History of Niigata Lacquerware

Located in the northern part of Niigata Prefecture and the largest city on the Sea of Japan side of Honshu with a population of 810,000, Niigata City has long flourished as a “port city” and was a port of call for “Kitamae Senpaku” (steamships sailing on the Sea of Japan) from the Edo Period to the Meiji Period. As a result, trade in goods flourished, and cultures from various parts of Japan came in one after another from the sea and land.

One of these cultures was that of lacquerware. It is said that the origin of this culture dates back to the early Edo period, about 400 years ago, when “Noshiro Shunkei,” one of the traditional crafts of present-day Akita Prefecture, was introduced to Japan. It is said that a special area for the sale of lacquerware, called wandana, was established in downtown Furumachi and a policy of protection was adopted, attracting a variety of techniques and craftsmen to this area. In the late Edo period (1603-1868), sales of lacquerware expanded not only to Edo and Osaka, but also to Hokkaido, where it evolved into Niigata lacquerware.

Characteristics of Niigata Lacquerware, a Treasure Trove of Henshi-nuri Lacquerware

Niigata lacquerware is characterized by its rich variety of lacquering techniques, which is called “a treasure house of Kawari-nuri” (variant lacquering). The craftsmen’s playful spirit and passion for expressing something by using only the lacquer technique have given birth to this variety of lacquerware.

For example, one of them is “Take-nuri,” in which the texture of bamboo is expressed not with actual bamboo but with lacquer. Originally developed in the Edo period (1603-1867), this technique became popular when it became fashionable for samurai to have their swords’ sheaths lacquered with bamboo, and the technique spread to other regions. It has since taken root in Niigata and some other regions, and is now a representative technique of Niigata lacquerware. The technique is unique in that it uses rusted lacquer mixed with abrasive powder to create bamboo joints and stripes, and Makomo (straw mat) powder to express a sooty texture.

Other techniques include “ishime-nuri,” which expresses the rough texture of stones, and “nishiki-nuri,” characterized by irregular speckled patterns created by layered lacquering.

Fascinated by the beauty of bamboo lacquerware, he became a Niigata lacquerware craftsman.

Momoko Sanada, an active Niigata lacquerware artisan, entered the world of bamboo lacquerware at the age of 24, fascinated by the beauty of bamboo lacquerware. Ms. Sanada, who had never been involved in the industry before, recalls her surprise at the fact that bamboo lacquerware was made entirely with lacquer, and her fascination with the beauty of what appeared to be made of bamboo.

He absorbed the techniques at a speed that surprised everyone around him, and he has continued to hone his skills under the tutelage of a lacquer craftsman who is said to be the best in Niigata. He also felt a sense of mission to connect the history of Niigata, the town where he was born and raised, to the future.

Expressing Modernity with Traditional Craftsmanship

Mr. Sanada’s works have a modernity that rewrites the Japanese image of “traditional crafts. The surfaces are often matte and scratch-resistant, another feature. There are also “Ruri Nuri” (lapis lazuli lacquerware), which resembles lapis lazuli gemstones, and “Beniseki Nuri” (red stone lacquerware), which resembles red stones, and they blend well not only with Japanese cuisine but also with Western cuisine such as Italian and French. They are cool and showcase the potential of the dishes at the table as well.

One of Mr. Sanada’s specialties is “Oborogin-nuri,” or “Oboro Gin-nuri.

This is a reproduction of the Hensen-nuri technique of Shibata Zeshin, a lacquer craftsman of the Edo period, and although it is a wooden product, it has the unique texture of a metal. Shibata Zeshin is widely known for his “Fuji-Tagoura maki-e maki-e frame,” which was exhibited at the Vienna World Exposition in 1873 and won a prize.

The dark atmosphere and subdued brass color have a cold, antique atmosphere, and the chic old-fashioned look creates a serene beauty. Of course, each piece is made by hand. The process of hardening the wood, dressing with cloth, applying rust, and applying the middle coat of lacquer lasts nearly two months. In the middle stage of the process, charcoal powder is sprinkled to give the piece an uneven appearance, as if it has decayed. Although it is a reissue, the finished product is truly modern and contemporary.

Making Niigata a Famous Lacquerware Production Center

Niigata lacquerware has evolved through the convergence of a wide variety of techniques and the individuality of each craftsman. The history of the association is still young, and the scale of Niigata as a lacquerware production center is not so large. In terms of the retail and wholesale markets, Niigata Lacquerware is not as big as other famous lacquerware production centers. Still, Mr. Sanada smiles and says proudly, “I do this work because I love it. Mr. Sanada’s job is to hone his skills as a craftsman and to thoroughly pursue his own unique line of “hen-nuri. He now offers his techniques on a completely custom-made basis, mainly to restaurants. He creates new items one after another based on the restaurant’s image of the food to be served and his imagination to make it stand out. He receives many orders from the Tokyo metropolitan area and overseas, and sometimes has to wait six months or more for delivery.

It has been about 10 years since Mr. Sanada entered the world of lacquerware. At first, he was selfless in his pursuit of “making beautiful things. Now, he continues to be motivated by new challenges.

I am a burly craftsman, a product-maker. Now I enjoy thinking of new coatings. From now on, for example, I want to use a 3D printer to try my hand at something resinous, or even something copper-like.” says Mr. Sanada.

The day may not be far off when Niigata Lacquerware will be talked about around the world as a famous lacquerware production area.

The post The abundance of expression and playfulness are appealing. Niigata Lacquer Ware” Momoko Sanada, known as a treasure house of Hen-nuri lacquerware / Niigata Prefecture first appeared on NIHONMONO.

FUKIDO” has a workshop in Tsubame City, Niigata Prefecture, a sacred place for metalworking, and produces simple copper products useful in daily life.
While preserving the traditional techniques of hammering and forging that have been handed down from generation to generation
, the company keeps abreast of current trends and continues to produce copper products with a high level of functional beauty suited to modern lifestyles.

Traditional Techniques Inherited in Niigata

Tsubame City, located roughly in the center of Niigata Prefecture, is where the manufacturing techniques of Tsubame hammered copperware, a traditional craft that is said to have begun in the Edo period, have been handed down from generation to generation. Copper is mined at the Mase Copper Mine, which was developed in the Yahiko Mountains to the northwest of Tsubame City, and the technique is said to have been originally introduced from Sendai. The basic process is to dull a sheet of copper by burning it and then hammering it with a hammer or mallet to form a shape. There are many types of hammers, and the tools are changed depending on where and how the hammer is used.

The workshop “FUKIDO” is run by a father and son.

A pleasant clanging sound echoes outside the workshop. It is the rhythmic sound of hammering metal. Hiroshi Fujii, the second generation owner of Tsubame Hammering Copperware FUKIDO, which was founded in 1945, has been listening to this sound since he was a child. Inside the workshop, huge kettles and old hammered copperware products are displayed. These were made by my predecessors,” he says. They are very important to keep.” It has been almost 50 years since he started working with his father. His son, Ken, is also hammering at the same time.

What are the tools of professional work?

Sometimes he uses tools inherited from his predecessors, and sometimes he makes new tools by himself. He hammers at the same pace on the tatami mats, feeling the fine vibrations. The distortion caused by the deformation of copper is utilized to raise, smooth, and adjust the surface. We tap to tighten the metal. Striking makes it harder by removing the molecules,” says Hiroshi in his own unique way, as only a craftsman can. He says that by pounding, the copper becomes more durable and can be used for a long time as a daily necessities.

Tools that develop a distinctive flavor the more they are used.

The more a piece of hammered copperware is used, the more its luster increases. The more they are used, the more they acquire a color that is unique to the person using them and the environment in which they are used. In other words, it is a tool that you can enjoy growing in your own way. Of course, it also has clear advantages as a cooking utensil. Copper’s excellent thermal conductivity is about twice that of aluminum, five times that of iron, and 25 times that of stainless steel. Heat passes easily throughout the entire cooking surface, making cooking smooth. It is also highly corrosion resistant and has sterilizing properties. The finished products are all simple, but the dull luster and sparkling shine created by the countless uneven surfaces that have been hammered into them are beautiful and exude an indescribable elegance. They are no longer just daily necessities, but also have value as arts and crafts.

What are popular items?

Especially popular items at FUKIDO are kettles, teapots, and pots. The good thermal conductivity of these items helps to improve the efficiency of cooking, and they are representative of items that should be included in the first place. Ken, the third generation of the company, has been working together to produce drip pots, servers, and other coffee-related products, and is also working to provide items that can be casually incorporated into everyday life. Even though they are traditional crafts, they also strive to create products that are easily accepted by people’s changing lifestyles over time.

Although they are father and son, they are both craftsmen, and their specialties differ from each other, but what their works have in common is that they are tools that can be used with love for a long time. Copper products have an image of being difficult to handle, but the tin coating on the surface makes them easy to care for and prevents discoloration. Even if they break or need maintenance after long use, they can be repaired by craftsmen according to their condition and can be used again. If one acquires a good tin, it is a wonderful tool that can be passed down to one’s children and grandchildren. In this sense, traditional craftsmanship may be the ultimate in sustainability.

What will be handed down to the next generation

The workshop is currently managed by the second generation, Hiroshi, and the third generation, Ken, but both Hiroshi and Ken had been working for outside companies for a while. Both the person who decides to take over as a traditional craftsman and the person who decides to pass on the craft to the next generation must be prepared to do the same.

At first I didn’t like the idea of taking over the family business,” he says. But now I’m enjoying it. I have my grandfather and my father, and I feel that I can make an effort to eat in this business for the rest of my life. That’s what I have now.” Ken says. It would certainly be nice to have a successor, but the world of craftsmanship is tough, and it takes a certain amount of determination on the part of the successor,” says Hiroshi.

We hope that you will try our copperware and feel the solidity and beauty of our craftsmen’s soulful work, as well as the spirit of craftsmanship that is passed down in the family.

We strive to create products that pursue the beauty of use as well as shapes that have been handed down from generation to generation. We hope you will enjoy the charm of our soft and simple shaped copperware that grows warmer with each use. We would be happy if you would use the products of “FUKIDO”, which are born from the skills of our artisans, as tools for your daily life.

The post The history of traditional crafts spun by parents and children, simple and beautiful Tsubame hammered copperware by “Fukido” / Tsubame City, Niigata City first appeared on NIHONMONO.

Murayusyu Brewery” Breathing New Life into the Market

Located in central to northern Niigata Prefecture, the Echigo Plain is a beautiful expanse of rice paddies, and in a small town along the Shinano River, which flows through the center of the plain, lies the Murayusyu Brewery. The company was founded in 1943, starting with the production of wine during the war. The company uses 100% Niigata rice and draws soft spring water from a side well dug in the mountains about 2 km away. The brewery produces about 300 koku (1 koku = 180 liters). Although not a large brewery, it has many strong fans both within and outside of Niigata Prefecture, including the long-loved “Hanakoshiji” series and the “Murayuke” series of limited distribution sake.

A major topic when discussing the Murayuke Sake Brewery is the fact that it dared to try a sweet sake, bringing a breath of fresh air to the market during the local sake boom, when “light and dry” was the norm for Niigata sake. The “Murayu” series, brewed with the image of the fine, clear, elegant sweetness of wasanbon sugar used in high-class Japanese confectionaries, was well received for its sweetness and crisp taste, and greatly changed the image of Niigata sake, which at the time was all about light, dry sake. The series is also a popular brand among locals at izakayas (Japanese-style pubs) in Niigata Prefecture.

We want people to enjoy sake freely.

Kensuke Murayama, the third generation toji (master brewer) of the brewery, has been working at the brewery for one year since he graduated from school. At the age of 22, his first brew, “Hanakoshiji,” won a gold medal at the National New Sake Competition and attracted a lot of attention at a young age. However, not everything was smooth sailing after that. There were times when he almost lost confidence in his sake brewing skills because of the lack of success. At one point, however, Mr. Murayama decided to stop focusing on the sake’s reputation at sake competitions. He realized that the quality of sake is not determined by the judges, but by the customers. He also questioned the tendency to judge the value of sake by looking at the specifications on the label. When people drink sake based on their knowledge and preconceived notions, they tend to look for rough edges, no matter how good the sake is. He believes that sake should be enjoyed more freely and happily, and has decided to follow his own path of sake brewing with confidence, keeping everything but the alcohol content private.

Sake made by his own hands is the only sake he sends out.

With the exception of shipping, Mr. Murayama is directly involved in all aspects of sake brewing. Since the retirement of the previous toji, Mr. Murayama has taken over the role of toji and is in charge of the brewery. Therefore, no matter how popular a product may be, the amount that can be produced is limited. This is because they want to send out only sake that has been carefully and deliberately brewed under the watchful eye of Mr. Murayama. There are times when he is unable to meet delivery deadlines, causing liquor stores to wait. However, Mr. Murayama is not interested in mass production. He does not seek a uniform taste like that of industrial products. Even if customers always want the same taste, he says, the taste of sake will change slightly when the tanks are changed, even if the sake is brewed the same way on the same day. He wants his customers to accept this. Instead, Mr. Murayama never cuts corners. He sharpens his own senses and is dedicated to producing high quality sake in small quantities. This is the Murayu Sake Brewery’s way of making sake. When asked about his future as a sake brewer, Mr. Murayama smiles calmly and says, “I want to live a quiet life from now on, and I’m getting a little tired of making sake. He says he doesn’t like to fly and doesn’t travel far for business. He is aloof, happy to live in the moment, and friendly. His personality is the same as that of the sake he makes.

The “good sake” that Mr. Murayama makes

The most important thing is how you feel when you drink the sake, whether it is sweet or spicy,” says Murayama. I value the softness on the palate, the sharpness, and the clean feeling when you drink it because it is something you put into your body,” says Murayama.

The sweetness of the “Murayu” series differs depending on the label. The balance between sugar and alcohol is adjusted by controlling the fermentation speed. The more sugar in the same amount of alcohol, the higher the cost, a difference that is easy for drinkers to understand.

Hanakoshiji,” which has been a local favorite since its establishment, is a little less sweet than the Murayu series. Aiming for what is considered “good sake” in the traditional sense, it is characterized by its clean, soft, and refreshing aftertaste. It is like a treasured child that Mr. Murayama has been brewing with great care since the time he started sake brewing.

What is the true way to enjoy sake?

Not to worry about some kind of evaluation, and moreover, not to rank sake or to drink it as if you were trying to determine the quality of the product. It is to enjoy the food you eat together and the conversations you have with the people you spend time with. Instead, it is about letting the time go by while feeling the joy of drinking sake, purely, freely, and in accordance with the atmosphere of the moment. Enjoying such a natural and exquisite time is the secret to enjoying Murayu’s sake. We hope that you will once enjoy the space created by such unpretentious sake.

The post Niigata does not equal light, dry sake. Murayu Sake Brewery aims to produce purely delicious sake. first appeared on NIHONMONO.

~Woodworking born in snowy Niigata

Oguni Town in Nagaoka City, located in the south-central part of Niigata Prefecture, has abundant natural forests and deep snow in winter. Although the scenery is beautiful in all four seasons, the town is buried in snow until early spring, making it impossible to make a living unless the town’s residents are diligent in snow removal.

Mr. Tomii spent his childhood in Ojiya City, also in Niigata Prefecture, and studied abroad at a high school in Oregon, U.S.A., when he was a student at a technical college. In that land of abundant nature, he came into contact with a lifestyle that lived with trees. After attending a university in Japan and working on surface physics research at a graduate school, he was lured by the allure of wood into the world of woodworking.

He learned basic woodworking techniques at a workshop in Gifu Prefecture that trains woodworkers, and in 2008 he set up his own business in Kyoto. Then, in 2015, he put down roots in this snowy town. His reason for returning to his hometown of Niigata is simple. I want to make my work where there is snow.

~Unraveling the roots of his work

Tomii’s works are mainly tableware for daily use, such as plates and stacked boxes. The friendly and gentle expression of wood and the elegant and delicate appearance of his work have won him many fans. The reason for making his tableware is also simple.

Mr. Tomii has always loved to eat. When he lived alone as a student, he got hooked on cooking and began collecting cooking utensils for professional cooks. Eventually, he became particular about the dishes on which he served his food, and began collecting pottery made by artists. He likes the smooth surfaces of Scandinavian pottery, as well as heavy earthenware. He also likes wooden works from long ago, and he is a true lover of tableware, he says.

Tomii says that his interest in making things naturally led him to pottery making. The concept that forms the basis of his work is “to make things that become beautiful through continuous use” and “to make things that I want to use. I think the ideal relationship between the three elements of ‘material,’ ‘artist,’ and ‘user’ comes closer together as the user continues to use the vessel, and then they are condensed into a single piece, and that is beauty. I think that is beauty. When working with his hands, he is conscious of the “beautiful changes over time” that occur with daily use.

～The more you use it, the more it tastes good. Wooden vessels that blend in with everyday life.

Flat plates are especially popular among his works. They are easy to use and easy to serve food on. He often uses chestnut wood to make his dishes, which have a beautiful harmony of wood and lacquer. Considering actual use in daily life, plain wood has more flavor and charm when used. He likes the moderate feeling of chestnut wood. Indeed, chestnut wood is said to be popular among forest insects. He often finds insect bites on the wood, and he uses them as a part of the flavor of his works.

On the other hand, lacquer on the surface of a vessel has a characteristic that it does not change easily. The lacquer on the surface of the vessel can be colored to accentuate the tabletop. Wood itself is very beautiful,” he says. Of course, you can also enjoy playing with colors with colored lacquerware. I would like to convey the charm of such wooden vessels to people. I want to convey that kind of charm to people.

～I want to master beauty rather than efficiency.

At first glance, Mr. Tomii’s workshop looks like a furniture workshop. Mr. Tomii smiles, saying that it is a remnant of the time when he learned the basics of woodworking. Every piece is carefully made by hand. Instead of using a machine to make a large number of products at one time, he devotes himself to the steady, physical creation of his pieces and cherishes the products that result. This is Tomii’s way. He says, “If you adopt an efficient method, you may be able to finish your work quickly and beautifully, but I don’t think you should seek efficiency or beauty when you are doing this kind of work. Even if it takes longer, if I want the joy and happiness of making something, I’ll take that.”

～Individuality born of beauty guided by theory

Mr. Tomii’s creations have a unique worldview. When I was in graduate school, I was a physics major who studied the surfaces of materials. The beauty of the microscopic world he saw through a microscope at the time was indescribable. In my atelier, using a carving knife, I sometimes think about such a microscopic world, the arrangement of atoms, diversity, and various ideological worlds while carving detailed patterns on stacked boxes all day long. Perhaps it is in the process of immersing oneself in these worlds that the “individuality” that attracts people, which we call authorship, resides in the work.

Mr. Tomii aims to create products that become more beautiful when they are used with love and care. The touch of wood, the modesty that accompanies daily life, and the delicate and gentle appearance. We hope you will take a look and feel the splendor of his works, which are born from the rich natural environment and his unique world of contemplation.

The post Wooden tableware by Takashi Tomii from snow country that becomes more beautiful with continued use / Nagaoka City, Niigata Prefecture first appeared on NIHONMONO.

Murakami City in Niigata Prefecture is a salmon town that has lived together with salmon. The “Sennen Salmon Kikkawa” has been making salmon dishes that have been passed down through the generations in Murakami.
There are more than 100 salmon dishes that have been created over the millennium of Murakami’s salmon history.
We are passing on the culinary culture of Murakami to the present day through salmon dishes made with fermentation and aging techniques that take full advantage of the climate of Murakami City and the time and effort that goes into making them.

Salmon Culture Preserved by Murakami’s “Sennen Salmon Kikkawa

 Murakami City, located in the northernmost part of Niigata Prefecture and facing the Sea of Japan, has a history of delivering salmon as tax to the Imperial Court in Kyoto during the Heian period. Salmon were often caught and during the Edo period, salmon fishing was an important source of income for the Murakami clan. In the latter part of the Edo period, the fishing season gradually became poor, and the clan’s finances began to run out. Then, Buheiji Aoto, a samurai of the clan, noticed the “recurring nature” of salmon and created an environment for propagation, which led to the world’s first successful natural hatching and propagation of salmon. The town once again became prosperous, and even in years when the rice harvest was poor, a good catch of salmon helped the people. This is why the people of Murakami still respect salmon and treat it with great care. In Murakami, salmon is the only fish, not any other fish.

Even today, salmon runs up the Miomotegawa River that runs through the center of town, and the salmon culture has been carefully passed down through the millennia. The first company in Murakami to commercialize this traditional salmon dish was Sennen Salmon Kikkawa, which was founded in 1626 as a rice wholesaler. In the postwar period of the 1950s, when Murakami’s salmon cuisine was in decline, the company decided that it must not let Murakami’s salmon culture die out, and began producing and selling salmon dishes.

Product creation focusing on “natural” products

More than 1,000 salted salmon are hung from the ceiling beams in the machiya-style store built in the Meiji period. The sight is breathtaking. The process is simple: salt the fish and then dry it. This simple method has never changed. No food additives such as preservatives, chemical seasonings, or yeast extracts are used.

The “Shinmaki Salmon,” a similarly well-known salted salmon, is made to preserve the flavor of freshly caught salmon for a long period of time, while Murakami’s salted salmon is subjected to the cold northwest wind for one month to allow the enzymes in the salmon to break down the proteins and produce amino acids as a catalyst with the salt, giving it a special flavor unique to Murakami. This gives the salmon a special flavor unique to Murakami. The people of Murakami have always cherished and savored salmon. Looking up at the hanging salmon, it is clear that salmon is at the center of people’s lives. In this family, the salmon, not the people, are the most important,” says 15th generation owner Masatsugu Yoshikawa. Everyone in town makes it in their own homes, and each father brags to the other about how good it is. In Kikkawa, preparation begins in mid-November when a cold northwesterly wind blows and the temperature drops below 10 degrees Celsius. When you feel the clean, dignified wind on your skin, that’s when it’s time to start.

The first thing I do is to bow my palms in gratitude to the salmon in front of me. The salmon is carefully selected and wild-caught domestic male salmon. After about five days, the salmon are washed under running water and dried for three to four weeks. The Murakami style is to hang the salmon with the head down by attaching a string to the base of the tail fin, as it would be unbearable to put a string on the head of the salmon, which is a precious gift from Murakami. Mr. Yoshikawa is particular about the shape of the dried fish, even the fins are held up to give it a “manly” appearance. The enzymes work to produce a unique flavor. It is a deep flavor that can only be expressed by the wind that blows in Murakami. While drying the salmon, the artisans watch over the salmon as if they were their own children.

Appreciate everything about salmon and eat it.

The most popular recipe that everyone imagines using salmon is grilled salmon served with hot white rice. Salt-baked salmon is also a great accompaniment to rice, and of course, if you lightly grill the fillet, you can enjoy the skin as well. It is delicious freshly grilled, but the charm of salted salmon is that it can be enjoyed even after it has cooled down.

But that is not all there is to Murakami’s salmon cuisine. Because of their respect for the salmon, they carefully eat every part of the salmon, from the entrails and bones to the head and gills. As a result, more than a hundred different salmon dishes have been created. Inside Kikkawa’s restaurant, you will find a wide variety of salmon dishes. In addition to salted salmon fillets, grilled salmon marinated in secret broth and soy sauce, cured salmon ham cured slowly at low temperature, and harako (roe) marinated in soy sauce using the best large roe are all regular favorites. Salmon with sake is a great snack to accompany alcoholic drinks. There is a unique culture of celebrating a boy turning 5 years old by preparing a salmon dish at home when he wears his hakama. It is said that this is a way of saying, “Come back strong and strong,” just like the salmon. In Murakami, ” Salmon rice sushi” is an important New Year’s dish, and Kikkawa has been making its own koji since the Edo period. The pride of Kikkawa, which used to be a sake brewer, is also reflected in its desire to preserve Murakami’s important food culture.

Murakami’s respect for salmon has led to the development of an unparalleled salmon food culture. Mr. Yoshikawa says, ” The important thing is to put love into it. It is made by fermentation and ripening, so by watching over the changes in nature, and taking the time and effort to make it with love, you can create a delicious product, ” he says, looking up at the hanging salted salmon and narrowing his eyes. The supreme taste passed down through a thousand years of history will continue to be passed down as a part of the town’s living food culture for years to come.

First, we choose the best. We do not use any food additives, but rather we use human hands and spend a lot of time in nature to produce the “real thing”. We will continue to pursue the “one and only best taste” that only we can make.

The post Traditional culture of Echigo Murakami, lovingly produced “Sennen Salmon Kikkawa” salted salmon / Murakami City, Niigata Prefecture first appeared on NIHONMONO.

The focus is on delicious food and a stress-free environment

In the middle of the Echigo Plain, a region of rice paddies stretching as far as the eye can see in the central to northern part of Niigata Prefecture, there is a duck farm with a history of more than half a century in a tranquil setting with a distant view of Mt. Fukushima Duck Farm is where Sadakazu Fukushima, a master duck farmer who knows everything about ducks to the extent that he is called a “duck master,” raises “makogamo” ducks, commonly called “aokubi. Originally, he was a rice farmer for five generations. When they were forced to change crops in the 1960s due to production adjustments caused by the rice glut, the previous generation began raising ducks. Ducks have been a familiar creature flying into the rice paddies since the days when people could not eat meat from cows and pigs, and the culture of using ducks as food has existed in this area for a long time.

Having raised ducks for more than 50 years, there is not much that Mr. Fukushima does not know about ducks, but when he was young, it was a process of repeated failures and trial-and-error. It took him a long time before people began to tell him that the ducks he raised were “delicious. After I started raising ducks, I kept a journal in an A4-size notebook every morning, afternoon, and evening without fail, continuing to write down the good results and improving the bad ones. Finally, he arrived at a method of raising ducks that he was satisfied with. Over the years, Mr. Fukushima has made the most careful adjustments to the feed mix and rearing environment. A good duck is only good if it is fed well. This is Mr. Fukushima’s belief. Instead of cheap feed, he uses high-quality feed rice with a particularly high oleic acid content. All the rice he feeds is home-grown with reduced pesticides, and the vegetables are organic and home-grown without the use of pesticides. In addition, lactic acid bacteria, honey, and molasses are added to the feed. In other words, Fukushima-san feeds his ducks natural feed that is the same as what humans eat with peace of mind. The ducks eat safe, high-quality feed, which improves their intestinal environment, and their feces do not smell bad. Another of Mr. Fukushima’s specialties is to keep the ducks in a stress-free environment. Keeping ducks in unsanitary huts or in cramped places where many ducks are crowded together causes unnecessary stress to the precious ducks. He has created a large, clean breeding area where the ducks can move freely, and the water area is always well cleaned. The ducks look happy. Thanks to this, the ducks raised carefully for six months in Mr. Fukushima’s duck farm have beautifully shiny feathers even from a distance, beautifully standing posture, and gentle temperament, and they are healthy and delicious.

Fukushima Duck Farm’s ducks can be enjoyed in all their glory.

Fukushima-san’s ducks, which are known for their taste and safety, are ordered by many repeat customers every year. The shipping season is very short, from November to mid-January, and most of the ducks are sold out before the end of the season. The best season is from November to mid-December, before the snow begins to fall. It has a good amount of fat, and even though it is bird meat, it has sashi. It is also characterized by its low calorie content and high nutritional value. It is delicious both grilled and cooked in a pot. The offal is also tasty and has no peculiar taste. The bones can also be minced and eaten. Except for the feathers, Fukushima-san’s duck has nothing to throw away.

I can’t forget the taste of duck. I can’t forget the taste of duck, and I want to eat duck rice again,” he says. The duck rice prepared by Mr. Fukushima’s wife is exquisite. The duck is cut into bite-sized pieces and lightly simmered in just enough dark soy sauce to soak the duck meat, then mixed into the cooked rice. The flavor of the fat from the duck and the flavor of the cooked soy sauce is in perfect harmony, and you can eat as many servings as you like. The rice used for this dish is “Kamo Rice,” which Mr. Fukushima grows with great care. The rice used for this dish is “Kamo Rice,” which is grown safely without chemical fertilizers or herbicides using the “Kamo Farming Method” with Kamo ducks raised by Mr. Fukushima, and carefully harvested every year. The combination of this Kamo rice and Mr. Fukushima’s delicious Kamo rice is unique.

At over 70 years of age, Mr. Fukushima has finally reached the level of a master. In addition to ducks and rice, he also grows grapes, beans, and other seasonal produce, cherishing the joy of harvesting and tasting the best of the season. He says he is not interested in making a profit, but wants to produce food that his family and loved ones can eat with peace of mind.

Fukushima-san’s duck is a premium seasonal delicacy from late fall to early winter that makes gourmets swoon. I urge you to try it at least once. It will be a taste you will never forget.

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Kasei Farm’s Challenge to Breed “Gandhi Cattle

In the Wajima area northwest of Nagaoka City, an area of lush greenery known as the home of Ryokan, a Buddhist monk born in the late Edo period and beloved by the common people, there is a ranch that raises ” Gandhi breed ” dairy cattle, which are rare in Japan. The Gandhi breed, or Gandhi cow, is a rare breed with fewer than 200 cows in Japan, and is currently raised only in Niigata, Tochigi, and Oita prefectures. Imported to Japan at the end of the Meiji period (1868-1912), Gandhi cows are characterized by their higher overall nutritional value compared to ordinary milk (Holstein breed).

I started my dairy farm 50 years ago and began raising Gandhi cows 20 years ago. I was ridiculed at the time, but now I can do it with confidence,” said Tsutomu Kasei, president of Kasei Farm. While in high school at an agricultural high school, he received training from a dairy farmer in Hokkaido, which made him yearn to live on a ranch, and in 1972, he began raising a single Holstein calf. In 1995, he expanded the size of his dairy farm to 60 cows, but the work only became more demanding in proportion to the number of cows, and he began to feel the limits of his physical strength. He therefore switched to a policy of producing high quality milk with high added value in order to reduce his workload and maintain his income. What he came across was Gandhi milk.

Currently, Holstein and Jersey breeds account for most of the dairy cows in Japan. The number of Gandhi cows, which originate from Cansey Island (England) in the English Channel, is decreasing every year. In addition to the small number of Gandhi cows, the amount of milk that can be milked per day is only about half that of the common Holstein breed. However, “Gandhi milk is richer and richer than any other type of milk, and it is very refreshing and easy to drink,” was Kasei’s impression when he first drank Gandhi milk. Because of its nutritional value, taste, and rarity, Gandhi milk has been called “golden milk” or “aristocrat’s milk” in Europe and the United States. Its high fat content makes it suitable for making gelato and ice cream.

Delivering Delicious Milk

It was 1997 when the first Kanjie cow finally arrived at Kasei-san’s dairy farm after he asked a number of dairies across Japan to sell their cows to him. She was a one-month-old cow. He carefully raised her and now has many grandchildren, great-grandchildren, and great-great-grandchildren living on his ranch. The cows are fed with a blend of grass rich in fiber, sugar, and protein. When milking, the cows are carefully massaged with a towel wetted with warm water before being disinfected and milked twice a day. Depending on the cow’s physical condition, sometimes it is easy to milk the cow and sometimes it is difficult. The rare breed of cows also presented some difficulties. There are only a few dairy farmers keeping cows in the first place, so there is no data on cow rearing methods or diseases, and there is no system for sharing data. Even if you consulted a veterinarian, he or she would tell you that they don’t know what to do with these cows.” Still, he says, there is an attraction to raising Gandhi cows. The product that consumers get is priced higher than regular milk. Still, there is certainly a demand for “good tasting milk.

As a producer, I am most pleased when people recognize the taste of our milk, ” says Kasei. In order to make the sweetness, richness, and refreshing drinkability of Gandhi milk known to more people, we would like to increase the number of Gandhi cow fans by shortening the distance between consumers and producers and creating mechanisms to convey our message as producers in an easy-to-understand manner, such as our own commitment and the experiences we can have because we come to the area. We would like to increase the number of Gandhi beef fans by creating mechanisms to convey our message as producers in an easy-to-understand manner. Incidentally, because the fat content is higher in winter than in summer, Gandhi milk ice cream has a refreshing taste in summer and becomes even more delicious in winter. Visitors can enjoy gelato and soft-serve ice cream at Kasei Ranch – Washima Honten, a directly managed store located a short distance away from the ranch. The shop also sells a variety of cakes and baked goods. We hope that you will visit the ranch and taste the difference in taste while experiencing the producer’s thoughts and feelings.

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Niigata is famous for its agricultural products such as Koshihikari rice, but there are also many brands of vegetables and fruits that are unique to Niigata. Echigohime,” large strawberries filled with juice, is one such example. Every year when spring arrives, farms around Niigata are crowded with strawberry pickers, and supermarkets in the prefecture are filled with the rich, sweet aroma of strawberries.

Echigohime” from Saito Strawberry Orchard

Mr. Mitsuru Saito, the representative of Saito Ichigoen, located in Tsubame City, known for its world share in the production of Western tableware, was originally a rice farmer for many generations. However, rice production alone was not enough to make a living, so he worked for a local metal processing company as a so-called dual-income farmer, taking time off from work during rice planting season to balance his two jobs. However, when he turned 50, the recession forced him to quit the company where he had worked for many years. At a crossroads in his life, Mr. Saito decided to live solely on farming for the rest of his life. However, he could not make a living only by growing rice. So what would he do? What he decided to do was to grow strawberries, which he says he loves.

I like strawberries, so let’s grow them. I am sure they are easy to grow. However, strawberries are a very delicate fruit that is not suitable for growing in cold regions. At the time, strawberries were not a major agricultural product in Niigata Prefecture, and to the surprise of no one in the Tsubame area, no one was growing them yet. This is where Mr. Saito’s intense study and ingenuity began. First of all, Niigata winters are cold, so greenhouses and shelves are necessary. He chose the right kind of soil for cultivation, improved materials and fertilizers, and devised unique methods such as the use of charcoal and seaweed. Efforts were also made to create an environment that is easy to work in. Normally, strawberry planting begins in October and harvesting continues until June. Mr. Saito, however, has devised a method of increasing the planting period to August and September, when it is still hot and summery, so that a large number of strawberries can be harvested in stages over a long period of time. Mr. Saito’s production policy is not “quality over quantity,” but rather ” both quantity and quality. This year marks the 21st year of his strawberry production, which he has continued to improve and innovate. He has received the Minister of Agriculture, Forestry, and Fisheries Award and the Niigata Prefecture Governor’s Award as a producer of “Echigohime.

Why Echigohime, with its high sugar content, is called the “Miracle Strawberry

Echigohime” was registered as a variety in 1996, and was named after a pretty and fresh princess. It is a large-grained variety with high water content and very juicy. It has a strong sweetness and soft flesh. Mr. Saito says sincerely, “When I grow strawberries myself, I think there is no other strawberry that tastes as good as this one. However, compared to Tochiotome from Tochigi Prefecture, which was born in the same year, Echigohime has a much lower level of recognition nationwide. In fact, most of the production is consumed in Niigata Prefecture. The reason why Echigohime is not readily available throughout Japan, including the Tokyo metropolitan area, is due to the softness of its pulp. The large, heavy individual grapes are delicate and easily damaged, making them unsuitable for long-distance distribution.

Also, if the strawberries are stacked in a pile like the packets of strawberries often seen in supermarkets, the tender fruit will be crushed, making it impossible to put them on display in stores.

For people outside of the prefecture, these strawberries are hard to come by, and are truly a rare treat.

Because of this, Saito Strawberry Orchard has mainly sold strawberries directly at the farm, such as all-you-can-eat or by weight, but has recently started shipping strawberries picked in the morning all over the country. However, in recent years, the company has begun shipping strawberries picked in the morning all over Japan. This is because high-quality packing materials have been developed to minimize damage, making it possible to reduce the damage caused by transportation. The company is now able to ship widely throughout Japan, from the Tokyo metropolitan area and Hokkaido to Okinawa in the south.

Mr. Saito’s strawberries are characterized by a sugar content of 10 to 12 degrees, with a maximum sugar content of 15 degrees, which is one of the sweetest among strawberries. Even so, “It is a matter of course to produce delicious products. It is not enough to just make them sweet,” says Mr. Saito. He is particular about not only sweetness, but also moderate acidity and texture. Even with the same variety of strawberries, the balance of taste varies from farmer to farmer. The ” Diamond Echigohime,” a rare strawberry that can only be harvested for 10 days in February, is almost the size of a baseball, and its freshness and sweetness are even stronger than the regular Echigohime, making it almost like biting into a peach. Furthermore, ” Mankan-no-megumi, ” the ultimate version of Diamond Echigohime, reigns supreme as a miracle strawberry that only 0.2% of the entire greenhouses can harvest. Mr. Saito has created this masterpiece after more than 10 years of trial and error in his quest to produce a special strawberry that would please those who eat it and remain in their memories forever. Because of its rarity, it is only available by reservation, but it is one that I would like to try someday.

The smallest of steps and the timing of the smallest of operations directly affect the taste of the strawberry, and the large Echigohime produced by Mr. Saito, which can be said to be the crystallization of 20 years of skill and effort, is definitely worth tasting when it is freshly picked.

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What is Tsubame’s historic “hammered copperware”?

Tsubame City in Niigata Prefecture has been producing hammered copperware for 200 years since the late Edo period. Currently, Tsubame City is the only production center in Japan for this craft. The technique, named after the three-dimensional shape created by annealing a copper plate and hammering it into shape, has been passed down through the ages in this region, benefiting from the nearby copper mines. Hammering copperware is characterized by its robustness and smooth surface, reminiscent of ceramics, which is created by hammering several hundred thousand times before a single product is completed. The texture of the copper increases with care over the years, making it even more endearing. In 1981, it was designated as a traditional craft of Niigata Prefecture. However, there are currently only about 10 workshops that carry on this tradition, including private corporations.

One of them is Shimakura-do, which has been carrying on the tradition for two generations, father and son. The first generation, Itami Shimakura, started his career at Tamagawa-do, a long-established manufacturer of hammered copperware, in 1952. He honed his skills and became independent in 1967. Masayuki Shimakura, the second generation, succeeded him in the Heisei era. Masayuki grew up watching his father as a craftsman and thought that he would follow in his father’s footsteps as a traditional craftsman in the future. Now he sits alone in his workshop and wields a hammer daily. He says, “Everything in this job is done by myself. It suits me.” Masayuki is a true craftsman at heart.

Shimakura Masayuki’s passion for hammered copperware

In the recently opened gallery of Shimakura-do, Masayuki’s works such as kettles, teapots, coffee pots, pots, sake cups, and tea utensils are on display, each of which emits a soft, dull glow from the uneven surface of its gold, blue, or silver-colored …… copper. The elegant and elegant beauty of hammered copperware is its characteristic, not overly flamboyant. Masayuki’s policy is to make what he thinks “would be nice to have,” although some designs are inherited from his predecessors. This is Masayuki’s policy. The products he painstakingly creates one by one are not just traditional handicrafts, but practical products that are a part of modern life. At the same time, they are all one-of-a-kind. They have a flavor and depth that cannot be expressed by mass production by machine.

Masayuki’s craftsmanship begins with “when creating a new product, I first make the tools myself to match the product I want to make. In the workshop at the back of the gallery, there are machines for metalworking and welding, and the walls are crammed with hammers, hammers, and nails. Without the right tools, the ideal form cannot be achieved. Everything is necessary to realize the perfect form envisioned in the mind. As the forming process called “hammering” begins, a high pitched “kankon-kankon” sound rhythmically echoes through the workshop. Using a variety of hammers and wooden hammers, the rest of the work is done by hammering the copper plate.

The fascination of hammered copperware, which changes depending on the quality of the copper and the user.

Copper has a number of advantages as a household item and cooking utensil. First, it is hygienic because of its sterilizing properties. It purifies water, which enhances the flavor of boiled water and teapots. It also has a higher thermal conductivity than other metals (twice that of aluminum, five times that of iron, and 25 times that of stainless steel), so when a pot is heated, the heat is evenly distributed throughout. This means that the quality of the water changes and yet cooks quickly, making tea, coffee, and food taste better. Another important feature of copper is its longevity, as copper is highly resistant to corrosion, as evidenced by the fact that copperware from thousands of years ago is still in existence. If the utensil is well cared for and lovingly wiped dry, it can enjoy a long-lasting change in texture over time. Masayuki says, “The color changes depending on the feelings of each person who uses it. This is precisely the fun of continuing to use a household item that will last a lifetime. Just as traditional techniques are passed down from generation to generation, products can also be passed down from generation to generation.

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At the northern tip of Niigata Prefecture, near the border with Yamagata Prefecture, there is a scenic spot called Sasagawa Nagare (Sasagawa Stream). The beautiful 11-km-long rocky coastline, named after the central village, has caves and rocks of unusual shapes in the shallows near the shore. It is also a place rich in nature, where rock oysters, turban shells, and many fish live. Mr. Hisashi Kobayashi of the ” Sasakawaryu Salt Studio ” uses the clear seawater of the Sasakawaryu Stream to make salt.

Careful salt making at “Sasakawaregawa-nagare,” utilizing the know-how of the time

There are two main methods of salt production. One is to find rock salt in the soil, and the other is to extract salt from the sea or lakes by boiling it. In Japan, rock salt is not available and there are no salty lakes, so salt has long been produced using water from the sea, but salt production by pumping up seawater was very labor intensive and unproductive. However, salt production was not very productive due to the labor-intensive process of salt production. Around 1971, a new process was introduced to produce salt by electrolyzing seawater to extract sodium ions from the water and boiling it to produce a dense brine of at least 99.5%, which enabled a more efficient and stable supply of salt. In 1997, the monopoly system for salt in Japan, which had existed for more than 90 years, was abolished in response to the diverse needs of consumers for salt. This was the opportunity for Mr. Kobayashi to take up the challenge of salt production at his workshop, which is located right next to the Sea of Japan. Just before retiring from the construction company where he had worked for many years, he saw a TV program introducing people making salt and thought, “That sounds interesting. I thought, “This could be something I could do. Originally, salt was made from seawater in the area around Sasakawagare until before World War II. Although salt production in the area ceased when the monopoly system was introduced, the know-how from that time still remained.

Although he started salt production with a light heart, thinking that he could do it himself, it was more difficult than he had imagined to make salt from seawater. In addition to the fact that seawater has a salt concentration of only 3%, it is difficult to produce salt from seawater by evaporating it in the sun all year round in Japan, where there is much rain and humidity. The only way to produce salt is to boil it down to extract the salt crystals, and only 18 kg can be obtained from 1,000 liters of seawater. Even so, Mr. Kobayashi insists on using a careful manufacturing method to produce a high-quality product. The Sasakawaryu River is naturally clear, but Mr. Kobayashi chooses particularly clear days to pump up the seawater. He then waits for sand and shells to settle in a tank, and filters the supernatant through a sarashi before pouring it into a salt cauldron. The temperature of the steam kettle is over 100 degrees Celsius. Wood is always kept burning, and the seawater is boiled down while carefully removing the lye. When the water is boiled down, it is transferred to the left and right kettles and boiled down again. Finally, the calcium sulfate, which is the source of the faint bitterness, is carefully removed. The resulting highly pure salt crystals are then poured into a conical device called a “bract,” which was made in the manner of the “warazuto” used in the past to wrap and transport food, and the bittern is removed. The process takes about 15 hours. This is the traditional way of making salt, using only natural ingredients.

What are the characteristics of “Sasagawa-nagare-no-salt”?

Compared to refined salt, the salt handmade from 100% seawater over a fire lit by firewood is rich in minerals and has no harshness or roughness, and the far-infrared rays from the firewood also help to produce a mild saltiness. The size of the crystals is another feature. Mr. Kobayashi produces four types of salt: Umi no Isoshio (salt from the Sasagawa Stream), Shio no Hana (flower of salt), Sasa no Shizuku, and Tamamoshio (seaweed salt). Umi no Isoshio” is a representative product of the workshop, made by carefully boiling down the seawater of the Sasagawa Stream over a long period of time in exactly the way described above. It has a mild taste with no bitterness and is just right for everyday use, and it goes well with any dish. Salt Flower is made by collecting salt crystals at a low temperature of about 60°C (140°F) for one day and night, and each grain is very large. The salt is used not only for seasoning, but also for toppings, and its texture and flavor accentuate your taste buds. Sasa-no Shizuku,” which is made by combining the powder of locally harvested Kumazasa bamboo, is characterized by its bright green color and fresh aroma, and is expected to have health and beauty benefits. We recommend topping vanilla ice cream and other sweet foods with it to enjoy the color. Especially popular is tamamo salt, which is made by boiling down the extract of hondawara (seaweed) with seawater. Rich in seaweed flavor and iodine, it enhances the taste of the ingredients. It goes well with onigiri (rice balls) and tempura, but a pinch added to soup will give it a flavor as if dashi had been added. Kobayashi is proud of the salt he carefully and painstakingly produces.

There is a terrace at the back of the salt factory and a cafeteria, Salt & Cafe, right next door. It is a popular stop for tourists visiting the area. In addition to coffee and drinks, visitors can enjoy “salt musubi (rice ball) sets” and “salt ice cream” made with salt from the Sasakawaryu River. The shop is only open from April to November, except during the rough winter months, but visitors can enjoy the panoramic view of the vast Sea of Japan and the natural seawater salt produced by Mr. Kobayashi.

Since ancient times, mankind has been making natural salt as a form of wisdom to survive. It will continue to be carefully passed down through the hands of artisans who love salt as much as Mr. Kobayashi does.

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The post Sasagawa Nagare no Salt” (salt from the Sasagawa Stream), made by boiling down the beautiful ocean water in a scenic spot using traditional methods / Murakami City, Niigata Prefecture first appeared on NIHONMONO.