Calm and gentle, with a solid sense of presence. The wooden trays created by Shibaji Ochiai, a woodworker, have the power to transform a landscape just by placing them there. We visited his workshop at the foot of Mt. Hira in Shiga Prefecture, where his works come in a variety of colors and shapes, and where he continues to receive orders from galleries and select stores nationwide.

Facing each piece one by one at the workshop in the forest in Shiga Prefecture

Minamikomatsu, Otsu City is located at the foot of Mount Hira on the west side of Lake Biwa. Mr. Ochiai’s workshop is located in a quiet forest with a clear stream running nearby. The site is also home to the workshop of his wife, Sachiko Yano, a maki-e and lacquer craft artist. Many of the houses that stand in the vicinity are vacation homes with few people coming and going, making it a perfect environment for the artist couple to concentrate on their work.

The northern area of Otsu City is home to many immigrants. Some people are engaged in manufacturing.

Incidentally, the northern part of Otsu City in Shiga Prefecture, where the Ochiai’s workshop is located, is close to the large scale nature of Hira Mountain and Lake Biwa, while Kyoto is only a 30-minute train ride away. The area is known for the large number of immigrants from outside the prefecture, especially those of child-rearing age. In addition, some of the newcomers are engaged in manufacturing, and the area has been attracting a bit of attention in recent years.

The word “craftsmanship” covers a wide range of activities, including artists like Mr. and Mrs. Ochiai, gallery and restaurant operators, designers and writers, and new farmers, etc. Mr. Ochiai, who is from Kyoto, chose this location for his workshop 10 years ago by chance. He says he likes living here, where nature is close by and it is easy to get out to the city, because it provides a good stimulus for his life as a writer, which tends to be solitary while he works.

He never took up an apprenticeship, but established his own style as a woodworker in his own way.

In 2000, Mr. Ochiai completed the lacquerware course of the Kyoto City Training Program for Traditional Industry Technicians, and in 2001, he learned the basics of woodworking at awoodworkingschool run by the Jyurinsha woodworking shop in Kyoto’s Minami Ward, which was known for its famous woodworkers. The following year, he expanded his style by learning the woodworking wheel from the late Uzuo Ogura in Eigenji, Shiga Prefecture, known as the home of woodworkers.

I was not born into a family of traditional craftsmen, so I entered the world of woodworking without knowledge or tools. I didn’t have the opportunity to apprentice myself to anyone in particular, so I guess you could say that I created my own style using the techniques and knowledge I learned from many people in different places,” he recalls.

From lacquered bowls to trays. The enjoyment of creation has expanded.

Mr. Ochiai, who studied lacquer ware in Kyoto, says that when he first started his career, he mainly made lacquered bowls. However, he says that he began to feel ” stuck” with the bowls he was making.

The reason, he says, is that it was difficult to add original individuality to bowls whose size, shape, and use were fixed to some extent. Rather than designing by painting or lacquering, Mr. Ochiai wanted to pursue expression by utilizing the individuality and texture of the wood, and began to explore options other than lacquered bowls.

One of the major clues he found was the ” kurimono ” technique he learned at the Jyurinsha. Using the technique of kurimono, in which a single solid piece of wood is carved out with a chisel and a planer, Ochiai creates trays in a variety of colors, shapes, sizes, and types of wood.

While it is important to know the characteristics of each type of wood and how to handle it, including its characteristics and how to cut it, there are relatively few other rules governingthe making of wooden trays, which allows for a high degree of freedom. He finds this appealing, and says that he enjoys making trays even more than before.

Trays that are “free” for the user as well

It seems that Mr. Ochiai’s wooden trays are just as free and exciting for the user as they are for the creator himself.

A search for “#Ochiai Shibaji” on social networking sites reveals that some people use the trays in the style of a Japanese course meal, others in the style of a home meal, others in the style of entertaining by placing a small amount of food on several small plates, others in the style of a cafe with a cake and coffee on a small tray, and still others display the trays with their favorite dishes on them instead of using them for a meal, Some people use the tray to display flowers in a vase.

It can also be used as an oshiki, a tray that is used to create a special atmosphere and for entertaining, or as a casual tray for drinking alone. Its use is up to the person who has it. Such freedom seems to be attracting fans all over Japan.

Design inspiration comes from “old things

Ochiai’s trays add a sophisticated atmosphere when combined with Japanese items such asearthenware,sake cups, and bamboo baskets for serving Japanese food, and an exquisite calmness when combined with Western taste such aslinen cloths,Western tableware, and wine glasses.

Such versatile designs are often inspired by “old things. For example, old pottery, antique tools, Yi Dynasty ceramics, and crafts, as well as non-woodworking objects, are also useful references. Ochiai often goes to antique markets in Kyoto, less than an hour away from his studio, to find inspiration.

Handcrafting a single solid piece of wood

The distinctive feature of Ochiai’s work is the meticulous finishing, which is done by hand with a round chisel, leaving a solid hand-carved mark. Machines are used to cut large boards to the required size, rough carve, and form outlines, but the rest of the work is done by hand. He says he loves the “imperfect beauty” that only human hands can produce, which gives the piece a slight sense of fluctuation.

The key to shaving is ” to carve with the same tension. He says, “The key to carving is to carve with the same tension.” He says that the carving is finished beautifully when it is done in a straight line, with the same rhythm, thickness, and depth. He showed us the actual carving process, which was light and speedy. However, even on the same piece of board, there are hard and soft parts, so the carver adjusts the amount of force each time while carving. He repeats this process over and over again.

This might give the impression of monotonous work that requires a lot of patience, but Mr. Ochiai laughs, “My hands get sore, but strangely enough, I never get tired of it. He says it is interesting to see the grain patterns gradually take on a three-dimensional appearance as he carves. I could tell that Ochiai loves the time he spends working with his hands and facing the wood.

Perhaps it is because of this that when I look at or hold one of Mr. Ochiai’s wooden trays in my hands, I feel a sense of happiness that fills my heart with a sense of serenity. They are elegant, yet somehow gentle and warm.

Bringing out the individuality and expression of the wood

Another important point in Mr. Ochiai’s style is to ” bring out the original character of the wood.

Ochiai’s wooden trays are made of various types of wood, includingchestnut, cherry, zelkova, mizume, yellow cedar, and tabu. They come in a wide variety of colors, including deep black, soft beige, dark brown, reddish brown, and strong yellowish ochre. In some cases, oil finishes are used to bring out the original color of the wood, while other finishes such asiron-borne dyeing, ammonia smoke, and fuki-urushi (wiping lacquer) are used to add variety. They are constantly introducing new methods while considering the compatibility with the type of wood they are using.

No matter what type of finish is used, however, the artist insists on bringing out the individuality and expression of each type of wood. For this reason, the most commonly used finish is oil, which brings out the true color of the wood. When lacquer is used, the lacquer is not applied in a glossy lacquer finish, but rather is wiped off to finish the wood.

Splits and Knots are Also Part of the Wood’s Character

Ochiai also makes use ofknots andsplits in wood, which are often regarded as defects in wood, in his work. He says that when he cuts a large piece of wood and obtains 10 boards, there are usually 2 to 3 boards with knots or splits in them, but he wants to use them instead of throwing them away.

Knots, which are at the base of the branches of the tree, appear as a circular pattern when the wood is milled into boards. Although knotty boards are often avoided because they reduce the strength and appearance of the wood, Mr. Ochiai says they are interesting and tasteful. In fact, many people like trays with knot patterns and choose them.

The same goes for the cracks in the wood, which are used to accentuate the design of the piece. Compared to soup bowls and buckets, trays can be made without worrying about water leakage.

The Goodness of Things That Cannot Be Mass-Produced

The style of production that makes full use of wood, which is now a precious commodity, and the beauty of daily utensils made with exquisite handcraftsmanship have the power to appeal to many people, especially in this age of information and goods.

Mr. Ochiai has held exhibitions throughout Japan, but his guides to these exhibitions include a request for a limit on the number of items that can be purchased. Because most of the process of carving is done by hand, it is difficult to mass-produce his works.

Therefore, the purchaser must face the individuality of each piece and find the one that is right for him or her. It is not difficult to imagine that this process creates an attachment to the piece and that it will be used with great care for a long time. It is only natural wood that can ” grow up ” with the depth of color as it is used.

The wooden trays created by Mr. Ochiai’s hands, while not perfect, have a certain beauty that makes us happy every time we use them, and they will be a small comfort in our hectic days. I felt as if I had seen an answer to the question of what crafts, which have been refined over time and through skill, can bring to people living in this era.

The post Hand-carved trays with “beauty that is not perfect. Ochiai Shibachi’s wooden tray that grows with time / Otsu City, Shiga Prefecture first appeared on NIHONMONO.

Shiga Prefecture is said to be the birthplace of Japanese tea. The origin of Japanese tea is said to date back to 1200 years ago, in the early Heian period, when Saicho, the founder of the Tendai sect of Buddhism, brought back seeds from Tang China and planted them at the foot of Mount Hiei. We visited Mr. Haruki Fujimura, representative director of “Greentea Tsuchiyama,” a tea farmers’ cooperative in Shiga Prefecture, which is working to pass the baton of the tea industry to the future.

Tea production area developed in the Edo period (1603-1867)

Tsuchiyama-cho, located in the southeastern part of Shiga Prefecture, boasts the largest tea production and cultivation area in the prefecture. 805, Saicho, who returned from Tang Dynasty China, introduced tea cultivation to Omi Province, which is now Shiga Prefecture, and tea production also began in Tsuchiyama. Since Tsuchiyama was an inn town on the Tokaido Highway, tea was sold to people passing by, and its production expanded dramatically in the Edo period ( 1603-1867). At its peak, Tsuchiyama used the same tea leaves as green tea to make black tea and export it overseas, but this became difficult after World War II began, and the region gained a foothold as a producer specializing in green tea.

Tea that can be enjoyed from the second brewing

There are several traditional tea production areas in Shiga Prefecture, such as Asamiya and Masadokoro, but Tsuchiyama is characterized by rolling hills with long hours of sunlight, rich underground water from the Suzuka mountain range, and a temperature difference between day and night. This makes it possible to grow long, thick tea leaves, which have a strong flavor and aroma, and are said to be delicious even after the second or third brewing. Characterized by its elegant, mild, and deep flavor, it has long been a specialty of Shiga Prefecture.

Producing “Kabusecha” with a strong flavor

Another characteristic of Tsuchiyama is that it is known as a famous producer of “Kabusecha” tea. Kabusecha is a type of tea in which tea leaves are covered with a cloth or other covering before plucking to suppress the production of catechins and enhance the flavor and sweetness of the tea. The tea leaves that have been covered for a longer period of time are called “gyokuro,” and those that have been dried without being rubbed are called “tencha. Tencha is ground into a powder using a millstone, and this powder is called matcha, which is used in the tea ceremony.

Kabusecha production is thriving in Tsuchiyama, and has a solid track record, winning first place in Japan in the kabusecha category of the National Tea Fair.

Healing Tea from Tsuchiyama to the World

Haruki Fujimura is the representative director of “Green Tea Tsuchiyama,” an agricultural cooperative that produces tea with the concept of “bringing healing tea to the world. He has been in the tea industry since he was 22 years old, and has been in the business for 30 years this year. He wanted to acquire knowledge and skills beyond just making tea, so he became a certified Japanese tea instructor, also known as a “tea sommelier,” and is also involved in training young people at an agricultural university as an agricultural instructor.

In Tsuchiyama, many growers have traditionally produced Kabusecha, but about five years ago, we started producing about two thirds of our tea from Tencha, which is used to make Matcha. Japanese matcha has been booming overseas for the past few years, and the need for tencha will increase even more in the future.

Although the region as a whole has been increasing the percentage of its tea production from tencha processing every year, the price of tea itself has been declining in recent years, and producers are now facing a difficult situation.

From individual competition to regional cooperation in tea production

In order to overcome the difficult situation surrounding tea farmers, various reforms are being implemented in Tsuchiyama. One of these reforms is the establishment of an agricultural cooperative, Greentea Tsuchiyama.

One of the features of our company is that each member of the corporation is a farmer, but we all share the same fields and factories. In tea production areas, even though the factory is shared, it is rare to find an organization in which everyone shares the same fields. There is no such thing as an individual farm, but rather a system in which everyone works together to increase sales,” says Mr. Tsuchiyama.

Green Tea Tsuchiyama was originally established by Fujimura’s father in cooperation with five tea farmers.

At the time, when most tea farms were privately owned, many farmers were trying to ship their products as quickly as possible in a small area, which caused shipping times to overlap. To prevent this, Greentea Tsuchiyama was established to promote the joint purchase of fertilizers and the joint use of factories. Today, many young farmers belong to the company, and it has grown to the point where it produces about one-tenth of all tea produced in Shiga Prefecture.

Overcoming the adversity of being called a “cheap production area

Green Tea Tsuchiyama handles all aspects of tea production in-house, from cultivation to processing and sales. In 2018, the company built a new factory for tencha, the first in the prefecture, with the aim of producing its own tencha, the raw material for matcha, to boost sales and meet demand for the tea in a wide range of products such as chocolate and confectionery.

The factory is located in the Tsuchiyama area, where frost occurs in early spring, so the early sprouts are damaged by the frost. Tea can only be harvested safely in Tsuchiyama after May, the middle of the season. It has often been said that “Tsuchiyama is an inexpensive production area” because the harvest here begins when harvesting is completed in all production areas in Japan, and the tea can finally be shipped when the price of new tea has dropped completely. So, in order to survive, we need a stronger ground than other production areas,” he says.

Original products that meet the needs of the times and applications

At the same time as establishing a tea production system, the company is also focusing on the development of original products.

KOKUTAN,” with its luxurious black packaging, is a special Kabusecha blending two varieties, a gem that offers the sweetness of “Sae-midori” and the refreshing crispness of “Okumidori”. It is made from the most aromatic and rich tea leaves harvested at Greentea Tsuchiyama.

Other products include Hakuji, a top-grade Kabusecha tea that is mild and recommended for daily use, and Hekiryoku, an extra-grade sencha with a refreshing aroma and moderate astringency.

Developing sweets to enjoy with tea

In an effort to further expand its product lineup, the company has begun developing products other than tea leaves, including “Matcha Financier” and “Roasted Tea x Benifuuki Financier,” the first processed foods made with the company’s own tea, which went on sale in 2020. We thought, “Why not have confections that are not limited to tea leaves alone? The development of confections that go well with tea has been well received by employees and customers alike. Mr. Fujimura’s goal is to increase the number of original products using tea, such as chocolates and cookies, and eventually sell them in his own stores.

Bringing the potential of tea to the future through the efforts of the entire tea-producing region.

In 2022, a team of tea farmers, tea artisans, and agricultural cooperatives will launch a new hojicha brand called “Tsuchiyama Overnight Hoji. This initiative was started to make the name “Tsuchiyama” widely known. The tea leaves grown with great care in Tsuchiyama-cho are left to wilt naturally overnight (12 hours or more) to lose water, which gives the tea a flowery aroma. When the tea leaves are roasted, the sweet aroma of Taiwanese tea is followed by a savory aroma unique to hojicha, making it a tea that goes well with both Japanese and Western-style teas and meals. The tea is named “Overnight Hoji,” and is sold in a variety of variations by several businesses participating in this initiative.

I consider tea to be a luxury item, just like alcohol. In the past, people thought it was enough to just make tea as it is and sell it, but now I feel that the ideal way for a production center is to make tea that they can truly enjoy through trial and error, and then promote it. How many people can we create who will appreciate the taste of Tsuchiyama’s tea? That is what is necessary to continue tea production. With an eye on the future of tea, they are expanding beyond the boundaries of producers and companies. We look forward to the new challenges ahead for Mr. Fujimura and his team.

The post Green Tea Tsuchiyama” to explore the future and possibilities of tea in Omi, the birthplace of Japanese tea / Koka City, Shiga Prefecture first appeared on NIHONMONO.

Hyakusaiji Temple, selected as one of the 100 best places in Japan for autumn foliage and known as one of the best autumn foliage spots in Shiga, is one of the oldest temples in Shiga, founded by Prince Shotoku. Outside of the fall foliage season, it is an atmospheric old temple surrounded by tranquility, and is said to have been praised as “heaven on earth” by the Portuguese missionary Luis Frois.

A power spot where you can feel the breath of nature

Hyakusaiji Temple is a temple of the Tendai sect of Buddhism located in the Koto area on the east side of Lake Biwa. Together with nearby Saimyoji Temple and Kongorinji Temple, it is known collectively as the ” Koto Sanzan” (three mountains of Koto ), and is crowded with many tourists who enjoy the autumn leaves in autumn.

Located deep in the mountains in the middle of the Suzuka mountain range, the temple grounds cover an area of 83 hectares, with approximately 5,000 deciduous trees and 25,000 evergreen trees growing wild. The temple is also known as ” Hyakusai-dera (Temple of a Hundred Colors )” because of the variety of plants that adorn the temple from season to season, including fresh greenery, autumn leaves, and snowy landscapes.

One of the oldest temples in Omi Province

Hyakusai-ji Temple is said to have been built by Prince Shotoku more than 1,400 years ago during the Asuka period (710-794) in imitation of “Ryuun-ji Temple” in Baekje Province for the Baekje people (Kudarabito) who came from the Korean Peninsula. It is one of the oldest temples in Shiga, which has many historic temples. After the Tendai sect was established on Mt. Hiei during the Heian period (794-1185), it became a temple of the Tendai sect and prospered through the Muromachi period (1333-1573).

Longing for the country of Baekje beyond the setting sun

Baekje Temple is located on the 35th parallel of north latitude, and Baekje Province was 880 km away to the west via Mount Hiei and Mount Kurama. It is said that many visitors remembered their homeland beyond the setting sun from the Baekje Temple.

Heaven on Earth” that fascinated Nobunaga and Luis Frois

It is also known as a historical stage for famous figures. It is said that Nobunaga Oda, a great leader of the Warring States period, was so fascinated by this temple that he decided to make it his only imperial temple during his lifetime. The missionary Luis Frois, who was visiting Japan from Portugal at the time , praised the temple as “Heaven on Earth, 1,000 monks” and said it was such a splendid temple. Later, however, Hyakusai-ji Temple was judged to have been used to hide Rokkaku’s army, which was hostile to Nobunaga, and the temple was burned down by Nobunaga.

In the Edo period (1603-1867), the Tokugawa Shogunate and the Hikone Clan donated funds to rebuild the main hall, Niomon Gate, and Sanmon Gate (Red Gate), which still remain today.

A “famous garden with a distant view of the world” where the historical stage of Omi can be seen from all over the country.

About 400 meters up the approach from the Hyakusai-ji Temple gate is the “Honbo Kikenin,” a large pond-viewing garden named ” Famous Garden of the Distant View from Above” facing the Shoin.

The garden is built with a combination of various huge rocks with the Suzuka Mountains in the background, and a mountain stream flows from the mountain into the pond where the carp swim.

The garden continues toward the mountain, and from the viewing platform at the top of the garden, one can see Mount Hiei, the historical stage of Omi, and the Koto Plain.

Mysterious space created by moss-covered rocks

Around the garden, huge moss-covered rocks remain in their original state. Around the temple, massive stone walls and stone steps remain as they were when the temple was built, giving it the appearance of a mountain castle, and it has been used as a filming location for many historical movies and TV dramas.

Just standing in this mysterious space where nature and history are in harmony seems to heal and purify the mind.

The main hall, Niomon gate, and temple gate are just a few of the highlights of the temple.

The main hall of Hyakusai-ji Temple houses a 3.2-meter tall statue of the eleven-faced Avalokitesvara Bodhisattva, one of the largest existing in the Nara period. It is one of the largest existing wooden Buddhas of the Nara period. It is also called “Ueki-Kannon” (meaning “Goddess of Mercy”), because it is said that Prince Shotoku found a sacred cedar tree in the mountains that emitted light and carved the tree while it was still standing. When the main hall of the temple was burned down by Nobunaga, the monks carried the tree 8 km deep into the mountains and escaped the disaster.

Akamon (red gate), the entrance to Hyakusai-ji Temple

The vermilion-lacquered gate at the entrance to the temple grounds is commonly called ” Akamon (red gate). The contrast between the green of the fresh greenery and the orange of the autumn leaves makes it a beautiful spot for photographs. There is only a temporary parking space here, so if you are visiting by car, be careful not to drive past the gate.

It is said that touching the large straw sandals (about 3 meters long) displayed at the Niomon gate will bring good luck for physical health and longevity without illness. It is said that Hiroyuki Itsuki, the Naoki Prize-winning author of “Hyakudera Pilgrimage,” also touched the straw sandals to pray for the fulfillment of his wish to visit Hyakudera.

Bodaiju tree in full bloom in summer

The south garden stretches from the gate to the front gate. In summer, the lovely flowers of the linden tree are in full bloom, and an elegant fragrance wafts through the air. The flowers are the offspring of a 1,000-year-old linden tree that grows beside the main hall. The fragrance of the flowers attracts bees and other small insects, which gather to feed on the nectar and make their wings sing. The fragrance of the flowers is a reminder of the small life that lives in this area.

In addition, there are a variety of other spots within the temple precincts, such as the 430-year-old Kannon cedar tree, Benten-do Hall, and the approach with its moss-covered stone walls, all of which have remained unchanged for 1,400 years.

While the autumn foliage season when the entire mountain is dyed bright red is a good time to visit, the morning precincts are quiet and the sunset over Lake Biwa is a sight to behold, so enjoy not only the autumn leaves but also the “hundred colors” of the temple.

The post Ancient temple founded by Prince Shotoku. Hyakusaiji Temple, which retains the atmosphere of a mountain castle/Higashi-ohmi City, Shiga Prefecture first appeared on NIHONMONO.

Masadokoro is located in the mountains of the Suzuka Mountains on the east side of Lake Biwa. This small village with thatched roofs and clear water flowing from the verdant mountains has been producing “Masadokoro tea” since the Muromachi period (1333-1573). The tea is grown without the use of any pesticides or chemical fertilizers, and because of its rarity, it has been called “phantom tea.

Uji is a traditional tea production center, and tea is a traditional political center.

Masadokoro tea is said to have originated in the Muromachi period (1336-1573), when villagers were encouraged to cultivate tea for medicinal purposes in anticipation of the medicinal effects of the clear water of the Aichi River, which originates in the Suzuka Mountains on the border with Mie Prefecture, and the fog that forms in the valley. During the Onin War, when people evacuated from the capital of Kyoto to this area, the monks of Eigenji served tea grown in the temple, which became popular for its delicious taste. This led to the tea of Masasho being widely consumed in Kyoto, and the cultivation of tea leaves, which had been practiced only at temples, was introduced to the private sector, making Masasho a tea-producing area.

It is said that this Masasho tea was served to the young Mitsunari Ishida during the “Sankencha” episode, which led to his being taken in as a vassal by Hideyoshi Toyotomi.

A rare native species that has survived the harsh environment

Masasho tea is cultivated on a mountain slope at an altitude of 350 to 450 meters above sea level. The cultivation limit for tea is said to be 600 meters above sea level, so this is not a particularly high altitude, but the land is characterized by snowfall of more than 2 meters in winter. In addition, because of the short daylight hours in the mountains, the tea trees are covered with more than one meter of snow for about four months of the year. The harsh environment makes it difficult for varieties brought in from elsewhere to take root, and while the majority of tea trees grown throughout Japan are of the “Yabukita” variety, native varieties that have been handed down since the Muromachi period account for 70% of all tea trees in Masadokoro.

Fascinated by the original landscape of Japan, the land attracts young power.

Tea cultivation was once so important to the people of Masadokoro that it was said that “tea and forestry alone were enough to make a living. However, with the rapid economic growth after World War II, tea production declined as more and more people went out to work. The area of tea fields was reduced to one-thirtieth of its peak, and Masadokoro tea, which was no longer marketable, came to be known as “phantom tea.

Currently, there are about 60 Masasho tea growers. However, the scale of production is small, and most of them grow only enough for their own consumption and ship the surplus as a commodity. The lack of commercialization has allowed tea production to continue in a more natural way, leaving behind a unique landscape where tea fields blend into the daily lives of the people. Attracted by such an original Japanese landscape, young power is now beginning to gather in Masasho.

I found myself offering to do it myself.

When I first came here, I saw the old men talking about Masadokoro tea, and it was so cool. I wanted to do something to help, and that’s how it all started,” said Ren Yamagata, the representative of “Cha En Musubi.

Ms. Yamagata first encountered Masasho 10 years ago. While attending disaster-stricken areas as a disaster volunteer following the Great East Japan Earthquake, he began to think that he wanted to live in a place with strong community ties. It was around this time that he was invited to visit Masadokoro by his former teacher from his college days. When Mr. Yamagata met a local man of nearly 80 years old for the first time, he told him, “The tea here is entrusted to us by our ancestors. I want to take good care of it, but I don’t want my children to have to go through the same hardships we did. I want to take good care of it, but I don’t want my children to have to go through the same hardships that we did. That was my wish, but I want to preserve this tea somehow, ” she said earnestly. She was so moved by his words that she decided to move to the area , saying, “If I have to throw it away anyway, please let me do it! and decided to move to the area. While promoting the appeal of Masasho tea to the outside world through Cha Enmusubi, Yamagata also serves as the director of the Masasho Tea Production Promotion Association and is working to establish a production and sales system for the tea industry.

Tea plantation he inherited while working as a doctor

Another tea farmer who started growing tea after meeting Mr. Yamagata is Shigetaka Sato. He is a radiologist, which is surprising.

I was surprised to learn that he is a radiologist. ” Tea is a very familiar drink, but when I thought about it, I suddenly realized that I knew nothing about it. I wanted to learn more about it, so I was looking for a place in the prefecture where I could visit the production site, and that’s when I met Mr. Yamagata. The first time I was allowed to help pick tea, I enjoyed it more than I expected. After half a year of helping out every chance I got, he suggested to me, “If you’re going to help out so much, why don’t you start your own farm? I started growing my own tea.

Now, while attending the Masaki-cho in between work, he is enthusiastically working on tea cultivation with the help of the people around him. Under the name “Shige-Lu tea garden,” he grows tea leaves and promotes Masasho tea through workshops.

Tea trees over 300 years old

Tea plantations are usually thought of as neat rows of tea trees trimmed in the shape of a mantis, but Masasho’s tea plantation is a little different. The tea trees are scattered on the mountain slope and are generally short.

All the trees in this area are native species that are more than 100 years old,” he said. In the Masasho area, fields planted exclusively with native varieties are still scattered about as they were in the past,” says Yamagata.

The tree that spreads its branches as if crawling on the ground is over 300 years old, and is the oldest tree in the village. Of course, it is still in use today, and is designated as a natural monument by Shiga Prefecture. The tea trees in Masasho do not grow upward because of the heavy snowfall in winter, which causes the branches to bend under the weight of the snow. In spring, when the snow melts, a flattened tree emerges from the bottom and rises up from there,” Sato continues. The traditional native tea trees have disappeared since the end of World War II, due to the mechanization and diversification of the tea industry, and now only a few percent of them remain in Japan.

No pesticides are the norm.

Walking around the village, one comes across clean spring water here and there. In Masadokoro, such spring water is still used for daily life.

The village of Masadokoro is located at the headwaters of the Aichi River, which flows into Lake Biwa. The people of Masadokoro believe that it is wrong to pollute the water if we, who live in the headwaters of the river, pollute the water, and it is natural that they do not use agricultural chemicals or chemical fertilizers. They do not even use insect repellant spray in their tea fields to prevent any chemical residue in the tea. The people here consider the standard of “good tea” to be the taste of the tea itself, and by extension, the taste of the local climate. Tea production has continued here since long before the advent of pesticides. I want to carry on the tradition of Masasho tea using the same production methods as in the past,” says Mr. Yamagata, revealing the pride of a production center that has been in existence for hundreds of years.

Hirabancha, a new Masasho staple

In Masadokoro, tea leaves that have matured and become hard are harvested by the branch at the end of March to make Bancha. The tea leaves are packed into a large wooden bucket, steamed, and dried after the branches are removed.

Before Mr. Yamagata came to Masasho, there was a lack of manpower, and the tea leaves were often left untouched after they were cut down to make Bancha, but now the Masasho Tea Production Promotion Association systematically harvests them. Until recently, people used to say, “Bancha is a tea for daily use. However, since its commercialization as hira-bancha, the number of fans has increased, and now the image of “Masasho as hira-bancha” is gaining ground. Its low caffeine content and sweet, gentle flavor make it easy to pair with any meal, which is probably another reason for its popularity. Some sommeliers drink it between glasses of red wine because it washes away tannins.

The packaging was devised to make it accessible to the younger generation, and tea bags were also created for easy drinking. As a result, new sales channels have been acquired, such as being placed in cafes and beauty salons, and the number of people who know about Masasho tea is steadily increasing.

I don’t want to destroy a scene that has continued for hundreds of years.

It is still not easy to make a living only from the tea business. Still, I don’t want to see something of value that has continued for hundreds of years to be lost. There is a charm to this land that I don’t want to see lost,” says Mr. Yamagata. Seeing Mr. Yamagata and Mr. Sato happily continuing to make tea, more and more people are coming to the Masadokoro, saying, “I want to try it, too. These changes are also creating opportunities for young people who once left Masadokoro to return to the area.

While strengthening its foothold as a tea-producing region, Masadokoro will pass on its unique tea production to the future. The breakthrough of Masadokoro tea, which has made a new start, has only just begun.

The post 600-year-old “fantastic tea” – “Masasho-cha” produced by the original Japanese landscape will be handed down to the future/Higashi-ohmi City, Shiga Prefecture first appeared on NIHONMONO.

While Fushimi in Kyoto and Nada in Kobe are the most famous sake breweries in the Kansai region, Shiga Prefecture is also home to a large number of sake breweries that produce highly distinctive yet high quality sake. One brewery in particular that has a strong presence in the hearts of sake fans is Mifuku Shuzo, located in Minakuchi, a post town on the 53rd leg of the Tokaido Highway.

Shiga, the Undiscovered Sake Kingdom

Shiga Prefecture is actually a “sake kingdom” for those in the know.

Surrounded by high mountains and blessed with an abundance of underground water, the prefecture is also the home of Omi rice, a brand-name rice. The region is blessed with clean water and delicious rice, both of which are necessary for sake brewing.

Another important point is that the area has long been a strategic location for transportation. Sake was needed to entertain travelers along the Tokaido, Nakasendo, Wakasa Kaido, and other major highways in the prefecture. For this reason, there are many breweries with long histories.

Today, about 30 sake breweries in Shiga Prefecture are scattered around Lake Biwa, and each brewery produces a different type of sake. Every sake brewery in Shiga Prefecture has a strong individuality. The fact that Lake Biwa is located in the center of the prefecture makes it difficult for breweries to come and go between each other, and this may be the result of their unique development,” says Noriyuki Fujii, the fourth president of Mitomiku Shuzo.

A brewery along the Tokaido Highway for 105 years

Among Shiga’s unique sake breweries, one that stands out for its aggressive approach to sake brewing is Mitomiku Shuzo.

The company was founded in 1917. The founder, who was born the third son of the Fujii family of sake breweries in Aisho-cho, located on the east side of Lake Biwa, branched out and established a brewery along the Tokaido Highway in Minakuchi-cho, Koka City, Shiga Prefecture.

As the word “mizu” in the name implies, Mizuguchi-cho is blessed with delicious water. Sake brewing using subterranean water from the Suzuka Mountains to the east of the town is very active, and five breweries are concentrated in Minakuchi-cho.

In such a town of Mizuguchi, Mitomiku Sake Brewery has continued to produce sake that focuses on the “umami of rice” using sake rice grown by local contract farmers.

Mitomihisa Brewery’s two top breweries, Yamahai brewing and Ginjo brewing

Mitomiku Brewery’s sake is made with water pumped from its own wells and fed by the Yasu River, a first-class river in Shiga Prefecture that originates in the Suzuka mountain range. The soft water, which contains just the right amount of minerals, has a refreshing taste and is not too sticky.

Among the sake brewed with this water, the Yamahai-brewed sake and theGinjo-brewed sake are especially highly acclaimed. These are the two mainstays of the Mitomiku Brewery.

Yamahai-brewing” has been maintained since the brewery’s founding.

Yamahai brewing is a traditional natural brewing method that uses natural lactic acid bacteria living in the brewery to grow the sake mother, which is the foundation of sake.

It takes about three times longer than normal sake brewing and requires delicate temperature control due to the natural process, but it produces a richer, more acidic sake with a fuller, richer flavor with more breadth and depth than ordinary sake. For this reason, Mitomiku Sake Brewery has maintained the tradition of Yamahai brewing since its establishment.

Mitomiku’s “Yamahai” sake has a clear and distinct character, yet is broad in flavor, and many of them are excellent as a mid-meal sake. It is also suitable for heating sake, and has won gold and top gold medals at the National Heated Sake Contest.

Ginjo Brewing,” which has won numerous awards both in Japan and abroad

Another pillar of the Mitomiku Brewery is the ginjo brewing process, which utilizes modern sake brewing techniques.

In contrast to the Yamahai brewing method, which uses naturally occurring lactic acid bacteria to prepare the sake mother, the Ginjo brewing method uses artificial lactic acid to prepare the sake mother, called “Sokusho-moto.

The main advantages of the “Sokusho-moto” method are shorter brewing time and a more gorgeous aroma.

Like Yamahai-brewed sake, Mifuku’s ginjo-brewed sake has a pronounced rice flavor. The fruity and gorgeous ginjo aroma is followed by the sweetness of the rice that spreads in the mouth. The “umami of rice” is expressed in a different way from that of Yamahai-brewed sake.

Its deliciousness has been highly acclaimed at domestic and international competitions, winning gold medals and gold medals at the ” IWC (International Wine Challenge),” the ” London SAKE Challenge,” and the ” Delicious Sake in a Wineglass Award, ” among others. Some Junmai Daiginjo-shu has been selected as a first-class in-flight drink on major airlines’ international flights.

Among these ginjo-shu, Mr. Fujii is particularly attached to ” Sanrensei,” a brand that has become synonymous with Mitomiku Shuzo. The following is the story of its birth.

I want to compete with my own brand.

After graduating from university, Mr. Fujii trained at a sake brewery in Gifu Prefecture before returning to his birthplace, Mitomiku Brewery, in 2005 to work on sake brewing.

As he began to focus on traveling throughout Japan to sell his products, Mr. Fujii gradually came to realize that he wanted to compete with his own brand.

If I am going to go to the trouble, I want to make sake that is different from the traditional “Mitomiku sake. Therefore, he decided to make a ginjo type sake with a crisp and gorgeous flavor, which is the opposite of the full-flavored Yamahai brewing method.

The “three stars” created with young brewers

In 2007, Mr. Fujii and three young brewers created ” Sanrenboshi ” through a process of trial and error. It has now grown to become one of the company’s representative brands and has made the name of Mitomiku Sake Brewery well known throughout the country. Three generations of sake rice, Wataribune Roku, Yamadanishiki, and Ginfubuki, are used to make three types of sake :Junmai Daiginjo-shu made with Wataribune Roku, Junmai Ginjo-shu made with Yamadanishiki, and Junmai Shu made with Ginfubuki. Three makers, three generations of sake rice, three types of sake, and three themes. The name “Triple Star” was chosen to represent the three “3s” in a row, so that the sake would shine like a star. The name “Triple Star” is based on such a wish.

Because of the freshness of the sake, the “Sanrensei” is a limited distribution sake, sold only to specific stores. The method of hi-ire has been tried and tested, and the “Sannrenboshi Junmai Ginjo Yamadanishiki” is cooled rapidly after hi-ire using a plate heater to lock in the freshness of the sake. The brewer says it succeeded in creating a taste “fresher than that of unpasteurized sake.

Extra Edition” boldly tackles test brewing

Sangrensei also has an ” Extra Series, ” in which three types of sake are test-brewed each year under a different theme, such as using sake rice or yeast not normally used in the brewery. The results are used in future sake brewing.

Because of the trial and error involved in the search for the ideal flavor, Sannrenboshi ” took a long time to perfect its taste, ” says Fujii. However, as of 2022, the 15th anniversary of its debut, Mitsuboshi Junmai Sake has grown to the point where Fujii recommends it as ” the first bottle of sake to get to know Mitomiku Brewery.

More “easy-to-drink” sake. The challenge to increase the variety of sake continues.

After creating a brand that has become synonymous with the brewery, Mr. Fujii and his team continue to take on new challenges and increase the variety of their offerings.

In the summer of 2021, “Shippo,” a sake aimed at a new fan base, will make its debut. Shippo Mifuku Sparkling,” a sparkling sake with secondary fermentation in the bottle, has an aroma reminiscent of champagne when the glass is tipped, and a light and pleasant mouthfeel that pops and pops. The label design also makes it easy to approach, making even those who might be intimidated by the word “sake” feel compelled to pick it up.

New Possibilities Discovered with “Kimoto” Sake

In the spring of 2022, “Sannrensei,” a sake made using the “kimoto” method of sake making, will make its debut.

The process of making sake by using natural bacteria is similar to the Yamahai method, but the process of mashing rice and rice malt, which is omitted in the Yamahai method, is added to the process of growing lactic acid bacteria.

After actually doing this, I discovered that sake made using the kamishibashi methodhas both theprofound flavor of yamahai brewing and the clean, gorgeous taste of ginjo-style brewing. A new pillar has been added to the existing “two pillars.

Of course, we will continue to carefully carry on the standards of Mitomiku, including Yamahai sake. At the same time, we will continue to take on new challenges and expand the scope of our business. In this way, I believe the appeal of sake will transcend national borders and reach even more people.

We will continue to be an “open brewery

While continuing to brew more than 20 varieties of sake per year, including experimental brews, Mr. Fujii has also worked to create a brewery that is open to the local community.

In 2014, when he became the fourth president, he opened a direct sales office in the brewery. Once a month, the brewery began sellingseasonal sake, available only at the brewery, directly from the tanksby weight. This is a popular event that attracts fans from within and outside of the prefecture to purchase the special sake that is not normally available.

In September 2021, a part of the sake brewery will be renovated to open a café called “KAGURA. There is no end to the ideas for expanding the base of sake fans.

What will be born next? One cannot help but feel a sense of anticipation for this “star” that shines brightly among the many unique breweries in Shiga Prefecture.

The post A shining star in the unique sake kingdom of Shiga!　Mitomiku Sake Brewery / Koka City, Shiga Prefecture first appeared on NIHONMONO.

Asamiya Tea Katagi Kokaen is located in Shigaraki Town, Koka City, Shiga Prefecture,
It is a long-established tea garden that produces Asamiya Tea, one of the oldest in Japan.
They cultivate their tea completely without pesticides using only plant-based organic fertilizers and by hand.
The traditional Asamiya tea has a robust flavor and aroma that is inherent to the tea,
We continue to produce high quality teas that are gentle on the body.

Asamiya, a tea production area that has existed since tea was first introduced to Japan 1,200 years ago, is a village in the mountains of Shigaraki Town in southeastern Shiga Prefecture, known for its Shigaraki ware. The large difference in temperature between morning and evening is a source of quality tea leaves with a distinctive aroma and mellow flavor. Katagi Kokaen, which has been in the tea business here for generations, has taken on the challenge of cultivating tea without pesticides, which is not an easy task, and aims to produce world-class Asamiya tea.

Asamiya, a premium tea production area that has been in existence for 1,200 years

It is said that Japanese tea ceremony began 1,200 years ago when Saicho, later to become the founder of the Tendai sect of Buddhism, brought back tea seeds from China and planted them at the foot of Enryaku-ji Temple on Mt. Asamiya, a tea production area that has continued since that time, is located in the Shigaraki Basin, south of Lake Biwa, on a plateau at an altitude of 300 to 500 meters. The area has ideal conditions for tea production, with a large difference in temperature between morning and evening, and the Shigaraki River valley, which tends to generate fog. The area is also blessed with high-quality water from the granite strata, which has been presented to emperors as ” fragrant Asamiya-cha,” a famous tea of high quality.

Rich green tea fields in the mountains

Driving through Shigaraki town, lined with pottery stores, to Asamiya, tea fields appear on the slopes of the mountain. The haiku poet Matsuo Basho, who visited this area, is said to have composed a poem entitled “Hiding in the Trees and Hearing the Tea Plucking, Hottogisu. The beautiful scenery of the tea fields, almost unchanged from that time, is a comforting sight.

Asamiya Tea,” known by those in the know, is now a single brand

Katagi Kokaen has been cultivating tea in the highest area of Asamiya, at an altitude of 450 to 500 meters. Currently, the seventh generation, Mr. Takatomo Katagi, is the head of the company and produces a variety of teas, including sencha, hojicha, oolong tea, and tencha.

Until a decade ago, Asamiya tea was mostly wholesaled to Uji and blended with tea from other regions and sold as high-end Uji tea, so it was completely unknown to the general public. My grandfather and father started selling Uji tea directly to households because they thought it was a waste of the delicious tea they were making,” he says. After Katagi-san took over the business, he began to put more effort into selling tea at his store and online, and is now the leading producer of Asamiya tea in both name and reality.

From father to son. A commitment to pesticide-free farming passed down from father to son.

What sets Katagi Kokaen apart from other tea growers is its pesticide-free cultivation: since 1976, all tea fields have been cultivated without the use of any pesticides and with minimal fertilizers. My father is a bit of an eccentric. He started growing tea without pesticides by himself because he felt he had to give his customers, who came to see him and buy from him, something they could drink with peace of mind.

At that time, it was common practice in the tea industry to use pesticides to prevent insect infestation and disease in order to increase production. It was a challenge that went against the grain of the times.

Tea leaves are processed without washing.

Unlike vegetables and fruits, tea leaves are processed without washing after being harvested from the fields. They are then put in a teapot, poured over with hot water, and drunk.

On the day I returned home after spraying with pesticides, I felt more sluggish than usual. This discomfort may be due to the pesticides. I thought, I can’t give pesticide-laden tea leaves to customers who buy it because they say it tastes good. The decision was based on his realization of the fear of pesticides.

Starting out by hand, without a role model

He searched for people who were growing tea without pesticides, but although there were people who were growing small amounts of tea for their own use, no one was growing tea without pesticides as a business. He had no choice but to start by hand. He decided to start growing tea in all of his tea fields at once.

The first two or three years,” he said, “we could hardly harvest anything because of diseases and insect pests. The surrounding tea farmers didn’t understand, saying, ‘It’s like growing insects instead of tea,’ but my father didn’t give up,” he said. But my father never gave up.” He had to work at other jobs to make a living, and the hard work continued.

Finally, in the third year, new shoots appeared.

In the third year, after much trial and error, the trees began to sprout new shoots. Thanks to the fact that we did not spray a drop of pesticide, spiders, praying mantis, ladybugs, and other insects returned to the field. The resistance of the trees must have increased, too. Geographical factors, such as the fact that the tea plantation was at the top of the list and that there were few insects to begin with due to the cold weather, also seem to have played a role in the success of the pesticide-free cultivation. From that year on, yields increased year by year, and the soil became richer and richer.

Putting our heart and soul into the steady manual work

For more than 40 years since then, he has been growing tea using no pesticides and as little fertilizer as possible, in an effort to bring man and nature into harmony.

The most difficult part of pesticide-free cultivation is weeding. If the weeds grow too much, they take all the nutrients from the trees, so we have no choice but to pull them out by hand,” he says. There are many hardships associated with pesticide-free cultivation, such as more manual labor and lower yields than expected. Even so, Mr. Katagi’s willingness to go to great lengths in pursuit of safety, saying, ” Tea is something people drink every day, ” is a belief passed down to him from his father.

From Weaknesses to Individuality. Asamiya tea with a clean taste

The tea leaves, which have been cultivated in a harsh natural environment, have a reputation for its original flavor. However, in the world of tea, the umami component is the most important factor in evaluating the taste. Chemical fertilizers affect this flavor. Therefore, if chemical fertilizers are not used, the tea leaves will inevitably have less umami. Mr. Katagi explains, “If we compare only the flavor, we may lose to other tea production areas that use chemical fertilizers. However, based on our experience, we have found that using organic plant-based fertilizers such as rapeseed oil and sesame oil pomace enhances the aroma of the tea. Asamiya’s native varieties have always been characterized by their aroma, and we hope to further develop the aroma,” he says.

Passing on Asamiya Tea to the Next Generation

The tea industry faces many challenges, such as theaging of producers and declining demand for tea due to the diversification of beverages. The same is true in Asamiya, where there are currently 35 tea farmers, but few of them are of the younger generation.

I decided to follow in my father’s footsteps because he took pride in his pesticide-free cultivation. I am now looking for new added value in addition to pesticide-free cultivation so that my son will want to take over the business with the same pride.

Passing on Asamiya Tea to the Next Generation

Katagi-san’s current target is the state of Michigan, Shiga Prefecture’s sister city in the U.S. About five years ago, he began selling his tea there. In Michigan, Japanese tea is still almost unknown. I want to bring Asamiya-Cha to people all over the world, but first of all, I want Michigan people to think of Asamiya-Cha when they think of Japanese tea,” he said. In fact, at a sales event in Michigan, Asagucha was well-received as ” refreshing and easy to drink,” and the company is feeling a positive response.

Although tea consumption in Japan is on the decline, Japanese tea is attracting more and more attention worldwide due to the growing health consciousness and the Japanese food boom. In fact, exports to the U.S., Taiwan, and Europe have quadrupled in the past 10 years. Asamiya tea has a good chance of becoming a world-class Japanese tea.

Asamiya Tea will not abandon its commitment to pesticide-free cultivation, but will enhance its quality and brand power. Mr. Katagi is the one who will lead Asamiya-cha to the next generation and beyond. The challenge of Katagi Kokaen, which has been passed down from generation to generation in Japan’s oldest tea-producing region, will continue in the future.

We cannot mass-produce tea due to our commitment to completely pesticide-free cultivation and careful handwork, but we are proud of the high quality of our tea, which is healthier for the body. This tea is suitable not only for private use but also for gift-giving. We hope you will taste the original flavor of the tea produced by the tea tree itself.

The post Katagi Kokaen, a pesticide-free farm in Japan’s oldest tea production area / Koka City, Shiga Prefecture first appeared on NIHONMONO.

Shiga Prefecture, once the capital of Japan at Otsu-kyo and twice at Shikaraku-gū, has long flourished as a strategic location for land and water transportation, and is home to a treasure trove of historic shrines and temples. One of its representative temples is Ishiyama-dera Temple, known as the site where Murasaki Shikibu began writing “The Tale of Genji”. We visited the temple, which stands on the banks of the Seta River connecting Lake Biwa and Kyoto.

A scenic temple known as one of Shiga’s best spots for viewing the autumn leaves

Ishiyama-dera Temple, located at the tip of Lake Biwa in southern Shiga Prefecture, is popular mainly in the Kinki region as a scenic temple, especially during the seasons of Japanese apricots, cherry blossoms, green maple trees, and autumn leaves. It is also known as one of the best spots for viewing the autumn leaves in Shiga. The secret of the temple ‘s popularity is its proximity to the city center and its easy accessibility: a 10-minute walk from the nearest station, Keihan Ishiyama-dera, and less than a 30-minute train ride from Kyoto.

Todaimon Gate was donated by Minamoto no Yoritomo. The statue of Niou is by Unkei and Tankei.

The first thing that greets visitors is the Higashidaimon Gate, designated as a national important cultural property. The gate was donated by Minamoto no Yoritomo and repaired in the Momoyama period (1573-1600) by Yododono, a lady consort of Toyotomi Hideyoshi, and is flanked by two Nio statues by Unkei and Tankei. After bowing to the imposing appearance of the irimoya (gabled roof) structure with a kawarabuki-roof, visitors proceed to the approach to the temple.

The scenery created by the “silica stone,” a national natural monument, which gave the temple its name.

As we make our way toward the main hall, we are suddenly confronted by a huge rock with a mysterious shape reminiscent of splashing waves. It is a ” silica limestone,” which is designated as a national natural monument. Beyond it is the elegant pagoda (national treasure), built with contributions from Minamoto no Yoritomo, which is said to be the oldest pagoda in Japan. This scenery, which makes you feel as if you have entered a landscape painting world, is the symbol of Ishiyama-dera Temple.

The temple is located on a 239-meter-high mountain called Garanzan, which is a “stone mountain” with silica limestone protruding everywhere, and Seoksan-ji Temple stands on a bedrock of limestone. This is the origin of the name “Seoksan-ji Temple.

The temple was founded in 747, and the first female head of the temple will be born in 2021.

Ishiyama-dera Temple was founded in 747. The temple was built by the order of Emperor Shomu, who was the first abbot of Todaiji Temple in Nara.

However, during the Heian period (794-1185), when esoteric Buddhism such as the Shingon and Tendai sects became popular, the temple became a center for the esoteric Shingon sect. The first head priest was Rigen Daishi Seiho of Daigoji Temple, the second head priest was Kangen, a disciple of Seiho, the third head priest was Junsuke Uchikyu, a grandson of Sugawara no Michizane, and the 53rd head priest is currently Ryuka Washio.

Born to her grandfather, Takateru Washio, the 51st head priest, and her father, Henryu Washio, who later became the 52nd head priest, Washio became the first female head priest in the long history of Ishiyama-dera in December 2021. She says, “I was born and raised in these precincts and have wanted to be a monk since I was a child, so my dream has come true.”

The main hall, a national treasure, where architectural styles of the Heian and Momoyama periods coexist

Next, Mr. Washio led us to the main hall, a national treasure built on a silica stone. The inner sanctum (main hall), which houses the principalimage of Nyoirin Kanzeon Bosatsu and a number of other Buddhist statues, including Yakuyaku Fudo Myoo, said to have been created by Kobo Daishi, was built in the Heian period (794-1192), and is the oldest wooden structure in Shiga Prefecture.

The outer sanctum of the main hall (Reidō ), which was built during the Momoyama period (1573-1600) with a donation from Yododono, uses the same ” kake-zukuri ” style of construction as the main hall of Kiyomizu-dera Temple in Kyoto. It is said to be extremely rare to find a mixture of styles from two different periods in one main hall.

The main image of the temple is Japan’s only imperial seal hidden statue of Buddha. The Gokaicho is held once every 33 years and the year after the accession of the Emperor to the throne.

The principal object of worship at Ishiyama-dera Temple is the secret statue of Nyoirin Kannon Bosatsu, which is designated as an important cultural property of Japan. In front of the kitchen in the inner sanctuary where the hidden Buddha is enshrined is the golden “Gozenritsuzon”.

Beyond the kitchen sits Nyoirin Kannon Bosatsu, a very large wooden Buddha standing 1.6 meters (5.3 m) tall. Created in the Heian period (794-1185), it is the only “imperial sealed Buddha” in Japan, sealed by order of the emperor.

The seal is broken and the statue is opened once every 33 years (the next time will be in 2047), and the year after the emperor’s accession to the throne. At the opening ceremony, the doors are solemnly opened in the presence of an imperial envoy (a messenger from the emperor). This has continued since the Nara period.

Since the statue is a hidden Buddha, it can only be viewed during the opening ceremony, but visitors are encouraged to imagine what the statue actually looks like as they look at the Kannon carved on a thin copper mirror known as a kakeboteke.

The Nyoirin Kannon is said to be a half-lotus statue with the left leg down, sitting on a rock, and is enshrined in the form of a triad with Zao Gongen, the god of the mountains, on the left, and the Deity of Vajra on the right, who is worshipped at Todaiji Temple, which has been closely associated with Ishiyama-ji since its foundation.

The Nyoirin Kannon is usually depicted with six arms (roppi, meaning six arms), but the Nyoirin Kannon of Ishiyama-dera Temple is said to have two arms, which is a more ancient form.

The “Temple of the Three Kannon Temples” along with Kiyomizu-dera Temple and Hase-dera Temple

Nyoirin Kannon has been worshipped as the Goddess of Mercy for safe delivery, good fortune, marriage, and protection from bad luck. Even today, many young women are said to come to the temple to seek such blessings.

In the Heian period (794-1185), Ishiyama-dera Temple was called the “Three Kannon Temples” along with Kiyomizu-dera Temple in Kyoto and Hase-dera Temple in Nara, and ” Ishiyama-mode” (pilgrimage to Ishiyama) became popular among aristocrats in Kyoto. The aristocrats of Kyoto were tired of their daily lives in the capital and wanted to visit Ishiyama, where they could enjoy the relaxing atmosphere. People of that time must have felt this way,” says Washio. Surrounded by the greenery of Mt. Kyanzan, I feel the strong persuasive power of his words as I sit in the main hall overlooking Lake Biwa.

On the night of the Fifteenth Night, “The Tale of Genji” was born here.

Incidentally, among the aristocrats who made pilgrimages to Ishiyama during the Heian period were Murasaki Shikibu, author of ” The Tale of Genji,” as well as famous women literary figures such as Fujiwara Michitsuna, mother of the author of “Dragonfly Diary,” and Sugawara Kojojo, known for her “Sarashina Diary. These women are said to have performed “sangoro,” a ritual of staying in a hall and praying throughout the night.

One of the most famous episodes is the legend that Mur asaki Shikibu wrote “The Tale of Genji” at Ishiyama-ji Temple. 1004, when the prince of the time asked her to write a new story, she spent seven days in the temple to write it. That day was the harvest moon of mid-autumn. As she gazed at the moon reflected on Lake Biwa, a scene came to mind of a nobleman who had been exiled from the capital of Kyoto to Suma, looking at the moon and pining for the capital. He then wrote, “Tonight is fifteen nights,” which is said to be the beginning of “The Tale of Genji.

This legend is recorded in various books including “Ishiyama-ji Engi Emaki” (Ishiyama-ji Temple Engi Emaki), and in a corner of the main hall, there remains a room called “Genji no Ma” where Murasaki Shikibu is said to have written “The Tale of Genji”.

Matsuo Basho stayed at the temple during the Edo period and Shimazaki Toson during the Meiji period.

In the precincts of Ishiyama-dera Temple, there is also the pagoda house “Mikura-in,” where the young Shimazaki Toson stayed for two months (the building in front of the temple gate was moved to the precincts in 1969), and a monument with haiku poems by Matsuo Basho. Also near the temple is the “Genju-an” where Basho lived temporarily.

Basho visited Ishizaki and composed the haiku “Ishiyama no ishi ni tabashiru ararekana” and “Akebono no wa murasaki ni hottogisu,” while Toson wrote essays and children’s stories about his stay at the time.

The natural beauty of the scenic temple and the power brought by the Kannon (Goddess of Mercy) may have made him do so. Ishiyama-dera has continued to inspire writers of various periods.

A temple that can be a source of comfort in troubled times.

Ishiyama-dera Temple was and still is visited by many people, and is also known as the “temple of flowers.

Around late February, 400 plum trees of about 40 varieties in three plum orchards on the temple grounds herald the arrival of spring, followed by 600 cherry trees of various varieties that decorate the temple grounds. After that, seasonal flowers such as Kirishima azalea (over 300 years old),iris, wisteria, iris, peony, hydrangea, and sazanka (a type of cherry blossom) soothe visitors’ hearts.

Many of the flowers are said to have been cultivated with great care by the zamoto (master), and the “Daiichi Plum Garden” is home to a collection of old plum trees cultivated by successive zamoto. The sazanka, which blooms from late fall to winter, was grown by the 51st headmaster, Washio’s grandfather, who loved it.

The flowers on the temple grounds bring us together with people from all walks of life, from those who come from far away to the locals,” Washio said. In these times of uncertainty, I hope the temple can be a place where people can find comfort in their hearts,” says Washio.

Free your mind by immersing yourself in the natural beauty of the temple grounds, where the sound of cars cannot reach you.

Since the temple grounds are located on a part of a mountain, the trees that have survived the long history of the temple are also beautiful. The 400-year-old sacred tree, called a ” thousand-year-old cedar,” the cedar forest that casts deep shadows even in summer, and the vivid contrast between the young maple leaves,autumn leaves, and limestone are popular as views that can be seen only here.

The sound of cars does not reach the temple grounds. The temple grounds are free from the sounds of cars, and visitors feel as if they have been cut off from the mundane world for a while, bringing with it a sense of relief. In fact, many visitors spend as much as half a day strolling the temple grounds.

The magnetism of Ishiyama-dera Temple, which has attracted many people over the years as a “place of prayer,” also resides in its beautiful nature, which allows visitors to relax and unwind.

The post The natural beauty of “Daihonzan Ishiyama-ji Temple,” which inspired Murasaki Shikibu, Basho, and other rare creators / Otsu City, Shiga Prefecture first appeared on NIHONMONO.

Nakagawa Kazubento, the head of “Kumoi Kiln,” an earthenware pot artist in Shigaraki, has a reputation for creating one-of-a-kind earthenware pots. He has been able to meet the impossible requests of top chefs with his flexible ideas backed up by his experience. Using Shigaraki clay, which has been stored in a stone chamber for decades and has never been seen outside of Shigaraki, he creates the “ultimate earthenware pot” that combines unparalleled durability and delicious taste.

40 years dedicated to earthenware pots

Mr. Nakagawa is one of Japan’s leading earthenware pot makers. He has been making earthenware pots mainly for commercial use at the request of top chefs from all over Japan, including high-class restaurants and hotels. He has been making earthenware pots mainly for commercial use at the request of top chefs from all over Japan, including high-class restaurants and hotels. It is no mean feat to respond to such difficult orders. He has been making earthenware pots for 40 years. In his long journey, he has created a variety of ” ultimate earthenware pots.

Shigaraki is blessed with clay soil.

Unoi Kiln is a long-established kiln located in Shigaraki Town, Koka City, Shiga Prefecture, which is known as a pottery production center. Its history is long, having been founded in Kyoto in 1980. After the war, the kiln was built in the former village of Kumoi in Shigaraki and named “Kumoi Kiln.

Shigaraki was the bottom of Lake Biwa four million years ago. That is why there is abundant clay soil suitable for pottery,” says Nakagawa. Blessed with high-quality clay, Shigaraki has been recognized as one of the six oldest kilns in Japan and a Japanese Heritage site.

Until his father’s generation, Shigaraki was producing pottery such as tea bowls and plates, but in the 1950s, when Mr. Nakagawa took over the business, he began making earthenware pots specifically for commercial use.

Earthenware pots originated from “suppon pots

What prompted Mr. Nakagawa to devote himself to earthenware pots was a request from “Daiichi,” the best suppon restaurant in Japan, located in Kyoto City. Since suppon pots are cooked all at once at a high temperature of 1,600°C, they must be strong enough to withstand the heat. Not only is it strong, but it must also absorb water. Mr. Horii, the owner of the restaurant at the time, told us, “What determines the taste of suppon nabe is 50% the quality of the ingredients and 50% the quality of the earthenware pot. The suppon broth soaks into the pot, and the more you use it, the more the flavor soaks in. That was the kind of earthenware pot that was sought after,” he said.

It took 20 years to reach a satisfactory earthenware pot, but the completed earthenware pot is called “a pot that breathes ” and is highly evaluated from various fields.

Mr. Aoyama, the 18th generation owner of Oichi, says, “Mr. Nakagawa’s earthenware pots are a treasure of Oichi. It is no exaggeration to say that Mr. Nakagawa’s “breathing pots” have supported the famous suppon restaurants.

Custom-made earthenware pots that grow with use

Mr. Nakagawa receives orders from numerous chefs, but no two earthenware pots are alike. Nakagawa showed me around his “pot room,” where some of the pots he has made to date were displayed. There was a yudofu pot in the shape of a colander, a blowfish pot in the shape of a parent and child, an induction steamer, and even an island kitchen made of ceramic. The pots and pans were a variety of colors and shapes, and just looking at them was an exciting and original experience. Nakagawa’s mischievous side can be seen in his unique sense of fun.

The pots and pans are not yet finished when we deliver them to the restaurant. Each restaurant has its own unique characteristics, such as the intensity of the fire and the way the broth soaks into the pot. Therefore, after being used many times, the pot finally grows into an earthenware pot that is unique to that restaurant. It is common for earthenware pots to break after a few years of daily use by professionals. However, Mr. Nakagawa’s earthenware pots usually last four to five years, and some even last more than 10 years. These earthenware pots are both durable enough to grow and beautiful enough to liven up a meal.

Gohan pots” for cooking delicious rice at home

Gohan-nabe” is Nakagawa’s earthenware pot sold as an earthenware pot that can also be used at home. This earthenware pot was developed to cook delicious rice, and is available in sizes ranging from one and a half cups to five cups. The pot ‘s unique glossy color can be carried directly to the dining table and enjoyed for its beauty as a vessel.

The pots are made to order, so there is a three-month wait from order to delivery, but they are a popular product with uninterrupted orders.

Meticulous attention to thickness and shape

The thickness of the pot was carefully considered in order to cook delicious rice. The pot is two to three times thicker than a typical earthenware pot, allowing the rice to heat slowly and bring out the best flavor of the rice. The shape and weight of the lid were also pursued in order to create a small convection current of water in the earthenware pot and cook the rice in a fluffy manner.

Mr. Yoshihiro Murata, the owner of Kikunoi, a long-established ryotei (Japanese-style restaurant) in Kyoto, who uses this earthenware pot, said, “Mr. Nakagawa is a scientist. He calculates the size of the wings of the kettle. Mr. Nakagawa’s earthenware pots are the best for making delicious rice.

Earthenware rice cooking is surprisingly easy.

When used at home, the rice cooks well enough on a cassette stove. There is no need to adjust the heat precisely; all you need to remember is to cook over high heat for 10 minutes, then lower the heat for 10 minutes, and steam for 10 minutes.

Cooking is something to be enjoyed with all five senses. I want people to enjoy the steam and the sound of the rice steaming and spilling over,” says Nakagawa. When you cook rice on the table, the delicious smell will double your appetite.

The core of earthenware pots lies in the clay.

Earthenware pots produce flavorful dishes with a warm feel and excellent water absorbency that metal pots do not have. All of this is due to the clay used as the raw material.

Clay comes from the natural world. When I found good soil, I bought enough for a lifetime,” he says. The soil Mr. Nakagawa selects is stored in a stone chamber. Because extreme temperature differences can cause the soil to lose moisture, the soil is laid down in the stone chamber to ensure consistency and uniformity of density.

Clay so coarse that fingerprints disappear and the entire surface is glazed.

The molding of the earthenware pots is not a simple process. The clay is so coarse that it absorbs water, and the potter wears gloves when turning the spinning wheel. When the shaping process begins, the unique sound of the clay being sharpened is heard. Many potters rely on their fingertips to shape their work, but the sight of a potter spinning a potter’s wheel with his or her hands on the wheel is a rare occurrence.

Another of Nakagawa’s specialties is covering the entire surface of the pot with glaze, which gives it a beautiful sheen and color. The glaze extends all the way to the bottom of the pot, which enhances not only the beauty but also the durability of the pot.

Earthenware is a science. Careful calculations are also necessary.

The kiln is still in use, but the earthenware pots are fired in a state-of-the-art computer-controlled electric kiln that can control the temperature in 0.5-degree increments and fire the pots at temperatures of 1,200 degrees Celsius or higher.

Pottery doesn’t lie, so if you take shortcuts, it will show in your work,” he says. The most enjoyable part of the process is waiting for the finished pieces to be fired and seeing how they respond to my seriousness.

In this way, the earthenware pots are completed after three months of work.

Working with apprentices in a workshop where nature and resources are recycled

The gallery and workshop designed by Mr. Nakagawa has the elegant appearance of a luxury ryokan (Japanese inn). The building is a hybrid structure of RC and wood, with wood grown in Shigaraki, clay walls, bamboo, and rope used for the interior. This is because natural materials play a role in controlling temperature and humidity, which are indispensable for earthenware pot making. Exhaust heat from the kiln is used for floor heating. The company also uses solar power generation, aiming for zero CO2 emissions in the manufacturing process. Without the power of nature, my work would not be possible. I have created an environment that is comfortable for both people and the earth.

In such a workshop, about 10 apprentices are currently sharing the work. Some of them have over 23 years of training. They work hard to create earthenware pots as a team while engaging in friendly competition.

Spreading Wings to the World with Japanese Cuisine

In 2013, Japanese food was registered as a UNESCO World Intangible Cultural Heritage. With this, Japanese food ingredients and cooking techniques, as well as cooking utensils, are expected to attract worldwide attention. Just as Japanese food has been recognized around the world, Mr. Nakagawa’s earthenware pots may be recognized around the world, and new orders may come in for them.

It would be great to see Japan’s wonderful technology become known throughout the world,” Nakagawa said. For this to happen, Japanese people must learn more about Japanese culture and carefully pass it on to the next generation.

Nakagawa-san will continue to serve as the best “black boy” in the future.

Many chefs have praised Mr. Nakagawa’s earthenware pots, saying that their cooking would not be complete without them. He is also said to be a “black son” of cooking. Japanese cuisine is very deep, so I will continue to strive to create earthenware pots that bring out the best of each dish,” he says, remaining humble.

As a master chef’s mastermind, he will continue to take on the challenge of becoming the mastermind of Japanese cuisine that will spread its wings to the world.

The post The “ultimate earthenware pot” by Shigaraki potter Nakagawa Ippen Pottery, highly praised by top chefs / Koka City, Shiga Prefecture first appeared on NIHONMONO.

You find yourself using them every day.
The pottery of Furuya Seitosho, which produces pottery based on the concept of “accompanying people in their daily lives,” is just such a type of vessel.
They produce simple and warm “Kohiki” pottery that suits the lifestyle of the moment.
Each piece of pottery is handmade and is comfortable to hold in your hand.

Hirokazu Furutani is the eldest son of Nobuo Furutani, who was the pioneer of Shigaraki ware’s white “Kohiki” pottery, and the successor to Furutani Seitosho. While inheriting his father’s traditional ceramic technique of “konpiki,” he is pursuing the creation of unique konpiki vessels that fit in with the lifestyle of the times.

Easy-to-use white vessels

Convenient “white dishes” that complement food and suit any situation. Among them, there is a type called ” kohiki. The reading of the word is “kohiki” or “kobiki. It is the official name of the technique, and is used to refer to all the white clay dishes that are glazed and fired after being coated with a white mud called “white makeup” on top of the base clay. Characterized by its simple and warm white color, it gently envelops any food and goes well with other dishes.

Furuya Pottery, which has a kiln in the pottery town of Shigaraki, has been focusing on “white glazed dishes” since its establishment in 1971.

Shigaraki ware tableware that brings out the texture of the clay

Shigaraki, known for its raccoon dog figurines, is a pottery town with about 200 kilns and pottery mills. Because the town is located where Lake Biwa used to be, it is blessed with clayey clay suitable for pottery. In the Warring States period, ceramics were used for tea ceremony utensils, and since the modern period, ceramics have been produced not only for tea ceremony but also for tiles, flowerpots, tanuki ornaments, and all kinds of other items. Today, the town is attracting attention for its artist’s tableware, which brings out the texture of the clay.

Furuya Pottery, located in a village a short distance from the center of town, is a popular pottery that produces warm and welcoming tableware that fits in well with both Japanese and Western dining tables.

Making the most of the characteristics of “kojiki” (powder-coated porcelain)

Furuya Seitosho uses a unique blend of red clay with high iron content. The clay is then coated with a white layer of mud and glazed. The simple earthiness of the clay can be seen a little beneath the surface of the vessel. I hope people can feel the layers of the clay, ” says Furuya. The three-layered structure of “red clay,” “white makeup,” and “glaze” gives the bowls their soft texture and charm.

However, the three-layer structure also has the drawback of being easily soiled. Therefore, Mr. Furuya established a new method of firing twice at a lower temperature. By firing twice, we were able to eliminate the tendency to stain and the lack of strength, making it easier for people to use it on a daily basis,” he says.

The taste of “kohiki” deepened by grinding

The process of scraping brings out the flavor of kohiki even more. After shaping and drying, the surface is scraped with a spatula or a planer to create patterns. As Mr. Furuya says, “The shaving process changes the piece completely,” the shading of the glaze on the three-dimensional lines and the presence of the underlying clay give the piece its unique flavor.

Consistent Ideas Passed Down from His Father

Mr. Furuya aspired to become a potter and studied ceramics at the Ceramic Experiment Station in Shigaraki and at the Rokuroku pottery school in Kyoto. When he was 22 years old and about to graduate, his father Nobuo fell ill. Nobuo decided to retire and take over his family’s pottery business, “Kosugi Seitosho. I was supposed to apprentice myself to an artist in Tajimi, but my father collapsed during that time, so I decided to return to my parents’ home,” he said. I was able to work with my father for about a year. He concentrated on learning to make vessels and honed his skills in the limited time he had, while tracing his memories of his father’s work that he had grown up watching as a child.

My father mainly made Japanese tableware, but the concept was for everyday use. My father’s and my tableware are different in form, but the concept is consistent. My father taught me how to make dishes that are the right size and lightweight, which are necessary to achieve this.

Seeking the voices of users

In his father’s generation, wholesaling to wholesalers was the main business, but after Mr. Furuya took over the workshop, he began to actively participate in nationwide pottery fairs and craft fairs in order to “get closer to the consumers. He has been actively participating in pottery fairs and craft fairs across the country to “get closer to the consumers.” This is because direct conversation with users enables him to keep his antenna up to date on what kind of pottery is in demand in the current era and lifestyle.

In fact, many people around us live in Western-style houses and eat Western food. So it is only natural that the type of dishes required are changing as well.

Modern Western dishes that go well with cakes. Stackable dishes that can be stored. Reasonably priced dishes that are not too expensive and can be used on a daily basis. In order to fulfill the various requests he heard on site, a wide variety of original tableware was added to the lineup.

Playful design created with a sense of freedom

One of Mr. Furuya’s most popular works is his fruit-shaped vessels, such as apples and pears. These vessels have a charm that makes you want to pick them up without thinking, and their soft curves are a distinctive feature.

The dishes are so beautiful that you can’t help but want to pick them up, and their soft curves make them easy to match with any dish.

What I want to create is a bowl that makes you feel at ease when you hold it in your hand. If the straight lines and curves are too neat, it will look uncomfortable in everyday life. That is why I always try to be conscious of softness.

Furuya’s experience as an artist has given her the ability to make her deliberate curves feel natural.

Seeking a More Realistic Voice

In a corner of the studio is a showroom designed to look like a living space. Visitors can actually hold the vessels in their hands and check their usability and texture while shopping. In addition, from July 2022, the main building standing next to the workshop has been renovated to open up the kitchen space. All of this is based on the belief that the value of a piece of pottery cannot be understood until it is used. He also holds cooking classes with chefs.

I’ve never known such a way of serving food,” he says! I never knew there was such a way to serve food! A dish is only complete when it is served. It’s a great learning experience to see the reactions of people who have used the dishes. Furuya’s dishes have a reputation for making food look delicious. Perhaps this is one of the reasons for her reputation.

Because it is something you use every day

Today, Furuya’s dishes are sought after at craft fairs around the country, and she has fans all over the country. However, he is not content to rest on his laurels and continues to pursue even better vessels.

He says, “It’s a bit of a birth pang, but I enjoy receiving new orders. I think I like the time I spend spinning the potter’s wheel more than anything. It makes me feel at peace.

They are like a companion that somehow accompanies you in every moment of your daily life, an indispensable part of your daily routine. Sometimes they are the main attraction on the dinner table, and sometimes they play a supporting role. They are the reliable tableware that one should have in one’s cupboard. Behind Ms. Furuya’s soft demeanor lies an unshakable core of strength. And yet, he is flexible and responsive. All of this seems to be reflected in the form of his work. We are sure that his hands will continue to produce vessels that will lead us into the future, taking into account the opinions of users and flexibly responding to changes in food culture and lifestyles.

The most important time in our daily lives is the time when the family gathers together to eat or relax over a cup of tea or coffee. I try to make pottery that gently accompanies people’s lives so that such time can be enriched.

The post Gentle texture and playful design of “Furuya Pottery’s” powdered dishes first appeared on NIHONMONO.

While there are many well-known companies that have their roots in the Omi merchants, there may be few that are still based in Omi, despite their national recognition. We visited Masahito Yamamoto, CEO of the Taneya Group, which aims to recreate the beautiful original landscape of the surrounding water villages and greenery and to create products that “learn from nature,” and asked him about his thoughts.

From a lumber merchant to a Japanese confectionery shop. A long-established wagashiya in business for 150 years

Taneya was founded 150 years ago. Taneya began as a lumber merchant in the Edo period (1603-1867), later became involved in the sale of grain and other seeds, and started a small confectionary shop in 1872 (Meiji 5).

The company was founded in Omihachiman City, Shiga Prefecture, located on the east side of Lake Biwa. Perhaps it was the disposition of the Omi merchants who were once active in this area that led them to change the form of their business one after another in accordance with the trends of the times. Even though the products handled changed from seeds to confectionaries, the name “Taneya” remained familiar to people, and the name “Taneya” continues to be used today as an important name given to the business by the local people.

Started manufacturing Western-style confectioneries in the sixth year after the war

Taneya, which had focused on Japanese confectionery since its early days as a confectioner, began producing Western-style confectionery because of the presence of architect William Merrell Vories, who was known as “the blue-eyed Omi merchant. At that time, when Japanese-style living was still the mainstream, the Vories’ family across the street from the store would set up a table in the garden and hold tea time at 3 o’clock in the morning. Everyone worked hard during the day, but they would relax on the lawn and eat cakes and cookies. It was an unthinkable scene at the time, but as he learned about American culture through his interactions with the Vories, he realized that this might be the future, and in 1951, soon after the war, he began manufacturing western-style confectionery.

Later, the Western confectionery division became independent and “Club Harrier,” known for its baumkuchen, was born. Taneya for Japanese confectioneries and Club Harrier for Western confectioneries. The two brands established a firm foundation and stimulated each other to create the unique taste of the Taneya Group.

Confectionery production must be rooted in the community

In Omihachiman City, the traditional fire festival “Sagicho Festival” is held every year in mid-March to herald the arrival of spring. Taneya sells “Take-Yokan”, a type of take-yokan made of water yokan poured into fresh green bamboo, only during this time of year. Take-yokan is available for only two days in a year. It is certain that it would sell better if the sales period were extended, but they do not intend to do so. The confectioner’s business is backed by history, tradition, and culture. More important than their own business is to blend in with the local community. Taneya’s traditions and thoughts are reflected in the sweets that are only available at this time of the year and the sweets that are served only at this time of the year, no matter how much time and effort it takes to make them.

The youngest person to receive the “Honorary President’s Craft Culture Award” after starting out as a bag-bearer.

The current head of the company is Masahito Yamamoto, the 10th generation. At the age of 24, he was the youngest person ever to receive the “Honorary President’s Craft Culture Award” at the National Confectionary Exposition. Born and raised in Omi Hachiman, I have a desire to offer the local taste of Omi Hachiman to the local people and customers before I want to make sweets. Craftspeople tend to focus on pursuing their own skills, but in order to continue, it is important to be recognized by customers and to be rooted in the community. It must be good not only for the seller and the buyer, but also for the world. We always keep this in mind as we continue to make sweets,” says Yamamoto.

There is no concept of preserving the taste of the previous generation.

Surprisingly, Taneya has no intention of preserving the taste of its predecessors. Whenever a new generation takes over, all of the products are basically renewed. The amount of ingredients and the method of preparation are reviewed from the very beginning, but if a long-time customer says, “It’s the same as before,” it disqualifies him as a craftsman. He says that being told, ” It tastes just as good as before,” is proof that he is a professional.

As the world changes, confectionery must also change. For example, a decade ago, tea and water were not sold in vending machines, but now they are commonplace. As time goes by, people’s palates and demands change. Taneya’s style is to preserve what is good, of course, but to change what needs to be changed.

La Collina Omi Hachiman, a place of connection with the theme of “learning from nature

Currently, the Taneya Group has more than 40 stores nationwide. The Taneya Group is now well known outside of Shiga Prefecture and in urban areas, and Mr. Yamamoto himself has been traveling to many parts of the country.

I started to think that I wanted to do something new in my birthplace after doing business outside of the prefecture, and that’s when I decided to create La Collina Omi Hachiman. By walking around the various areas with my own feet, like the Omi merchants of the past, I began to think about what could only be done in Omi Hachiman. I began to think, “What can I do only in Omi Hachiman?

The first thing he decided on was the theme of “learning from nature. Until now, we have been using nature, but from now on, we will learn from nature as a teacher. La Collina” means “hill” in Italian. The name was given by Michele De Lucchi, a leading Italian architect, based on the image of the original landscape of gently sloping hills in this area. If the climate changes due to global warming, rice and azuki beans, which were originally grown in the area, will no longer be available. This could make it impossible to continue making confectionery. This grand vision, which began with such fears, is imbued with a desire to return to the original landscape of the land and show how “life” can be lived together by people and nature.

Various specialty stores are scattered throughout the nature-inspired forest.

The site is the size of three Koshien Gardens. In the dream of creating a large forest in 50 to 100 years, acorns were picked up, grown into saplings, and planted all over the site. He even went to a nearby riverbed to collect native weeds and transplant them.

The main store, with its triangular roof covered with grass, was designed by architect and architectural historian Terunobu Fujimori, who is known for his buildings that successfully incorporate natural materials. The building was created by the architect and architect-historian, Terunobu Fujimori, who spoke of his desire to create a place where visitors can feel the winds blowing on the land and the changing of the seasons while gazing at the mountains stretching out in the background together. The Japanese confectionery sales floor features all of the products that Taneya currently makes. Chestnut Manju,” the only confectionery that has been made since the company’s establishment, has a moist and flavorful white bean paste with chestnuts chopped into it, and the dough that wraps it is fluffy and savory. The most popular item in the confectionery corner is “Baumkuchen,” which is synonymous with Club Harrier. This is another signature product that has been on the market for over 70 years. At the time, baumkuchen was usually made with a hard dough, but Club Harrier overturned the image of baumkuchen by creating a fluffy texture to suit the palates of local people.

Other surprises and delights, such as the “Chestnut Hyakubon” sponge cake store, where you can taste “Taneya Castella,” which is as light as a cloud, and the “gift store,” which Mr. Yamamoto calls “my treasure box,” are available everywhere you go, just like at a theme park.

Candy Farm,” a confectioner’s secret base

The “Candy Farm,” the company’s own farm, is located in an area of the vast site with even more greenery. This is a secret base for the staff of the Taneya Group. Wildflowers grown at the Candy Farm are potted and sent to stores nationwide to add natural color to their storefronts.

In the fields, which they started by cultivating the soil themselves, they practice rice and vegetable cultivation without using pesticides and as much as possible by human hands. In the spring, swallows come and build nests, and duck parents and their children, who have been living there for some time, live in a natural way.

Yamamoto says that circling the site helps him organize his thoughts, and that the creation of a place where he can be in touch with nature has increased the motivation of his employees.

What Nature Taught Me

La Collina has become a major tourist attraction, attracting more than 3 million visitors a year, thanks to the popularity of its nature-based, story-like worldview.

But what Yamamoto feels was the best part of all was that he was able to learn a lot from nature. One small seedling can grow into a magnificent tree more than a person’s height in 10 years,” he said. Even after the person who planted it is gone, the tree will live on in this place, becoming part of the landscape and being passed down from generation to generation. I have learned from nature that it is better not to try to produce results only in one’s own generation, but to do things while thinking that the seeds planted in my generation will bloom in tens or hundreds of years, ” he said.

Creating products that use every grain of rice and azuki bean with care

What is important to Naneya in making products is not to waste the materials produced by farmers. Always considering the amount of time and effort required to produce a grain of rice or a grain of azuki beans, the company has a system in place whereby the parts left over from one process are utilized in another process. The company’s goal is not to make products that are “beautiful” or “sophisticated,” but rather to create products that are “tasty ” when you eat them. This is what Taneya has always valued since its establishment.

Toward a future where people and nature can live together. Taneya’s Challenge Continues

According to Mr. Yamamoto, “We are only about one-third of the way through the concept. He has always had many things he wanted to do, but now that he has turned his attention to nature, he has even more things he wants to do. He says, “I can’t do anything new if I stay in the president’s office,” and he now enjoys visiting producers and places of interest throughout Japan to listen to their stories, and then taking the ideas he gets back home to try putting them into practice. He is now looking forward to taking the ideas he gets there home and putting them into practice. I would like to learn from the flow of nature as I carry on the tradition. Mr. Yamamoto, who says this while gazing at the beautiful original landscape of Omi Hachiman, and Taneya will continue to take on new challenges in the future.

The post From the Era of Using Nature to the Era of Learning from Nature What is the Future Aimed for by Long-established Wagashiya “Taneya”/Omihachiman City, Shiga Prefecture first appeared on NIHONMONO.