In 2018, a young master brewer revived a brewery that was on the verge of going out of business, turned the helm to classic sake brewing, and continues to produce a string of high-profile products. How does he achieve such skill and inquisitiveness?

An up-and-coming toji who is highly respected in the industry

The city of Hirado, Nagasaki Prefecture, is a maritime city consisting of Hirado Island, which stretches long and narrow from north to south, and about 40 islands of various sizes scattered around the island. Known as “Philando” during the Age of Discovery, the city has developed as a trading center for people traveling between Japan and other countries. The scenery of the castle town, with its elegant rows of town houses, still remains, reminding us of the bustle of the old days.

In a corner of the town is the Mori Sake Brewery, a long-established sake brewery. Founded in 1895 by Kokichi Mori under the trade name “Komatsuya,” the brewery was incorporated in the 1930s and has been in business ever since. Currently, the brewery is headed by the fourth generation, Yukio Mori.

Until about five years ago, this sake brewery was on the verge of going out of business, with an annual production of less than 50 koku (1 koku = approximately 180 liters). Considering that it is generally said that a minimum of 400 koku is needed to run a sake brewery, the situation was quite difficult. The young toji, Yutaro Mori, the fifth generation of the brewery’s founder, was able to break through this situation.

I think anyone who was born in a brewery must have thought at least once about whether or not to take over the brewery,” he said. I was born and raised here, and I didn’t want to see the brewery disappear during my lifetime. That is why, at first, I wanted to preserve the brewery more than I wanted to make sake,” Yutaro recalls.

After deciding to take over the brewery, Yutaro majored in fermentation engineering at a university in Hiroshima. From undergraduate to graduate school, he studied cutting-edge sake brewing at the National Institute of Brewing Science, an independent administrative agency with which he was affiliated. However, his inquisitive mind and skills have already earned him a prominent position in the industry, and he is attracting attention as a “young toji prodigy.

After completing graduate school and three years of training at a sake brewery in Miyagi Prefecture, Yutaro returned to Hirado at the age of 27. Yutaro felt a sense of crisis at the time, as the brewery had been without a toji for many years and had not been able to produce the sake that he wanted.

I believe that good sake is created not only by sake brewing techniques, but also by the environment of the brewery,” he said. In other words, the daily attitude of the brewery will be reflected in the sake. That is what I learned at my training place. However, when I returned to Hirado, the tools were rusty, and the walls and ceiling were covered with mold. It was no longer possible to make sake properly. The first year I spent in Hirado, I first prepared the environment for sake brewing,” he said.

Maintaining a hygienic environment is very important for sake brewing, which requires the power of microorganisms. Yutaro polished all the available tools and machines, left the beams and pillars of the brewery, repainted the walls, and re-poured concrete. The new brewery has a clean production area, a direct sales store in a renovated warehouse that has remained from the time of the company’s founding, and an event space with a classic atmosphere inside the warehouse.

Mastering the art of sake brewing by letting nature take its course

When Yutaro returned to the brewery, there was no toji (master brewer) in charge of sake brewing, and sake made using a simple brewing technique called “liquefaction brewing” was only sold on the island.

Last year, the company introduced the traditional Japanese sake brewing process called “kimoto zukuri, ” which was established in the Edo period (1603-1868). In general, lactic acid for brewing is added to the mother of sake, which is the base of the unrefined sake, but in kimoto-zukuri, the lactic acid produced naturally by lactic acid bacteria is used. The process takes 40 to 45 days to complete, more than double the time required for normal sake brewing, and requires delicate control processes to cope with long-term changes in temperature and humidity.

On the other hand, in the sake brewing process, the yeast grows by natural means, competing with lactic acid bacteria for survival, resulting in the growth of strong and vigorous yeast and smooth fermentation. The various microorganisms produced during the fermentation process also affect the flavor of the sake, which has become increasingly popular among sake connoisseurs in recent years as a rich, full-flavored sake. Sake is also suitable for long-term aging, as it matures slowly over time, resulting in a sake with a solid core. Our sake tastes stable even after the bottle is opened, and we are confident of that,” he says proudly.

No Oaring, No Adding Water, No Filtration

Mori Sake Brewery does not use the oar-adding process, which is considered essential for sake brewing. Oaring is a process in which a long oar stick is used to stir the tank of unrefined sake to adjust the temperature and fermentation. In general, oar stirring is done twice a day, but here, the yeast is left to do its work and the natural convection is allowed to take place.

Furthermore, water is not added. Sake has a relatively high alcohol content among sake breweries worldwide, so most breweries add water to reduce the percentage of alcohol and adjust the balance of flavor. In addition, sake is not filtered to remove nigori (a thickening of the sake liquor) or to improve the aroma. Yutaro says, “For me, the best sake is the one that tastes the best when it is squeezed, so filtering or adding water is not part of my sake quality design.

Spreading the Terroir of Hirado to the Nation and the World

The main brand of Mori Sake Brewery is the “Hiran” series. Hiran” is the old name for Hirado. Mori Sake Brewery has been brewing sake with a focus on the local climate and hopes that the terroir (local character) of Hirado will be conveyed to the drinker as well. There is a wide range of varieties, from fruity and light, to deep-flavored, crisp and refreshing, to light and unctuous, perfect as an in-between-dinner drink.

For the water used as a raw material, the company has been using the famous water that springs from the foot of Saikyoji Temple, located about 1 km away from the brewery since its establishment. In addition to Yamadanishiki rice, which is known as the best sake rice for brewing sake, Nagasaki’s edible rice “Nikkomaru” is used. The sake has a sour and moderately bitter taste that is intended to complement meals and be both tasty and sharp, making it an irresistibly drinkable sake.

Nagasaki does not have its own sake rice, but as a Nagasaki brewery, we wanted to make it unique. We tried Nikkomaru. The flavor of Nikomaru is effective in its mild aroma, but it is also a sake that can be drunk without hesitation as a mealtime sake. Yutaro says, “Just like the origin of the name Nikkomaru, which means ‘to make you smile when you eat,’ our goal is to create a sake that will naturally make you smile when you drink it.

Brewed in harmony with nature, without overdoing it in terms of ingredients and brewing methods, “Hiran” won a gold medal at the “KuraMaster” sake competition held in France in 2021, the second highest award after the platinum medal. It was also awarded a gold medal at the UK’s KuraMaster competition, and is highly acclaimed overseas.

Cutting down the amount of ingredients to get closer to the natural one

Mr. Yutaro says that in the future he would like to be even more particular about his ingredients, and would like to use pesticide-free rice as well. His original decision to try out the kamishibashi method of sake brewing came from a single-minded desire to use a more natural production method.

I have a sensitive skin myself, and when I was growing rice, the pesticides made my skin rough,” Yutaro said. I wanted to reduce the amount of non-natural ingredients in the products that we put into our bodies, if possible, and that’s how I started making sake. Labor saving through rationality is also revolutionary, and it is because of this that sake brewing is flourishing today. If there are a variety of options, I would like to make sake in accordance with the flow of nature, not in accordance with the convenience of others.

Yutaro is not only pursuing the taste of sake, but also the background of sake production, including society, the natural environment, and the coexistence of humans and microorganisms. Ultimately, I’m aiming for about 1,000 koku. If I go beyond that, I won’t be able to keep my eye on things. First of all, I will work hard to achieve a reasonable scale that suits this brewery.

In a sense, Mori Brewery appears to be a cutting-edge sake brewery, embodying the ” coexistence with nature ” that has been lost in the rapidly changing times. In a sense, it is a cutting-edge sake brewery. This is exactly what his father, Yukio, meant when he said, “Sake brewing that connects us to each other.

The post Up-and-coming master brewer has returned to his roots in sake brewing “Mori Sake Brewery”/Hirado City, Nagasaki Prefecture first appeared on NIHONMONO.

Shimada Ochadokoro uses carefully selected Sogicha from Nagasaki Prefecture and Yame tea from Fukuoka Prefecture to make its original products. How do they produce their products, which have won high acclaim both in Japan and abroad, including the “Japanese Tea AWARD” and the silver prize at the “Japanese Tea Selection Paris 2020,” the only Japanese tea competition in Paris? We visited Ms. Yuko Shimada of “Ochadokoro Shimada.

The award-winning “Ochadokoro Shimada

Three minutes walk from JR Isahaya Station in Nagasaki Prefecture. Located in a quiet urban area, not far from the Honmyo River, the only first-class river in the prefecture, “Ochadokoro Shimada” is a Japanese tea shop that has won many awards at domestic tea fairs such as “Japanese Tea AWARD” and the only Japanese tea competition in Paris, “Japanese Tea Selection Paris 2020” Silver Prize, and has attracted attention. The owner, Yuka Shimada, is the owner of the store.

The owner, Yuko Shimada, is from Higashisonogi-cho, a production area of “Sonogicha,” which has achieved remarkable results in the steamed tama-green tea category at recent national tea fairs. She was involved in the tea business as a wholesaler, buying tea leaves directly from tea farmers, blending and processing them, and then selling them. I am the sixth generation in the family to make Japanese tea. Since I was a child, I have watched my father purchase and process tea leaves, and I have learned the importance of tea finishing and how to look at the raw leaves,” he said. The store is lined with a variety of products that Mr. Shimada carefully purchases.

I think it is important to pass on the culture and excellence of Japanese tea to the next generation. We have been creating the ideal taste of Japanese tea by utilizing the experience and knowledge we learned from our predecessors and asking for cooperation from tea growers and tea makers to find out what kind of Japanese tea consumers want.

Shimada’s switch from a wholesaler to a retailer who sells directly to consumers has allowed him to directly feel the reactions of consumers. Using this strength, he communicates in detail to the tea growers his requests for the variety of tea leaves to be used, the degree of heat, and other details. His clients are producers of high-quality tea leaves in Nagasaki and Fukuoka prefectures. They are all highly skilled tea growers and tea makers with whom we have had a long relationship since the previous generation. The relationship of trust built up through the long history as a tea wholesaler is the key to the taste that Mr. Shimada pursues.

Promoting the deliciousness of Japanese tea and the beauty of tea culture

Mr. Shimada considers it his role to promote the excellence of tea culture inherited from his ancestors. While working as a Japanese tea instructor in Japan and abroad, he is constantly searching for ways to make “delicious Japanese tea” that fits modern lifestyles. For example, the development of collaborative products with local high school students is part of his activities. A variety of tea varieties including green tea, roasted tea, and brown rice tea were prepared and blended by the high school students to create “tea that high school students would want to put in their own bottles. Two things became clear from this experience. First, different generations have completely different tastes. Second, there is a need for high-quality “tea bag” products that allow students to brew tea without using a teapot. The taste of the tea they made was very weak to me. In other words, young people want tea that they can drink in gulps. After being in the tea industry for so many years, it is easy to get caught up in the umami, sweetness, and color of the tea. Of course that is very important, but it is equally important to recognize the difference in taste from what consumers, especially young people, are looking for,” he said. In light of the fact that the custom of brewing tea in a teapot is disappearing these days, the company is also focusing on the development of tea bags and instant tea products. The Japanese teabags we make are made from gauze, which allows the tea leaves to open easily when hot water is poured over them, bringing out their sweetness and aroma,” he says. While we respect Japanese teas with great flavor, water color, and sweetness that are highly evaluated at trade fairs, there should be teas that can be enjoyed casually in everyday life. While paying great respect to the efforts and techniques of tea growers who are preparing for the rigorous judging of their products, we are also seeking products that meet the needs of the times and do not fit too neatly into the old form. Mr. Shimada believes that such a light and flexible “way of Japanese tea” will lead to the further development of Japanese tea culture.

Awards and representative products of Shimada Tea House

Shimada’s main products are carefully selected “Sonogicha” from Nagasaki and “Yamecha” from Hoshinomura, Fukuoka. The wide range of products from top-quality teas to daily-use leaf teas, mizusashi teas, tea bags, and instant teas is attractive. The following three products are particularly noteworthy.

Yame Traditional Hon Gyokuro “Zesshin”.

The 2019 product won the Japanese Tea AWARD Grand Prize and the Minister of Agriculture, Forestry and Fisheries Award, while the 2020 product won the Silver Prize at the Japanese Tea Selection Paris, the only Japanese tea competition in Paris. The rich umami and aroma of this tea envelops the palate the moment it enters the mouth, and is a masterpiece of artisan craftsmanship that combines tradition and innovation.

Yame Sencha “Tsuyu Torori

Made in 2022 won the Platinum Award in the Gogumi Sencha category at the Japan Tea AWARD.

By blending varieties characterized by rich flavor, deep taste, etc., the aroma and flavor are at their best. You can enjoy a trolley of well-balanced tastes.

Roasted tea “Kaorihime

This green oolong tea is lightly wilted and carefully roasted to bring out its gentle and elegant floral and roasted aroma. It won the Silver Award at the 2021 Paris Japanese Tea Selection and the Platinum Award in the hojicha category at the 2022 Japanese Tea AWARD.

Pursuing the Future of Japanese Tea

Mr. Shimada’s goal is to create Japanese teas that fit comfortably into the modern Japanese lifestyle. First of all, he is developing teabags and mizudashi teas that can be brewed without using a teapot, with the aim of making it easy to enjoy Japanese tea in everyday use. On the other hand, however, there are many people who want to fully enjoy the individuality of high quality Japanese tea by brewing it in an authentic way. I am in a position to listen to the voices of both consumers and producers. I am in a position to listen to both consumers and producers, and I will continue my efforts to create “tasty and pleasant Japanese tea” for a wide variety of targets by incorporating the opinions and requests of both parties and actively reflecting the opinions of those outside the tea industry.

Until the establishment of the Sogicha Promotion Council about 35 years ago, Japanese tea from Nagasaki Prefecture was sold as “Ureshino-cha” from Saga Prefecture. Today, however, the presence and brand power of Nagasaki tea is growing by the day, as evidenced by the fact that Sonogicha won first place in Japan in the steamed tama green tea category at a national tea fair. The growers are very positive and have high skills and abilities. If we can work together with them to set clear taste goals and achieve them, I think Japanese tea will become even more interesting,” says Mr. Shimada. He continues to promote Japanese tea culture to consumers with respect for tea producers and passion and love for Japanese tea, while cherishing the ties that his predecessors have built as a tea wholesaler. We see a bright future for the Japanese tea industry in Mr. Shimada’s cheerful and flexible attitude as he continues to take on the challenge of “making delicious tea.

The post Truly delicious Japanese tea” – Shimada, a tea shop /Isahaya City, Nagasaki Prefecture first appeared on NIHONMONO.

Teppei Kojima, a ceramic artist who produces pottery under the name “Tetsu Kobo” in Aburagi-cho, Nagasaki, produces a large number of everyday-use vessels using traditional techniques and raw materials he has researched independently.

The “living creatures” series, which depicts the “living forms” of animals he has seen with his own eyes, and other works
have a unique appearance that is hard to find anywhere else.

Typical slipware has a soft, rounded comb pattern and a lattice pattern, but Teppei Kojima, who has a studio in Nagasaki City, creates slipware with a distinctly unique appearance using creatures as a motif. We visited ” Tetsu Kobo ” to meet Mr. Kojima, who is almost entirely self-taught in pottery making.

What is slipware?

Slipware is pottery that is decorated with a muddy clay called ” slip ” and fired. The unique texture of slipware, represented by soft, rounded stripes and wave patterns, has a solid presence that can only be achieved by hand.

Vessels born in England and raised in Japan

Slipware, which was made actively in England from the 18th to the 19th century, was mainly used as oven dishes, and was brought to the table as it was baked, supporting the daily dining table. Slipware was eventually swallowed up by the wave of industrialization and disappeared as mass-produced products became more common, but the founders of the Mingei (folk art) movement, including Muneyoshi Yanagi, took notice of slipware in faraway Japan. Their encounter with English potter Bernard Leach brought slipware back into the spotlight, and it gradually gained recognition, becoming increasingly popular in the 2000s.

Infinitely Expanding Slipware Patterns

Slipware is characterized by stripes and arrow feather patterns with rounded, soft curves. Well-known methods include drawing patterns on top of freshly-dried decorative clay with a dropper or tube, or scratching patterns on top of it with a stick. Because each piece is hand-painted, no two vessels are the same, and the artist’s individuality overflows into the slipware, which is another interesting aspect of slipware. Among them, Nagasaki-based ceramic artist Teppei Kojima continues to create unique slipware with motifs of living creatures.

From a Salaried Worker to a Potter

A room in a small building in Nagasaki City. When you step into “Tetsu Kobo,” your eyes are greeted by a hearth and the old tools that surround it. Books on folk arts and crafts lined the shelves, creating a world that resembled a small, cozy restaurant. Mr. Teppei Kojima, dressed in a kimono, greeted us.

The money is just enough to live on. I want to do what I love.

He was born in Nagasaki City. After graduating from university, he worked at a restaurant in Tokyo, but decided to leave and return to Nagasaki to find what he really wanted to do after spending too much time going back and forth between home and work. After that, he worked as a waterproofer, in sales, and as a manual laborer, but none of these jobs lasted long. On the other hand, Kojima began to take up ceramics after returning to his hometown and became absorbed in the art. He has loved making things ever since he can remember, and it was a precious time for him to lose himself in it. What he has always held in his heart is, ” All I need is enough money to make a living. I want to do what I love. It was a natural progression for him to pursue a career in ceramics.

When I was in college, there was a potter who stayed at my place of residence, and we would spend about a week fishing every day and drinking and talking with each other. Seeing his lifestyle, I envied him and thought, “If only I could become a potter, I could have such a life.

Painting for a change became his own style

Shortly after he started taking pottery classes, Kojima began to pay attention to slipware, which was gaining attention after a certain art magazine ran a feature on it. The teacher taught him the technique and he tried it at home, but “line drawings were difficult for an amateur and did not turn out well,” he recalls. Then, he happened to come across a book that featured the work of the late Kenji Funaki, one of Japan’s leading slipware artists, who had trained at Bernard Leach’s kiln in England.

He had trained at Bernard Leach’s kiln in England and was one of the most famous slipware artists in Japan. I tried drawing them myself as a change of pace, and to my surprise, it turned out to be a good idea. I thought that painting might be better suited to me than lines.

He spent many nights at home until midnight, painting on vessels and then bringing them to the class to be fired. Finally, “My teacher told me to buy my own kiln,” he said, and he bought an electric kiln for himself. He taught himself to study glazes and slip techniques.

Becoming a Professional in Just Three Years

In 2011, two years after he began making ceramics, Kojima received the Nagasaki Ceramics Exhibition’s Jury’s Special Prize. The following year, he won the Grand Prize in the category of ceramics for daily life at the same exhibition. In the same year, he was also approached by the ” Ginza Handicrafts Direct Seller ” at Matsuya Ginza, and this was the catalyst for his professional career.

I was asked to stay at the gallery for a week,” he said. But I was an office worker at the time, and I couldn’t take a week off work. If I refused, I thought, I would never become a potter.

Kojima decided to quit his job and devote himself to ceramics. Since then, he has steadily built a professional career, continuing to participate in the “Ginza Handicrafts Direct Selling Shop” every year.

Kojima-san is known for his paintings of living creatures.

Mr. Kojima is known for his vessels with lively creatures painted on them. In addition to his standard deer, octopus, and rabbit, in recent years, his yokai (monsters) series, including Nurikabe, Hitotsukomen, and Oni (ogres), have become popular.

Kojima’s view of the world, completed in three minutes

Slipware is made by pouring mud plaster (deisho, slip: a mixture of water and clay in a muddy state) on a freshly dried vessel, and then immediately painting over the top with another layer of mud plaster all at once. If it dries out, you will not be able to paint,” he said. Each dish takes only about three minutes to paint,” says Kojima.

Watching him paint, the process looks easy enough, but he has the experience to handle the pot with the right amount of pressure when holding the dropper filled with mud plaster. Even a single dot can change its balance if its size is slightly different,” says Kojima. It is really difficult to adjust the strength and weakness of the spot with the dropper.

If the amount of water in the mud plaster is too much, the painting will spread out and will not be finished beautifully, and the drying process is also prone to cracks and deformation due to the shrinkage rate. Conversely, too little water can cause the colors to peel off during the firing process, making the adjustment of mud plaster concentration an extremely important factor in slipware.

The speed at which the painting soaks into the slipware, the saltiness with which the lines spread, and the colors that emerge when the slipware is fired are all factors that must be considered when adjusting the density. You adjust the density while calculating these things. It is really difficult to make it thicker or thinner. Some people use a densitometer.

As much as possible, I use natural products that I made myself.

For the mud plaster, he uses bengara, a natural pigment. For the glaze, he uses a rare stone called kimachi-shiroishi, produced in Shimane, combined with a base of wood ash that he cooked himself. I can buy the ash if I want to, but I have to be careful about what kind of wood is used and where it comes from, and sometimes there are things other than wood mixed in, such as magazines and newspapers, so it is safer to make it myself,” he says. I try to make what I can myself,” he says.

Perhaps because of this, many of Kojima-san’s slipware have a somewhat gentle, natural feel to them, and his paintings have a light, unique, yet relaxed look to them.

They come in a variety of sizes and shapes. The 7″ plates are deep and easy to use for salads and oden, while the 5″ flat plates can be used as cake plates or serving plates. The 3″ bean plates are also carefully painted, and the expressions and lively movements of the animals and monsters never tire of being seen.

Seeking to establish his own style

Kojima says with a wry smile, “I’ve never been good at drawing pictures, so sometimes it’s hard for me. But, oddly enough, it was after seeing the late Kenji Funaki’s vessels that he began to draw pictures of living creatures, which led him to the path he is on today. Recently, he has made it a daily routine to draw ink paintings using ink he has ground himself, hoping to “improve my painting even if only a little.

At the same time, he is now adding to his collection of vessels made with sumi-hajiri ink. Sumi-Hajiri is a long-established technique of removing the white from the ink by utilizing the ink’s ingredients, and is contrasted with slipware, which is characterized by rounded corners, in that it produces a crisp, sharp look.

I didn’t go to pottery school, and I don’t have a proper teacher. That’s why I really have no choice but to do it as a round-robin competition. I think that if I continue to do this for a long time to come, one day I will be able to paint my own pictures and get closer to my own style,” he says with a cheerful laugh.

Kojima has found the right place to do what he truly loves. She says that although she took a slight detour, she has turned it all into a learning experience, and that her work is somehow gentle and warm. The mysterious sense of security that makes us want to pick up a piece of her work when we need a breather in our daily lives is a result of her commitment to making her customers happy. We hope you will add one of these pieces to your collection. You will find yourself with it in the front row of your cupboard.

I have been completing my work by clearing each challenge one by one in my own way. I am proud to say that these are my own unique vessels with my own unique twist. I hope you will keep it with you and use it a lot.

The post Teppei Kojima, “Tekkobo,” a slipware artist who is “almost entirely self-taught” / Nagasaki City, Nagasaki Prefecture first appeared on NIHONMONO.

Based on the simplicity of casual usability, the woodworker Koji Hori’s
unique style with his subtle design as an artist is very attractive.
He carefully produces vessels filled with simple gentleness one by one,
which can bring a little warmth and serenity to your daily life, as well as time and space.

Mr. Koji Hori makes wooden utensils in Sasebo City, Nagasaki Prefecture. His tableware that brings out the universal qualities of wood, such as the grain and texture, is so well received that some customers wait a year for their tableware. We visited his workshop in Sasebo City to find out.

From a Self-Defense Forces Personnel to a Woodworker

The northern part of Nagasaki Prefecture. In a corner of an industrial area by the sea in Sasebo City, there is a small workshop. In a space of about 10 tatami mats, there are many pieces of wood, machines, and tools. On a shelf at the entrance, freshly finished wooden tools are randomly lined up.

Leaving the Self-Defense Forces to Work for an Interior Design Company

Born and raised in Sasebo City, Nagasaki Prefecture, Mr. Hori was influenced by his father, who was a member of the Maritime Self-Defense Force, and after graduating from high school, he joined the Maritime Self-Defense Force himself. He has a unique background in that he was transferred from Sasebo Air Base to Yokosuka, where he was engaged as a Self-Defense Forces member.

After working as a Self-Defense Forces member for three years, he found a job at an interior design company in Tokyo, hoping to work in the furniture business, which he had always been interested in. At the same time, Mr. Hori had always wanted to make a living by making his own wooden furniture someday. His first encounter with woodworking was when he started attending a woodworking class on weekends. The more he learned about woodworking, the more he was drawn into its deep appeal. However, after conducting his own market research, Mr. Hori felt that it would be difficult to make a living making furniture. So he started making wooden trays as part of his tableware line, which included wooden bowls andcutlery that he had enjoyed since he was a young man.

Creating during the day, working part-time at a tavern at night

After moving to Kamakura and commuting to work at a company in Tokyo while continuing to make trays on weekends, it was around 2006 that Mr. Hori started his own business. At first, he had few clients, and in the evenings he made a living by working part-time at a nearby izakaya (Japanese-style pub). What brought about a change in his situation was a general merchandise store that he jumped into as a sales pitch. The owner, a connoisseur, selected and sold carefully crafted household goods, and the store was well known throughout Japan.

I’m really not good at sales,” he said. I researched stores that had a concept close to my own, and I gathered up all my courage and made a sales pitch,” he recalls with a wry smile.

I wanted to create something beautiful and usable for a long time. It was a great encounter with a general store that was quick to adopt such a now commonplace point of view, and once business began, Hori’s wooden tools naturally took on a life of their own . After the business relationship began, Hori’s wooden tools naturally began to take on a life of their own.

Tools for Any Occasion

Currently, Mr. Hori is working on a wide range of tableware, including trays, bowls, spoons, forks, butter cases, and more. His works, which are characterized by the carved patterns that remain on the surface of each piece of wood, are easy to fit in one’s hand and give a sense of warmth. After carving, he soaks the carved pieces in wood hardener, which preserves the texture and feel of the wood and increases its strength, and lets them dry. When we use urethane paint, it inevitably has a plastic feel. I use sesame oil because I want the wood to feel like it has its own texture,” says Hori. The natural texture of the wood is perfect for everyday use, special occasions , oras a gift, and can be used in any situation.

Speaking of Mr. Hori, round trays

One of Mr. Hori’s best-known creations is the round tray. In addition to having a deep and stable rim, the natural texture of the tray and the ease with which it fits in one’s hand make it a perfect supporting piece for a variety of dishes. The medium-sized tray can be used as a plate, while the small-sized tray is perfect for placing a drink and a small snack. The wood’s ability to change color with age and develop a deeper sense of flavor is also a unique quality of the wood.

Inspired by old folk tools sunk at the bottom of a dam

One thing that many of Hori’s works have in common is a unique carving pattern of straight lines wavy in the middle. This style was inspired by the Wagatabon of Ishikawa Prefecture. Wagatabon originated in the village of Wagaya (now Kaga City), where carpenters and joiners carved chestnut trees with a single chisel as a tool for daily life. It is said that the Gaya-bon once ceased to exist in the Showa period (1926-1989), when Gaya-mura sank below the bottom of a dam, but in recent years, a nationwide movement of woodworkers who are self-taught in the technique are trying to revive it.

Mr. Hori is one of those who are fascinated by the Gaya-bon. Because they are folk tools, they have a rough-hewn, rugged look and feel, and he has taken this and sublimated it beautifully into his own style. The wood used and the process of making the trays are different, but I cut the trays by hand, daring to leave straight lines. The power of each line is very powerful when you see the finished product.

A new base that combines atelier, gallery, and residence

In 2017, Hori returned to his hometown of Sasebo City, where he continues to work in his current studio. He commutes to his atelier every morning from his house a short distance away, but he is now planning to “eventually build a base that combines an atelier, gallery, and residence, and live surrounded by the things I make.

While working in silence, I serve tea to visitors to the gallery and invite people over for small parties. It’ s not fancy by any means, but I would be happy if I could lead a rich life in the sense that it fills my heart, and if I could fulfill my life with it. I would like to make art objects someday,” he says of his endless dreams.

The expression of the uneven wood that is visible and hidden in the simplicity and sharpness of the work. Hori’s wooden tools remind us that it is this fluid beauty that contrasts with the uniformity and orderliness of mechanical beauty, and that is why we will always be fascinated by them. We look forward to the birth of a new center in the near future where we can pick up Hori’s tools and experience their natural beauty.

Having even one “wooden” item on the dinner table every day adds warmth and serenity to the space and time spent there. I would be happy if you could feel a little healing by using my work in your hectic daily life and enjoy the pleasure of living with woodwork.

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In a very small area of about 13 hectares in Mizuho Town, Unzen City, “Unzen Tea” is grown using volcanic ash soil from the Shimabara Peninsula and original organic compost. We visited Mr. Atsushi Nagata, the third generation of Nagata Seicha, a tea farmer at the foot of Mt. Unzen, who continues to take on new challenges every day while maintaining his unique “Fukamushi Tamaraku” method.

Unzen Tea” grown in the rich soil at the foot of Mt.

Unzen, which rises in the center of the Shimabara Peninsula in Nagasaki Prefecture. Unzen, Unzen tea is grown in the mid-mountainous area at an altitude of 50 to 200 meters above sea level. The cultivation of Japanese tea began in this area around 1935 (Showa 10). While mandarin orange cultivation was being promoted as a national policy at the time, the first generation of Nagata Tea Company, which will be introduced later, planted tea trees in Mizuho Town that suited the soil and climate at the foot of Mount Unzen. For about 90 years since then , “Unzen Tea” has been produced in a small area of about 13 hectares. Because it is located in the southern part of the prefecture, the harvest is relatively early. Unzen tea, grown healthily in the clean air, rich soil, and sunshine, has a reputation for its umami taste and bright color.

Characteristics of Unzen Tea

When most people think of Japanese tea, the thin needle-like leaves of “sencha” tea probably come to mind. However, the tea produced in Nagasaki Prefecture is mainly steamed Tamaryokucha (steamed green tea with curved leaves). In the process of steaming raw tea leaves at high temperature to stop fermentation and then rubbing and drying them, the leaves become rounded. The tea is sometimes called “guri-cha” because it looks like a gradient ball.

Unzen tea is also a “steamed Tamaryokucha,” which is dried by letting air in the tea leaves without going through the “fine rubbing” process to shape the tea leaves like sencha, so that the tea leaves retain much of their flavor and have a mild taste with reduced astringency.

Nagata Seicha, which has been making Unzen tea for three generations

In the mountains of Mizuho Town, Unzen City. Driving along a mountain road covered with terraced fields, we saw the tea plantation of Nagata Seicha. When I visited there in early May, the harvest had just passed its peak. This year, due to the cold winter, the harvest of the early varieties was late, but the mid- and late-season varieties were as usual, so the harvest was quite tight,” he said. Mr. Atsushi Nagata of Nagata Tea Manufacturing welcomed us with a smile, saying that he is the third generation in the company’s 5-hectare tea plantation that has been in operation since 1935 and handles all aspects of Japanese tea production, including cultivation, production, and sales.

After graduating from Saga University, Mr. Nagata spent two years training in tea production at the National Institute of Vegetable and Tea Research in Shizuoka Prefecture before returning to his hometown, where he became fully involved in the family business at the age of 25. Currently, he grows more than 10 varieties of tea, mainly Saemidori, which is said to have a good balance of taste and aroma, and Okuyutaka, which was recommended to him by his former teacher during his training in Shizuoka Prefecture. Okuyutaka is a popular tea with a clean and refreshing aftertaste. He is always in pursuit of “truly delicious tea” while understanding the individuality of each variety.

Nagata Seicha has its own unique method of tea production. Unzen tea is basically steamed Tamaryokucha, but we have developed a method called “Fukamushi Tamaryokucha” in which the steaming time is longer than usual. We also roast the tea in a kettle to give it an aromatic flavor. This process has been continued since my grandfather’s generation. The result is a mellow green tea with a beautiful aroma and color. Mr. Nagata also makes various attempts to bring out the original flavor of tea, such as “wilted tea,” in which plucked tea leaves are slightly fermented, “white tea” that has not been heated and is brewed in water, and Japanese black tea. In collaboration with a trusted Japanese tea instructor, he is exploring and pursuing the unique appeal and possibilities of Unzen tea.

Initiatives of Nagata Tea Manufacturing

The soil at the foot of Mt. Unzen, where Nagata Seicha is located, is volcanic ash soil mixed with black soil and red soil. The soil drains well, and the tea fields are soft to the touch. Mr. Nagata has nurtured this soil slowly and carefully over many years. For example, in winter, he applies his original compost, a blend of organic matter based on cow manure, and in fall he spreads rice straw to retain moisture and prevent weeds. The compost and rice straw are all from the Shimabara Peninsula. They also cultivate tea completely without pesticides to ensure safe and secure tea production. My father always told me that good tea comes from healthy trees,” says Mr. Nagata. This year, he and his colleagues developed a method to crush wild boars captured as a measure against animal damage and use them as fertilizer, and have started soil cultivation using this method. In addition, they have been experimenting with the use of grape pomace from a winery on the Shimabara Peninsula as a fertilizer. The results will come out in a couple of years,” he said. We are looking forward to seeing the effects on the tea plantation. The goal is recycling-oriented agriculture with an eye on the future. We are challenging ourselves to find a healthy way of farming that we can pass on to the next generation.

Communicating the appeal of Unzen tea from the café

Mr. Nagata felt that simply growing tea leaves in the fields, processing, and shipping them as in the past was not enough to pass on and develop tea culture, so he opened the Japanese tea cafe “Poppoya Chaba” as a new base in 2017. About a 10-minute drive from the tea fields, the store overlooking the Ariake Sea and local train line in front of it was renovated from the home of Mr. Nagata’s maternal parents, giving it a nostalgic atmosphere.

The menu uses a variety of local organic and traditional vegetables as well as Unzen tea. It regularly holds events such as workshops for elementary school students and tea brewing classes, and has a store corner where Nagata Seicha’s tea leaves can be purchased. The company’s goal is to offer consumers the appeal and enjoyment of Unzen tea directly to them through a comprehensive process from planning to production, distribution, and sales. I am a producer who works in the field. However, I cannot know the reaction of consumers only by repeating trial and error in the field. Since establishing a base outside the fields, I have had more opportunities to interact with the outside world and gain new perspectives. I take the issues that arise from these interactions back to the fields and use them as my next goal.

The photogenic café, located right in front of the local train station, attracts tourists from inside and outside of the prefecture every day. The Shimabara Peninsula, a treasure trove of seafood from the sea and mountains, has recently seen an increase in the number of “food professionals” who have moved to the area to work in the agriculture and restaurant industries. I hope to spread not only Unzen tea, but also the food culture that the Shimabara Peninsula prides itself on, from this café,” says Nagata. Mr. Nagata loves Shimabara, where he was born and raised, and is excited about the new form he hopes to inherit.

The future of Unzen tea looks bright, as this small production area of about 13 hectares is expanding its possibilities beyond the boundaries of Japanese tea.

The post Unzen tea made by Nagata, Shimabara Peninsula, Nagasaki Prefecture / Unzen City, Nagasaki Prefecture first appeared on NIHONMONO.

We want to make cutting boards that will carry on the “taste of home” at home.
Morinaga Zaimokuten, located in Minamishimabara City, Nagasaki Prefecture, is a lumber store that makes high-quality cutting boards and other products with this in mind.
Using ginkgo wood that has characteristics suitable for kitchen work,
the cutting board carefully made by a lumber dealer who knows wood well and takes time and effort is highly evaluated by professionals.

Cutting boards are indispensable for daily cooking. There are various materials such as plastic, rubber, and wood, but ginkgo wood, in particular, has long been considered the most suitable wood for cutting boards, and is used by professional cooks. We visited Morinaga Zaimokuten, which makes cutting boards from ginkgo trees grown in Kyushu, which are also familiar as sacred trees.

Characteristics of Ginkgo Cutting Boards

Professional chefs and cooks love to use this wooden cutting board. Hinoki (Japanese cypress) with its high antibacterial effect, hoo (Japanese pampas grass) with its good drainage, willow with its elasticity, and hiba (cypress) with its durability have long been used as materials for cutting boards, but ginkgo wood is most often chosen because of its good balance of all the characteristics. Ginkgo wood cutting boards have the following three main characteristics.

No spilling of the blade

Because of its moderate softness and elasticity, it does not damage knife blades. In addition, because it has strong resilience and does not leave scratches, the cutting board has the advantage of being long-lasting. The reason why a ginkgo chopping board makes a particularly pleasant sound when used is because of its characteristic of good blade contact. The fact that no small wood shavings are produced when a knife is drawn is another reason why cooks choose this wood.

Dries quickly and has excellent antibacterial properties.

Because it contains just the right amount of oil, it drains well and dries quickly, making it hygienic. In addition, the presence of flavonoids prevents odors from sticking to cutting boards. The shikimic acid contained in ginkgo has an insect repellent effect and prevents the growth of mold.

Less warping and distortion

Ginkgo trees do not differ greatly in the width of annual rings and grain between winter and summer, and their condition and quality remain uniform even after being cut. Therefore, warping and distortion are less likely to occur, and cracking due to temperature changes is also very rare.

Morinaga Zaimokuten, a lumber mill that makes ginkgo cutting boards

Ariake Town is located in the southeast of Shimabara Peninsula in Nagasaki Prefecture. Morinaga Zaimokuten, located near Ariake Onsen Shrine, one of the four guardian shrines of Kyushu with a history of approximately 1,300 years, produces cutting boards using ginkgo trees grown in Kyushu.

The representative of the company, Keiko Morinaga, and her deputy, Shigeo Morinaga, welcomed us to their workshop, which is lined with solid ginkgo boards. When Keiko’s husband Hayato, the second generation, passed away suddenly, Hayato’s younger brother Shigeo, who had worked as a city hall employee, came to support the family business and switched the main business to “ginkgo wood cutting board making” utilizing his history, knowledge, and experience as a lumber dealer.

When the company was founded 75 years ago, its main business was construction using traditional methods, but demand declined with the passage of time. After searching for the future of the lumber business, the company decided to start making cutting boards using high-quality ginkgo trees in parallel with its construction business in 1995. Ginkgo is a wood that is not planted on a large scale like cedar and cypress. Good quality ginkgo is only available at limited times, for example, when a sacred tree in the precincts of a shrine has fallen down due to a disaster. My husband, who was a connoisseur of lumber, would gather information on ginkgo trees from markets all over Kyushu and buy them,” says Keiko. All of the ginkgo wood used to make cutting boards today comes from the stock Hayato purchased during his lifetime. Keiko smiles, “It makes me so happy to think that the ginkgo trees that my husband lovingly and carefully stored are now being used in the kitchens of homes.

Features of Morinaga Zaimokuten’s Ginkgo Cutting Boards

~We want to master beauty over efficiency~.

Morinaga Zaimoku-ten’s cutting boards are made from ginkgo trees cut in the “cold” season, from November to March. It is characterized by its durability, resistance to rot, and lack of ginkgo’s distinctive odor. The logs are first sliced thickly, dried for one and a half years, and then further sliced. The same process is used to thin the logs step by step, and it takes about eight years before they are finally finished as lumber. Because of the time and care that goes into the process, our cutting boards are particularly free of splits, warps, and cracks. They are completely dry and extremely light, and we are also proud of their smooth and beautiful surface. Since they are used in the kitchen every day, we are particular about making products that can be trusted,” says Shigeo.

Product Lineup

Morinaga Zaimokuten offers a variety of ginkgo chopping boards in different sizes. Each size has a unique name, such as “husband,” “wife,” “eldest daughter,” “eldest son,” and “grandson. All are cut to a thickness of 2.5 cm, making them light yet solid and easy to use. The lineup is appealing, with a variety of sizes to choose from according to the occasion and lifestyle, from “Teishu,” a favorite of many professional cooks, to smaller sizes such as “Chouson,” which is useful for cutting fruits and bread at the dinner table. Sizes can be ordered and original branding can be added. Workshops are also available where customers can “make their own chopsticks” from scraps of ginkgo wood. The company also develops products that take advantage of the texture of wood, such as tables made from a single piece of 100-year-old ginkgo tree, and vessels and stools with beautiful wood grain.

How to care for the wood

Many people are concerned about how to take care of ginkgo chopping boards after purchase, such as how to remove stains from solid wood, how to dry them, and tips on how to use them for a long time. We asked Ms. Keiko how to take good care of it. Before use, wet the entire board with water. This creates a film of water that reduces color and odor transfer. After use, sprinkle salt on the surface, scrub along the grain of the wood with a scrubbing brush, wipe dry, and hang dry in the shade. If salt does not remove the stain, you can use vinegar. When drying, hang it vertically along the grain of the wood”.

If you can no longer cut food properly, it is a sign that the center of the cutting board is worn out. In this case, “re-sharpening” will remove mold and blackening and make the board as good as new. Morinaga Zaimokuten offers free “resharpening” in the hope that you will use your cutting board for a long time. We have many customers who have been using our cutting boards for many years while having them resharpened. We even have young customers who come to us looking for our cutting boards because their mothers used to use them. We feel that our chopping boards are a part of each family’s ‘taste of home,'” Keiko says happily.

Thoughts of Morinaga Zaimokuten

Around here, mothers used to give their daughters a ginkgo wood cutting board as a wedding gift, ” says Keiko. For those who stand in the kitchen every day and prepare meals while praying for the health of the family, a cutting board has always been like a right arm or a partner. I think it would be wonderful if the cutting board could continue to be a part of the sounds coming from the kitchen and the memories of home tastes, even if only a little. Morinaga Zaimokuten’s cutting boards are made of ginkgo, a tree of longevity that is also familiar as a sacred tree, and are finished with time and care. Each piece created by Keiko and Shigeo will be a part of someone’s warm memory today.

When a dent appears on a cutting board, it is a sign that it has been used for many years. We offer free repair services to those who have carefully used our cutting boards for many years. In order to make products that you will be happy to use, we spend our days working closely with wood. Please be healed by the sound of the cutting board that echoes with the warmth of wood.

The post Ginkgo cutting board made by “Morinaga Zaimokuten”, established 75 years ago, with lots of time, effort and love / Minamishimabara City, Nagasaki Prefecture first appeared on NIHONMONO.

Located in Minamishimabara City, Nagasaki Prefecture, one of the largest producers of somen in Japan, Takahashi Ken Somen is a long-established noodle mill that makes hand-pulled somen the old-fashioned way.
The soft and fluffy somen has long been loved by many people for its firmness and refreshing taste.
The company also produces hand-pulled udon noodles and Chinese noodles that incorporate the somen production method.

Nowadays, most “hand-pulled somen” are made by machine. In such an environment, one of the few noodle mills that continue to follow the traditional method of hand-stretching noodles is located in Minamishimabara City, Nagasaki Prefecture, a prime production center of somen noodles. What is the origin of this insistence on “hand-stretching” in today’s increasingly mechanized world?

Soumen stretched by hand and by machine

Do you know that some packages of Soumen you see in stores say only ” Soumen ” and others say ” Hand-Pulled Soumen “? The difference is the production method. Somen” is made from a mixture of wheat flour, salt, and water, rolled out thinly on a roller, cut into thin strips, and dried by a machine, while “hand-rolled somen” is made from the same dough that is “twisted” and stretched into thin strips before being dried. The “hand-pulled somen” is made from the same dough that is “twisted” and then stretched thin and dried. The characteristics of hand-rolled somen are that it is thin, smooth, firm, and does not stretch over time. The reason why the texture of “somen” ( mechanical somen ) is said to be inferior to that of hand-pulled somen is largely due to this difference in the production process.

However, not all “hand-rolled” somen are made by hand. Because it is quicker and more suitable for mass production, most hand-rolled somen noodles in Japan are now made by machine. However, there are a few noodle mills in Minami-Shimabara City, Nagasaki Prefecture, that still “hand-roll” their noodles. Mr. Toru Takahashiof Takahashi Kensaku Noodle Manufacturing continues to follow the “hand-stretching” method.

Minami-Shimabara, once home to more than 700 noodle mills

Minamishimabara has a long history of producing a large number of somen noodles as a subcontractor for Miwa Somen (Nara), and at its peak there were over 700 noodle mills in the area. Shimabara’s natural environment contributed to the production of somen noodles. The fertile soil and mineral-rich water nurtured over many years by the activities of Unzen and Fugendake mountains located in the center of the peninsula. The climate is ideal for wheat cultivation, and wheat cultivation has taken root in this region. The natural salt from the Ariake Sea and the sea breeze have made somen production a part of people’s daily lives, and have further nurtured Minami-Shimabara as a town of somen. Utilizing such somen-making techniques, around the 1950s, the town developed somen as one of its main industries. Today, Minamishimabara boasts approximately 30% of the nation’s market share for hand-rolled somen, and continues to spin its traditions as a top-class somen town. It continues to grow.

A Small Noodle Factory with 160 Years of History

Takahashi Kensaku Noodles also boasts a long history, having been established in 1858. Currently, Toru, the sixth generation of the family, his wife, and son are working hard every day to make the noodles.

Upon entering the factory, one is struck by the sight of the noodles being stretched into thin strips, skillfully using a bamboo stick held in both hands. The scene is breathtaking as the bamboo sticks are inserted between the noodles on the tubes and handled to stretch them as if weaving silk threads. The noodles, which were as thick as a pinky finger at first, quickly become as thin as one millimeter.

Stretching the noodles is a race against time. The quality of the noodles changes depending on the weather, humidity, and temperature of the day, so we have to be careful with the dough we prepare each morning. Toru says. The taste of the noodles is determined by the dough, which is prepared before dawn. The ” kneading ” process, in which carefully selected flour is mixed with salt water, is considered a difficult process even with years of experience, as the mixture is slightly changed according to the weather and humidity of the day.

How to make white and firm somen noodles

Once the dough is kneaded, a thin layer of cooking oil is applied to the surface to prevent the dough from sticking to each other, and the dough is twisted and stretched into a noodle shape. Toru uses medium to strong flour with a slightly higher protein content for his somen. When mixed with water and kneaded, this protein is converted into gluten, which gives the noodles their stickiness and elasticity. The higher the amount of gluten, the more yellowish the color of the dough. The process of kneading the dough and stretching it into layers without cutting it, while aging it over and over again, produces a firm, unbreakable somen noodle, even when it is as thin as 1 mm. Strong flour makes the noodles more firm, but the high protein content and the high gluten content tend to make the noodles yellowish. However, Somen noodles look better when they are white like silky threads, don’t they? That is why we are particular about how to make the color white while strengthening the firmness.

The work of stretching the noodles is the only thing that cannot be matched by hand.

Even if the noodles are firm, they are stretched according to the climate of the day, so they often break due to temperature changes, or the color does not turn out as white as expected. He says, “I’ve been doing this for 45 years, and there are very few days when I get it right. This is the very reason why Toru insists on hand-pulling the dough. I want to leave the kneading of the dough, which can be done better by machines, to the machines,” he says. But in the stretching process, I have to adjust the amount of force I use while watching for changes in the dough. As time goes by, the noodles dry out and become saggy, so they tend to break easily. This stretching process cannot be done by hand, ” says Toru. Repeatedly stretching and binding the dough allows the gluten to pass through to the center of the noodle, resulting in a smooth, smooth texture that cannot be experienced with ordinary somen noodles, a unique firmness, and the indescribable texture that is difficult to break even after boiling.

People who have tried Takahashi Kensaku Noodles’ somen noodles often ask, “Why is it so delicious even though it is made from the same ingredients? Once a customer is attached to a product, he or she stays with it for many years. Once a customer is hooked, he or she will continue to seek out Toru’s somen for many years to come. I think the difference in taste and texture comes from the fact that the noodles are hand-stretched,” he says. I feel that the customers buy my somen because of the fact that I stretch them by hand. Since we are not a machine, there is a limit to how much we can make. Even so, when customers say, “Takahashi-san’s somen is the best,” it makes me feel happy that I have stuck to hand-rolled somen,” he says with a smile.

Bringing Back the Everyday Eating of Boiled Dried Noodles

Recently, the number of people who do not have the custom of boiling dried noodles is increasing. Somen, once a signature product for mid-year and year-end gifts, has seen a decline in demand as the market has shrunk in size in recent years. In addition, the shift to nuclear families and the increase in dual-earner households are encouraging ” short-cooking,” which requires less time and effort to prepare. Rather than boiling dried noodles, cup noodles that can be finished simply by pouring hot water into a cup or frozen noodles that can be heated in a microwave oven are predominant. That kind of scene has been reduced. Such scenes have decreased,” Toru muses.

A Product of Changing Lifestyles

However, the change in lifestyles seems to be bringing unexpected changes to this situation. With more people teleworking and spending more time at home, sales of dried noodles, which are easy to stock, are on the rise. Dried noodles such as somen and pasta, which are easy to season and can be rearranged for enjoyment, are also increasing in popularity due to their satisfying and healthy qualities. At Takahashi Kensaku Noodles, chanpon, udon, ramen, cold Chinese noodles, and other hand-pulled dried noodles are also popular. I want people to know the taste of somen and other dried noodles because they are simple and tasty,” says Tetsusan. I hope you will enjoy the taste,” says Toru. Fold the noodles in half and put them directly into miso soup that has been slightly diluted. Even simple condiments such as green onions are tasty enough, and there are many ways to enjoy them from summer to winter,” he said.

Somen as white as a waterfall

Minamishimabara’s hand-pulled somen used to be a thriving cottage industry. The family is the smallest unit of people in Minamishimabara, and the tradition of making each type of somen has been passed down from generation to generation and continues to this day.

I think it is good that there are so many different types of noodle makers. I think it is good that there are so many different kinds of noodle makers. But at the moment, I don’t need a machine. My son, who makes somen noodles with me, says, ‘I like the way things are now. I don’t mind if at least one such somen shop remains,” says Toru, narrowing his eyes.

The name of their signature product, Shirataki, is derived from their predecessor’s wish to “make somen noodles as white and straight as a waterfall. Toru, who has inherited these ideas, is also looking straight ahead. It takes a lot of time and effort. But as long as there are people who say, ‘Takahashi-san’s somen is the best,’ I will continue to make somen with pride in this method.

Our hand-pulled somen noodles are as white as silk and have a fluffy texture, strong firmness, and a smooth, refreshing feel. Inheriting traditional techniques, we work slowly and carefully without being constrained by time, depending on the day’s climate. Please enjoy our traditional hand-pulled somen, one of the few traditional “Shimabara Teben Somen”.

The post Minami-Shimabara Takahashi Ken Somen, a small somen noodle shop that continues to adhere to the true “hand-pulled” style / Minami-Shimabara City, Nagasaki Prefecture first appeared on NIHONMONO.

During the Edo period (1603-1867), a unique culture blossomed in Nagasaki through Dejima, the only island in Japan open to Europe. Nagasaki tortoiseshell, an ornament made from the shell of the turtles called “taimai,” was also born in Nagasaki, a center of cultural exchange at that time, and its beauty fascinated people. We will visit the workshop of Makoto Fujita, a leading Nagasaki tortoiseshell craftsman, to learn about the history and appeal of tortoiseshell.

What is tortoiseshell?

Tortoiseshell is a type of sea turtle called “tortoiseshell turtle. Tortoiseshell work, made from the shell of the tortoiseshell turtle “taimai, ” has long been prized as a luxury item because of its beauty and rarity.

Currently, the import of tortoiseshell work is completely banned under the Convention on International Trade in Endangered Species of Wild Fauna and Flora, also known as the Washington Convention. In other words, only stock imported in the past can be used in the future. The limited availability of raw materials further enhances the value of tortoiseshell work.

History of Tortoiseshell Work

Tortoiseshell work has a long history, said to have begun in the 6th century during the Sui Dynasty in China. Tortoiseshell work was first introduced to Japan during the Nara period (710-794), and the “Shosoin Gomotsu” at Todaiji Temple in Nara Prefecture preserves such treasures as the “tortoiseshell staff” and “tortoiseshell ruyi,” ceremonial Buddhist implements made of tortoiseshell and bearing the name “taimai,” the raw material for tortoiseshell work, and the “raden sandalwood biwa (five stringed biwa)” with tortoiseshell work on the top. and other treasures are preserved.

Tortoiseshell Work in Nagasaki, the Place where Tortoiseshell Work began in Japan

The history of tortoiseshell work in Japan began in Nagasaki during the period of national isolation. The reason for this is that Nagasaki was the only place in Japan that was open to the rest of the world and had a trading post called “Dejima”. At that time, Nagasaki was the gateway to Asian and European cultures, including China and the Netherlands. The “Japanese, Chinese, and Dutch” culture, a mixture of various people, things, and events, was born in Nagasaki, and the city was a bustling center where many merchants, prominent figures, and foreigners gathered. Tortoiseshell, which was brought from the Caribbean and Indian Ocean by Chinese and Dutch ships, was unloaded at the port of Nagasaki and processed by craftsmen living nearby. This was the beginning of Nagasaki tortoiseshell, and in addition to combs, ornamental hairpins, cosmetic boxes, and tobacco cases were also made. Tortoiseshell work with its beauty and elegance was loved by geiko and prostitutes in Nagasaki’s Maruyama, one of the three major flower districts along with Yoshiwara in Edo and Shimabara in Kyoto, and colored the world of glamour.

Technology Spreading from Nagasaki

With the signing of the Port Opening Treaty in the late Edo period, many foreigners began to enter and leave Nagasaki. Since “Nagasaki tortoiseshell” was popular among the foreigners residing in the city, craftsmen studied and refined their techniques and designs to suit the lifestyles of the foreigners. As a result, Nagasaki tortoiseshell became well-known both at home and abroad, and the technique was spread to Edo (Tokyo) and Osaka.

Visit to the workshop of Makoto Fujita, the leader of “Nagasaki tortoiseshell”.

The Fujita family has been carving Nagasaki tortoiseshell for more than 100 years since the Taisho era (1912-1926), and the workshop of Makoto Fujita, the third generation of the Fujita family, is located on a hill in a residential area spreading out like a mortar, typical of the port city of Nagasaki. The house overlooking the town below is located at the top of a flight of stairs that winds up the slope of the house. In the workshop, where a vise, small knives, engraving knives, and polishing machines are crammed into a small space, we were welcomed by a smiling Mr. Fujita.

The Fujita Family’s History of Over 100 Years

The process of purchasing materials from wholesalers, designing, processing, and engraving, and finally completing the product. Mr. Fujita is the only tortoiseshell carver specializing in tortoiseshell work in Japan who carries out all these processes by himself. He does not have his own store, but rather wholesales the pieces he creates in his home workshop to retailers, a style that has continued since his grandfather, Yasutaro, founded the company, which has been branded ” Kizan ” since Makoto’s generation. The name “Kizan” has been used since Makoto’s generation to express his wish that his products would bring joy like that of a mountain. It was a little embarrassing to give it a brand name, but it was requested by our customers…,” says Mr. Fujita, who has been a tortoiseshell craftsman for about 60 years. He has been a tortoiseshell craftsman for about 60 years. He learned the techniques handed down from his grandfather by watching his father Hiyoshi’s back. I later realized that part of my father’s name was included in the character for “Ki,” and now I am glad that I named my brand after him,” he says.

Mr. Fujita and Tortoiseshell Work

Although Mr. Fujita had been in contact with tortoiseshell work since he could remember, he began to study tortoiseshell work in earnest under his father when he was 16 years old. While enjoying his youth at a dance hall, which was popular at the time, he steadily improved his skills as a craftsman. He was motivated by the fact that he could make customers happy and earn money by doing his work. In the 1980s, he got married and started a family, and at the same time the company entered the bubble economy. He was so immersed in his work that he had no time to sleep until he was 45 years old. It was a time when even though I made a lot of things, it was never enough. Looking back, I had the best time of my life.

Tortoiseshell was the key to my life. I can only be thankful for that,” says Mr. Fujita, but he has not fostered successors. In addition to the difficulty of securing raw materials, the appearance of inexpensive materials to replace tortoiseshell and declining demand due to changes in lifestyles are the reasons for this. My son wanted to become a tortoiseshell craftsman, but it is a profession that is destined to disappear in time. Unfortunately, he decided not to become a tortoiseshell craftsman. The number of craftsmen, including Mr. Fujita, who take over as successors is decreasing year by year. Not a few craftsmen are refusing to let the current generation take over their craft.

Work Process of Tortoiseshell Work in Nagasaki

Stuffed tortoiseshell turtle, tortoiseshell stock, carving knives, polishing machines, and modified dental tools. Sitting at his desk surrounded by special tools, Mr. Fujita spends about 10 hours a day from morning to evening working on tortoiseshell work.

The process begins with “design. He draws beautiful curves and intricate patterns entirely freehand. Since tortoiseshell is a natural material with no two pieces having the same texture, it is important to choose the right materials to make the best use of the design. He selects the appropriate tortoiseshell material from the back shell, claws, and belly shell, and cuts them with an itonoko to match the shape of the design. This process is called ‘kirimawashi. This process is called ‘kirimawashi,'” he says, “and the saw has been used since my grandfather’s generation. I use it while changing the handle to fit the shape of my hand. The most important thing for a craftsman is to create a tool that suits him,” says Mr. Fujita, holding the handle of the saw to his chest and manipulating the cut at will.

After “kirimawashi,” Fujita shaves off the unnecessary parts using a file and a small knife. This process is called “kisagi” because the word for “scrape” is “kisagu” in the Nagasaki dialect. While scraping with a distinctive sound, Mr. Fujita says, “For some people, it may be an unpleasant sound, but for us, it is the chirping of a cute bird. His smile conveys his love for his work and his charming, mild-mannered personality.

To make a plate-shaped work, several pieces of tortoiseshell are stacked and pressed into one piece to make it uniform in thickness, but to prevent the stacked pieces from shifting, they are first temporarily attached with a hot iron plate. After this process, called “hibashi,” the tortoiseshell is pressed all at once in a vise. The work is then finished into a single plate using only water, heat, and pressure, without the use of any adhesives. This is why tortoiseshell work is called “a work of art made with water and heat. The tortoiseshell work is called an “art form of water and heat,” because the tortoiseshell shell is made by the process of grinding the fibers on the surface of the shell to make them fluff up, and then water, heat, and pressure are applied to the fibers, causing them to intertwine tightly.

Taimai come from Cuba, Africa, the Philippines, Indonesia, and other places. Like the annual rings on a tree, the shell overlaps like tiles as it grows and becomes thicker. Of all the regions, Caribbean tortoiseshell turtles are the finest, with “excellent color, transparency, and thickness,” says Mr. Fujita. Tortoiseshell is made of the same protein as hair and nails, which deforms when heated. Using this property, tortoiseshell craftsmen have developed a technique to bend and crimp tortoiseshell using only water and heat. For example, to create a warped shape like a hairpin, the tortoiseshell is softened and curved in the process of “oshi-gote,” in which a hot iron is applied to the tortoiseshell.

The work is then “sculpted” and “assembled” before being “polished” to complete it. Tortoiseshell pieces polished by a polishing machine give off a unique smooth luster. In the polishing process, diffused reflections on the surface are turned into positive reflections. If you remove the unevenness, not only the tortoiseshell but also your heart will shine,” says Mr. Fujita with a mischievous smile.

Nagasaki Tortoiseshell Work Brand “Kiyama

All of Mr. Fujita’s “Kiyama” Nagasaki tortoiseshell work is one-of-a-kind, produced in his small workshop. The beautiful openwork carvings by Japan’s only professional tortoiseshell carver specializing in tortoiseshell are so beautiful that one can hardly take one’s breath away. Mr. Fujita currently responds to requests from customers all over Japan, and at the same time, he is creating a highly artistic piece every year or two by applying his own techniques. This is because he wants to give form to the various teachings he inherited from his father. Whether it sells or not is of secondary importance. I will continue to make tortoiseshell work to maintain my skills. Tortoiseshell work is not affordable, but there are still people who choose my work and wear it. I am truly grateful.

Seeking a masterpiece that will be created once every few decades

Mr. Fujita faces long hours of work every day, for which concentration and physical strength are essential. When asked what the secret is to his energetic work, he replies, “To play hard. Whenever I have money and time, I take my wife out. The other day I went to Shikoku on a Harley-Davidson motorcycle with a displacement of 1,800 cc. In order to play, I never fail to build up my body. Along with muscular strength comes energy, and I guess that leads to good work,” he says.

In the 60 years he has worked as a tortoiseshell craftsman, he has only been convinced three times that his work is a masterpiece. I want to experience that moment of joy a few more times. That is why I intend to continue working until I am 90 years old. He will produce a masterpiece once every few decades. With his passion in mind, Mr. Fujita continues to work on Nagasaki tortoiseshell work today.

The post The Art of Lustrous Tortoiseshell–Visiting Japan’s Only Tortoiseshell Carvers Specializing in Carved Tortoiseshell /Nagasaki City, Nagasaki Prefecture first appeared on NIHONMONO.

Hashima Island, also known as “Gunkanjima” (Battleship Island), is located approximately 18 km southwest of Nagasaki Port. The high-quality coal mined here supported the modernization of Japan in the past, and was registered as a World Heritage site in 2015 as part of the ” Industrial Revolutionary Sites of Meiji Japan “. What was the lifestyle of the people who devoted themselves to the hard labor of coal mining in those days? Mr. Minoru Kinoshita, who was born and raised on the island, gave us a tour of the island.

Commonly known as “Gunkanjima” (Battleship Island). Hashima Island Coal Mine

Hashima Island, also known as “Gunkanjima” because of its battleship-like appearance floating in the sea, is located about 18 km from Nagasaki Port. This small uninhabited island, about 1.3 times the size of Tokyo Dome, has a history of being developed as a full-scale modern coal mine by Mitsubishi Limited Partnership, a leading Japanese company in the Meiji era. It played an important role in pushing Japan’s rapid modernization from the end of the Edo period to the Showa and World War II periods, and was registered as a World Heritage site in 2015 as one of the components of the “Industrial Revolutionary Sites of Meiji Japan: Iron and Steel Making, Shipbuilding, and Coal Industry” cultural heritage.

History of Hashima Island Coal Mine

Today, Hashima Island is a small island measuring 480 m from north to south and 160 m from east to west, with an area of about 6.5 ha, which was created by land reclamation six times in total by 1931. It was originally a reef measuring 320 m north to south and 120 m east to west, half the size of the present island. In other words, Hashima Island is an artificial island that was formed by reclaiming the island’s periphery. The reason why the expansion was necessary was due to the situation Japan was in at the time and the energy situation. Japan, which had had no foreign contacts until the Edo period, needed to modernize rapidly to keep up with other countries, and securing coal, the main energy source at the time, was a challenge. At that time, a high-quality undersea coal vein was discovered on Hashima Island. As a result of the accelerated development of coal mines in accordance with the trends of the times, an artificial island was born on a reef battered by rough seas, featuring the most advanced technology of the time.

The Beginning of Hashima Island Coal Mine

Until the end of the Edo period, fishermen living nearby engaged in “rock digging,” mining the exposed coal on the surface of the reefs while fishing. The Saga Nabeshima clan continued small-scale coal mining until the early 19th century, when a coal vein was discovered on the seabed of Hashima Island, and the management of the island was transferred to Mitsubishi Limited Partnership, which together with Takashima, located to the north of Hashima Island, rapidly developed the island into a modern coal mining center.

At its peak, the population density was the highest in Japan. Japan’s first high-rise apartment building is built.

The history of the Hashima Island coal mine began in earnest in 1890 under the operation of Mitsubishi Limited Partnership. Hashima Island has a coal vein on the seabed, and the work site is about 1,000 meters underground. Since machinery cannot enter the huge and complicated tunnels, the work is carried out manually with the utmost care and attention. In this harsh and dangerous environment, the miners were divided into groups for efficient mining. The coal extracted was bituminous coal, which contained very little bitumen (inferior coal). The coal from Hashima Island, which was said to be of the highest quality in Japan, was supplied to the Yawata Steel Works mainly as coking coal for steelmaking, thereby supporting Japan’s modern industry.

As development progressed, the number of miners increased and company housing was built one after another, but the wooden houses that were common at the time frequently collapsed due to the rough seas that came in every time there was bad weather. In 1916, using the world’s latest technology, Japan’s first reinforced concrete high-rise apartment building was constructed, and by 1960, more than 5,000 people, or nine times the population density of the Tokyo metropolitan area at the time, were living in the building. The standard of living for miners with good incomes was high, and lifelines such as water and electricity were stable. The penetration rate of electrical appliances was also high. For example, in 1958, the nationwide TV penetration rate was 10%, whereas on Hashima Island it was almost 100%. The island’s lifestyle was rich and vibrant, with Japan’s first “rooftop garden” on the roof of a company housing complex providing space for people to enjoy greenery, and an open-air market regularly held on the island’s main street, “Hashima Ginza.

Closure of the Mine

Mining volume peaked in 1966. Three months later, on April 20, all the islanders left the island, leaving it uninhabited. In 2015, the island was registered as a World Heritage site, and its popularity as a tourist destination increased. Hashima Island, which attracts people with its unique scenery, has also appeared as a filming location in movies such as “Skyfall” and “The Giant of Progress.

Landing on Hashima Island. Mr. Minoru Kinoshita, who spent his childhood on the island, is our guide.

Looking out to sea from Nonokushi Port in the early morning in southern Nagasaki, the silhouette of a large battleship floated on the sea, illuminated by the morning sun. The resemblance to the Japanese Navy battleship “Tosa,” built at the Mitsubishi Heavy Industries shipyard in Nagasaki during the Taisho era (1912-1926), is the origin of the common name for Hashima Island, “Gunkanjima” (Battleship Island). Its presence explains why, during World War II, the American military mistook it for a Japanese battleship and bombarded it with artillery.

Minoru Kinoshita, a guide from Gunkanjima Concierge, will take us on a fishing boat from the harbor and show us around the island. Kinoshita-san, who spent his first year of junior high school on Hashima Island, is now a ” former islander guide ” who tells the history of Hashima Island and the lifestyle of the time.

Life on a Coal Mine Island

As you approach the island, you can see red masonry on some of the outer walls. This is the Amakawa method of revetment. The island was registered as a World Heritage site in recognition of its historical background of coal mine facilities built in the Meiji era, before the spread of cement in Japan, using “Amakawa,” a mixture of lime and red clay. Landing is from the “Dolphin Pier. This pier is the third generation, rebuilt in 1962, and is 25 m long, 12 m wide, and 15 m high from the seabed to create an artificial island to maintain its durability. Walking along the 230-meter tour path on the south side of the island, visitors can see the ruins of the second shaft, which was the main mine, reinforced concrete apartments, and a row of half-destroyed buildings covered with greenery. The island was filled with a unique beauty and serene tranquility, as if one had wandered into another world.

More than half of the island is a mining area. We lived on the rest of the land. In addition to houses, schools, and hospitals, there were shrines, police stations, barbershops, and even pachinko halls, billiard halls, mahjong parlors, go halls, and brothels for adult entertainment,” said Kinoshita. The Hashima Shrine with its soil and rooftop were a favorite playground for children. They spent their time playing baseball and marbles. We often played hide-and-seek in the apartment.

Father, a “Coal Miner

Kinoshita’s father was a projectionist at the Showakan, the only movie theater on Hashima Island. The cinema closed in the 1960s due to the spread of television on the island, and he was forced to work as a miner, commonly known as a “coal miner. Almost all of the fathers of the island’s children were coal miners. Even as children, we all had a firm understanding of the hard work in the mines, and we made sure not to disturb our fathers’ rest,” he said.

When we asked Kinoshita-san, who said that all the islanders were like family, about security on the island, he replied, “There was a jail at the police station, but I heard that it was never used for crime. The miners were all such heavy drinkers that they were said to ‘start a fight if there was no alcohol,’ so people who were too intoxicated to return home used the jail to spend the night,” he says with a smile. The miners routinely held group discussions over drinks. Because of their pride in the work they put their lives on the line for, arguments rarely turned heated and led to fights, but there were no fights outside of work, and the island was peaceful.

The miners worked three shifts: 8:00 to 16:00, 16:00 to 24:00, and 24:00 to 8:00. On days when my father worked the night shift, he would wake me up at 10:30 p.m. and say, ‘Have a good day. I hated it at the time, but now I understand how my father felt. I guess he wanted to hear his children’s voices before he started the dangerous work. Kinoshita’s story conveys the warmth of his family’s daily life on the island of coal mines, the activities and liveliness of the people.

Infrastructure on the Island

Securing water is essential to life on the island. In 1957, Japan’s first two submarine water lines were constructed to provide a stable water supply, bringing in approximately 1,000 tons of water per day from Nagasaki City. The water was once stored in tanks and then distributed to water bottles in each apartment. Each household is given a “water ticket” in advance, and in exchange for the ticket, each household receives a daily supply of water each morning. Each household was able to secure the amount of water they needed on a daily basis.

Few houses had baths, and most of the islanders used public bathhouses. After work, miners bathed in a three-step process: first, they went into the bathtub in their work clothes to remove coal dust, then they took off their clothes and got into the water, and finally they thoroughly washed their bodies. They used fresh water only for the third stage of bathing, and seawater for the rest. The school pool used seawater. All lifelines on the island, including water, electricity, and gas, were managed by Mitsubishi Limited Partnership, and no matter how much they were used, no fees were charged. The company housing for the miners cost 10 yen a month in rent. It was a very comfortable living environment. It wasn’t until I left the island after the mine closed that I realized how blessed I was. I often wanted to go back to the island! I wanted to go back to the island all the time,” says Kinoshita. However, typhoons and other bad weather can be inconvenient. For about a week after a typhoon,” Kinoshita said, “the boats couldn’t land on the island and supplies couldn’t reach us. We didn’t have a refrigerator at the time, so we had to make do with canned goods and bread.

The islanders took pride in their work that supported modern Japan, and they lived on the island while confronting natural disasters. Everyone supported each other and lived together. Perhaps it was because of the hardships they endured that they pulled together and strengthened their bonds,” says Kinoshita. I am very happy that my birthplace has become a World Heritage site. People from all over the world are now interested in the island and visit us. The remains are slowly falling apart, but I would like to tell everyone what the island looks like today, along with its history.

As of the end of 2021, experts predict that the oldest reinforced concrete apartment building in Japan, Building 30, will collapse in about six months. Although the structure is barely intact at present, it would not be surprising if it were to collapse at any time. Hashima Island is changing its appearance every moment as time goes by, and there are landscapes that can only be seen now.

What the “City of the Future” once conveyed

Hashima Island, where Japan’s first cutting-edge technology was concentrated, was truly a “city of the future” of its time. It was not only the coal business, but also people’s lives. The isolated island in the sea that supported Japan’s modernization and high-growth period quietly conveys to us today the trajectory of the people who boldly took on the challenges of the future of Japan in the face of nature, while changing its appearance with the passage of time.

The post Warships floating in the sea – an island of remains that once boasted cutting-edge technology and supported Japan’s modernization /Nagasaki Prefecture first appeared on NIHONMONO.

When one hears the word “Japanese tea,” Shizuoka and Kyoto come to mind.In such a situation, “Sonogicha” from Higashisonogi, Nagasaki Prefecture, is slowly attracting attention from all over Japan.We visited Mr. Masatoshi Matsuo of “Chayu,” a tea farmer who is also actively trading with foreign countries, to learn more about the appeal of Sonogi tea, which continues to spread from Nagasaki to Japan and overseas.
 

Nagasaki’s Japanese tea, the best in Japan

Almost in the center of Nagasaki Prefecture.Higashisonogi, overlooking the calm waters of Omura Bay, is a town blessed with scenic spots and rich nature, including the valley “Ryutosen” (Dragon’s Head Spring).As you drive into the mountains, you will see tea plantations all around.The “Sonogicha” tea grown on the slopes with a mild climate and refreshing sea breezes is now attracting increasing attention in Japan, having won the top prize at a national tea fair for four years in a row.

What is “Sogicha,” which accounts for about 2% of the nation’s production?

Japanese tea is usually called “sencha,” which has a thin needle-like shape, but the main type of tea produced here in Higashisonogi is steamed tamaryokucha, which has a rounded shape.It is also called “Guricha” (meaning “green tea” in Japanese) because the tea leaves are curved in the shape of a Japanese “katadama” (a Japanese “jewel”), and it is characterized by its mild taste and less astringency than sencha.The flavor is extracted as the tea leaves slowly open up in the hot water, allowing the user to enjoy the changes in flavor and aroma each time the tea is poured.

In recent years, the tea farm Chayu has consistently ranked high at Japanese tea fairs throughout Japan, and has won the Agriculture, Forestry, and Fisheries Award, the Emperor’s Cup, and the Grand Prize at the Japan Tea Awards.

At the age of 35, he took over the family business and became a tea farmer.

The farm is located at an elevation of 400 meters above sea level, on a mountain slope overlooking Omura Bay in the distance. The tea fields of Chayu, spread out on the slopes of a mountain overlooking Omura Bay in the distance, were full of lush green tea buds that were just about to be harvested. Masatoshi’s father, Michio, planted tea trees here in 1970. Since then, he has been growing and producing Japanese tea. Masatoshi’s life surrounded by tea trees made him vaguely think that he would someday be involved in tea production as well. After attending a prefectural agricultural high school, he returned to his hometown after two years of training in tea production at the National Vegetable and Tea Research Institute in Shizuoka. In 2004, at the age of 35, he took over the tea farm and established Chayu, a company that handles everything from production to sales.

Drawing out the potential of the tea leaves by being close to nature

Most of the teas produced at Chayu are steamed Tamaryokucha, as mentioned above. Since there is no “rubbing” process to shape the tea leaves into a needle shape, the tea leaves are round. The tea leaves are rounded and rounded because there is no “rubbing” process to shape the tea leaves into a needle-like shape. Masatoshi says, “ I want to bring out the full potential of the tea leaves in terms of shape, taste, and aroma.” As Masatoshi says, Chachatomo’s steamed Tamaryokucha has a soft, sweet taste with little bitterness and bitterness, and is known for its smooth, easy-throating flavor.

The tea leaves are not overworked, and the tea leaves have a soft, sweet, and smooth taste. The tea fields are fertilized with organic materials such as bone meal and rapeseed oil pomace, and as little chemical fertilizers and pesticides are used as possible. Although this means that damage from vermin is unavoidable, the soil is soft and fertile, rich in earthworms and microorganisms, as a result of mixing in organic fertilizers.

Tea cultivation based on the environment of each field.

Furthermore, the unique topography of Higashisonogi, surrounded by the sea and mountains, brings diversity to the flavor of tea. In Higashisonogi, where there is not much flat land, the temperature and humidity vary slightly depending on the difference in elevation, from the sea coast to the slopes of the mountains. Masatoshi says, “We can’t mass-produce, but we can have fun pursuing the flavor of each field through trial and error. We try to make better tea every year, but it is difficult to get 100 points. I can’t beat the power of nature,” he says with a gentle smile.

Rare “Asatsuyu” tea that has won numerous awards

Currently, there are a total of eight varieties of tea grown at Chayu. Among them, “ Asatsuyu,” made from a variety called “Asatsuyu,” which is characterized by its sweetness and flavor with little bitterness and astringency, is the signature product of Chayu. Asatsuyu was originally selected from a native variety of Uji, Kyoto, and registered as a variety in 1953, but it is extremely rare, with only about 1% of all tea plantations in Japan growing it.

The warm climate here in Higashisonogi is also suitable for Asatsuyu, but it is one of the most difficult varieties to cultivate and produce. Masatoshi’s Asatsuyu has received numerous awards for its high quality, including the Minister of Agriculture, Forestry, and Fisheries Award, theEmperor’s Cup, and the “ Japanese Tea Awards, ” in which the general public determines the quality of the tea.

Tea that you can drink every day and never get tired of it

While producing unique teas such as “Asatsuyu,” Chayu aims to provide a natural environment where tea is a part of daily life. Masatoshi says, “It is great to make award-winning teas that you can be satisfied with after just one cup, but we also want to make familiar teas that you will always want to drink. Masatoshi also actively holds events related to Japanese tea in hopes that people will become more familiar with Japanese tea in these days when many people are becoming less interested in Japanese tea.

Seasonal Tea Ceremonies

In Nagasaki and Tokyo, tea parties have been held regularly for the past 18 years. Along with homemade sweets made with local ingredients, he has been telling stories about the scenery of tea picking while brewing tea. He says, “I think it is important for people to know that tea is made in such a place by such people, rather than just drinking the tea that is served in front of them. Once people learn about the tea, they will become more interested in Japanese tea, and some of them will say they want to drink it.

Spreading the Appeal of Japanese Tea Abroad

In 2016, the company launched the “ Japanese Tea Germany Project ‘ with the philosophy of ’bringing authentic Japanese tea to Germany. In Germany, where tea culture, including herbal tea, is deeply rooted, imports of Japanese tea have increased significantly in recent years, coupled with a growing boom in Japanese food. It is now the second largest exporter of tea from Japan after the United States.

Japanese tea exports in 2021 (from the website of the Japan Tea Export Promotion Council)

In the project, Japanese tea that meets the EU’s strict standards is introduced to the market through surveys of local residents’ understanding of and preference for Japanese tea at tea stores, cafes, and restaurants throughout Germany. In Munich and other cities, Masatoshi often holds tea parties where he brews Japanese tea in front of the guests and talks about Japanese tea.

Masatoshi says, “So-called ‘green tea’ is sold everywhere, but it is often not a proper Japanese tea. But from our point of view, we want people to know and drink real Japanese tea. Otherwise, the tea we have worked so hard to produce will never reach anyone. It is with this in mind that we started our activities overseas as well,” says Masatoshi. Masatoshi says that his activities in Germany have gradually expanded, and when he held a tea party with the theme of pairing Japanese tea with a local course meal, the event was so popular that tickets were sold out immediately.

We paired ‘Asatuyu’ mizudashi with a course meal, which went surprisingly well together,” he said. And when I hear people say, ‘I want this tea so I can sell it,’ it makes me think that all those days of hard work in the tea fields were for this moment. It’s a new challenge that we can’t reach just by making tea leaves. I would like to continue to create more and more opportunities to share with our customers what we have put our hands into making.”

The Future of Japanese Tea

Our job is not only to make Japanese tea, but also to make sure that people drink it. That is why Masatoshi feels a sense of crisis about the current situation of “Japanese tea drinking away from Japan,” and has been involved in various activities. What he has realized is that it is not about promoting the correct way to brew and drink Japanese tea, but about how to enjoy Japanese tea. In order to do so, he says, it is necessary to have the courage to ignore the stereotypes that have been taken for granted in the tea industry.

The Tea Industry Enters a New Phase

The tea industry needs to propose a way to drink tea that tastes good without the trouble of brewing it in a teapot, although of course brewing tea in a teapot is wonderful. I don’t think there is any such thing as ‘first tea’ being good and ‘second or third tea’ not being good. Farmers work very hard to produce each type of tea, and there are tastes that are only suited to the tea leaves that are available at the time of harvest. What is the ideal Japanese tea for today’s life and for today’s people? I think it is time for the tea industry to consider this question.

Continuing to Pursue the Taste of Japanese Tea

About five years ago, the company began to use the kama-firi method, which used to be popular mainly in Kyushu. Today, production of kamabai tea has declined to the point where it is said to account for less than 0.03% of all Japanese teas, but its distinctive flavor and aroma, known as kamaka, still enjoys strong popularity.

Masatoshi says, “I want to try various things in order to create ‘delicious’ products that fit the future. Masatoshi’s vision of the future of Japanese tea is full of new possibilities.

One single type of tea tree can be transformed into such a wide variety of flavors just by changing the time of harvest or the production method. There is no such drink without any additives. There is nothing else I can do except make tea. That’s how much I love tea.

Masatoshi’s words and the look in his eyes show a joy that goes beyond his sense of mission to promote Japanese tea in daily life, to bring Japanese tea into people’s lives with love.

The post Delicious tea” that fits today’s times – “Sono Gicha” from Nagasaki to the world Masatoshi Matsuo, a tea friend / Higashisonogi, Nagasaki first appeared on NIHONMONO.