Izumo Taisha is known as the shrine of matchmaking. The massive shimenawa rope displayed in its Kagura Hall is an iconic sight that draws visitors’ eyes upward. The organization responsible for crafting this grand shimenawa is the Tonbara Branch of the Izumo Taisha Kan’no-kō Society, located in Iinan Town, Shimane Prefecture. The craft of shimenawa-making, which supports this land of myth, has been passed down as a source of pride for the town.

Giant Shimenawa Ropes Crafted in a Mountain Village Workshop

Iinan Town, located in Shimane Prefecture, is surrounded by the mountains of the Chugoku Range. It is a quiet place where snow falls in winter and is blessed with clear water and fertile fields. The “Izumo Taisha Kanno-kōsha Tonbara Branch” is responsible for crafting the large shimenawa (sacred straw ropes) at the “Oshimenawa Creation Hall” in the town. Mr. Wada serves as the branch’s representative, supporting the long-standing tradition of offering these ropes in this region.

The Tradition of Making Shimenawa Passed Down in the Mountains

The Tonbara Branch of the Izumo Taisha Agricultural Promotion Society is responsible for crafting one of the largest sacred straw ropes in Japan. Its destination is the Kagura-den Hall at Izumo Taisha, which attracts worshippers from all over the country. It measures approximately 13.6 meters in length and weighs about 5 tons. Its sheer scale is so impressive that first-time visitors instinctively stop in their tracks and look up in awe. However, the place where this magnificent shimenawa is created is a workshop located in a mountain village, far removed from the hustle and bustle of the tourist area.

The Connection Between the Giant Shimenawa and Iinan Town

The connection between Iinan Town and the giant shimenawa dates back to the 1950s. At that time, a branch of Izumo Taisha was located in the area. It is said that, as a result of this connection, local residents and worshippers began crafting shimenawa to dedicate to the shrine.

Later, in 1981, when the Izumo Taisha Kagura Hall was constructed, a request was made to create a new shimenawa. The result was a massive shimenawa measuring approximately 13.6 meters in length. To create a shimenawa of a size befitting the Kagura Hall, local residents joined forces to undertake the project. Work on the shimenawa continued, moving from the auditorium of Tonbara Elementary School to the gymnasium of the junior high school. Finally, in 2015, the “Great Shimenawa Creation Hall” was completed as a dedicated facility for shimenawa production.

The “Great Shimenawa Creation Hall,” which preserves the tradition of shimenawa to this day

Essentially, shimenawa serve as a “barrier” separating the realm where deities dwell from the world in which we live. Since ancient times, they have been displayed at shrines, household altars, and home entrances, becoming deeply ingrained in Japanese daily life. At the “Oshimenawa Creation Museum,” visitors can view photographs and materials that trace the history of shimenawa and learn about the local tradition of shimenawa-making that has been passed down through the generations.

Shimenawa woven with skilled craftsmanship

As you proceed further inside, a workshop opens up before you. There, artisans are busy weaving shimenawa ropes. Some weave, others prepare the core, and still others craft small components. The work progresses as each person fulfills their specific role. The scent of dried rice straw fills the air, and the soft sound of twisted straw bundles echoes quietly. The artisans take the straw in their hands and twist it with all their strength, shaping it into a single rope.

At first glance, making shimenawa may seem like a simple task, but creating ropes of uniform thickness requires skilled craftsmanship. How much force to apply when tightening the bundles of straw, and at what angle to twist them together—these nuances are acquired through years of experience.

Making a giant shimenawa to be hung at the Kagura Hall

While the creation of standard shimenawa ropes usually takes place in the back room of the Creative Center, the atmosphere inside changes dramatically when crafting the giant shimenawa to be hung at the Kagura Hall of Izumo Taisha. To create this massive rope, which measures approximately 13.6 meters, the entire building is utilized for the production process.

The giant shimenawa is not made from a single rope. It is completed by braiding multiple thick ropes and combining them. The process of bundling straw, twisting it together, and then assembling the structure requires a great deal of time and manpower.

Rice cultivation for rope-making also takes place in Iinan Town

The production of the giant shimenawa begins in the spring, with the rice planting. The basic principle is to use materials produced locally in Iinan Town, and there are rice paddies within the town specifically designated for shimenawa. The variety of glutinous rice grown here is called “Akaho Mochi.” It is stickier than ordinary glutinous rice and is characterized by its resistance to breaking when twisted into a rope. Such sturdy rice is essential for making massive ropes like the giant shimenawa.

Unlike rice grown for consumption, the rice used for shimenawa is harvested before the grains mature. This is because the stalks, while still green and with strong fibers, produce a stronger and more beautiful rope. The harvested rice is dried, bundled, and eventually twisted into rope. Freshly made shimenawa retains a faint hint of the rice’s green hue. Over time, the color fades, eventually transforming into the familiar, subdued brown seen at shrines.

The Kagura Hall will be renovated this summer

Toward the end of the production process, there is a stage known as “grand twisting.” This involves bundling together numerous thick ropes and twisting them into a single, massive rope. Since this is difficult to accomplish with machinery alone, it requires the combined strength of many people. In Iinan Town, volunteers are recruited to participate in this stage, and local residents and other willing helpers work together to complete the rope. It is said that a total of 800 people are involved in the creation of the giant shimenawa. The massive shimenawa is completed not only by the craftsmen but also through the efforts of the townspeople.

Shimenawa Making: From Iinan Town to the Whole Country

Once the craft center was established and the production process was opened to the public, the technique gained widespread recognition. Today, the center reportedly receives orders for shimenawa from shrines and facilities across Japan, as well as from overseas.

As a result, shimenawa production continues year-round at the center, even during periods when large shimenawa are not being made. The ropes come in a variety of sizes and serve various purposes; from those displayed at shrines to those used for decorating public facilities, the ropes woven in Izumo are shipped to locations all over the country.

Sharing our local pride with all of Japan and future generations

“Making shimenawa is a source of pride for this region,” says Mr. Wada. The shimenawa-making techniques developed here in Iinan Town have now spread throughout the country, becoming an integral part of places of worship across Japan.

At the same time, Iinan Town is facing an aging population. How to pass on the art of shimenawa-making to the next generation is a major challenge. Nevertheless, even today, straw is being bundled and ropes are being twisted in this town. This traditional craft, along with the pride of the community, is being passed down to all corners of Japan, overseas, and into the future.

The post The Tradition of Shimenawa Making Passed Down in Iinan Town, the Birthplace of Japan’s Largest Shimenawa—Izumo Taisha Kan’nōkōsha Tonbara Branch / Iinan Town, Shimane Prefecture first appeared on NIHONMONO.

Located on the main island of Okinawa, in Naha City, Shuri is a district known for its particularly historic, old-fashioned streetscape. Right in the heart of Shuri Castle, Tamanaha Miso Shoyu has been crafting miso for 170 years. Using the same methods as when the company was founded, they continue to produce their miso through natural fermentation in well-seasoned wooden barrels.

A miso brewery in Okinawa that makes its own miso from scratch using koji—a rarity even in Okinawa

Until about 120 years ago, Okinawa was a single kingdom known as Ryukyu. Shuri, home to Shuri Castle, served as the capital of the Ryukyu Kingdom. This area was once lined with samurai residences. In fact, it was here—on the site of a former samurai residence—that Tamanaha Miso & Soy Sauce began producing miso and soy sauce between 1855 and 1860, during the final years of the Ryukyu Kingdom.

The koji mold that survived the ravages of war

As you walk up the hill, you’ll come across an old stone wall that exudes a sense of history. This imposing, stately wall dates back to before the war. Although the building itself was destroyed during the Battle of Okinawa, the pillars that survived the fire were preserved in an air-raid shelter, and it is said that the koji mold that grew on them helped preserve the distinctive flavor of Tamana.

Even within Okinawa Prefecture, miso breweries that make miso from scratch using koji are rare. Although they used to brew soy sauce as well, production was suspended about 10 years ago due to aging equipment.

Even after the transition to U.S. military rule, there were reportedly quite a few breweries producing miso and soy sauce in Shuri alone. However, following the reversion to Japanese sovereignty in 1972, products from outside the prefecture flooded the market, causing most of these breweries to go out of business.

The “entirely handmade” miso-making tradition upheld by the fifth-generation master

The current head of Tamana Miso Shoyu is Yumi Oshiro, the sixth-generation head of the family. She is the eldest daughter of Arinori Tamana, the fifth-generation head, who passed away in April 2025.

Brewed in well-seasoned wooden barrels, with careful maintenance

We use traditional wooden barrels to make our miso. We mix steamed whole soybeans with rice koji and Okinawan sea salt, then allow the mixture to ferment and mature.

As he opened the door to the koji room, a wave of muggy air poured out. Inside the room, where the temperature hovered around 36°C due to the fermentation of the koji, the plant manager was intently studying the rows of koji boxes lined up before him.

The photo shows the starter culture prepared two days ago. The rice koji, made from domestic rice used in the company’s miso, turns yellowish about four days after the starter culture is added. As fermentation progresses further, the temperature inside the fermentation room reportedly reaches around 40°C.

In Okinawa’s hot and humid climate, microorganisms are highly active, making fermentation progress more easily than on the mainland. After fermenting and aging for about 3 to 4 months in the summer and 6 to 7 months in the winter, the miso is ready.

Our signature product, “Dyōcho Miso,” is made with soybeans from Kyushu. It has a mellow flavor with a subtle sweetness from the rice and soybeans. We also produce “Shuri Miso,” made with soybeans from overseas; “Uchin Miso,” which contains turmeric; and “Special Selection Miso,” a blend of rice and barley miso.

In addition to selling directly from their store, they have sold their products at local supermarkets and online. At one point, production couldn’t keep up with demand, and they had to stop accepting new online orders, but they have now resumed sales at a pace of once or twice a month.

“Our miso costs 1,000 yen, but there are people who are willing to pay 1,200 yen in shipping just to buy it from the mainland. We’re truly grateful,” says Yumi.

The ideal environment for bacteria

Okinawa, where temperature fluctuations are relatively mild throughout the year, provides an ideal environment for bacterial activity. Inside large barrels, lactic acid bacteria and yeast are actively at work as the miso matures. The rows of well-worn barrels may be misshapen or have leaks, but they are carefully repaired time and again to ensure they can be used for as long as possible. By minimizing the need to replace them, the shop has preserved the same flavor it has offered since its founding.

Although they could have opted for easier-to-maintain enamel or reinforced plastic tanks, they chose to keep the wooden one because wood provides excellent insulation and heat retention, allowing it to maintain a consistent temperature regardless of the weather. As a result, they have been carefully maintaining and using it for decades.

Even though production can’t keep up with demand, we never compromise on efficiency; we continue to follow the traditional methods that have been carefully preserved over the years.

Although Tamanaha Miso and Soy Sauce remains in short supply, we ensure a steady supply of our miso for the school lunches at a nearby daycare center. We support the daycare’s food education program and want the children to grow up eating local foods made right here in our community.

New wooden barrels for the first time in 80 years

In fact, in February 2026, we just acquired a brand-new wooden barrel for the first time in 80 years. Crafted by one of the few remaining traditional wooden barrel makers on the mainland—a profession that is becoming increasingly rare in Japan—it was assembled using no metal whatsoever, relying solely on cedar planks, bamboo nails, and a bamboo hoop. We are now beginning to brew miso in this brand-new wooden barrel, which is said to last for 100 years.

Miso is a fermented seasoning that represents Japan’s proud culture of fermentation. Nationwide, the number of miso breweries that make miso from scratch using koji has dwindled, and those that ferment it in wooden barrels can be counted on one hand.

The unique flavor of this miso is the result of a combination of traditional, unchanging handcrafted methods and the environment unique to this location. To preserve the flavor that has been carefully passed down through generations, the challenges of this small miso brewery continue.

The post Naturally brewed in wooden barrels since the days of the Ryukyu Kingdom: Tamanaha Miso Soy Sauce / Naha City, Okinawa Prefecture first appeared on NIHONMONO.

Hirosaki Park is known as one of the premier cherry blossom viewing spots in the Tohoku region, with many saying, “When it comes to Aomori Prefecture’s most famous cherry blossom spots, Hirosaki Park is the place to go.” The park is also known as Ouyouen and stands on the site of Hirosaki Castle, the seat of the Tsugaru clan, which ruled over a domain of 100,000 koku. Spanning a total area of approximately 50 hectares, the park features remnants of the castle, including the main keep, moats, watchtowers, and castle gates. During cherry blossom season, some 2,600 cherry trees bloom in spectacular fashion.

The History of Hirosaki Castle

The main keep of Hirosaki Castle is one of 12 keeps built during the Edo period and is the only surviving keep in the Tohoku and Hokkaido regions.

The castle ruins are designated as a National Historic Site, and the surviving main keep, turrets, and castle gates are also designated as Important Cultural Properties. Hirosaki Park is located in the center of Hirosaki City. It covers a vast area of approximately 600 meters east to west and 1,000 meters north to south, with a total area of about 50 hectares. Within the park, in addition to the castle keep (the Tatsumi Yagura in the Honmaru), six bailey areas surrounded by moats and earthen ramparts, three turrets, and five castle gates remain.

“I believe it’s rare even nationwide to find such a large-scale castle complex open to the public as a park while retaining its original appearance,” said Kokoro Shōji, Chief of the Hirosaki Castle Maintenance and Utilization Promotion Office in the Hirosaki City Parks and Green Spaces Division.

The History Leading Up to the Construction of Hirosaki Castle

By 1590, Tsugaru Tamenobu had secured confirmation of his lands in Tsugaru from Toyotomi Hideyoshi, and in 1603, he decided to build a new castle, selecting the site at Takaoka. However, progress on the project was slow, and Tsugaru Tamenobu died of illness in Kyoto in 1607 without ever seeing the castle completed. He was 58 years old. Subsequently, his third son, Nobuhira, who became the second lord of the domain, completed Takaoka Castle (now Hirosaki Castle) in 1611.

Why Hirosaki Castle Was Reduced from Five Stories to Three

“The castle tower originally had five stories and was located in the southwest corner of the inner bailey when the castle was first built, but it was destroyed by a lightning strike in 1627,” says Mr. Shōji. “After the castle tower burned down, there was a strong movement to rebuild it, but the plans stalled midway. Later, when the Hirosaki domain’s rice yield reached 100,000 koku, the 9th lord, Yasuchika, rebuilt it in 1810 under the pretext of constructing the Tatsumi Turret of the Honmaru; this structure remains as the castle tower today.” The town’s name was changed from “Takaoka” to the current “Hirosaki” the year after the fire, reportedly as a way to ward off misfortune.

From the turmoil of the Shogunate’s fall to a symbol of the people of Hirosaki

Eventually, the Meiji Restoration led to the dissolution of the Hirosaki Domain. Hirosaki Castle came under the control of the Ministry of the Army, and during the war, it was used as a branch of the Army Ordnance Depot—a regional office responsible for the supply, storage, and management of weapons and ammunition. Although some facilities, such as the Honmaru Palace and the Treasure House, were dismantled, the castle keep, gates, and turrets were preserved. Furthermore, because many of the ruins escaped damage during the Pacific War and remain in their original state, the site has been designated a valuable National Historic Site.

Amidst these developments, the area excluding the Sannomaru—which had been used as an Army powder magazine—was opened to the public as Hirosaki Park in 1895. The three-story main keep stands approximately 15 meters tall, offering a magnificent view that takes in the entire park and Mount Iwaki, known as “Tsugaru Fuji.”

This historic site has evolved from the “Kan’ōkai” cherry blossom viewing party to the “Hirosaki Cherry Blossom Festival”

Just as people begin to feel the weight of winter lift, some 2,600 cherry trees of 52 varieties—including Somei-Yoshino, double-flowered cherry, and weeping cherry—bloom beautifully across the park’s expansive 50-hectare grounds. Within the park, which offers views of snow-capped Mount Iwaki, countless circles of people gathered for drinking parties—those who have longed for spring—spread out, and the sounds of Tsugaru folk songs can be heard from all around. Even now, more than 400 years after its construction, Hirosaki Park, home to Hirosaki Castle, continues to be cherished by the citizens as the first place that comes to mind when they think of a place to relax.

The post “Hirosaki Park,” overlooking the ruins of Hirosaki Castle—the only surviving castle keep in the Tohoku region / Hirosaki City, Aomori Prefecture first appeared on NIHONMONO.

The creators of large-scale Nebuta floats, known as “Nebuta masters,” are the artisans who shape the face of the Aomori Nebuta Festival. Among them, Hiroo Takenami is one of only seven people ever to have been awarded the title of “Nebuta Master”—a distinction granted to creators who have contributed to the Aomori Nebuta Festival through their exceptional skills over many years. While preserving the centuries-old tradition of Nebuta as a folk festival, he is also an artist who pushes the boundaries of Nebuta as a sculptural art form.

One of Japan’s premier fire festivals, a source of pride for Aomori City 

The Aomori Nebuta Festival is a summer festival held annually in Aomori City, Aomori Prefecture, from August 2 to 7. More than 20 large Nebuta floats parade through the city streets, accompanied by dancers known as “Haneto” who perform wild dances to the chant of “Rassera,” as well as musicians playing flutes and drums. During the festival, the city attracts more than 1 million visitors.

From a Local Folk Event to a Major Festival

Although it is now one of Japan’s most iconic festivals, its origins lie in a folk tradition. Throughout Aomori Prefecture—excluding the Nanbu region—various local festivals known as “Nebuta” or “Neputa” are held. While the names and forms vary by region, they share the same roots and are believed to have evolved from Tanabata customs. While there are various theories, one suggests the influence of “nemuri-nagashi” (a ritual to dispel drowsiness that hinders farm work), and that the name evolved from “neputē” (meaning “sleepy” in the Tsugaru dialect) to “Nebuta” or “Neputa.”

As for records of the Nebuta in Aomori City, an ancient document remains indicating that Nebuta floats were paraded in Ohama (present-day Aburakawa, Aomori City) in 1730 (the 15th year of the Kyōhō era). While this is considered the first recorded appearance of “Aomori Nebuta,” it is believed that the festival had actually been held as an annual event long before that, even if it was not formally documented.

“The Nebuta festivals throughout the prefecture, including Aomori City, have been passed down for hundreds of years solely through the dedication of the townspeople. I believe it is a truly rare and precious festival,” says Mr. Takenami. Over the long course of time, even as social conditions and the shape of the town have changed, Nebuta has been passed down and has continued to evolve. Behind this must surely lie the passionate dedication of the people of this land.

In modern times, while each neighborhood created and paraded its own Nebuta floats, the trend toward commercialization led to increasingly larger floats. Although the traditions of local Nebuta remained, the focus of the festival shifted to the “Aomori Nebuta Festival,” which is organized by corporations. Regarding the float builders, while the floats were originally crafted by skilled, Nebuta-loving locals, the larger floats came to be created by specialized builders—known as Nebuta-shi—who had honed their technical skills.

“Nebuta masters,” the creators of large-scale Nebuta floats

In the past, Nebuta and Neputa floats were made of washi paper and bamboo, with candles lit inside. They came in both doll-shaped and fan-shaped varieties, with the Aomori Nebuta primarily featuring the doll-shaped design. After World War II, as national highways were widened, the floats gradually evolved into their current wide, horizontal shape, and the materials used also advanced. Today, washi paper is attached to a wire frame, and LED lights are used for illumination.

As of 2025, there are about a dozen “Nebuta masters” who create these floats, and Mr. Takenami is one of them. Mr. Takenami says he begins thinking about the theme for the following year even before the current festival ends. The themes are primarily drawn from Kabuki, history, and legends. He coordinates the theme with the sponsoring company, researches literature and historical materials, develops a concept, and then draws the original artwork. Mr. Takenami describes this process of creating the original artwork as “the most important part of a Nebuta master’s work.” “Even with the same subject or scene, the expression varies depending on the creator’s individuality. It requires sensitivity in turning a captured scene into a painting, as well as a sense of color,” he explains. He completes the pencil sketch of the original artwork by around New Year’s and prepares the details, such as the face and limbs, in advance. In May, he moves to the “Rasseland,” a workshop dedicated to Nebuta. They build a framework using square timber pillars as a base, install lighting, apply Japanese paper, and proceed to the “kakigiri” stage, where they draw the faces and outlines in ink. The kakigiri stage is also a crucial part of the process; Takemura says that drawing the facial expressions, which determine the character’s look, “makes me nervous no matter how many times I do it.” Once this is finished, they apply patterns with wax and then use a mixture of paints and dyes to color the float using brushes, paintbrushes, and spray cans to complete it.

The Nebuta master does not perform all the work alone; carpentry, paper application, and lighting installation are handled by specialists and staff, with the Nebuta master serving as the on-site supervisor during these phases. The moment when the Nebuta, completed through the efforts of so many people, is loaded onto a cart—known as “taage”—is said to be exceptionally moving. From conception to completion, it takes a full year to create a Nebuta. While Mr. Takenami is one such example, there are also masters who handle multiple floats, and being a Nebuta master demands that level of skill.

“I was born to make Nebuta floats.” A life captivated by Nebuta

Mr. Takenami is originally from the former town of Kizukuri (now Tsugaru City). That town also had its own small, community-based Nebuta Festival, and the neighborhood association where Mr. Takenami was born and raised would send a float every year. He was captivated by those Nebuta floats from a young age. “I think it started when I was three. Apparently, I was a child who talked about nothing but Nebuta, Nebuta. Eventually, my family took me to see the big Nebuta floats in Aomori. And that’s when I became completely obsessed.”

At the age of 19, he began visiting the nebutah workshop of Chiba Sakuryu (the fifth-generation master) and started helping out. “Among the many creators, Mr. Chiba’s nebutah floats looked very stylish and fresh. So, I wanted to try assisting him. When I knocked on his door, he accepted me.” From then on, he devoted himself entirely to the craft, making his debut with a large-scale Nebuta float in 1989 at the age of 30. Since then, in addition to creating floats for the Aomori Nebuta Festival every year, he has played a central role in the industry, including working on Nebuta floats for tours to Budapest in 1996, the Tokyo Dome in 1998, and Los Angeles in 2007. In 2010, he established the “Nebuta Research Institute” to facilitate year-round activities. In 2023, at the age of 63, he was certified as the seventh-generation Nebuta Master.

“The things that were as precious to me as toys when I was a child remain just as precious to me even as an adult,” says Takenami with a smile. “Perhaps my values haven’t changed since I was three or four years old.” He adds, “Now, I believe I was born to make Nebuta floats.”

The three-dimensionality and colors breathe life into the Nebuta floats

Mr. Takenami says he doesn’t particularly like to depict battle scenes. “Most of my work features guardian deities that ward off evil and drive away demons, such as Kongo Rikishi and Nio statues,” he explains. Even when he depicts figures holding swords, he says they are often held not so much as weapons but to ward off evil. This is Mr. Takenami’s unique style and artistic expression. “It’s really hard to decide on a theme every year,” as Takenami says. Since approximately 23 Nebuta floats are produced for the Aomori Nebuta Festival each year—amounting to about 230 over a decade—it’s inevitable that themes will overlap with past floats, and scenes may repeat. “In the world of creation, where everyone has idols and ideals, the challenge lies in how to express my own unique voice,” he confides.

Amidst this, Takenami’s “sense of self” lies in creating a sense of depth and three-dimensionality in the Nebuta floats. “How do I arrange and fit the characters’ body parts within a cube measuring 9 meters wide, 7 meters deep, and 5 meters high? The way they’re placed completely changes how they look, so I’m particularly meticulous about that aspect,” he explains. Furthermore, he notes that the arrangement of colors is crucial. Takenami explains that he uses a single primary color—such as his favorite red—as a core, then arranges other hues around it as if scattering them out from that point. He uses color to convey a sense of power so that, during the actual festival, the Nebuta floats appear vigorous as they sway slowly toward the spectators lining the streets from afar. “I also make a conscious effort to draw ink lines that have a strong presence,” he adds. While painting the colors is often a collaborative effort with my staff, I draw every single ink line myself. That’s because the ink lines are what give the design its distinctive character.” It can be said that the heroic grandeur of the approaching Nebuta floats is brought to life through the ingenuity and hard work of the Nebuta masters.

It’s better not to lose to yourself than to lose to others

At the 2025 Aomori Nebuta Festival, Mr. Takenami won the Nebuta Grand Prize and the Best Creator Award for the Aomori Ryoyukai’s float, “Kaiō.” “Kaiō” will be on display at the Aomori City Culture, Tourism, and Exchange Facility, Nebuta no Ie Wa-Rasse, until August 9, 2026, when it will be replaced by the next award-winning float.

The year 2025 marked the 400th anniversary of the opening of Aomori Port. With this theme in mind, the float depicted the majestic figure of Poseidon, the guardian deity of the sea, rendered in a traditional Japanese style, as a way to reflect on Aomori City’s history—a history shaped by the sea—and to express hopes for its continued prosperity. Surrounding Poseidon, dressed as a Japanese warrior, are shachi (mythical creatures with the body of a fish and the head of a tiger) and fish-bodied dragons. At the rear, dolphins—which inhabit the waters off Aomori—were placed to emphasize that the setting is the Sea of Aomori. “The contrast between the color of the waves and the yellow tones of the shachi creates a strong visual impact,” said Takenami. “Additionally, for the ink-wash sections, I deliberately drew the lines representing Poseidon’s arms and ribs to be strong and rough,” said Takenami. Upon receiving the award, he commented, “I was able to express something truly powerful and impactful—this is what Nebuta is all about.” The award was a testament to Takenami’s unique artistic vision.

The Grand Prize-winning Nebuta float is placed in the most prominent spot in Wa-Rasse’s “Nebuta Hall.” Standing in front of “Kaiō,” Mr. Takenami said, “Every time I come here, it motivates me to return to this spot again next year. I create a Nebuta float every year, and I really struggle with it every time, but that struggle is also part of the fun. It’s not like a sport where you get clear, numerical results, so rather than aiming to beat others, I set a goal for myself: not to lose to myself. I refuse to compromise on anything when it comes to what my intuition tells me I want to create. I don’t tell anyone this, but I hold that principle—not losing to myself—in high regard.”

Thinking of the future, we’re giving Nebuta a new look

When Mr. Takenami first entered this field, being a Nebuta artist was not yet established as a profession. Even if he spent a year on a single piece, he couldn’t make a living from it. However, Nebuta has continued to grow and has become something we can be proud of on the world stage. People even come to Mr. Takenami, willing to relocate just to make Nebuta. “The people who come to us are the ones who will support the future of Nebuta. To ensure Nebuta’s legacy lives on, we must establish it as a profession so that these people can make a living as Nebuta artisans. By recognizing Nebuta’s value not just as a festival prop but as a work of art, can’t we expand its possibilities?” It was this conviction that led him to establish the research institute.

However, he says the institute faced strong opposition when it was first established. Many argued, “Nebuta is not art; it is, after all, just a festival.”

Nevertheless, Mr. Takenami continued to explore new possibilities for Nebuta based on the concept of “sculptures of paper and light.” He launched “NEBUTA STYLE,” a brand featuring interior goods and apparel made using Nebuta techniques, and created decorative objects for restaurants and hotels. By embracing this role as a sculptor, he built a sustainable livelihood. Moreover, these new products help spread the appeal of Nebuta. Mr. Takenami feels that as his dreams gradually come true, the attitudes of those around him have also begun to change.

Mr. Takenami’s goal for the future is to promote Nebuta more widely around the world as a form of Japanese culture and as a work of art crafted from washi paper. “When I’ve taken Nebuta to places like the United States and Budapest, the crowd gasped in awe the moment the lanterns were lit. Everyone was truly amazed and delighted. I’d like to take it to other countries, such as Europe, where people aren’t yet familiar with Nebuta.” As he spoke, Mr. Takenami’s eyes shone brightly, as if the eyes of the young boy who had always admired Nebuta were still there.

The post Carrying on tradition while embracing creativity. Nebuta artist Hiroo Takenami / Aomori City, Aomori Prefecture first appeared on NIHONMONO.

Koganezaki Farm produces more than 30 varieties of vegetables—including leafy greens, potatoes for processing, and seed potatoes—on one of the largest plots of land in the country. Its client list includes major corporations, and in 2025, its cabbage became the first in Aomori Prefecture to receive JGAP certification. The farm continues to demonstrate the true potential of locally grown vegetables and support the next generation of farmers.

Agriculture that embodies the spirit of Aomori, making the most of its vast land and convenient location

Koganezaki Farm, which operates on 500 hectares of land (equivalent to 100 Tokyo Domes), supplies over 30 varieties of seed potatoes—as well as potatoes, cabbage, daikon radishes, and other crops—to customers across Japan. Its client base spans from Hokkaido to Okinawa and includes major companies such as Calbee and Koikeya, as the farm continues to cultivate crops that take full advantage of Aomori’s unique soil and climate.

Beyond its scale and quality, the farm boasts advantages unique to Aomori. It was these advantages that caught the attention of founder Kimio Sasaki and three other farmers. They aimed to establish a sustainable agricultural business by leveraging the climate, which resembles that of Hokkaido, and the convenience of the land.

Farmers earning salaries comparable to those of office workers

Mr. Sasaki founded the company in 1976, when he was in his twenties. Concerned about the instability of the weather and vegetable prices, he and four colleagues discussed the idea of “whether it was possible to run a farm with a stable income, like that of a salaried employee,” and established a corporate entity. They believed this would allow them to expand their operations and reduce costs, and that any profits generated would translate into salaries.

From the very beginning, they adopted land-intensive agriculture. Land-intensive agriculture is a farming method that utilizes vast tracts of land and incorporates large-scale machinery and smart farming to improve operational efficiency. It also aims to mitigate the effects of crop rotation problems—where continuous cultivation of the same crop in the same field leads to changes in the soil environment and poor growth—by rotating crops. Their goal was to create a large-scale farm modeled after those in Hokkaido. One reason they envisioned a scale similar to Hokkaido’s was the similarity in climate. Many potato varieties thrive in cool regions, and Aomori’s significant temperature difference between day and night is said to be ideal for producing high-quality potatoes.

Furthermore, Aomori’s greatest strength is the ability to distribute produce via land transport. Since it is crucial to deliver leafy vegetables as quickly as possible—even by a single day—this gives them an advantage over Hokkaido when dealing with clients in the Kanto region. They planned to leverage these climate and distribution strengths to establish large-scale farms unique to Aomori.

With the characteristic drive and speed of young entrepreneurs, Sasaki and his team quickly found a plot of land and immediately launched their corporate farming operation. The land they found was on the hills of Koganezaki Cape in Fukaura Town, facing the west coast. They spent their days clearing the land from morning to night while intensively studying cash flow management. Although the instability of farmers’ incomes has always been a challenge, they pressed forward with the goal of resolving this issue and fostering the next generation of young farmers.

From “Profitable Farming” to “Farming That Doesn’t Lose Money”

They cleared the land and grew a variety of vegetables—including potatoes, carrots, melons, and watermelons—which they took to market, but the income didn’t meet their expectations. Compounded by cold snaps and other setbacks, they found themselves in a situation where they could barely make ends meet. Faced with a critical decision, Mr. Sasaki and his team chose to stop shipping their produce to the market. Rather than being at the mercy of market prices, they decided to set their own prices and sell directly to consumers. This was about six years after they had started their business.

One of Japan’s highest-quality seed potatoes

Along with expanding their customer base, they also began producing high-quality seed potatoes. Seed potatoes are potatoes planted for propagation; initially, they had been producing potatoes for processing, but the quality of the seed potatoes they used was poor, and they reportedly couldn’t achieve satisfactory results. That’s when they decided to start growing their own seed potatoes from scratch. The quality of the seed potatoes is crucial for growing high-quality potatoes.

However, it is often said that “growing seed potatoes is even more difficult than growing potatoes,” as disease management is extremely strict, and preventing infection by viruses and bacteria is an absolute requirement. Furthermore, thorough quality control is essential, including selecting a cool location with a low risk of natural disasters and maintaining sufficient distance between different varieties to prevent cross-contamination. Although it was a challenge in a difficult field, they persisted through trial and error, driven by a desire to protect the quality of domestically grown potatoes.

Among their strengths, their vast land proved particularly valuable. It minimizes the risk of cross-contamination even when planting different varieties of seed potatoes and helps prevent crop rotation problems.

Those efforts gradually bore fruit, and today, Koganezaki Farm supplies seed potatoes to potato farmers across the country. Since there are very few farms that cultivate such a wide variety of seed potatoes, it may not be an exaggeration to say that they are supporting Japan’s potato production.

“Koganezaki Farm has become so well-established that some people now associate the name directly with potatoes,” says Masahiro Higashi, the current President and CEO. “However, we also need to understand the characteristics of each variety and have facilities capable of air-drying and cold storage.” He explains that they are continuing to build a system for stable supply by collaborating with corporate representatives and seeking their advice.

A Legacy for Future Generations

“Last year, our cabbage for processing obtained JGAP certification. I believe this will help build trust among both businesses and consumers,” says Kazunori Okura, Senior Managing Director. JGAP is a Japanese agricultural production process management certification system, an acronym for “Japan Good Agricultural Practice.” It is a set of standards designed to reduce risks in agriculture—such as pesticide management, foreign object contamination, and workplace accidents—and to ensure the stable production of safe and reliable agricultural products.

The cabbage the company primarily ships for cut vegetables is the “Okina” variety, which is also used in shredded cabbage commonly found in supermarkets. Its firm leaves retain volume even when finely chopped for dishes like coleslaw, offering a crisp texture and satisfying bite. It is reportedly also used in the gyoza served by nationwide chain restaurants.

“Soil preparation is crucial, but given the size of the fields, it takes a lot of time. With large fields of about 18 hectares each, we have to make numerous passes with the tractor, so I’m considering whether we can automate that process using AI or similar technologies,” says Mr. Okura. While there are cost considerations, he explains that precisely because of the large scale, he wants to actively adopt drones (delivered on May 7, 2026) and machinery to build systems suited to the times and improve the farming environment.

Furthermore, the vast expanse of land offers the advantage of allowing him to experiment with various crop varieties. Although the onions he tried growing last year did not turn out as well as he had hoped, Mr. Okura remains enthusiastic: “There’s always a reason for failure, and I believe that if we can solve it, we’ll succeed. Someday, this might even become a major production area.” It may be this attitude—one of learning from failure rather than fearing it—that has allowed Koganezaki Farm to grow to where it is today.

The Future of Agriculture, as Envisioned by Mr. Sasaki

In fact, Mr. Okura moved here from Ibaraki Prefecture and decided to join the company because he was drawn to Mr. Sasaki’s vision. “I used to work in sales for about 30 years. But I came here because I was attracted to Mr. Sasaki’s character and his passion.”

Mr. Sasaki’s long-standing dedication to securing the future of farming and his tireless efforts to build a bridge to the next generation seem to have touched the hearts of many people. Although Mr. Okura passed away shortly after joining the company, it is said that Mr. Sasaki entrusted him with his vision, hoping he would pass the baton on to the next generation.

“There may still be challenges facing agriculture, such as labor shortages and an aging population. Nevertheless, I want to contribute to the development of local agriculture to help support Japan’s food supply and highlight the importance of domestically grown vegetables.”

The dream of farming that Mr. Sasaki envisioned has been firmly passed down to the current generation. The creation of systems that allow those who support Japan’s food supply to continue their work looks set to expand even further in the future.

The post “Koganezaki Farm”: Looking Toward the Future of Farming and Aiming for Profitable Agriculture / Hirosaki City, Aomori Prefecture first appeared on NIHONMONO.

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

My Father’s Kiln: The Era of Everyday Tableware

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

From Pottery Studio to Artist: The Gamble of Celadon 

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

“We can’t go on like this.”

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

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

Thick Glaze, Thin Clay—The Art of Crafting Celadon 

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

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

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

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

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

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

What Defines the Quality of Celadon

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

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

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

It is perfected through use

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

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

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

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

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

Yamanashi Prefecture boasts one of the highest water extraction volumes in the country, and its mineral water shipments rank first in Japan. “Fuji Mineral Water,” produced at a factory located within the Fuji-Hakone-Izu National Park in Fujiyoshida City, is Japan’s first mineral water brand, established in 1929. What has been the journey of this brand up to the present day—an era in which people buy water—and what impact has it had on society?

From Founding to Growth

Fuji Mineral Water was founded in 1929 (Showa 4) as Horiuchi General Partnership by Ryohei Horiuchi, the founder of the Fujikyu Group (Fujikyu Corporation), which operates transportation services and resort developments primarily in the foothills of Mount Fuji. Under the brand name “Japan Evian,” the company began manufacturing and selling Japan’s first mineral water. Since Japan is blessed with abundant water resources, the concept of buying water was unheard of at the time, and the venture was reportedly ridiculed with comments like, “There’s no way water can be sold.” Amid these difficulties, what helped raise awareness of mineral water was the existence of a subscription club called the “Water Drinking Society,” which founder Ryohei Horiuchi helped establish. Launched at the recommendation of Shinpei Goto, a politician who was a close friend of Mr. Horiuchi at the time, this club reportedly brought in natural water from all over Japan for its members—including celebrities, politicians, and cultural figures—to enjoy. When the company began selling mineral water in bottles at a price of 3 yen for a set of 10 one-liter bottles, membership gradually grew to about 300 people, and the number of enthusiasts, primarily among the wealthy, increased. “I think there was a desire to let everyone across Japan enjoy delicious water,” say current President Hirohiko Yamamoto and Plant Manager Haruhito Moriya.

The Imperial Hotel was the first to do business with Horiuchi & Co. at that time, and Japan Evian was served as table water. Then, around the time of the post-war period of rapid economic growth, a boom in whiskey on the rocks took hold, and sales at bars surged. Furthermore, as water pollution became a growing concern, the selection of the “100 Famous Waters of Japan” began, interest in “safe and delicious water” grew, and mineral water bars appeared, leading to a gradual increase in demand.

Changing Attitudes Toward Water

As the country entered wartime, the use of “enemy languages”—terms referring to the languages of hostile or belligerent nations—was prohibited, and the product was renamed from “Japan Evian” to the Japanese name “Fuji Mineral Water.” Subsequently, in 1946 (Showa 21), following the end of the war, the brand name was changed to its current name, “Fuji Mineral Water.”

As mineral water became more widely known, another event brought the company into the spotlight. In 1965 (Showa 40), a fishing boat involved in a maritime accident in Yamagata Prefecture was found to be carrying a stockpile of water from Horiuchi & Co., labeled “lifesaving water.”

When reports emerged that this supply had enabled the crew to survive an 11-day drift and return safely, regulations were established requiring ships to stock “lifesaving water,” and its importance became widely recognized.

In fact, “Kyusei-mizu” was not an exclusive product of the company; it was a general term for long-term storage water that became mandatory for passenger ships and fishing vessels following the revision of the Ship Safety Act in the 1950s. While several manufacturers initially produced and sold it, Horiuchi Gomei Kaisha’s Kyusei-mizu—which excelled in technologies such as heat sterilization—is said to have been the pioneer in this field and held a significant market share domestically.

Building on this legacy, the company launched emergency-use preserved drinking water in polyethylene containers in 1971 (Showa 46), followed by the release of Fuji Mineral Water Emergency-Use Preserved Water in 1996 (Heisei 8).

In 1995 (Heisei 7), the company joined the Fuji-Q Group, and at that time, it changed its name to “Fuji Mineral Water Co., Ltd.” to match its brand name, a name it retains to this day.

Natural spring water from the foothills of Mount Fuji, a source of pride for Japan

This project is said to have been inspired by Shinpei Goto, who was involved in the founding of the “Water Drinking Society,” when he visited Shimo-Onsen in Yamanashi Prefecture and praised the local spring water. For many years, the water was sourced in the former town of Shimo (now Minobu Town), but the source has since been moved to Fujiyoshida City. Yamanashi Prefecture is blessed with water sources such as the Southern Alps and Mt. Daibosatsu, and the character of the water varies depending on the source. Regarding the decision to choose the foothills of Mt. Fuji, Plant Manager Moriya explains, “Mt. Fuji is attracting attention from overseas, and the area is particularly rich in water resources, making it highly suitable for water collection. It is the soft water preferred by Japanese people, and we are confident in offering it as delicious.”

The source water, collected at the foot of Mount Fuji at an altitude of approximately 1,000 meters, is rain and snowmelt that has slowly filtered through basalt layers over a period of about 40 years before emerging as a spring. It is a soft water with a slightly alkaline pH and a hardness of 38 mg/L, offering a smooth, mellow taste. The multi-layered basalt strata are rare even on a global scale, and as the natural water seeps through, it absorbs and becomes rich in the four major minerals—calcium, magnesium, potassium, and sodium.

Delicious, safe, and high-quality water

At the “Aqua Works” plant, which opened in 2016, every step of the process—from drawing the raw water to the final production—is carried out on-site. Plant Manager Moriya explains, “The most critical step in the manufacturing process is pasteurization.” He notes that groundwater contains microorganisms and mold; if left untreated, these would multiply and cause the water to spoil. Therefore, the water must be pasteurized to kill all microorganisms and mold before it can be bottled. At Fuji Mineral Water, the raw water is sterilized using Ultra-High Temperature (UHT) pasteurization, which involves heating it to 120°C for 2 to 3 seconds. While the Food Sanitation Law typically requires heating at 85°C for 30 minutes, raising the temperature allows for sterilization in a much shorter time. After pasteurization, the water is cooled from 120°C to 85°C before being bottled. The reason it is not cooled to room temperature is that the company employs a method called “hot filling,” in which the containers are sterilized simultaneously while the water is still at a high temperature.

Following production, the water undergoes further analysis by external agencies. Thanks to these rigorous quality control measures, the aforementioned emergency storage water achieves an extended shelf life of 5 years and 6 months. Plant Manager Moriya explains that the company’s ability to maintain safe and reliable quality since its founding stems from “the pride and dedication of the Fuji Mineral Water brand.”

High-quality products made possible by a mineral water brand from Yamanashi

In addition to mineral water, the company launched “Holis Wine Vinegar” in 1935 (Showa 10), which became Japan’s first wine vinegar. “Perhaps they wanted to create a product that truly embodied Yamanashi, known for its wine production and grape-growing regions,” says Mr. Yamamoto. Made from 100% locally grown grapes and aged to perfection, the vinegar is currently available in two sizes: a 1,000ml bottle favored by restaurants and other commercial establishments, and a 250ml alcohol-free version designed to be safe for households with young children. Since 1959 (Showa 34), production has been outsourced to Asaya Foods Co., Ltd., a local company that had been sourcing the raw wine mash, and the product became a long-selling favorite known affectionately as “Holis.”

Furthermore, amid the recent carbonated beverage boom, the company launched “Fuji Premium Sparkling Water” in 2015. As the name suggests, it embodies the vision of creating “a premium sparkling water that represents Japan.” Because it uses high-quality, easy-to-drink soft water, it retains a smooth texture while featuring delicate bubbles distinct from those of strongly carbonated waters. The company is particular about maintaining a gas volume of “4.2,” which represents the amount of carbon dioxide dissolved in the water. “If it’s too high or too low, we can’t achieve this mouthfeel,” says Plant Manager Moriya.

The product has achieved success, including being selected as table water at international conferences such as the 2016 G7 Hiroshima Foreign Ministers’ Meeting, and being certified under the “TOKYO & AROUND TOKYO” brand—a government-backed initiative that promotes local products from the Kanto region (Tokyo and seven prefectures) to international visitors.

Our Commitment to Bottles

Fuji Premium Sparkling Water is bottled in an original, easy-to-hold, rounded bottle featuring a pale blue hue that evokes the Japanese spirit of “Wa.” The company remains committed to its roots in “bottled water” dating back to its founding and continues to uphold that tradition today. While the bottle itself conveys a “premium” image, the company also handles returnable bottles for its commercial mineral water products, demonstrating its commitment to the environment through initiatives such as collecting, cleaning, and reusing the bottles after use.

A New Take on Mineral Water

Amid growing calls for action on the SDGs (Sustainable Development Goals) in recent years, the company launched a paper-packaged mineral water product in 2021 as part of its efforts to reduce plastic use. The inner lining of the container is made of aluminum foil, a material with excellent light-blocking properties, allowing the product to be stored at room temperature for approximately one year. This innovation reduces plastic use by approximately 74–75% while maintaining the same quality as previous products. At the 2023 G7 Hiroshima Summit, the product was selected as the official table water, symbolizing sustainability, and garnered attention from around the world. Furthermore, the company plans to replace the caps on some products with bio-caps made from sugarcane-derived materials by April 2024. “While PET bottles remain the mainstream packaging for mineral water among major domestic beverage manufacturers, and paper cartons still hold a minority position, we intend to seize this opportunity as demand grows and focus our efforts on sales promotion,” Yamamoto said with conviction.

“富士”のブランドが目指す先

When it was first established, Fuji Mineral Water was more of a luxury item than a daily beverage, initially served in high-end hotels and restaurants. While it has firmly established itself as a “premium brand” still served on special occasions, the company has also expanded its business to meet the evolving needs of the times regarding “water.” Emergency water reserves, which took their current form in response to past maritime accidents, are increasingly recognized as essential for disaster preparedness amid the recent surge in natural disasters. Furthermore, as a sustainable, circular society becomes a global goal, the company has urgently initiated efforts to reduce its environmental impact, such as moving toward label-free PET bottles and offering products in paper cartons.

Although we now live in an era where various types of water from major manufacturers line the shelves of mass retailers, Mr. Yamamoto states, “Our mission is to continue our branding efforts so that people can enjoy the ‘delicious, safe, and high-quality water’ we have cultivated for over 90 years, while maintaining a clear distinction from price competition.” “We aim to differentiate our products based on usage: bottled water, which represents our roots since our founding, for special occasions, and paper cartons for practical purposes like portability,” he says, outlining his vision for the future.
The reason the design symbolizing “Fuji” has remained virtually unchanged even with the new container is the desire to “establish a traditional brand image that transcends time.” With plans to expand export sales channels in the future, expectations are high for the further global success of this brand bearing the name of Mount Fuji, a symbol of Japan.

The post “Safe, High-Quality Natural Water” Began Here: “Fuji Mineral Water” / Fujiyoshida City, Yamanashi Prefecture first appeared on NIHONMONO.

Yusuke Kawata of “Omishima Minna no Winery” moved to Omishima in Ehime Prefecture on his own to grow grapes and make wine. Having traveled across the country from north to south to study winemaking at various wineries, Kawata’s goal on Omishima is to create wines whose flavors capture the island’s unique charm.

I moved to Omishima after sensing its potential as a wine-producing region

Mr. Kawata, who was interested in winemaking, attended a university in Yamanashi Prefecture—a major hub for Japanese wine—and spent his college years visiting renowned wineries across the country to gain practical experience. Shortly before graduating, he had the opportunity to participate in the “Project to Revitalize Omishima,” launched by architect Toyo Ito, which sparked his interest in winemaking on Omishima.

Ito, who has won numerous architectural awards both in Japan and abroad and enjoys worldwide acclaim, is also a figure who has actively engaged in regional revitalization beyond the realm of architecture. His vision—to utilize the island’s landscape and resources to foster new industries and attract people—resonated deeply with Kawata.

High-quality grapes are an essential prerequisite for winemaking. Kawata realized that Oshima’s climate closely resembles that of Katsunuma in Yamanashi Prefecture—Japan’s premier wine-producing region—and, convinced that this land would surely yield excellent grapes, he decided to embark on winemaking with Mr. Ito and his team.

“The scenery of the Seto Inland Sea is truly magnificent. It’s very similar to Shizuoka, where I was born and raised—the sea is close by, it feels wonderful, and the people who live here are kind. I wanted to try growing grapes and making wine here.” In 2015, Kawata moved to Omishima on his own. He leased abandoned farmland—which had become a challenge for the island—planted grapevines, and began cultivating grapes.

The constant trial and error is challenging, but it’s also fun

Although he has a deep knowledge of wine, grape growing was a first-time challenge for Mr. Kawata. He began by consulting local farmers who knew the land intimately to select high-quality vineyards suitable for grape cultivation. “The soil on Omishima is sandy loam formed from weathered granite, which drains well and is ideal for growing grapes. However, it also has poor water retention, so we have to take that into account. “I’m working on this while learning various techniques from local farmers, such as adding compost to activate the soil’s microorganisms,” says Kawata. His commitment to using locally sourced fertilizers stems from his desire to preserve the unique character of the land. He also values grape cultivation that is deeply rooted in this region, going so far as to handcraft the materials for his trellises with the help of a local shipyard.

We grow a variety of grape varieties, including the popular Chardonnay, Muscat Bailey A—the first variety developed in Japan—and Albariño, which originates from coastal regions of Spain and Portugal where the climate is similar to that of the Seto Inland Sea. “I chose Chardonnay because it’s grown all over Japan, so I thought it would be easier to discern the terroir. Koshu is also a famous variety, but I felt I might be too constrained by its name, so I’m not growing it at the moment. I’m experimenting with various varieties—looking for ones that are disease-resistant, high-yielding, and well-suited to the island—but it’s going to take quite some time to find the right answer,” he says. Both cultivation methods and variety selection are a constant process of trial and error.

Wines raised on the island, crafted at a small winery by the sea

The grapevines planted in 2015 bore fruit for the first time in 2016, but unfortunately, the entire crop was devoured by wild boars, so the following year, 2017, marked the long-awaited first harvest. The harvested grapes were vinified at a winery outside the prefecture, resulting in the birth of Omishima’s first-ever wine—a truly historic milestone. Furthermore, in 2019, a winery was established on the grounds of “Omishima Ikoi no Ie,” an accommodation facility renovated from a former elementary school. This made it possible to produce wine that is 100% Omishima-grown in both name and reality.

Despite various design constraints, Mr. Kawata poured everything he had learned into the winery, striving to incorporate as many of his personal preferences as possible. One such feature is the gravity flow system, which utilizes the elevation difference to move raw materials to tanks and aging vessels. He explains that this method places less strain on the grapes than using pumps, allowing their natural flavors to shine through. For the tanks, after carefully weighing the pros and cons of options such as enamel, resin, and concrete, they ultimately opted for custom-made stainless steel tanks from Slovenia. They also introduced French oak barrels, both five-year-old and three-year-old. While new barrels impart a strong woody aroma, the flavor becomes milder with use, deepening the harmony with the wine. Selecting the right barrels based on their age-specific characteristics is another of Mr. Kawata’s key commitments.

First, a wine that more people will enjoy

Mr. Kawata aims to create “truly Japanese” wine. “Rather than striving to meet Western standards, I want to cherish the flavors that emerge from Japan’s climate and soil, using grapes grown right here in Japan. I believe there is genuine value in the ‘truly Japanese’ wine that results from this approach. The lightness that was once described as ‘like water’ is, when you look at it another way, a gentleness that complements any dish. It’s unpretentious and comes alive at the dinner table. That, I feel, is what a ‘Japanese-style’ wine is all about,” he says.

A pleasant life on Omishima, surrounded by grapes and wine

It has been 10 years since Mr. Kawata moved to Omishima. While there have been significant changes in grape cultivation and winemaking, he says these past 10 years have also been a whirlwind of changes for him personally.

“I came to Omishima alone, but then I met my wife, we got married, and we had a child. It’s been a decade in which the meaning of my life shifted from ‘coming here to grow grapes and make wine’ to ‘living here.’ Even though I sometimes feel a bit of inconvenience regarding infrastructure and such, every day is fulfilling, and I am truly satisfied with my life on Omishima,” he says.

The island’s current population is approximately 5,000. While the original resident population is on the decline, the number of people moving to the island from elsewhere is reportedly increasing. The reasons for moving vary from person to person, but many cite a desire to live in the Seto Inland Sea, a wish to contribute to the island’s revitalization—such as through the Regional Revitalization Corps—or a decision to settle here after falling in love with the place during a visit. Even without moving permanently, some people maintain a dual-residence lifestyle, keeping their primary address and job elsewhere. “I wonder if the number of people leaving the island will eventually be overtaken by the number of people moving in?” Kawata says with a laugh.

Wines from a small island in the Seto Inland Sea

While Omishima has many charms, it also faces its share of challenges. Adapting to the climate changes caused by global warming in recent years is a serious issue. In particular, the summer of 2024 brought life-threatening heat, forcing both people and the grapes to struggle just to survive.

Furthermore, according to Mr. Kawata, neither the grapes nor the wine have yet reached a satisfactory level in terms of quality or technique. “I haven’t yet established what ‘the taste of Omishima’ means to me,” he says. “So, my first priority is to clarify that. My goal is to create a wine that expresses the atmosphere of Omishima—a wine that is approachable and full of depth, one that allows you to feel the sea and the wind of Omishima.”

His immediate goals are to produce wines with a flavor he finds satisfying and to get the islanders—who aren’t accustomed to drinking wine—to try their wines. Beyond that, winning an award at the Japan Wine Competition is his primary objective, and eventually, he hopes to compete in international competitions. Mr. Kawata’s dreams continue to expand.

The post Our goal is to create wines that capture the essence and atmosphere of the Seto Inland Sea. “Omishima Minna no Winery” / Imabari City, Ehime Prefecture first appeared on NIHONMONO.

Yuri Kawana serves as both the representative and head brewer at Kawakei Shoten. While honoring tradition, she embraces new techniques and challenges, approaching sake brewing with the philosophy that “tradition is preserved only by pushing boundaries.” In particular, the flagship brand “Koganesawa” captivates a wide range of people—from beginners to connoisseurs—with its rich aroma and smooth finish. What does Yuri value most in her pursuit of crafting sake that stands out?

Established 120 years ago. “Kawakei Shoten” was founded by a merchant family with ties to the Date clan.

In 1902, the first-generation Keiji Kawana founded “Kawakei Shoten” in Wakuya Town, Toda District, in northeastern Miyagi Prefecture. The company traces its roots to a hardware merchant who served the Date clan of the Sendai Domain. Following the Land Tax Reform, which granted him farmland, he relocated to Misato Town, located south of Wakuya Town. Although Misato Town was known since ancient times for its fertile soil and thriving rice production, the land acquired by the Kawana family was largely marshy and unsuitable for rice cultivation. Consequently, they turned their attention to sake brewing as a livelihood independent of agriculture and decided to establish a brewery.

Continuing to produce unique sake using the Yamahai brewing method

Since its founding, Kawakei Shoten has been committed to the “Yamahai-style brewing” method, which utilizes natural lactic acid bacteria to cultivate the shubo (yeast starter). The shubo is the process of cultivating yeast to create the foundation for fermentation, and it is a crucial factor that determines the flavor of sake. Because this method is time-consuming, labor-intensive, and requires a high level of skill, the brewery once limited production to about 60% of its capacity and relied on “sokujo-zukuri” (rapid fermentation), which involves directly adding artificially produced lactic acid, to make up the difference. However, Yamahai-style sake now accounts for 90% of production. Yuri explains the reason: “Yamahai-style brewing allows each brewery to express its unique character, enabling us to convey the distinctive flavor of Kawakei Shoten. I feel it is indispensable to Kawakei Shoten today.”

Carefully brewed using locally sourced rice and water, “Koganesawa” is characterized by its delicate and refined flavor and is highly regarded as a sake that pairs well with meals. Another reason for its popularity is that it tastes delicious at any temperature—whether served chilled, lukewarm, or hot. The name originates from the fact that it was brewed by a merchant from Wakuya Town, a region famous for gold mining.

The Role of an Only Daughter Raised in an Era of Declining Interest in Sake

For Yuri, having a sake brewery as part of her everyday surroundings since childhood was simply a given, but she says she never gave much thought to the history and craftsmanship that lay within it. However, as she grew older and came into contact with the memories of her community and family, she gradually began to understand its significance.

Partly because sake consumption plummeted during her formative years, she had come to view sake brewing as an “unrewarding job.” However, the Great East Japan Earthquake of March 2011 changed her perspective. Her family home collapsed, and since restoration took time, she began to reflect on the significance of being born as the only daughter of a family that ran a sake brewery.

Learning every aspect of sake brewing from scratch and aspiring to become a master brewer

In the wake of the earthquake, Yuri, the only daughter of the Kawake family, began to consider taking over the family business. Regardless of whether she would actually take over the business, she decided to find out what sake brewing was really like, so she participated in a 40-day training course held at the Tokyo Office of the National Research Institute of Brewing (which was merged into the headquarters in Hiroshima Prefecture in 2015). The National Research Institute of Brewing is a government research institute dedicated to studying the quality of alcoholic beverages and brewing techniques; it also offers educational programs that attract sake brewers from across the country. “Once I tried it, I found sake brewing to be quite interesting,” she recalls with a laugh.

That feeling encouraged her to learn sake brewing from scratch, and in 2012, she joined Kawakei Shoten. She says she was initially confused and knew nothing, but as she learned from those around her, she gradually began to discover the appeal of sake brewing. Then, following her father’s passing, she took on the responsibility of sake brewing as the head brewer in 2019.

Assessing the quality of the ingredients to craft a delicious sake

Yuri is particular about washing the rice by hand. While she does use some machinery, she says that washing 5-kilogram batches by hand allows her to closely monitor for broken grains and check the rice’s water absorption, making it easier to achieve the desired sake profile. In recent years, rice has tended to become harder, and since the washing method can significantly affect the quality of the sake, she pays the utmost attention to this process. When washing, she explains that she does not scrub the rice vigorously as one would with table rice, but rather washes it gently, with the aim of gently removing the bran.

Striving to produce better sake, we are exploring new flavors at Kawakei Shoten

Kawakei Shoten’s current sake brewing is guided by the theme of “brewing with a pure heart, always keeping our drinkers in mind.” To achieve this, the brewery strictly adheres to the “ginjo-style” method, which involves long-term, low-temperature fermentation from the koji-making stage through the yeast starter and mash. This process ensures the sake develops a clean, refined flavor.

However, the brewery notes, “Compared to other companies’ koji, ours has a somewhat subdued character, so we’d like to try our hand at producing a more robust koji in the future.” Their goal is to create sake with both clarity and a solid structure.

“Koganesawa’s Position”: A Reassessment Amid the COVID-19 Pandemic

Amid declining demand for sake during the COVID-19 pandemic, Yuri chose to dedicate time to reevaluating the brand. As a result, she says the appeal and positioning of “Koganesawa” have become much clearer. The goal is to pursue a sake that “harmonizes with the dining table” and pairs well with any dish, while remaining a constant presence in people’s lives. To that end, she is determined to “continue taking on new challenges and create even more delicious sake.”

Though not flashy, it complements food and enriches the drinker’s experience. It is this accumulation of such moments that represents the value Kawakei Shoten has upheld for 120 years. “Koganesawa” will continue to evolve and remain beloved for years to come.

The post Cherishing the bounty of this land, we offer sake that can only be enjoyed at Kawakei Shoten. Yuri Kawana, 7th-generation owner of Kawakei Shoten / Misato Town, Enda District, Miyagi Prefecture first appeared on NIHONMONO.

Misato Town is located in the northeastern part of Miyagi Prefecture. In this region, where agriculture is deeply rooted in daily life—with rice paddies and fields accounting for about 70% of the town’s land—”Butai Farm Co., Ltd.” operates large-scale greenhouse facilities for lettuce production. In addition to crop cultivation, production, and product development, the company also handles logistics and agricultural consulting, pursuing a diversified agricultural business model. By collaborating with farmers and companies nationwide, it has grown to generate annual consolidated group sales of 6.1 billion yen. Behind this success lies a unique management strategy that transcends the boundaries of traditional agriculture.

A long-established farm that has pioneered agricultural digital transformation, transcending the boundaries of a family-run business

The Hariu family has been farming since 1720. A major turning point came when Nobuo Hariu, the 15th generation and current President and CEO of Butai Farm Co., Ltd., took over the family business.

At a time when family-run operations were the norm, Nobuo recognized early on the critical issues of an aging farming population, labor shortages, and a lack of successors. He actively embraced digital transformation (DX) using cutting-edge technology and invested in new equipment. Through management decisions unbound by conventional wisdom, he laid the groundwork for a large-scale farm that transcended the framework of a family business. Behind this was a profound sense of urgency. Since joining the family business, he had worked long hours every day, thinking, “If things continue this way, will we ever achieve a sustainable model, no matter how long we keep working?” It was this realization that prompted him to fundamentally reevaluate the business.

“Sustainable Agriculture” as Envisioned by the 15th Generation of a Farming Family with a History of About 300 Years

“The 15th head of the family married at the age of 22 and succeeded to the family headship from the 14th head the following year. Given the custom among farming families that children typically live under the head of the household until around the age of 50, I think that was a rather early decision. ‘Just as the Tokugawa clan returned political power to the Emperor in the 15th generation, the 15th generation tends to mark a major turning point. That’s exactly why you must hold your ground,’ he was often told,” explained Nobuhiro Hariu, the 16th-generation head and a director of Stage Farm.

In the 1980s, when the 15th-generation head took over the family estate, agriculture was undergoing a major transition toward modernization. It was an era when individual effort alone was insufficient, and investment in agricultural machinery and facilities capable of supporting large-scale operations was essential. In fact, among the farmers who took the bold step of making significant capital investments and incorporating their businesses during this period, there are cases where they subsequently expanded their operations and achieved growth. On the other hand, it is also true that farmers who remained with traditional family-run operations found themselves in a difficult situation. Nobuhiro intuitively grasped the changing times and sought to strengthen the management foundation with the goal of “sustainable agriculture.”

The key to expanding the possibilities of agriculture lay in the “system”

The decline of agriculture stems from a complex interplay of factors, including weather, soil conditions, and a shortage of workers. None of these issues can be resolved by individual farmers acting alone. That is precisely why at Butai Farm, rather than simply continuing along the same path as before, we first envisioned what Japanese agriculture should look like five or ten years from now, and then worked backward from that vision to design our management strategies and technology adoption plans.

From Family-Run to Team-Driven: Behind the Scenes of Scaling Up

The reason Stage Farm was able to transition from a family-run operation to a large-scale farm was its ability to involve people outside the family and manage the business as a team.

They expanded their business by leasing land from aging farmers and entering into contracts spanning 5 to 10 years. Rather than simply securing land, they prioritized building trusting relationships with the local community and have worked to support farmers in incorporating their operations and developing new sales channels. The journey has not been smooth; through repeated dialogue—addressing contract terms and addressing concerns about the future—they have sought a sustainable model for the entire region.

Significant improvements in production efficiency through “management transparency” implemented by the 16th-generation leader

In 2020, Nobuhiro, the 16th-generation successor, joined Stage Farm. Nobuhiro began by teaching himself bookkeeping and accounting, and started by reading the income statement (PL), balance sheet (BS), and cash flow statement to gain an understanding of the company’s financial health. By making the company’s operations transparent, he identified tasks best performed by people, processes that could be automated, and areas for improvement, and took action on each one step by step.

Today, the company is implementing a series of initiatives to modernize agriculture, including the operation of “Misato Green Base”—one of Japan’s largest leaf lettuce production facilities—and the introduction of IoT and AI technologies.

“Misato Green Base,” which achieves approximately 80 times the production efficiency of open-field cultivation

Mr. Nobuhiro believes that agriculture falls into two categories: “agriculture that supports our daily meals—the agriculture we must rely on for sustenance”—and “luxury agriculture that offers added value for enjoyment.” Stage Farm aims for the former: to deliver the vegetables we eat every day with consistent quality and at fair prices.

At the heart of this endeavor is the “Misato Green Base,” a next-generation plant factory located in Misato Town, Tōda District, approximately 60 km north of Sendai City. Using hydroponics in a massive greenhouse stretching 500 meters deep, the facility ships approximately 40,000 heads of leaf lettuce daily, unaffected by weather or seasonal changes. Leaf lettuce is well-suited to automation and year-round cultivation in plant factories, making it a crop that easily balances consistent quality with high-efficiency production. Production efficiency is said to be approximately 80 times that of open-field cultivation. By studying domestic and international examples, Stage Farm has built its own unique operational model.

Thanks to planned production, the waste rate is virtually zero. Furthermore, by using electricity as the primary energy source and implementing solar sharing, they have established a system that reduces both environmental impact and costs. This facility, which balances stable supply with operational efficiency, stands as a symbolic presence supporting “agriculture that must be sustained.”

Generating electricity on farmland: The option of solar sharing

Agriculture is, at its core, an industry that converts solar energy into food. At Stage Farm, we have introduced “solar sharing,” a system in which solar panels are installed on poles erected on farmland. By establishing a system that produces both rice and electricity on farmland, we are transforming the land from “underutilized assets” into “income-generating real estate.”

Turning Agriculture into a Profitable Industry: Simple Management Based on Volume and Price

At its core, farming is a business. While family-run operations tend to rely on rough estimates, the “quantity × unit price” approach is essential for increasing revenue. Therefore, expanding farmland, adopting double or triple cropping, securing pricing power, and implementing rigorous cost management are all critical.

At Butai Farm, rather than leaving shipping entirely to the JA (Agricultural Cooperative), they set their own prices. They observe market trends and trading activities to understand the selling prices of various wholesalers. Based on this, they visit retail stores in person to negotiate prices and secure direct contracts. Regarding necessary expenses such as fertilizers, they constantly explore how to procure high-quality products at the lowest possible cost. Even for fertilizers that must be imported, they make every effort to minimize the use of middlemen.

To pass on local cuisine to the next generation

Nobuhiro, who has extensive overseas experience including studying in the United States, believes that “no country has a regional food culture as rich as Japan’s.” He feels a strong sense of urgency that this richness is being lost due to a shortage of people to carry on the tradition.

He identified four pillars necessary for passing on the region’s food culture to the next generation: energy, food, employment, and education. Building on the foundation of a “town where energy and food are reliably available,” the plan is first to create jobs, and then to provide distinctive educational opportunities. As a local agricultural producer, he is actively engaged in food and agriculture education, conducting special classes at junior high schools and other institutions. By teaching students about the structure of agriculture and business management, he promotes career education and is advancing a vision to build a town where people feel, “I want to come here.” Through the creation of systems—including energy sharing—he aims to make agriculture a profitable industry and speaks with conviction about raising the food self-sufficiency rate, which stood at 38% in fiscal year 2023, “to at least 50% or higher.”

Behind these words lies more than just a numerical target. It is a determination to create jobs in the region and build a future where the next generation can take pride in agriculture. Stage Farm’s challenge is not merely the growth story of a single company. It is a practical effort to pass on the region’s potential to the next generation.

The post Transforming agriculture into a profitable industry. “Butai Farm”: An agricultural enterprise nurturing the region’s future / Sendai City, Miyagi Prefecture first appeared on NIHONMONO.