The post The World of Japanese Patterns appeared first on YUNOMI.
]]>A distinguished feature of Japanese art and design is the use of motifs. Japanese patterns are very recognizable and appear often on silverware, origami paper, and fabrics. Here’s a look at a few of the most popular patterns.
Cherry blossoms are one of Japan’s greatest icons, and they appear in a variety of ways. They can appear as blossoms, petals, whole branches, or a mix of the three. Not only are they beautiful, the short life of sakura also symbolizes the transience of life, an important Buddhist concept. Life is beautiful and one should enjoy it fully, but there comes a time when the end is near and should be accepted gracefully. Sakura is also popularized in songs and stories.
Chrysanthemums symbolize longevity and rejuvenation, and they are very special flowers in Japan, given their close ties to the Imperial family. These golden blooms symbolize the emperor and the Chrysanthemum Throne, the Imperial Seal of Japan, and the Supreme Order of the Chrysanthemum. Other notable appearances are on Japanese passports and the 50 yen coin.
Keeping with the theme of flowers, next up is the plum blossom, which also has special meaning in Japan. Common associations are luck, nobility, purity, devotion, refinement, and protection against evil. Though overshadowed by cherry blossoms today, there was a time when plum blossoms were the flower of choice. Even now, it is still an important symbol of spring’s arrival, and plums are present in many delicious foods and drinks.
Another iconic pattern is the ancient seigaiha (sometimes seikaiha), or “blue sea wave”. A series of overlapping circles form arches that resemble waves. Appropriately, the shapes used to depict seas on old Chinese maps. They first appeared in Japan during the 6th century and are still popular designs today. The Japanese regard waves as lucky omens. They also represent resilience, power, and tactical strength.
Translated as “seven jewels”, this circular pattern extends into infinity. The name refers to the seven treasures of Buddhism: gold, silver, lapis lazuli, crystal, agate, red pearl, and carnelian. These correspond to faith, perseverance, humility, doing no wrong, mindfulness, concentration, and wisdom. There are often additional designs incorporated in the center of the circle, such as flowers or the actual treasures.
Literally “hemp leaf”, this pattern resembles the leaves of hemp plants, though that association came later. Originally created as a simple geometric shape, it took the name for the resemblance as well as importance of hemp in Japanese culture. Before the introduction of cotton, hemp was one of the primary fibers used for clothing. It has also been used in Shinto ceremonies for its perceived cleansing properties. Hemp is a fast-growing plant, and asanoha became associated with growth and good health. Many children’s clothing contain this pattern.
Meaning “arabesque”, the twists and spirals of this pattern resemble plants or vines. Due to the healthy growth of vines, the pattern came to symbolize luck, prosperity, and eternity. It is also sometimes used to represent family lineages or legacies. Flowers frequently accompany the spiral-like design, such as lotuses or peonies, both popular flowers in Japan. These patterns are often chosen for house-warming or wedding presents.
Another geometric design, the tortoiseshell pattern originated in Western Asia and can be large or small. In Asian cultures, the tortoise represents longevity, and this pattern symbolizes luck and longevity. Additional designs can be found inside the hexagons, such as lucky motifs, flowers, or family crests. Kimono frequently feature tortoiseshell patterns.
This simple design is meant to resemble the fletching on Japanese arrows. Originally a popular men’s design due to its association with archery and strength, it became a common pattern for Meiji schoolgirls. Ever since, it has enjoyed great popularity on women’s clothing. Yagasuri also evokes the image of an arrow, shot straight and true. Thus, it came to symbolize steadfastness and determination. In Buddhism, bows and arrows also represent protection against evil. The pattern is particularly ideal for graduations and weddings.
The beloved carp can often be found in Asian design, as well as swimming in ponds or parks. Japan regards them highly, and they symbolize luck, fortune, abundance, and perseverance. There is even a legend that tells of koi fish struggling to swim up the falls to the Dragon Gate on the Yellow River. If they succeed, they become a magnificent dragon. The Japanese greatly respect this ability to overcome, and many textiles feature these fish swimming bravely to success.
When seen from far away, the textiles featuring this pattern seem to be a solid color. In truth, they are actually komon, or “fine patterns”, made up of very small details. They were the standard wear for samurai and courtiers of the day. It was also said that the finer the pattern, the more prestigious the wearer. Nowadays, the pattern decorates many kimono.
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]]>A few weeks ago, I had the pleasure of visiting the Kinezuka family of Naturalitea for a weekend at their organic farm located in Fujieda, Shizuoka Prefecture, Japan. Although now a conglomeration of more than 26 member farms in the area that work to further organic farming techniques, father and founder Toshiaki Kinezuka helped start this organic tea group in 1976 in an effort to grow tea without harmful pesticides. Intended as a visit to learn an overview of organic tea growing and to partake in the processing of Japanese black tea (紅茶, or koucha), the event developed into something more emotive and memorable. Moving beyond a simple educational capacity, friendships were formed and even the ritualistic tasks like tea picking, embodied within the daily routine of family and tea life itself, gave rise to something much more real and meaningful than simply watching the production of a commodity good unfold.
Saturday morning began with a little over 30 of us hand-picking the tea in the Kinezuka family's organic tea fields located in the quiet and warm hills of Shizuoka (the kanji for Shizuoka, 静岡, indeed means exactly that: 'quiet hills'). Hand-picking tea leaves for processing is both meticulous and time consuming, as one must take care to pick only the top three leaves (the new bud and 2 leaves below it). It is these leaves, the youngest and tenderest of the new growth from the trees, that make the best tea and develop the most desirable flavors when steeped. While we picked, I exchanged stories with the four other pickers who spoke fluent English, and engaged in an educational and impassioned discussion on food sovereignty with Ayumi Kinezuka, daughter of Toshiaki Kinezuka, who had studied in the US for many years and now helps the family farm. As it turned out, unsurprisingly, many of the people I engaged with had come for the weekend visit not only because of their passion for tea, but also because they desire a transformation in what they see as the current agricultural paradigm: less reliance on pesticide use and the demands of public companies as well as the inherent rights of local people and producers to define their own agricultural systems1.
As noon rolled around, we took to the shade for a lunch break and to pass around pitchers of iced sencha (the green tea for which Japan is specifically known) grown right there at our footsteps. As tea plants grow best in higher elevation hillsides, it was comical to see a group of some 30 adults and a handful of young children balance themselves on a steep slope while enjoying their food. More so was the seeming (wonderful) absurdity when the workers pulled out a box of beautiful, ceramic cups (traditional Japanese yunomi) that were passed down the hill one-by-one until each person had their own cup of tea. My mind faintly imagined a similar experience where in the US a 5 gallon jug of tea and a sleeve of 50 plastic cups would have sufficed for each individual to fetch for themselves. Even after working together to pick tea in the sun, the lunch-time camaraderie between everyone made the experience that much more quaint, as everyone continued to work together to ensure everyone else's needs were continually met.
Once everyone had their own tea, we toasted and enjoyed our meals. I brought the tea to my lips and savored the first sip: it was sweet and flavorful, grassy but not overpowering, with a slightly roasted flavor that was incredibly refreshing in its iced form. Once one has experienced locally grown and freshly made tea, it is incomparable to any other experience from the tea bought sitting on a store shelf. As lunch concluded and we again reverse-passed all our cups delicately back to the box and cleaned up, we made our way again around the tea fields for a short discussion on the methods and differences between organic and conventional tea farming.
Nearby their own tea fields were conventional tea fields, where Ayumi elucidated on the strong differences between the teas that NaturaliTea produce and the teas of general, conventional growers (as a note, though conventionally grown nearby the Kinezuka's fields, they place barriers during spraying season and have tested their teas for residual pesticides that may come from farms nearby and indicated none have been found). The bushes of conventionally grown tea look bigger, taller, and slightly more uniform. There's also no hay or dark, organic matter that's been laid along the ground to prevent weeds from growing and nourish the plants, probably because some of the chemicals reduce competitive plant-growth already.
In addition, there were fewer insects to be seen, which from one perspective may be seen as a boon: there's no insect competition and yield is higher. However, from the perspective of the Kinezuka family this isn't a positive indication. Not only does it reduce biodiversity for a variety of plants and insects, but it also harms the desirable characteristics they want to cultivate in a tea plant by slowing the oxidation of the tea leaf once picked (in the case of black tea). In another case, it prevents the unka, or Japanese leaf hopper bug, from living on the plants. In many related scientific case studies of similar bugs (Jacobiasca formosana) in Taiwan, the tea plants produce compounds in reaction to being bitten by the leaf hoppers, which give the distinct characteristic flavor to the oolong tea known as oriental beauty. Ayumi argues that the ability of the leaves to wither and oxidize (hindered by pesticides), as well as the unka, are extremely important to the production of Japanese tea and specifically Japanese black tea, for which the tea plant cultivar (usually varietal yabukita) has generally been accepted as unsuitable for producing by the larger tea growing community.
After a few more hours of tea picking, the haul was brought back to the farm house and processing facility: two giant cloth sacks about halfway full that could be slung over a person's shoulder, totaling maybe (as my own estimate, I don't recall the actual amount) 60 pounds of fresh (unfinished) tea leaves – not nearly enough to be worth processing by the heavy machinery to be turned into black tea. To put this in perspective, in China a family of five may hand pick about 15 pounds of finished tea in a day2 . Tea leaves lose about 80% of their weight when they are processed from unfinished (raw leaf) to finished (dry) leaf, meaning that family of five picked perhaps 75 pounds of fresh leaves that day; 30 of us, working casually for a few hours, picked probably less than that. To supplement our handpicking, mechanical trimmings from earlier that day were added to provide the rest of the amount necessary to process the tea.
Because black tea needs time to wither, oxidize (react with oxygen to begin decomposing, a step necessary to create the the flavors that make a characteristic black tea), and ferment, the piles were left in the processing facility overnight to be processed the next morning. However, even upon bringing the the leaves back from the fields that were picked after the mechanically processed leaves, the hand-picked leaves had already withered more substantially and taken on a more characteristic floral odor. This quality emphasizes the importance in handpicking: not only are better leaves selected (mechanical chopping tea leaves around the world takes more than just the top 3 leaves and often includes stems and older, bigger leaves with less flavor, though Japan's mechanical technology is known for it's quality in this area), but picking by hand gently bruises enough of the leaves to help begin the tea process instantly. With this in mind, it only made me appreciate more the tea that is grown and picked by hand across the world over, often in much hotter and arduous working conditions, that creates the tea that eventually ends up in our cups.
While we left the leaves to wither overnight, everyone came together for dinner and enjoyed a homemade meal crafted from the food grown either on the farm or by their neighbors. Not only specializing in tea, NaturaliTea branches into other areas of organic food growing and animal husbandry, from growing their own rice for consumption and miso production, umeboshi trees for pickled plums, a variety of other crops and chickens for eggs. As we sat on zabuton (floor cushions) at low-seated tables and exchanged stories of who we were and the history and trajectory of where NaturaliTea saw itself progressing, the topic of food sovereignty was again broached, and the importance of healthy and culturally appropriate food (and tea) on the forefront of peoples' minds2. It again reminded me that during moments like those, when a group of people come together with a common goal and passion for change, meaning is both created and felt on a very visceral level.
The next morning, we returned to see how the tea had progressed in withering and to finish it into dry leaf. The tea smelled even more substantially of floral scents, but again the difference between the handpicked and machine cut lots were significant. After being processed through large, wooden machines that bruise the leaves for final processing into black tea (green tea is dried as soon as it is brought in from the fields to halt oxidation and keep the tea green), the leaves were run through two sets of driers to finish the tea: the first to remove the bulk of the moisture from the leaves and the second to completely dry the leaves for packing and aging. Contrary to green tea, which is best drunk as close to when it is finished as possible for the best flavor, teas like black, oolongs, and pu-erhs may benefit from further aging for months to years at a time since slight changes and fermentation are still going on within the leaves.
After the tea was finished, we all gathered around and cupped the tea to give it a try: it was indeed quite definitely a black tea, produced from the Japanese yabukita plant varietal, and had its own, unique taste even within the realms of black tea. Light and floral, it was slightly heavier than a green tea, and refreshing when served as an iced tea for breakfast that morning. Having finished the weekend of black tea processing from start to finish, the group of us reveled in tasting the final product of something we helped create. While the effort of growing and maintaining the organic acreage goes with great thanks to the NaturaliTea family, knowing that we took part in creating the drink that our palates were enjoying somehow made the tea embody that much more value. It made me greatly appreciate those moments and the opportunity to immerse myself with those around me who are seeking more meaning and justice in a broken agricultural system, beginning with something as simple as a cup of tea.
Chris Weiss currently lives in Fukushima, Japan, and is interested in food and tea culture across the world with a strong love for Japanese sencha and traditional washoku. Questions and comments can be directed to chrisweissphoto@gmail.com. The reflection and statements of this article are of the opinion of the author and do not necessarily reflect NaturaliTea or Matcha Latte Media. Click here for more information on NaturaliTea.
]]>Fumio Sasaki lives in a one bedroom apartment in Tokyo. He has adopted a Japanese minimalism as his lifestyle. He has exactly 20 items in his closet. No more, no less. His apartment, which is only 20 square meters (215 square feet), doesn't have any furniture at all. Mr. Sasaki prefers to spend his time traveling or creating memories with his friends. He has detached himself from everyday objects in order to live a clean, orderly life.
Mr. Sasaki is not alone. There are an increasing number of people in Japan embracing the minimalist lifestyle. The lifestyle, he says, allows him to focus on what is important to him. Instead of spending his weekends cleaning or rearranging his possessions, he travels and enjoys a freedom many of us can only dream of.
Fumio has written a book about his experiences entitled, "Goodbye, Things: The New Japanese Minimalism." Perhaps the most remarkable thing about Fumio and his lifestyle is that he is just a normal individual inspired by simplicity. The book offers tips for those interested in minimalism and also reflects on the way his life has transformed since he began his journey over two years ago.
Surprisingly, Mr. Sasaki attributes his new life philosophy to an American named Andrew Hyde. Hyde sold all but 15 of his possessions and spent his time traveling to over 42 countries.
Andrew Hyde is a self proclaimed vagabond and minimalist with a passion for travel and writing. His book, appropriately named "A Modern Manual 15 Countries with 15 Things" is also available online.
One thing minimalists have in common across cultures is the desire to travel and experience life. A life without shopping and clutter offers a freedom to save money and see the world. Friendships thrive when time is spent on people and not things.
It's important to note that a minimalist lifestyle is typically not done out of necessity or for lack of money. In order to truly benefit from minimalism, individuals must want to live a life free of possessions. In this way, minimalists can focus their energy on other passions such as friends, family, and life experiences.
]]>The post Wagashi: Traditional Japanese Sweets appeared first on YUNOMI.
]]>Wagashi (和菓子) are beautifully decorated, traditional Japanese sweets. Rice cakes (mochi), red bean sweets (anko bean paste), and some fruits are all common types of wagashi.
The word “wa-gashi” is literally means “Japanese snacks.” The first character “和” read “wa” is often used to describe things originating from Japan. For example “wa-fuku” means “Japanese clothing,” and “wa-shoku” means “Japanese food.” In fact, “wa” is the oldest known name for the country of Japan. The word “wa” itself means “peace, harmony, or balance.
The second part of the word, “kashi” which changes to “gashi” when paired with another kanji character, means “snack” but originally referred to the fruits and nuts served for guests before confectionary treats were invented.
Wagashi became popular during the Edo period where it was almost always served with tea. The original inspiration for wagashi came from Chinese dum-sum and the introduction of sugarcane to the island. European influence may have also played a part as Portuguese explorers visited Tanegashima in 1543. These travellers brought with them European sweets which used eggs and large amounts of sugar.
After this time tea master Sen no Rikyu (1522-1591) coined the term wabi-cha to refer to treats that were served at tea ceremonies. Prior to the introduction of Chinese and European influences, simple sweets such as manju and yokan were served.
Japanese confessions are typically categorized by the amount of moisture they contain. The moisture content will determine their shelf life. Of course ingredients and preparation method will also determine how wagashi are categorized. These sweets are often intricately designed to reflect the four seasons in Japan.
Wagashi are basically categorized into 3 classifications:
Namagashi (生菓子)
Namagashi, or fresh confectionery, has a moisture level of 30 % or more. These sweets are typically made using flour, eggs, beans, and sugar.
Namagashi has the shortest shelf life and is often the most expensive type of wagashi.
Han Namagashi (半生菓子)
Han namagashi, or half-dry confectionery, has a moisture level of 10-30 %.
Higashi (干菓子)
Higashi, or dry confectionery, has a moisture level of 10 % or less. This particular higashi confectionary was eaten in celebration of September’s full moon.
Wagashi can also be categorized based on its method of preparation. For example, “mushimono” is steamed, “yakimono” is baked, “nagashimono” is jellied, and “uchimono” is molded.
As with most things, time has the power to change tradition. Today, wagashi is available in a variety of colors, flavors, and shapes. As modern tastes evolve, so does wagashi.
Recently, popular anime characters have even been made into intricate wagashi treats.
The Japanese are obsessed with celebrating the seasons. Throughout the year Japanese festivals and special events are held to celebrate the our planet’s perpetual rotation. Much like their culture, seasonal treats are pay respect to the changing seasons. Different wagashi is offered at key points throughout the year.
Hanabira Mochi (菱葩餅)
Hanabira Mochi (菱葩餅) is traditionally served in January to celebrate the new year. The name, which literally means “flower pedal rice cake”, originated from a treat that the imperial family ate to bring in the new year.
Hishi Mochi
On March 3rd, Japan celebrates “Hinamatsuri” which can be translated as “Girls Days.” For this special holiday, hishimochi is served. These cakes are usually pink, green, and white. Because they are often set out as an offering, many Japanese people have never actually tasted this treat before.
Sakura Mochi
Sakura Mochi is a springtime staple. This beautiful treat is often wrapped in cherry tree leaves and is enjoyed throughout Japan while the cherry blossoms are in bloom. Some people even eat the leaves!
Kashiwa Mochi
Originating in Edo (Tokyo) around 1745-1786 CE, Kashiwa Mochi is typically enjoyed for Children’s Day on May 5th. Like Sakura Mochi, it is also wrapped in a leaf which may be eaten or discarded depending on your preference.
Tsukimi Dango
One of the first seasonal treats to welcome in autumn is the Tsukimi Dango. This delicacy is offered around the time of the full moon in September. Typically these rice dumplings are displayed in groups of fifteen. The tradition is a way of showing thanks for a bountiful harvest.
During the autumn season, sweet potato is another frequently used ingredient. The wagashi shown above is handmade!
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]]>I had a wonderfully serendipitous moment during a trip to Nishio, the tea-growing region in Japan’s Aichi Prefecture. Because of its climate, Nishio is known for its tea cultivation, and its matcha is highly regarded.
After a tour and tasting at a matcha factory last year, I happened to peek in a window of a nearby tea-processing facility. The owner saw me looking in and waved me inside. His son, fluent in English, proceeded to give an impromptu tour of the family-run plant. In the hot, sauna-like conditions, he explained the purpose of each machine and how the freshly-picked tea leaves are processed. The experience was such an unplanned stroke of luck that I knew I wanted to learn more.
When planning my next trip, I knew that finding a tea tour during the picking season might be difficult. And after researching options and scouring Yunomi’s list of tea-picking events, I realized the logistics just wouldn't work this year. But then, friends found a small newspaper ad for the “Sayama Tea-Picking Experience Festa,” held about two hours outside of Tokyo in Saitama Prefecture. And even better, the event was free, with no reservations needed.
We had sunny skies as we drove through rural Saitama to the event, even glimpsing Mt. Fuji in the distance. Once we arrived at the Saitama Prefecture Tea Research Institute, we joined the throngs waiting in line to pick tea. Members of the Saitama Tea Youth Association demonstrated how to pluck the stems, then gave us plastic bags and 20 minutes in the fields.
After picking, we were led to a tent where staff members were preparing tea-leaf tempura. We chewed the leaves, expecting a hint of a tea taste, but the flavor was very….green. Although I didn't go back for seconds, it was a rare opportunity to sample something so unique.
We then crowded into the cavernous processing area where staff members explained how the machines worked, how to massage tea leaves by hand, and how to dry our freshly-picked leaves in a microwave at home.
After learning about the machines, the next step was drinking tea. In the institute’s auditorium, teachers were instructing small groups on how to make a delicious pot of tea. We tasted the distinctly different flavors of the first and the second pours, then learned that the leaves left in the pot were edible and had health benefits.
My group was surprised—and a bit skeptical—but eager to try the samples. We had a choice of condiments to mix with the tea leaves- soy sauce, goma miso, mayonnaise, ponzu and ume paste. Just like the tea-leaf tempura, the results tasted green and healthy- although we probably negated the health benefits by following it up with green tea sweets and green tea cola!
Once home, we dried our freshly-picked leaves. After microwaving and gently rolling the leaves three times, they lost their moisture and green color. It was a thrill to actually make a hot cup of tea with the leaves, and to taste the familiar flavor of green tea. I didn't pick enough leaves to last very long, so I’m already looking forward to the next opportunity. Thanks, Saitama.
How to get to the Saitama Tea Industry Research Institute (also referred to as the Saitama Prefectural Agricultural Research Center, Tea Research Facility)
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The above PDFs are a brief 12-page introduction to steeping standard green teas as well as premium teas such as gyokuro, an introduction to matcha, and a list of 30+ teas and Japanese tea terms. Feedback and questions are more than welcome! Leave a comment so that others may benefit from the questions & answers.
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