with transparent glaze, said to have been introduced to Korea from China during the Joseon Dynasty. His unique texture, soft curves, and distinctive white hue, created exclusively by Choi Je-ho, captivate anyone who holds his pieces in their hands. His works, which blend the antique charm of traditional white porcelain with modern sophistication, are bringing a fresh breeze to the Japanese white porcelain scene.

Choosing Japan as a place of expression

Chooi Je-ho first visited Japan at the age of 31. He was invited to participate in a group exhibition in Japan and had the opportunity to stay at a pottery studio in Seto City, Aichi Prefecture, for about two months to create his works. He was deeply impressed by the passion of the Japanese people for ceramics and the unique texture of the clay used for Japanese white porcelain, which he encountered for the first time.

“In my home country of South Korea, there is a significant gap in understanding between fine art crafts displayed in museums and art galleries and folk crafts used in daily life. In Japan, the boundary between the two is a subject of debate, indicating that the environment surrounding crafts is highly mature. Even white porcelain without ornate decorations is highly regarded as art, and I was impressed by the Japanese people’s sensitivity toward crafts. I was convinced that Japan had the space to accept the world of white porcelain that I wanted to express, and I decided to move there to establish my base for pottery.”

Relying on his wife’s family from Hiroshima, he searched for an old farmhouse in nature where he could freely create pottery without worrying about noise or smoke, despite some inconveniences. He finally found it in Yamaguchi Prefecture. He decided to purchase it based solely on photos and price while still in Korea.

Opening the door to the world of art through ceramics

Choi Je-ho first became interested in white porcelain during his second year of university. He had loved drawing since childhood and was a member of the art club in middle school. He had a particular interest in contemporary art and aspired to attend Hongik University, one of the top art universities in South Korea, to study painting. However, due to the high difficulty of the painting course he desired, he took three years off before applying again. In his fourth year, he decided to prioritize admission and enrolled in the ceramics department of the same university. He knew that even if he couldn’t study in his desired department, interacting with his artistically talented peers would be a valuable stimulus for him.

Led by such life choices, Che Je-ho embarked on the path of ceramics. He studied the fundamentals of ceramics as a form of contemporary art and immersed himself in creating objects. During a second-year university class, he visited a national museum to research classical art for a report and was captivated by a white porcelain piece from the Joseon Dynasty (1392–1897) called “Full Moon Jar (Talhanari).” This encounter would change the course of his life. He was captivated by the indescribable soft lines, the texture of the surface, and the warm white color. He became obsessed with the world of classical white porcelain from the Joseon and Goryeo periods, aspiring to create similar works himself one day.

From contemporary art to the world of traditional crafts

By the time he graduated from university, he had decided to become a white porcelain artist rather than a contemporary artist. He wanted to become an artist who could recreate the emotions he felt from Joseon-era white porcelain works in his own creations. In Korea, it is difficult to obtain clay suitable for white porcelain, and there are few white porcelain artists. I struggled to find a master to apprentice under. Through connections with my professor, I finally found a master who specialized in restoring antique art and replicating classical works. I learned the colors of Korean white porcelain and developed an eye for appreciating classical works.

The teachings of my mentor that I continue to uphold

The teachings of my mentor were not to imitate the works of contemporary artists of the same generation, but to “learn by observing beautiful and good works displayed in museums and art galleries.” By experiencing the genuine works that people have sought to preserve across generations, feeling them with your heart, and expanding your imagination, you can learn the balance and texture that emerge from them. It is important to express your own interpretation through your sensibilities. He says that when you can interpret things in your own way, you can create unique works that are not replicas.

Choi Je-ho still follows this teaching and makes a point of visiting museums and art galleries whenever he has a solo exhibition or business meeting. He often visits the Tokyo National Museum and the Japan Folk Crafts Museum. Even now, when he is busy creating original works, he values input time above all else.

Deciding to go independent and creating his representative work

Two and a half years after becoming an apprentice, he faced the misfortune of his master’s passing. Though he hadn’t fully prepared for independence, he decided to take the first step as a white porcelain artist. He resolved to make the “Full Moon Jar,” which had deeply moved him in a university report, his representative work. Since then, he has continued to create works pursuing the ideal curves and surface texture he seeks.

Choi Je-ho’s white porcelain

White porcelain is a type of pottery classified as “porcelain” in the field of ceramics, with stone known as “pottery stone” as its main raw material. It is characterized by being fired with a transparent glaze to achieve a white color, and is well known for its vivid designs, such as the “Arita ware” from Saga Prefecture and the “Kutani ware” from Ishikawa Prefecture.

Choi Je-ho’s white porcelain works use three types of clay with low iron content. He mixes white porcelain clay for ceramics with Arita stone from Saga Prefecture and Korean kaolin clay, which enhances the unique whiteness of his works. The iron-free transparent glaze transforms the base clay’s white color into a milky white hue, and when light passes through, it creates a translucent quality that combines the crisp luster of white porcelain with a gentle warmth.

During production, no measurements are taken. After initially weighing the clay, the artist relies solely on the sensation of their fingers to thin the clay to the absolute limit, valuing the natural distortions and the beauty of the lines. The pieces are not only meant to be displayed but are also thin and lightweight, making them highly functional. Additionally, the subtlety of the white color elegantly highlights plants and flowers, enhancing their beauty.

Representative work: “Full Moon Vase”

The Full Moon Jar is a large jar that can be held in both arms. It is called the “Full Moon Jar” because its shape resembles a full moon. This technique has been passed down since the era when white porcelain was designated as exclusive porcelain for the Korean royal court, and its delicate lines and large curves provide a sense of healing to those who see it. The pot is made using a technique called “torso joining,” where two bowl-shaped prototypes are joined together vertically and then fired in a kiln. While it does not form a perfect sphere, the resulting pot boasts an overwhelming bulge and natural distortion, harmoniously blending simplicity with warmth and strength. Many are captivated by the vase’s generous warmth, and those enchanted by white porcelain often find themselves drawn to the desire to own this Full Moon Vase.

Choi Je-ho aims to express the texture that can only be achieved by hand, something absent in mechanically produced pieces, and to evoke the breath of the potters who lived during the Joseon Dynasty. The “warmth” that emanates from the Full Moon Jar resembles the gentle warmth of a mother holding a newborn baby. The charm that makes it feel human, despite being an object, stems from the emotions the potters poured into their craft. He refers to this as “allure” and is committed to infusing the Full Moon Jar with his own unique interpretation of this allure.

The path to success in Japan

When I first moved to Japan and started creating art, I had no money and spent my days renovating an old house I had barely managed to acquire, while working on my art. With no recognition in Japan, my works under the name “Choi Je-ho” didn’t sell. Eventually, I ran out of funds to even create new pieces, leaving me feeling utterly lost. There were moments when I couldn’t even fathom what I was striving for.

Suddenly, I snapped back to reality and thought, “I should create white porcelain that reflects my own vision.” I recalled the words of my mentor, who had taught me that it was important to express my own interpretation of what I saw and felt, rather than imitating others. I let go of my preconceived notions about what Korean white porcelain should be and fully committed to creating works that reflected my own interpretation. It was then that I found the answer to what I wanted to create. Choi Je-ho’s doubts vanished, and he was filled with confidence in his work.

With his own answer in hand, he began actively promoting his work at galleries and shops in Tokyo, the center of the art scene. However, he was often turned down because the shops already had other white porcelain artists on their roster. Among them, the owner of an antique art shop took a liking to Choi Je-ho’s work and decided to carry it. Following this, he held a solo exhibition at the same store, and word of his work spread through customers. By around 2008, his work had reached the ears of gallery owners in Tokyo, and he began holding solo exhibitions at several renowned galleries in quick succession.

In the early days, he continued to travel back and forth between Tokyo and Yamaguchi, filled with excitement about the Japanese culture’s strong interest in ceramics and the prospect of meeting future customers he had yet to meet.

The catalyst for Choi Je-ho’s white porcelain gaining wider recognition

Choi Je-ho’s works, which began to receive recognition in Japan, were featured not only in galleries and shops but also on NHK’s art program, drawing significant attention. In 2020, during an episode themed around “white porcelain,” his work was featured alongside that of Kuroda Yasuzo, a master of white porcelain, and Inoue Manshi, a Living National Treasure. Being introduced alongside these two masters as a foreign artist in his 40s was a surprise to him. It was a moment when he truly felt that Japan had recognized the “Choi Je-ho white porcelain” he had believed in and dedicated himself to.

Aiming for the unique elegance created by white

In addition to the Full Moon Jar, we also place great importance on creating “works that blend into everyday life,” which can be used daily regardless of age. Our wide range of products includes everyday mugs, plates, sake sets, flower vases, and Chinese tea sets. The simple yet unique texture gives them a stylish feel, rather than just plain white. Even though they are white, there are various types, and the white created by Che Je-ho has a warm feel to it. The “human-shaped” accent series, featuring a solitary figure at the center of sake sets and plates, is popular among younger customers and reflects Choi Je-ho’s playful spirit.

Drawing inspiration from the beauty of the natural patina that develops over time in Korean white porcelain, which is cherished and nurtured by its users, Choi Je-ho creates works that embody this concept.

Imagining vessels that shine in the changing light of morning, noon, and night, he relies on his own senses to create pieces that blend seamlessly into any usage scenario, deliberately leaving fingerprints as a mark of his craftsmanship. The crisp, elegant presence and the soft curves that convey a subtle sensuality are qualities he believes will resonate with even the most discerning connoisseurs of modern design.

A challenge to the art scene: the world of black and white

In 2019, he received a passionate offer from Glen Ligon, an artist based in New York who works with a variety of materials such as painting, neon, photography, and video, and a collaborative project was realized. The project was exhibited at “RAT HOLE GALLERY,” a gallery operated by the fashion brand “HYSTERIC GLAMOUR,” and expressed Ligon’s roots. Rygon, who creates works based on modern art and conceptual art, commissioned me to “express a symbolic white full moon vase in black.”

The black full moon vase created by the white porcelain artist, with its rough surface texture contrasting beautifully with the white porcelain full moon vase, garnered much attention.

The ‘black world’ no one has ever challenged

The completed black full moon vase evokes a sense of the universe. From a distance, its deep black hue seems to draw one in. Upon closer inspection, the surface resembles the dark side of the moon or the frozen surface of snow, with its uneven texture, resulting in a powerful piece. It was provisionally named “Black Porcelain Full Moon Vase.”

The contrast between the subtractive approach of using black to express “stillness and movement” and “beginning and end,” and the subtractive approach of using white to express the same concepts, symbolically represents modern art. This successfully expands the traditional expression of the full moon vase, which is characterized by its shape evoking a full moon and its milky white color.

Unlike any other white porcelain, Choi Je-ho’s “Choi Je-ho White Porcelain” is a hybrid presence that combines the passion for craftsmanship woven by Korea with a new expression for the modern era, somehow warming the hearts of those who hold it.

“White porcelain has no charm without sensuality,” says Choi Je-ho, yet there is indeed an inexplicable allure that draws one into its warm embrace. The vase’s ever-changing expression as one approaches seems to reflect the artist’s personality. Choi Je-ho will continue to express the beauty of Korean white porcelain through his unique interpretation of white and texture.

The post Choi Je-ho, a potter from Yamaguchi Prefecture who shares the beauty of Korean white porcelain with the world / Shunan City, Yamaguchi Prefecture first appeared on NIHONMONO.

Hagi City, Yamaguchi Prefecture, is a town with a rich history, famous for the “Matsushita-murajuku” where Shoin Yoshida, Hirobumi Ito, and other patriots at the end of the Edo period studied. In this town, which is often the setting for historical dramas and has a strong image of an ancient capital, there is a young potter who is attracting attention: at the age of 34, Yuta Saka has taken the name of Saka Koraizaemon, the head of the Hagi ware family. What is the charm of Hagi ware and its future that this young potter, who has inherited a 400-year-old Hagi-yaki tradition, is preserving and passing on?

Hagi, Yamaguchi Prefecture, one of the most historic castle towns in Japan

Hagiyaki is a traditional craft that has been handed down from generation to generation in such a popular tourist destination. Its origins date back to 1604. Terumoto Mori, the first lord of the Hagi domain, moved his castle from Hiroshima to Hagi and entered the prefecture. Under orders from the Mori clan, Korean potters Ri Shakko and Ri Kei, who had been accompanying Terumoto, opened a kiln in Matsumoto Village under Hagi Castle (now Tsubakigashi, Hagi City) as the Hagi clan’s official kiln. Later, each of the brothers became naturalized Japanese citizens, with the elder brother Li Shikou taking the name of the Yamamura family (later the Sakakura family name) in Nagato, and the younger brother Li Kei receiving the name “Saka Koraizaemon” from Tsunahiro, the second lord of the domain, in 1625. The Saka family, the keepers of the Saka kiln, are descendants of Rikei.

The Appeal of Hagiyaki as Matcha Bowls

Until then, Hagi-yaki was called “Matsumoto-yaki,” after the castle town where it was located. Hagi-yaki was discovered by Sen no Rikyu, a tea master of the Warring States period, as an expression of wabicha (wabi tea), and became widely popular as matcha (powdered green tea) bowls. Hagi ware is characterized by the earthy simplicity of its clay, which is made from “daido-utsuchi,” a type of clay found in the Hagi area. The Daido-Utsuchi clay, which contains sand and pebbles, is fired at high temperatures in a short time so as not to over-fire the clay, resulting in a light texture that allows for changes in appearance over time, such as water and oil seeping into the clay. The combination of the roughness of the original clay and the fine texture created by mixing Mishimatsuchi, a clay with high iron content, and Mitaketsuchi, a light white clay, with Omichi-do is also an attractive texture.

Hagiyaki matcha bowls often have a surface finished only with glaze, eliminating decoration as much as possible. This contrasts with the beauty of the original color of matcha, which enhances the tea to its fullest, and is the reason why matcha bowls have long been highly valued and popular in the tea ceremony, where “aprosa-sabi” is highly valued.

In June 2022, at the age of 34, the youngest generation of tea masters will take over the name of the tea master.

Although he was aware that his family had always been involved in ceramics, he did not come into contact with ceramics until he was in high school. For Mr. Saka, the Saka Kiln was simply the home of his grandparents. However, the sudden death of her uncle (her mother’s brother), who was the 12th generation successor, completely changed her environment. With no successor, the family name became vacant for seven years, and he and his mother, Junko, decided to take over the prestigious family business.

To say that there was no pressure to assume the heavy responsibility was, of course, somewhat true. However, he also said, “I have always been very interested in the field of history, and I thought it would be interesting if I could be a party to supporting history and folklore.

Contrary to his optimism, Mr. Saka has taken pottery making seriously. Since he wanted to make matcha bowls, he chose to study ceramics at Kyoto University of Arts (formerly Kyoto University of Art and Design), because he wanted to specialize in Kyoto, where arts and crafts related to tea ceremonies are concentrated. He then spent one year at the Kyoto Prefectural College of Advanced Technology for Ceramic Art and Ceramics, and two years at the National Institute of Advanced Industrial Science and Technology, where he continued his research on scientific analysis of raw materials for pottery, before returning to Hagi in 2013.

The back of his mother, the 13th generation

While Mr. Saka was training in Kyoto, his mother, Junko, assumed the name of the 13th generation in 2011.

Soon after, however, Junko passed away suddenly. After returning home, he spent only a year and a half with his mother as the 13th generation. Yuta, who was only 26 years old at the time, could not immediately take over the headmaster’s name with his current level of experience, even if the position were to become vacant. Therefore, he worked as a potter-Yuta Saka for a while, and then finally assumed the name of the 14th generation in 2021. At first, he asked the craftsmen who had supported the Saka Kiln since his predecessors to teach him the basics, such as the family’s annual events, and worked hard on his pottery making.

As Yuta Saka, a potter. As the head of the Soke family

Before assuming the name of Soke, he had been active as Yuta Saka, a potter, and his works have been highly evaluated and have been selected for many exhibitions.

He has also turned his attention to objets d’art and conceptual contemporary works, which he studied at university, and has proposed new Hagiyaki charms such as a neck for composition, a flower vase with a low center of gravity, and a single-flower vase with a long, narrow mouth. He has also been eager to explore new genres, such as coffee cups, without being bound by tradition.

On the other hand, traditional matcha bowls are faithfully made one by one on a kick wheel. He tries to preserve the original texture of the clay by using as little time and labor as possible. When shaping the bowls with an ox spatula, he wants to preserve the finger lines and hand marks as much as possible, so he dares to break the balance of the bowls to preserve the flavor of the bowls.

The charm of Yuta’s work lies in the way he combines new ideas with traditional techniques that he has preserved.

The Hissen type matcha bowl with a height change at the mouth, called Kuchizukuri, is a fusion of the traditional Hagiyaki basics and a different type of Korai tea bowl form. The cool white glaze that hangs faintly over the rim is elegant and beautiful, and makes you want to sip it even if you are not familiar with matcha bowls. The bowl also incorporates the traditional production method of “clay showing height” that emphasizes the original strength of the clay.

Sometimes, he receives specific advice from experts in the tea ceremony and applies it to his pottery making. Recently, the “Meimei Dish,” a small tray that can be used individually, has been well received in consideration of the new lifestyle in recent years, whereas the traditional tray is used as a receptacle for tea cakes. With the support of the people around him, ideas for the evolution of Hagiyaki for the next generation are being born one after another, probably due in part to his own personality.

Sympathizing and Dialoguing with the Works of Predecessors

Yuta not only imitates his late mother’s works, but also goes back to his uncle, the 12th generation, his grandfather, the 11th generation, and sometimes even earlier generations, in order to feel the ingenuity of the production and the intent of the expression itself. It is precisely because they have continued to preserve their important works for future generations that I am able to reinterpret and express them, taking into account their background and true meaning. This is the greatest strength of the Soke that has preserved and continued the tradition for 14 generations, and it is the driving force that we hope to pass on to future generations.

Currently, Yuta has spent several years creating and saving his works as the 14th generation and is vigorously preparing for a solo exhibition. While keeping the basics of Hagiyaki under control, he takes on new challenges and devises new ways of expression, sometimes listening to the voices of those with knowledge of the tea ceremony from the perspective of those who use it, and continues to explore the delicate techniques of climbing kiln firing. Because it is the Soke, not only do they respect tradition, but they also create the future of Hagiyaki by passing on the knowledge and know-how they have accumulated as the 14th generation to the young people who will become the 15th and 16th generations, and by evolving and changing the kiln. The tea culture is tapering off due to a declining population and a shift away from classical culture. He believes that the most important thing for the development of Hagi ware is not only to “protect” it, but also to “transmit” it to the world and expand it.

Recently, more and more people have become interested in the tea culture and come all the way from overseas to visit. Yuta has witnessed such an environment. He hopes to create works of art that will move people around the world without words.

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Mr. Yoichi Inoue is the president of “Yamaimo Matsuri Limited,” a company that focuses on the cultivation of jinenjyo (Japanese yam), which is said to be difficult to cultivate artificially, and is dedicated to spreading the stable and high-quality cultivation throughout Japan. What is the appeal that drives Mr. Inoue to spread the use of jinenjyo?

Japanese local food yam

Yams are sold in supermarkets as a matter of course. Its unique stickiness and texture are used for a variety of purposes, and every Japanese person has probably had a taste of it at least once.

Because of its stickiness, it is often grated and eaten as “yam yam,” but it is rare in the world to find a yam that can be eaten raw. Diastase, a digestive enzyme, breaks down some of the starch and allows the food to be digested and absorbed quickly, so it does not upset the stomach when eaten raw.
It has also been called “mountain medicine” since ancient times, and has been used in vegetarian cooking and Chinese medicine for its tonic effects, such as relieving fatigue and strengthening the immune system. It is a generic name for a family of 600 or so species of flowering plants called the yam family. In Japan, varieties such as yam and ginkgo sweet potato are generally distributed as yam (yamatoimo). Despite the name “Yamato,” most of them are non-native species, which is surprising.

Among them, however, there is a type of yam with the scientific name “japonica. That is the “yam,” a species native to Japan. The name comes from the fact that, as the name implies, it grows naturally. In old books, it was described as “naturally growing.

It is said that before rice became the staple food in Japan, yam was the staple food. However, due to its low yield, it has gradually been replaced by an exotic species that is easier to cultivate and has a more stable harvest.

What is the origin of the Yamaimo Festival?

Although agriculture is advancing day by day and methods for growing all kinds of crops have been established, it has been said that it is impossible to grow yam. The reason for this is its low adaptability to the environment. It was difficult to cultivate yam with stable quality because it is an extremely delicate plant and even a slight change in the environment can cause it to rot or lose its viscosity and flavor. One company has spent about 40 years establishing the cultivation of yam. It is Yamaimo Matsuri Limited, located in Shunan City in the eastern part of Yamaguchi Prefecture.

Currently, the company produces and ships approximately 60 tons of high-quality yam annually.

The impressive company name is said to reflect the founder’s wish that “through interacting with many people as in a festival, people will deepen their bonds with each other, appreciate the bounty of nature, and enrich the community and its people. What is the driving force behind the company’s single-minded commitment as a yam specialist, from yam production to sales?

It all started back in the days when the previous generation moved to Tokyo with a yearning for the city. He saw his friends who had grown up in the city go all the way to the mountains on their days off to dig for yams, which gave him a culture shock. From this experience, he wondered if there might be a demand for yam, which is mostly a natural product and whose distribution is far less. He returned to his hometown to work on yam production.

However, since the cultivation method of yam had not yet been established, he spent many days going through trial and error.

The first thing he tried was to create the same environment in the rice paddies as in the mountains. However, this did not go well. Originally, yam grows deep in the mountains, but the cultivation environment at Ya-Maimatsuri was artificially cultivated fields, so the soil was too hard to grow downward. Therefore, the company decided to use corrugated plates as cultivation containers, taking advantage of the natural habit of roots to continue growing underground in a natural environment. The roots were imagined to grow horizontally along the ridges of the corrugated plates.

By using corrugated plates to lay them down, they were able to grow straight sideways along a narrow groove, successfully solving the problem. Since natural yam plants vary in aroma and stickiness from one individual to another, the introduction of artificial technology was an innovative step toward stable productivity and the production of high quality plants.

Incidentally, “root plants” such as yam need to be well drained at all times because they quickly become useless when exposed to water. Corrugated corrugated sheets drain well and do not require much work.

Also, when harvesting yams in the mountains, the soil must be carefully and deeply dug up or the yam may break in the process, making harvesting a difficult task.

Plots with good conditions

The soil in the field where the yam is grown is large for a row of vegetables, with each row 2 m wide and about 60 cm high, and the soil is well applied so that the temperature of the soil where the yam grows does not change much with changes in outside temperature. Unlike mountains, fields grow a variety of crops, so there are various germs in the soil, and if compost is added to the soil to make it grow bigger, gases are released as the microorganisms break it down, which can cause the yam to rot.

Therefore, it is necessary to let the soil rest for about two years to create good soil, and the difficulty in cultivation is that it is not possible to grow consecutive crops. Once, when he had not yet established this know-how, he had about 5,000 rotten plants in one year, which almost broke his heart.

Even so, he still cannot say that he has found the optimal solution for the balance of fertilizers and other ingredients, so each time he tests the effects by measuring, and he is especially careful about the amount of moisture.

Because he is so particular about quality, he repeats thorough growth management and trial and error.

We want more people to taste the yam.

The commercial value of yam is extremely high. While a yam sells for about 1,000 yen per kilo, a yam of the same size costs about 10,000 yen. The taste, aroma, texture, and even the style of the yam are superior to those of ordinary yams, and they have been treated as a luxury item since ancient times.

As a gift, the wild and rich taste, strong stickiness, and the good-looking cane-like curvature of the yam are popular, but the straight, cultivated ones, which are easier to cook with and have less acridity, are in high demand for everyday use.

The cultivated type, which is easier to cook with and has less stain, is in high demand for everyday use. “Because it is grown by hand, it is different from natural yams and less interesting, but when you eat it, you can tell the difference from other yams at a glance. I want people to be impressed by the unique stickiness and aroma of yam, so I will continue my efforts to ensure a stable supply.

With this in mind, he has started a restaurant called “Hatakamen,” which specializes in natural yam and has a processing plant attached, so that as many people as possible can enjoy the delicious taste of yam.

The restaurant offers a special way to enjoy yam in its meals: you can try mixing yam in a mortar and pestle. The experience of mixing yam in a mortar and pestle is very popular, as it allows visitors to experience the aroma and stickiness of the yam. The store also offers potato cheesecake and chiffon cake, which can be enjoyed as a café, creating a relaxed atmosphere where you can fully enjoy the yam.

The yam products they sell are also popular. The fruit on the vine is called mukago, which has the same fiber content as yam and can be eaten with the skin on, so it is best to boil it in salted water as it tastes good when heated.

The original yam noodles in the style of fresh pasta also have a chewy texture and many repeat customers.

The most popular of all is the karinto. At first glance, it may not look like a yam, but the more you bite into it, the more the unique flavor of the yam spreads. Other products include cookies, daifuku (rice cake), and shochu (distilled spirit made from yam and rice).

Even before the term “sixth industry” became popular, we were making efforts to produce processed products. I would be happy if people who are unfamiliar with yam and find it difficult to get their hands on it could enjoy its delicious taste. says Mr. Inoue.

Currently, the supply of yam from Yamaimatsuri is not enough to meet the demand. Of course, while this is seen as a challenge, there is also the belief that there is a need that cannot be met with the current production volume. To meet this need, the company aims to further improve its technology and revitalize the local community and agriculture in order to spread the Japanese native species that has satisfied Japanese palates since ancient times to as many consumers as possible.

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Toyo Bijin, a royal sake loved throughout Japan

Sumikawa Sake Brewery was founded in 1921 in Hagi, Yamaguchi Prefecture. Its representative brand, “Toyo Bijin,” is popular nationwide for its elegant taste with just the right amount of sweetness, stylish label design, and beautiful name. The name “Toyo Bijin” is said by the brewery to reflect the feelings of the founder toward his late wife.

When asked about the motto of the brewery, Mr. Yoshifumi Sumikawa, the fourth generation president and chief brewer, replied, “Making sake the royal way. Today, there are many different types of sake on the market, and there are many different needs. Toyo Bijin, however, does not try to be eccentric, but is strongly conscious of producing sake that it can confidently say is 100% perfect in terms of both taste and quality.

The road to Toyo Bijin’s current popularity was not smooth sailing for Mr. Sumikawa after he returned to his family’s Sumikawa Brewery. He studied brewing at Tokyo University of Agriculture, and during his junior year, he visited the Takagi Shuzo Brewery, where “Jyushiyo” was brewed, for practical training. At the time, “Jyushidai” was already a star product, as Kentao Takagi, a graduate of the same school, had established a “new era of sake” by releasing fruity and fresh sake, rather than the light, dry sake that was the mainstream at the time. While working together at the Takagi Brewery, Sumikawa learned about the unrivaled taste of “Jyushidai” and witnessed Mr. Takagi’s desperate efforts to rebuild the business and put his heart and soul into sake brewing, and was instantly attracted to the brewing business. He returned to his family’s brewery and decided to make his own delicious sake, but at the time, the brewing facilities at the Sumikawa Brewery were not in the best condition, and the business was in severe straits.

Toyo Bijin Restored by Fans

Still, he faithfully followed Mr. Takagi’s teachings and carefully produced sake. Since he could not spend much money on sales, Mr. Sumikawa himself continued to make steady sales trips to sake stores in Tokyo by night bus, carrying his own sake. Thanks to his efforts, word of mouth gradually spread. The brand grew to become a popular brand recognized both in name and reality.

Just as things seemed to be going well, the first floor of the brewery was swept away by a mudslide in the heavy rains that hit the Hagi area of Yamaguchi and Shimane in 2013. The brewery suffered extensive damage, including submerging brewing equipment and losing a large amount of shipping inventory, and was in such a state of crisis that they even considered closing the business. However, after seeing over 1,500 people, including Toyo Bijin fans, related sake retailers, and brewing-related people, volunteer to help out, they were inspired to take action. The following year, in 2014, a new brewery was constructed.

In 2015, the name was changed to “Toyo Bijin ippo” (meaning “a step back from the starting point”), and the sake is still being produced and sold today. In December 2016, three years after the flood, when Russian President Vladimir Putin visited Japan, Toyo Bijin Junmai Daiginjo Ichibancho was served at a meeting in Nagato City, Yamaguchi Prefecture, Prime Minister Abe’s hometown, and was highly praised by Putin. This news excited not only Sumikawa Sake Brewery, but also many of its supporters.

Mr. Sumikawa responded about the future by saying, “I would like to maintain the traditional method of production and brew sake of the highest quality and royal road, which is compatible with both sake quality and quality. Compared to the time when Mr. Sumikawa returned to the brewery, the production scale has increased by about 10 times, and the brewery has grown into a medium-sized sake brewery producing and shipping 2,500 koku (1 koku = 100 bottles of sake) per year. Toyo Bijin” continues to be supported and loved by many people despite the many difficulties it has faced. With advance reservations, visitors can tour the brewery and experience the essence of deliciousness and the indomitable spirit of the brewery.

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Hagi-yaki is a renowned tea ceremony ware that has been described in the tea ceremony as “Ichiraku, Ni-hagi, San-karatsu” (one for Raku, two for Hagi, and three for Karatsu ). The 15th generation of the family, Shinbe Sakakura, is the keeper of this venerable kiln, which has roots that go back more than 400 years to the time of Hagi ware’s inception. He is an artist who continues to challenge new possibilities for Hagi ware with his unique style, using both traditional techniques that bring out the unique charm of Hagi clay and cutting-edge expressions.

The History of Fukagawa Hagi, One of the Old Streams of Hagi Ware

Nagato Yumoto Onsen, located in the mountains of northwestern Yamaguchi Prefecture, almost at the western edge of Honshu, is the oldest hot spring resort in the prefecture, with a history dating back several hundred years to the Muromachi Period. Leaving the hustle and bustle of this popular hot spring resort, which still attracts a constant stream of tourists, visitors can proceed down into the valley to an area called Sounose, where the potters of Fukagawa Hagi, a prestigious Hagi-yaki pottery family, live.

Protecting the kiln for 400 years since the founding of Hagi ware

Hagi ware has its roots in Koryo tea bowls, a type of pottery derived from continental culture when the Sea of Japan was the center of trade. 1605, Terumoto Mori, the ruler of China, invited potters from Koryo (present-day Korea), and for a long time Hagi ware was patronized as the official kiln of the Mori clan (another name for the Choshu clan), and in the mid 17th century, the kiln was established in Hagi In the mid-17th century, the kilns were moved from Hagi Castle to present-day Nagato City and Fukagawa. The Shinbei Kiln here is called “Fukagawa Hagi,” and it is a famous kiln that has continued for 360 years in this Fukagawa area, generation after generation.

Shinbei, the 12th generation, is known for finding new sales channels throughout Japan and preserving the name of Hagi ware for future generations at a time when Hagi ware was in the most difficult situation in its history due to the dissolution of the Choshu domain in the Meiji era and the loss of the feudal lord who had been its largest supplier. He is known as the “founder of the Hagi-yaki revival,” and was a key figure in spreading the name of Hagi-yaki in the modern era, as well as being the grandfather of the current generation.

Hagi Ware Tradition

Hagi ware is characterized by the use of a mixture of three types of clay: the white Daido clay, the reddish Mishima clay, and the iron-rich Mitake clay, all of which are mined in the Hofu City area of Yamaguchi Prefecture. The combination of these three types of clay, which have been used for generations, has many merits. The high content of gravel and sand prevents the clay from hardening, and the “rough” Hagi clay retains its original flavor. In addition, the lightness and ease of use as a tea bowl, as well as the durability and fire resistance of high-temperature firing in a climbing kiln that takes advantage of the steep mountain slopes, are also demonstrated.

The beauty of the surface cracks caused by the difference in shrinkage between the glaze and the clay, called kan-in (penetration), and the “Hagi no shichikake,” or “seven transformations of Hagi,” which refers to the way the bowl changes and grows more beautifully as it is used over the years, as matcha (powdered green tea) soaks into the cracks.

Shinpei-gama has inherited this extremely difficult-to-handle and difficult-to-form clay from generation to generation, and has preserved the “scenery created by the Hagi clay” and “earthy flavor” while maintaining a symbiotic relationship with it and its beautiful contours. In essence, the question continues to be, “Is the clay being used to its fullest potential? In particular, he pursues whether the “earthy flavor” of the clay is expressed in his pottery.

Tsuchiai” refers to the charm of the original clay that is expressed in pottery after firing. It is an expression in which the contrast between the simple and rough texture of the clay and the design of the decoration, such as glossy glaze, brush marks, and clay, is brought out as a synergistic effect of beauty. The power of the Hagi clay and the delicacy of the glaze create an odd contrast that captivates those who hold it in their hands.

As a potter and an artist who has inherited a long tradition

Mr. Shinbei Sakakura, the 15th generation of the current generation, is not only commissioned by tea masters from all over the country who seek tea ceramics of prestigious names, but also has his solo exhibitions held in various places in Japan, gaining popularity. He is a rare artist who creates innovative works of art while preserving the axis of “expressing the charm of clay” of Hagiyaki, which has been cultivated over many years.

In 2013, he was certified as a Yamaguchi Prefecture-designated holder of intangible cultural assets for Hagi-yaki pottery. He continues to create works that elevate the appeal of Hagiyaki to the realm of art, not only as tea ceremony utensils, and continues to propose figurative expressions that give Hagiyaki a new evolution.

His decision to enter the sculpture department of Tokyo University of the Arts was of his own volition, without the pressure of taking over the family business. However, soon after graduation, his father fell ill, and at the age of 29, he succeeded to the family name before he had time to catch his breath. Although he was only able to work in the same kiln with his predecessor, the 14th generation, for a few months in his later years, his three-generation life with his grandfather, Shinbei the 12th, until he was in elementary school, formed the foundation of his career as a ceramic artist. （) The name Sakakura Shinbei XIII was given to his brother Kotaro, the 14th generation, who was killed in battle.

Hagi-yaki lost its largest clientele with the dissolution of the shogunate and domains following the Meiji Restoration. While each kiln needed to find new methods and sales channels, Hagi ware was not well known to the private sector, even in the kiln’s own neighborhood. The 12th generation was born at such a time of decline. Hagi ware was originally positioned as an official kiln of the domain, and it was not until the 12th generation, after the abolition of the domain, that the potter began to stamp his own seal of approval as an artist.

The 12th generation, with his dynamism and foresight, decided that he should send his works to the center of the country and to places with more people, so he would make a piece for six months and then go out with a large baggage for the remaining six months. He spent the remaining six months of the year making artworks, and then spent the rest of the year going out with a large pack on his back.

In particular, he frequently traveled to Kyoto, where the population of the tea ceremony was increasing at the time. He was initiated into the Urasenke school of tea ceremony, and under the guidance of his master, he produced many prestigious tea ceremony utensils as “Sakakura Shinbei” and established his reputation as a tea ceremony hagi (tea ceremony potter). In addition to being an excellent artist, he was also a producer and a great marketer, so to speak.

The influence of the 12th generation was so great that he said, “He has left a form for posterity in the form of his works. I respect him as a potter and as a human being,” he says softly and calmly.

It is precisely because the previous generations understood what the essence of Hagiyaki is, and passed down the tradition of preserving the basic principles, that today we are able to freely express ourselves and take on new challenges.

What is Hagi ware? Continuing to pursue the question “What is Hagi ware?

Hagi ware is popular in the tea ceremony because its minimal decoration and ease of use do not interfere with wabicha, the art of tea ceremony. The soft colors of the glaze, such as gentle white, pale pink, and the typical orange-tinged loquat color, as well as the comfort of holding the bowl, have made it a favorite of all generations. In recent years, Hagi ware has been used not only as matcha bowls, but also as elegant serving vessels for food in restaurants and ryotei (Japanese-style restaurants), as well as for daily use.

Clay: Hagiyaki “Tenohirano Scenery” is interesting precisely because it is nurtured.

In contrast to the beauty of the glossy glaze, Shinpei-gama tea bowls have a heavy appearance at first glance. However, the moment you hold it, you will be surprised at its lightness, and you will feel as if the tea bowl will fit comfortably in your hands.

He says that it is his greatest pleasure to be appreciated and appreciated by people who hold the tea bowls made by the traditional technique, saying, “It feels good in my hands” or “It feels comfortable when I lift it up. He says that the appearance of the tea bowl and the expression it shows when it is wrapped in the palm of one’s hand has a warmth that soothes people.

Kiln: “Improvisation” is the charm of Hagiyaki

Our generation says that the interesting thing about Hagi ware is its “improvability. The one-time use of clay and glaze that makes Hagi tea bowls unique can only be achieved in a climbing kiln, which is the most distinctive feature of Hagi ware. In the climbing kiln, pine firewood filled with oil is used to fire the bowls at a high temperature of 1,200℃ or higher all at once. Various surface changes, or yohen, appear each time the piece is fired, and the way the color appears and the glaze melts changes depending on where the piece is placed in the kiln. The kiln changes that are produced by the complicated kiln conditions unique to the wood-fired climbing kiln are what give the work its deep flavor, as well as the unexpected variations in pattern, color, and surface texture that are characteristic of Hagi’s traditional clay.

Because of this, no two pieces are exactly alike, and many failures occur. It would be better if only half of the pieces he bakes are ready for the world to see. Taking advantage of this feature, he challenges improvisational firing expressions by adding the oddities of firing results by mixing glazes and a further color change technique called “ash covering” during the firing process.

He says smoothly, “I can express yellow when fired with an oxidizing flame, blue when fired with a reducing flame, and the strange mix of colors when fired neutrally,” with a smooth tone that suggests his unstinting creativity and his enjoyment of experimentation.

He expresses the characteristics of Hagi clay and changes in glaze in each and every moment. Perhaps it is our generation that is most attracted to the improvisational charm of Hagi ware, which can be enjoyed as a chemical reaction.

Expression: A radical technique that makes use of Hagi clay as a point of reference

An insatiable pursuit of making the most of the “earthiness” of Hagi ware. This generation wanted to make the Hagi clay stand out even more. This is a form of figurative expression that he began in his 30s. The design of adding fine incisions in the form of stripes adds a roughness to the surface of the clay, while at the same time giving an impression of precision. In the case of his “kakegami” vases, the contrast created by layering two or three different types of glazes on top of the base clay creates a somewhat modern atmosphere.

Painting knives used in oil painting

Painting on Hagi ware was an unusual technique at the time. Flowers were painted not with paint, but with a heaping of decorative clay, and a painting knife was used, which was unusual for ceramics.

He also adopted a technique called zogan (inlaying), in which the clay is pasted on the surface while it is still in the raw drying stage to bring out beautiful pictures in three dimensions, and continued to make prototypes and think about ways to sublimate Hagi clay. The lilies, camellias, and irises that float in the rugged colors of the Hagiyaki base express a natural beauty, as if one’s eyes suddenly come into contact with wild flowers growing wild.

The glassy transparent glaze is applied as thinly as possible to bring out the three-dimensionality of the underlying clay surface and the painted relief-like raised clay, so that the unevenness of the clay appears honestly. In order to dynamically express the beauty of the kiln change, the vessels are placed near the fire and covered with ashes to about half the depth of the vase, creating a rich expression of the vase’s skin and surface. The contrast between the clay and the expression is fascinating.

The Origin of His Creative Motivation and Thoughts for the Future

The current generation hopes for the future of Hagi ware, not only for the family and the kiln itself, but also for the further prosperity of the Hagi ware culture itself. The reason for this is that he considers his grandfather, the 12th generation, who brought Hagi-yaki out of its current predicament and accelerated its popularity, as the starting point for his creative aspirations.

He says he wants to continue to preserve the reputation and dignity of today’s Hagi ware, which was gained through his grandfather’s skills and efforts.

Inheritance and Passing on to the Next Generation

The population of Hagi potters is not large, and there are no specialized schools in the local area, such as the Ceramic Research Institute in Kyoto, so they inevitably go outside the prefecture to study. The diversity of learning gained from studying in Tokyo and Kyoto and engaging in friendly competition with other artists of the same generation has been applied to the expression of Hagi-yaki pottery today. Today, as in the past, he shares his kiln with his eldest son, Masahiro, now in his 16th generation, and his grandchildren can be seen near the kiln.

Exchange with the Raku Family in Kyoto and Further Challenges

In addition to presenting his traditional works as an artist, he also actively promotes his works as crafts and art. A representative example is “Yoshizaemon X (X) Shinbei no Raku: Kichizaemon no Hagi” held at the Sagawa Art Museum in Shiga Prefecture in 2016. Some of you may know that it was a hot topic at the time.

This is an art collaboration between two of the current owners of one of Japan’s most famous kilns. Raku Kichizaemon (Naoiru), the 15th generation of Raku ware artist, happens to be an alumnus of the Raku Ceramics Department of the University of the Arts, and they still have a close relationship, including family dinners. Despite the buzz and attention in the art world, the collaboration of the century took several years to realize, and both Raku and Raku Kichizaemon greatly enjoyed the experience of working with each other’s clay in each other’s kilns. The experience of making things in a fresh environment was full of new discoveries, and it was like returning to the mind of a child. The stimulation of creating and presenting each other’s works in different firing methods, Raku ware and Hagi ware with different shrinkage rates, and in each other’s studio, must have influenced not only the artists themselves, but also their friends who were present, the audience, and above all, the young ceramic artists who came after them.

The phrase ” one million, one heart” is written as“one day, one power, one heart. This phrase has been handed down from generation to generation in the Mori family, and it tells of the importance of everyone working together as one and accumulating all their efforts.

The history of improvement and research by these potters, who had been building up their skills day by day in response to the expectations of users, was passed down to the 15th generation, Shinbei, and now we can hold the kiln in our hands. By knowing the history and background of Hagiyaki, and by using and nurturing Hagiyaki, we may become bearers of history, passing on the dynamism of Hagiyaki to future generations.

The post Shinbei Sakakura, the 15th generation of potter Shinbei Sakakura, who “inherits the scenery that only Hagi clay can produce” / Nagato City, Yamaguchi Prefecture, Japan first appeared on NIHONMONO.

Hagi-yaki is a renowned tea ceremony ware that has been described in the tea ceremony as “Ichiraku, Ni-hagi, San-karatsu” (one for Raku, two for Hagi, and three for Karatsu ). The 15th generation of the family, Shinbe Sakakura, is the keeper of this venerable kiln, which has roots that go back more than 400 years to the time of Hagi ware’s inception. He is an artist who continues to challenge new possibilities for Hagi ware with his unique style, using both traditional techniques that bring out the unique charm of Hagi clay and cutting-edge expressions.

The History of Fukagawa Hagi, One of the Old Streams of Hagi Ware

Nagato Yumoto Onsen, located in the mountains of northwestern Yamaguchi Prefecture, almost at the western edge of Honshu, is the oldest hot spring resort in the prefecture, with a history dating back several hundred years to the Muromachi Period. Leaving the hustle and bustle of this popular hot spring resort, where tourists are still a constant visitor, visitors can proceed into the valley and find the area called Sounose, where the potters of Fukagawa Hagi, a prestigious Hagiyaki pottery family, live.

Protecting the kiln for 400 years since the founding of Hagi ware

Hagi ware has its roots in Koryo tea bowls, a type of pottery derived from continental culture when the Sea of Japan was the center of trade. 1605, Terumoto Mori, the ruler of China, invited potters from Koryo (present-day Korea), and for a long time Hagi ware was patronized as the official kiln of the Mori clan (another name for the Choshu clan), and in the mid 17th century, the kiln was established in Hagi In the mid-17th century, the kilns were moved from Hagi Castle to present-day Nagato City and Fukagawa. The Shinbei Kiln here is called “Fukagawa Hagi,” and is a famous kiln that has continued for 360 years in this Fukagawa location, generation after generation.

Shinbei, the 12th generation, is known for finding new sales channels throughout Japan and preserving the name of Hagi ware for future generations at a time when Hagi ware was in the most difficult situation in its history due to the dissolution of the Choshu domain in the Meiji era and the loss of the feudal lord who had been its largest supplier. He is known as the “founder of the Hagi-yaki revival,” and was a key figure in spreading the name of Hagi-yaki in the modern era, as well as being the grandfather of the current generation.

Hagi Ware Tradition

Hagi ware is characterized by the use of a mixture of three types of clay: the white Daido clay, the reddish Mishima clay, and the iron-rich Mitake clay, all of which are mined in the Hofu City area of Yamaguchi Prefecture. The combination of these three types of clay, which have been used for generations, has many merits. The high content of gravel and sand prevents the clay from hardening, and the “rough” Hagi clay retains its original flavor. In addition, the lightness and ease of use as a tea bowl, as well as the durability and fire resistance of high-temperature firing in a climbing kiln that takes advantage of the steep mountain slopes, are also demonstrated.

The beauty of the surface cracks caused by the difference in shrinkage between the glaze and the clay, called kan-in (penetration), and the “Hagi no shichikake,” or “seven transformations of Hagi,” which refers to the way the bowl changes and grows more beautifully as it is used over the years, as matcha (powdered green tea) soaks into the cracks.

Shinpei-gama has inherited this extremely difficult-to-handle and difficult-to-form clay from generation to generation, and has preserved the “scenery created by the Hagi clay” and “earthy flavor” while maintaining a symbiotic relationship with it and its beautiful contours. The question is whether the clay is being used to its fullest, and whether the texture of the clay is expressed in an attractive way when it is fired. In particular, he pursues whether the “earthy flavor” of the clay is expressed in his pottery.

Tsuchiai” refers to the charm of the original clay that is expressed in pottery after firing. It is an expression in which the contrast between the simple texture and roughness of the clay and the design of the decoration, such as glossy glaze, brush marks, and clay, is brought out as a synergistic effect of beauty. The power of the Hagi clay and the delicacy of the glaze create an odd contrast that captivates those who hold it in their hands.

As a potter and an artist who has inherited a long tradition

Mr. Shinpei Sakakura, the 15th generation of the current generation, is not only commissioned by tea masters throughout Japan who seek tea ceramics from prestigious tea masters, but also has his own exhibitions held throughout Japan, gaining popularity. He is a rare artist who creates innovative works of art while preserving the axis of “expressing the charm of clay” of Hagiyaki, which has been cultivated over many years.

In 2013, he was certified as a Yamaguchi Prefecture-designated holder of intangible cultural assets for Hagi-yaki pottery. He continues to create works that elevate the appeal of Hagiyaki to the realm of art, not only as tea ceremony utensils, and continues to propose figurative expressions that give Hagiyaki a new evolution.

His decision to enter the sculpture department of Tokyo University of the Arts was of his own volition, without the pressure of taking over the family business. However, soon after graduation, his father fell ill, and at the age of 29, he succeeded to the family name before he had time to catch his breath. Although he was only able to work in the same kiln with his predecessor, the 14th generation, for a few months in his later years, his three-generation life with his grandfather, Shinbei the 12th, until he was in elementary school, formed the foundation of his career as a ceramic artist. （) The name Sakakura Shinbei XIII was given to his brother Kotaro, the 14th generation, who was killed in battle.

Hagi-yaki lost its largest clientele with the dissolution of the shogunate and domains following the Meiji Restoration. While each kiln needed to find new methods and sales channels, Hagi ware was not well known to the private sector, even in the kiln’s own neighborhood. The 12th generation was born at such a time of decline. Hagi ware was originally positioned as an official kiln of the domain, and it was not until the 12th generation, after the abolition of the domain, that the potter began to stamp his own seal of approval as an artist.

The 12th generation, with his dynamism and foresight, decided that he should send his works to the center of the country and to places with more people, so he would make a piece for six months and then go out carrying a large baggage for the remaining six months. He spent the remaining six months of the year making artworks, and then spent the rest of the year going out with a large pack on his back.

In particular, he frequently traveled to Kyoto, where the population of the tea ceremony was increasing at the time. He was initiated into the Urasenke school of tea ceremony, and under the guidance of his master, he produced many prestigious tea ceremony utensils as “Sakakura Shinbei” and established his reputation as a tea ceremony hagi (tea ceremony potter). In addition to being an excellent artist, he was also a producer and a great marketer, so to speak.

The influence of the 12th generation was so great that he said, “He has left a form for posterity in the form of his works. I respect him as a potter and as a human being,” he says softly and calmly.

It is precisely because the previous generations understood what the essence of Hagiyaki is, and passed down the tradition of preserving the basic principles, that today we are able to freely express ourselves and take on new challenges.

What is Hagi ware? Continuing to pursue the question “What is Hagi ware?

Hagi ware is popular in the tea ceremony because its minimal decoration and ease of use do not interfere with wabicha, the art of tea ceremony. The soft colors of the glaze, such as gentle white, pale pink, and the typical orange-tinged loquat color, as well as the comfort of holding the bowl, have made it popular among all generations. In recent years, Hagi ware has been used not only as matcha bowls, but also as elegant serving vessels for food in restaurants and ryotei (Japanese-style restaurants), as well as for daily use.

Clay: Hagiyaki “Tenohirano Scenery” is interesting precisely because it is nurtured.

In contrast to the beauty of the glossy glaze, Shinpei-gama tea bowls have a heavy appearance at first glance. However, the moment you hold it, you will be surprised at its lightness, and you will feel as if the tea bowl will fit comfortably in your hands.

He says that it is his greatest pleasure to be appreciated and appreciated by people who hold the tea bowls made by the traditional technique, saying, “It feels good in my hands” or “It feels comfortable when I lift it up. He says that the appearance of the tea bowl and the expression it shows when it is wrapped in the palm of one’s hand has a warmth that soothes people.

Kiln: “Improvisation” is the charm of Hagiyaki

Our generation says that the interesting thing about Hagi ware is its “improvability. The one-time use of clay and glaze that makes Hagi tea bowls unique can only be achieved in a climbing kiln, which is the most distinctive feature of Hagi ware. In the climbing kiln, pine firewood filled with oil is used to fire the bowls at a high temperature of 1,200℃ or higher all at once. Various surface changes, or yohen, appear each time the piece is fired, and the way the color appears and the glaze melts changes depending on where the piece is placed in the kiln. The kiln changes that are created by the complex in-furnace conditions unique to the wood-fired climbing kilns are what give Hagi’s traditional clay its characteristic, unexpected patterns, colors, and surface texture variations, and deepen the flavor of the work.

Because of this, no two pieces are exactly alike, and many failures occur. It would be better if only half of the pieces he bakes are ready for the world to see. Taking advantage of this feature, he challenges improvisational firing expression by adding the oddities of firing results from glaze mixing and a further color change technique called “ash covering” during the firing process.

He says smoothly, “I can express yellow when fired with an oxidizing flame, blue when fired with a reducing flame, and the strange mix of colors when fired neutrally,” with a smooth tone that suggests his unstinting creativity and his enjoyment of experimentation.

He expresses the characteristics of Hagi clay and changes in glaze in each and every moment. Perhaps it is our generation that is most attracted to the improvisational charm of Hagi ware, which can be enjoyed as a chemical reaction.

Expression: A radical technique that makes use of Hagi clay as a point of reference

An insatiable pursuit of making the most of the “earthiness” of Hagi ware. The artist’s generation wanted to make the Hagi clay stand out even more. This is a form of figurative expression that he began in his 30s. The design of adding fine incisions in the form of stripes adds a roughness to the surface of the clay, while at the same time giving an impression of precision. In the case of his “kakegami” vases, the contrast created by layering two or three different types of glazes on top of the base clay creates a somewhat modern atmosphere.

Painting knives used in oil painting

Painting on Hagi ware was an unusual technique at the time. Flowers were painted not with paint, but with a heaping of decorative clay, and a painting knife was used, which was unusual for ceramics.

He also adopted a technique called zogan (inlaying), in which the clay is pasted on the surface while it is still in the raw drying stage to bring out beautiful pictures in three dimensions, and continued to make prototypes and think about ways to sublimate Hagi clay. The lilies, camellias, and irises that float in the rugged colors of the Hagiyaki base express a natural beauty, as if one’s eyes suddenly come into contact with wild flowers growing wild.

The glassy transparent glaze is applied as thinly as possible to bring out the three-dimensionality of the underlying clay surface and the painted relief-like raised clay, so that the unevenness of the clay appears honestly. In order to dynamically express the beauty of the kiln transformation, the vessels are placed near the fire and covered with ashes to about half the depth of the vase, creating a rich expression of the vase’s skin and surface. The contrast between the clay and the expression is fascinating.

The Origin of His Creative Motivation and Thoughts for the Future

The current generation hopes for the future of Hagi ware, not only for the family and the kiln itself, but also for the further prosperity of the Hagi ware culture itself. The reason for this is that he considers his grandfather, the 12th generation, who brought Hagi-yaki out of its difficult situation and accelerated its popularity, as the starting point for his creative aspirations.

He says he wants to continue to preserve the reputation and dignity of today’s Hagi ware, which was gained through his grandfather’s skills and efforts.

Inheritance and Passing on to the Next Generation

The population of Hagi potters is not large, and there are no specialized schools in the local area, such as the Ceramic Research Institute in Kyoto, so they inevitably go outside the prefecture to study. The diversity of learning gained from studying in Tokyo and Kyoto and engaging in friendly competition with other artists of the same generation has been applied to the expression of Hagi-yaki pottery today. Today, as in the past, he shares his kiln with his eldest son, Masahiro, now in his 16th generation, and his grandchildren can be seen near the kiln.

Exchange with the Raku Family in Kyoto and Further Challenges

In addition to presenting his traditional works as an artist, he also actively promotes his works as crafts and art. A representative example is “Yoshizaemon X (X) Shinbei no Raku: Kichizaemon no Hagi” held at the Sagawa Art Museum in Shiga Prefecture in 2016. Some of you may know that it was a hot topic at the time.

This is an art collaboration between two of the current owners of one of Japan’s most famous kilns. Raku Kichizaemon (Naoiru), the 15th generation of Raku ware artist, happens to be an alumnus of the Raku Ceramics Department of the University of the Arts, and they still have a close relationship, including family dinners. Despite the buzz and attention in the art world, the collaboration of the century took several years to realize, and both Raku and Raku Kichizaemon greatly enjoyed the experience of working with each other’s clay in each other’s kilns. The experience of making things in a fresh environment was full of new discoveries, and it was like returning to the mind of a child. The stimulation of creating and presenting each other’s works in different firing methods, Raku ware and Hagi ware with different shrinkage rates, and in each other’s studio, must have influenced not only the artists themselves, but also their friends who were present, the audience, and above all, the young ceramic artists who came after them.

The phrase ” one million, one heart” is written as“one day, one power, one heart. This phrase has been handed down from generation to generation in the Mori family, and it tells of the importance of everyone working together as one and accumulating all their efforts.

The history of improvement and research by these potters, who had been building up their skills day by day in response to the expectations of users, was passed down to the 15th generation, Shinbei, and now we can hold the kiln in our hands. By learning about the history and background of Hagi ware and using and nurturing it, we may become bearers of history, passing on the dynamism of Hagi ware to future generations.

The post Shinpei Sakakura, the 15th generation of potter Shinpei Sakakura, who “inherits the scenery that only Hagi clay can produce” / Nagato City, Yamaguchi Prefecture, Japan first appeared on NIHONMONO.

Asahi Shuzo Co., Ltd. has ignited the sake boom not only in Japan but also overseas. The company is best known for its famous sake Ottersai. Ottersai” has made great strides in unconventional ways as a sake brewer and continues to be loved both in Japan and abroad, and it seems to have reached its zenith.

Sake Brewing: Turning Pins into Opportunities

Iwakuni City is located in the eastern part of Yamaguchi Prefecture. As you drive through the mountains on Prefectural Route 5, a 12-story building suddenly appears. This modern brewery, unusual for a sake brewery, was established in 1770 and has a history of more than 200 years . It is here that the world-famous sake Ottersai is made.

Hiroshi Sakurai, the current chairman and creator of Otters, worked for a major sake brewer after graduating from university. He then joined Asahi Sake Brewery, but due to differences of opinion with his predecessor, he left the company at one point to run a stone business.

In 1984. However, Japan was in the midst of an unprecedented shochu boom, and sales of sake plummeted. In this era, sake was sold cheaply and consumed in large quantities. The Asahi Fuji, the signature product at the time, was not selling well, and the Asahi Shuzo’s business was declining year by year. Despite efforts to do something about it, local wholesalers would not take the company seriously.

However, Mr. Sakurai, faced with this major crisis, began to sort out the essential problems of sake brewing, one by one.

The Birth of “Otters” – Truly Delicious Sake

The company’s strategy for survival was to create “truly delicious sake. A sake brewery with no name recognition in rural Yamaguchi had no chance if it tried to compete with the thin profit margins that were the mainstream in the sake industry at the time. The sake brewery chose “Junmai Daiginjo” because of its high unit price and appealing value.

Sake is classified according to the ingredients and the ratio of polished rice. Among these, junmai daiginjo is made from only rice, rice malt, and water.

It is made by fermenting rice with a milling ratio of 50% or less for a long period of time at a low temperature, and is characterized by the original flavor and richness of the rice and a sweet, fruity aroma known as ginjo kojo. The low-temperature, slow maturation process is costly and time-consuming, resulting in a higher price for sake. The aim is to raise the value of the product by producing a valuable and delicious sake.

However, no matter how good the sake is, people will not pick it up if it is still called Asahi Fuji. A new brand was needed. The name of the place where the brewery is located, Osogoe, comes from an old legend that an otter crossed the mountain and came here.

There was a Chinese legend called “ottersai,” which originated from the unique behavior of otters in laying out their catch on the riverbanks, which looked like enshrining (=sacrificing) offerings to the gods and Buddha. We decided to name the brewery “Otters” after one of the haiku names of Masaoka Shiki, who revolutionized the literary world during the Meiji period, “Ottersho-ya Shojin” (Ottersho-ya: master calligrapher), as it was the perfect name for the sake we were trying to brew innovatively from deep in these mountains.

The Struggle to Create Truly Delicious Sake

However, although he had worked for a major sake brewer after graduating, he was a complete novice in the art of sake brewing. Therefore, he tried everything he could, including visiting breweries with good reputations and imitating ginjo-shu, which is said to be very tasty. The toji brewed sake based on the information Mr. Sakurai had gathered, quantified everything, and repeated trial and error based on the data. A university professor even scolded him, saying that mass-producing junmai daiginjo was an affront to the toji’s feelings, but there is no greater strength than experience.

Finally, in 1990, after six years of work, they were able to sell junmai daiginjo-shu with rice polishing ratios of 50% and 45%. Until the completion of the brewery, “we had to endure the hardships of crawling on the ground,” Mr. Sakurai recalls. Mr. Sakurai recalls his efforts.

From the beginning of the development, he had decided to focus on the Tokyo market. It was obvious to him that sales would taper off in the small local market. Mr. Sakurai himself actively engaged in sales activities by visiting liquor stores and restaurants. At the time of the launch, the bubble economy had just burst, and izakayas (Japanese-style pubs) were beginning to replace closed bars and other establishments in prime areas of Ginza. We were lucky that many of them favored high-priced sake such as Otters. As word of Otters gradually spread among Yamaguchi Prefecture residents in Tokyo, more and more restaurants began to carry the brand, and it got off to a good start.

The Challenge of Making an Industry-Leading Junmai Daiginjo

The sake industry has long delivered products to consumers such as restaurants through wholesalers, and the relationship with wholesalers has greatly influenced the volume of sales. The reality was that the sake that sold well was not necessarily the sake that consumers were looking for.

However, if things continue as they are, the sake industry will continue to decline. Mr. Sakurai, who was rethinking the old system and thinking of ways to deliver truly delicious sake to as many people as possible, decided to start direct dealings with only those sake retailers who would sell the sake they made in proper conditions. He also spared no pains to have his employees visit sales outlets across the country to check the sales environment. They saw with their own eyes and experienced firsthand what the market was like.

Good sake can be found anywhere in Japan. In order to strongly emphasize their own selling point, the next challenge was to develop a junmai daiginjo called “Otter Festival Polishing 20% to 30%,” which boasts an industry-leading rice polishing rate of 23%.

Thorough labor and cost

By using brown rice with 77% of the surface removed, it is possible to express a clear flavor with no cloying taste and a profoundly delicious taste. However, this was not an easy task. If the rice is too polished, it tastes uninteresting.

For this reason, we repeated verification in every detail, including work that is more reproducible using machines and delicate work that can only be done by human hands. We have thoroughly gone through and improved the efficiency, the leading lines, and the subtle changes.

In addition, all rice used is Yamada-Nishiki.

Yamada-Nishiki is characterized by its low fat and protein content, and its large grain size, which makes it easy to polish. It is also highly water absorbent, which makes it easy to produce good koji, and is so well-balanced that it is considered the king of sake rice, making it easy to produce sake that reflects the brewer’s intentions.

However, even the same rice can absorb water differently depending on the field from which it was harvested, so the rice is washed by hand to accommodate the subtle differences.

In addition, when moving steamed rice to the floor, the rice is carried by hand to prevent moisture imbalance and changes in rice quality.

Since koji production is said to affect more than 50% of sake brewing, the condition of the koji is analyzed by machine every day and fine adjustments are made by hand.

Otters Polishing and Twenty-Three Percent Polishing” is the result of a balance between man and machine.

The one and only junmai daiginjo “Ottersai Polished 20% Sanbu” was created by balancing human experience and intuition with data and machines, and has become Asahi Shuzo’s golden signature.

The unique junmai daiginjo “Otter Festival: Polishing 20% Sanbun” became Asahi Shuzo’s gold standard. With its fruity flavor and lack of cloying taste, it was accepted by young people and women who had never drunk sake before, and the company’s business grew dramatically. The company’s pursuit of “making sake that we think tastes good” was accepted by the market.

The company did not do any flashy publicity for the Otters brand, but rather valued its origins. This approach to sake brewing slowly became known by word of mouth, and as the media began to pick up on it, the reputation of the company grew, and the brand became extremely well known and powerful.

The Farewell to the Toji System Behind the Success of Sake Brewing

Sake brewing is generally a seasonal job, and in most cases, brewers come to work only during the brewing season and return to their main jobs, such as farming, after the brewing season is over. In some cases, the brewers could not participate in the brewing process until they had finished their main job, which was not very flexible and sometimes hindered the freedom of the brewers to make sake. The aging of the workforce has also become an issue, and in order to pass on the Toji’s skills, which belong to the individual, it is necessary to pass the baton to younger, more talented people.

However, stable year-round employment is a prerequisite for this. Mr. Sakurai decided to enter the microbrewery business in 1999, believing that he could secure stable employment for his staff if there were jobs available during the summer months. He thought that if he could combine the busy summer production of microbreweries with the winter production of sake, he would be able to create year-round employment and recruit young people for the manufacturing sector.

However, the business failed after only three months and they were saddled with a large amount of debt. The veteran toji, who had heard rumors of the brewery’s financial difficulties, left the brewery that year.

Forced to make sake on his own, Mr. Sakurai decided to take on the role of toji himself and start producing junmai daiginjo with five employees taking over the brewery’s brewery staff. Fortunately, the trend of the times was toward sake brewing that did not rely on a toji, and Mr. Sakurai began to compile a manual based on the data he had accumulated. Once he started brewing sake without a toji based on the manual, it became possible for him to have unprecedented freedom of thought, such as “I would like to make this kind of sake. This led Mr. Sakurai to change to four-season brewing so that sake could be made year-round. As a result, he is now able to employ people year-round, and is hiring younger generations.

What is truly delicious sake?

The brewery had previously exceeded its production capacity, so it took 10 years to build a rice mill, a new warehouse, a new refrigerator, and a second warehouse. 2015 saw the completion of the 12-story main warehouse.

The company wanted to build along the bushes, but it was difficult to secure a large enough flat area to build a brewery, so it had no choice but to extend vertically. However, this increased production efficiency, and production capacity exceeded 4 million bottles per square meter. Asahi Sake Brewery, once one of the lowest-selling breweries in its hometown of Iwakuni, was ranked in the top 10 sake breweries in terms of sales in FY2016, becoming a major sake brewer in both name and reality.

Asahi Sake Brewery currently employs more than 170 production staff out of a total of 240 employees. The average age of the employees is a surprising 28 years old. The young power comes not only from the local area, but also from all over the country. Of course, they are conscious of maintaining a balance by bringing in experienced workers for positions where experience is of the essence.

Mr. Sakurai smiles as he explains that the system was created to provide a professional environment for sake brewers to gain experience, a system that was not bound by the old rules, but was created through the clumsy efforts of the brewery.

Everyone starts out as an amateur. He says that everything in this world is subject to change, and he is still in the process of evolving so that he can pursue and provide delicious food even as things change.

Things that should be changed because they are important

Mr. Sakurai says that he thinks in this way. If we want to carry on the traditional methods and culture that have been handed down from generation to generation, we should not just do it out of inertia, without considering the reasons for doing so. Because they are important, they must evolve.

With this in mind, he started the “Yamada Nishiki Beyond the Best Project,” a contest held for Yamada Nishiki farmers throughout Japan under contract with Asahi Shuzo in the hope that it will encourage sake rice farmers to dream. The contest is titled “Challenge to surpass the Yamada-Nishiki of the past.

The winner will receive 500,000 yen per bale, 25 times the market price. 50 bales (3 tons) or more is the minimum entry unit, so the actual prize money will be more than 25 million yen.

The rice that wins the contest will be used to make Otters’ top-quality sake. This contest has led to the production of “Yamada Nishiki for Otters” in regions that have not actively produced Yamada Nishiki in the past. This has created a new wind in the environment surrounding Yamada-Nishiki and has created a virtuous cycle that enables good sake brewing.

Toward World Recognition of Japanese Sake

The Challenge of Local Production in New York

A bottle of Romanée Conti, a well-known luxury wine, costs more than 1 million yen. Sake is no less valuable. However, in order to have its value recognized, it was necessary to let the industry as a whole and consumers alike know that there is a climate in which sake is appreciated even if the price is high. Mr. Sakurai believed that a shortcut to this end would be to have Otters recognized in overseas markets.

In the early 2000s, when Otters was just getting off the ground, Mr. Sakurai heard that there were many repeat customers of Otters at Japanese restaurants in New York. Anticipating the declining population in Japan, he began to expand the market overseas around 2003. Starting in Taiwan and steadily expanding to the U.S. and France, Otter’s name recognition continued to climb the stairs to world-class status, as he had hoped.

In 2018, the company also collaborated with French master Joel Robuchon in Paris. By 2022, Otters will be shipped to approximately 30 countries, and the world will continue to recognize its legitimate value as “delicious sake.

The next challenge is local production in the United States. In 2019, the company will begin construction of a sake brewery in New York City, with the goal of producing sake locally and not for export so that people can drink truly delicious sake. They plan to have a production capacity of 7,000 koku (700,000 bottles).

They want to create a system that can instantly grasp and respond to market changes and demands that can only be sensed when they are in the United States.

Thoughts on the Future

I am a runner who is three laps behind. I have been running straight and earnestly, clumsily. Success is the luck of the hour, but I think it is necessary to choose something that has a high probability of success. I want to continue to make delicious sake that involves the world and makes people happy,” Sakurai says.

My dream is to make sake on the moon. His carefree smile has a mysterious power to convince us that it is not only the taste of sake, but also his unconventional passion for sake brewing that has attracted so many people.

The post The Asahi Shuzo Brewery, which produces the famous sake “Otters” loved around the world, is aiming for a better future / Iwakuni City, Yamaguchi Prefecture first appeared on NIHONMONO.

Sake Made with great care using wooden tanks

Sakaishuzou is a sake brewery located in the city of Iwakuni in Yamaguchi Prefecture founded in Meiji 4. At Sakaishuzou, they use underground water from “Nishikigawa” the largest clear water river in Yamaguchi Prefecture, sake brewing rice “Yamada Nishiki”, and skills of master craftsmen. This is the trinity which combines to create “the sake of Iwakuni”. They also use wooden tanks instead of ordinary tanks. “Kitaruzukuri” means sake made in wooden tanks instead of steel tanks with enamel coating. Temperature control is difficult in the wooden tanks, but it results in a distinctive flavor.

Different results even with the same conditions

Large wooden tanks line the ”sake” cellar. We climbed a ladder placed against one of them and looked inside. “The mixed aroma of wood and yeast is quite something.” Said Nakata surprisingly. “Even in the same tank, we may get ”sake” with an elegant aroma or a rough and flamboyant aroma. That’s what makes it interesting.” SaysToji and director. Asked if there is a difference between ”sake” made in wooden tanks from those using enamel tanks, using the same rice and water, he answered, “It “wood” make a difference. It could just be a matter of image, but ”sake” made in a wooden tank has more of a comfortable image. It’s easy to make ”sake” just for the sake of getting drunk, but everyone here knows that it’s more interesting to make ”sake” through hard work.”

Introducing sake to the world along in line with the expansion of Japanese cuisine

We tasted ”Gohashi Kiwami Denshin Kimoto Kitaru Zukuri, Junmai Daiginjo” which won 1st prize in the “Free-style Category”. Nakata nodded and commented while checking its taste, “kitaru zukuri” ”sake” has the image of being a light tasting ”sake”, but this has full body.” “The method of “kitaru zukuri” has a long history. Its brewing technique had already been established in the Edo period. There’s so much to be discovered and learned from making many types of ”sake” today.” Said President and Representative Director. Hideki Sakai . On the topic of overseas expansion, Sakai commented, “Population is decreasing in Japan but increasing overseas. Along with the expansion of Japanese cuisine, I believe ”sake” can be competitive in the world market.” Sakai and Nakata discussed the prospects of sake.

The post Sake Made in Wooden Tanks “Gohashi Kiwami Denshin Kimoto Kitaru Zukuri, Junmai Daiginjo” first appeared on NIHONMONO.

Renovated Accommodation to enjoy Self-sufficient Lifestyle

Driving along the shoreline of clear blue sea and mountains with rows of windmills, we spotted an old house built about 100 years ago.
It is the self-sustaining inn “Hyakushoan” introduced to us by Nagayama, ”Toji” of Nagayama Honke Shuzojo. At Hyakushoan, salt is made by a special method “Tenchi Gaeshi” (deep plowing to reverse top with bottom), a tradition dating back to the Muromachi period.
“Hyakushoan” was an old residence that had been abandoned for about 30 years, which the owners spent 2 years to renovate into an accommodation facility. Since the husband loves to travel around Asia, it is filled with artifacts from various parts of Asia. The inn has other places of interest such a room where Chinese tea, the wife’s hobby, can be enjoyed, and a hand built traditional Japanese-style bath called “goemonburo”.

Discovering Traditional Salt Making

The name of the traditional salt is “Farmer’s Salt” which is available for purchase at Hyakushoan.
The mineral content in the salt would not be the same as in the original seawater if seawater is made by merely boiling seawater. To prevent this from happening, the special “mixing” procedure “tenchi gaeshi” is performed, to create salt with the exact same mineral content as the sea water.
The theme of the way of life at Hyakushoan is “to self-produce necessities of life as much as possible”. Surrounded by the things they love, and not being obsessed with money, producing just enough vegetables and rice to eat, and making salt, it seems to be a very natural human lifestyle.

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