Wednesday, June 12, 2013

Vintage Tea Imports

I've collected a few items in recent months that represent what Japanese tea importers, like myself, were doing in the late 19th and early 20th Century. These will actually be making their way back to Japan to be displayed at a tea company there. They are interesting for their historical value as well as aesthetically for the visual impact of turn of the century advertising. It's also interesting to note that many of the same key features of tea marketing today have changed little since then. Much of the talk of tea's health benefits is touted as "new" because of current research, but importers and exporters were proclaiming tea's health advantages nearly 100 years ago. There are, however, vast differences in production, packaging, and shipping from those days to the present. Steamed teas had to be "pan-fired" again before being boxed up for shipment in order for them to survive longer shipping times and prolonged shelf life. Our Charaku teas are steamed in the traditional method, then nitrogen-flushed in small batch 50 gram pouches to retain maximum freshness until enjoyed everywhere in the world our customers reside. Tea has remained a truly wonderful beverage throughout its long history, but modern agriculture, packaging, and shipping advancements allow us to enjoy tea's benefits wherever we are!
I hope you enjoy these images!

This little pamphlet from the Tea Exporter's Association of Shizuoka was my favorite find from a used book store in Massachusetts. It's a tiny thing, only about 4"x5", but packed with wonderful images of tea life in Japan. The cover features a lovely young maiden working the tea harvest, adorned in an indigo-dyed kasuri (ikat) apron, and a woven bamboo harvesting basket on her back. Lush green tea fields are behind her and the perfect Mt. Fuji watches over tea country in the distance. Similar young fresh faces have been used in nearly every form of Japanese advertising, from war-time propaganda to Coca-Cola. Still, it's an image that works well. Just looking at makes me want to drink tea!







 One of the interior pages has another tea harvesting image, and notes the Japanese "Appreciation of Tea." But this appreciation is also "shared by those who understand, drink, and enjoy the benefits of tea." Are you one of these?
Further pages talk about tea ceremony, tea's ability to promote longevity, tea production, Japanese green and black teas, and tea distribution. The pamphlet was specifically for the U.S. market, but it also mentions that Canada and Russia were also large importers at the time. Were they trying to stir up competition?
Another interesting page discussed the purity of Japanese tea. At the time, the U.S. had banned the importation of artificially colored teas. The pamphlet proclaims how the Japanese government was cooperating by stopping this manufacturing process.

 This little tea tin of Grandmother's Green Japan Tea makes note of the "uncolored" importance mentioned above. To this I ask, "Artificially colored teas? Why???"











These images are from a vintage set of hand-colored post cards. They depict a series of tea processes from harvesting (above) to sorting, to pan-firing (left) and packing. The image of the women harvesting tea at Uji above is not quite the same as the gal on the pamphlet cover.
The photo of loin cloth clad men  pan firing tea gave my kids a good laugh. "Why are they making tea naked?!" It's interesting in that teas then had to be pan fired instead of steamed to reduce moisture content that would have then caused spoilage.


This paper tea box was used for a retail shelf display and was discovered in the Mid-West.
Today, the brand name would likely be considered politically incorrect, but political correctness aside, would you buy Japanese tea named "Red Man's" with a Native American's face on the box?


This image from the inside lid is quite romantic.
I highly doubt that the field in Japan was labeled with a "Red Man's Perfection"or (if you look closely) a truck expressly for the packaged Red Man's tea boxes. Still; the terraced fields, the woman in kimono receiving tea from a serving girl, the temple and pagoda, and the towering Mt. Fuji in the background create that lovely and iconic image of the Japan that was first introduced to the West.

This 1874 newspaper article by Prof. E.W. Clark from "The Christian Weekly" discusses tea, and tea production, in great detail for a readership somewhere in the U.S. NorthEast.
I'll quote the close of the article, which I found most interesting. "Of course, the best tea remains in Japan, and the poorest goes abroad; but as we usually spoil it's flavor with our milk and sugar fixings, perhaps it does not make  much difference after all.
All the tea which is exported here has to be "re-fired"again in Yokohama or some other port. Here they do the thing on immense scale in large stone houses, where hundred of men and women are employed in heating and rolling the leaves again, and putting the "finishing touch" on the whole process; this is absolutely essential to preserve the tea, and render it fit for transportation. The fresh tea odors which greet you as you as you pass the open windows of these tea-firing establishments, are such as would make our old lady friends smack their lips with delight.
The cultivation of the tea plant is yearly increasing, and the Japs are building up their tea trade to an extent which will bring vast benefit to themselves, and at the same time afford a deal of comfort to all the old folks at home." Wow, Im glad that we've come along way since then!


This last image, from the Philadelphia Museum, shows one of these pan-firing establishments.
Notice the boxes in the background ready for packing. I assume this was at the Port of Yokohama, and these "Royal Chop" boxes of Japanese tea would be on a ship bound for San Francisco shortly.

Friday, February 15, 2013

Pots in Action II - Pots & a Late-Winter Menu

More food & pottery photos. I like to show how food (albeit my amateur food) completes the pots.

Friends came over for a late-winter meal and it took me some time to figure how best to utilize some of our pots, and also what kind of menu to create. Early February is not New Year's and also not yet "Hina Matsuri" (Girl's Day / Doll Festival) or time for spring dishes.

I thought back to this time of year in Japan and of course thought of "Setsubun," which is the traditional new year and division of the seasons. Toasted soybeans are thrown at home and in Shrines to bring in good luck and drive away evil spirits. I also remember that it's also not long after "Bonbori Matsuri" or "Takiageshiki," the time when past year's amulets and other items are burned. When we lived in Mashiko, each neighborhood (buraku) built a large tee-pee shaped tower of straw that was filled and covered with amulets, dolls, and other items that were burned in a huge bon fire. Neighbors passed around steaming hot bowls of ton-jiru (pork soup,) which is popular at community events all over Japan. It was also a specialty dish of my late uncle Yoshio's, and our family called it buta-jiru (buta=pig/pork.)  And then, Valentine's Day was right around the corner. How to work that into a Japanese meal? Here's what we ended up with.

These mid-Edo Period (1600-1868) Soba Choko opened the meal with a simple fragrant drink, the Kousen course, kuzuyu. kuzuyu is an old-fashioned drink made from kuzu-root starch and hot water. This one was flavored with yuzu (citron) juice, a typical winter fruit. Kuzuyu is most often mixed with sugar and taken as a dessert. Other common additions might be matcha, or ginger.



The second course, Mukozuke, was a warm shiitake mushroom and green bean salad, dressed with lemon-soy vinagrette. This course always featured a small amount if rice and miso soup. The aforementioned ton-jiru was the miso soup, but I tried to elevate this a bit by serving the soup around a mound of creamy mashed potatoes, instead of country style chunks of potatoes and vegetables.
The end result was a kind of potage - tonjiru.




A variety of muzokuke dishes were used. The trio shown here are 
(L-R) a Mashiko-yaki lobed dish, a Mashiko-yaki katakuchi (spouted bowl) and a contemporary porcelain dish by Nakazato Hanako.                                         



The same goes for the gohan chawan (rice bowls) below. 
(L-R) A gray hakeme bowl made by a student of mine in Mashiko, with my hiragana initial "ta" drawn in; another hakeme bowl by Haraguchi Shintaro, of Zushi (Kanagawa Prefecture;) and a vintage Mashiko chawan with classic kaki-glaze exterior. 

The soup bowl shown above in Sendai-nuri lacquerware from Tohoku Prefecture. Again, in deference to my late uncle from Sendai.




The third course, Wanmori, is clear soup (osuimono) served in lidded Sendai-nuri lacquerware. A large shrimp is served over a piece of melon, finely cut in a cross-hatch pattern. Uri, wintermelon, is commonly used here, but I went with Honeydew melon which imparted a slight sweetness to the soup. The lime rind is cut to resemble pine needles, a symbol of winter.





Sake is introduced into the meal at this point. A number of Mashiko-yake guinomi are offered for guests to choose from. The sake was also from Tochigi Prefecture (where Mashiko is located,) "Miya" from the Hokkan Brewery in Tochigi City. 






The Yakimono, or grilled dish, course follows with Yuuan-yaki style swordfish. Yuuan-yaki employs a short citrus(usually yuzu)-sake marinade and a citrus-soy glaze, as opposed to teriyaki which is strictly a post-grilling glaze. With the lack of fresh yuzu here, I used in-season fresh pink grapefruit juice with interesting results. The original dish is said to have been developed by Yuuan Kitamura, an 18th century tea master, who used the dish for a tea gathering meal. The plate used here is by Bellingham, Washington potter Don Salisbury. 





The Azukebachi course follows next. One was mussels simply steamed in sake and garnished with fresh ginger.  The bowl is another Mashiko piece, with a classic kaki (persimmon) glaze with seiji green overlapping bands. The bowl is also shown below "naked." The shell bowl is a katakuchi, spouted bowl, by Roy and Chieko Martin, formerly of Tomobe in Ibaraki Prefecture. Roy's free forms and Chieko's playful brushwork (a heron in this case, a common bird in our Skagit Valley) work so well together. Another azukebachi dish was a raw daikon radish and kaiware (daikon radish sprout) salad with soy-vinegar dressing. The bowl is by Tanaka Yumi of Mashiko, and is a piece we acquired while living there over ten years ago. 




The Hashiarai (chopstick wash / palette cleanser) course was a simple kombu-yu (kelp water.) We used some vintage cups that were not artisan-made, but we liked the winter imagery of children playing in the snow. The images certainly depict winter, and for me conjure images of the stories my mother used to tell about her childhood in Sendai, Miyagi Prefecture. Straw snow capes and boots, snowman (yuki Daruma) building, grilling mochi on a charcoal hibachi, and having hot tea in a yuki-kamakura (snow igloo) were all scenes from those stories and images on these playful yunomi (tea cups.) 




The Hassun course is named for the dish it is served on, with two simple elements (one from the sea and another from the land) with which to enjoy sake. In Western terms, it's almost like an appetizer, but in the Japanese menu it's served at the end. I choose to use two dishes instead here. A dessert plate by local potter Mika Sullivan has smoked Sockeye salmon, with boiled egg yolk, shiso leaf, and a bit of yuzu-sour cream "snow." It's meant to evoke an image of a winter camellia, the sasanqua. In the guinomi above it, nimame (simmered soybeans) give a nod to the Setsubun holiday and are scented with fresh rosemary. The cup is by the late Ooka Mataemon, whose widow and nephew befriended us in Mashiko, and taught us much about the history of the area and its pottery. We will always be indebted to the Ooka family.


This course is also the time for host and guests to share sake. It can also be a course where an inference is made to the coming season, usually with a menu item. Here, I've chosen to bring out a different tokkuri (sake decanter.) This was also made by Ooka Mataemon and features imagery of plum blossoms (the first blooms after winter.) The famous plum trees of Mito, in nearby Ibraki Prefecture, have created common decorating themes for Mashiko pottery since its beginnings in the mid-1800's  


The final rice dish, Kounomono, can be one of a variety of rice preparations. This night, I chose to make okayu, or rice porridge/gruel. This version is actually cha-gayu, made with tea. I used a sencha and gave the porridge a simple garnish of toasted nori. Pickles are also 
essential to this course, and takuan (daikon radish,) turnip, and cucumber pickles accompanied the rice dish. We used low, oversize tea bowls for the pickles. The two used were an Oribe piece and a wood-fired piece from Maine. 



Dessert was definitely Western on this occasion and incorporated both Setsubun and Valentine's Day. A chocolate cake topped with chocolate ganache was the nod to Valentine's Day and is dusted with kinako (soybean flour.) The ice cream is vanilla, flavored with kinako and molasses.




Matcha completes the meal and a variety of Matcha Chawan, Tea Bowls, were used. Among them was this Shino-glazed winter bowl with a bamboo grove image painted in iron. This piece was by a pottery teacher in Kamakura who generously parted with it. It's a piece I love using in winter, not only for its shape, but for the glaze's resemblance to freshly fallen snow. Another piece is a wood-fired winter bowl by George Gledhill of Payette, Idaho. There are some chips in the rim needing repair, but it's a wonderful contrast with a lustrous black glaze with interesting fire marks.















Post meal, I roasted some sencha to make homemade houjicha. This can be done in a dry pan, but there is also a device designed for this, the houjiki. The aroma is much more intense than packaged hojicha and makes a refreshing digestif after a meal.









I'll add this as well. Our guests brought a lovely wine that paired well with both Japanese food and sake. Windfall Winery of Prosser, Washington, produces this lovely Asian Pear Wine. It was a perfect choice, and a lovely addition to the menu. If you're ever looking for a good wine to go with Japanese food, search for this one.







Here are a variety of hashioki, chopstick rests, from our collection.












And always my favorite photo, the clean-up. Here are dishes for a party of five.

Sunday, January 13, 2013

Songs of Hope / Peace Winds Japan Benefit Concert

Last night I had the privilege to serve tea at a fund raising event for continued   relief efforts in post-earthquake/tsunami NE Japan. The event was organized by Songs of Hope and proceeds went to Peace Winds America/Japan. Numerous volunteers from the Japanese community were on hand set up, assist guests, sell bake sale items, and clean up. I was just a small part in all of this, but I was happy to provide a warm cup of tea on a freezing Seattle evening to guests offering donations to a very worthy cause.  You can see the program of musicians, performers, and guest speakers on my previous post advertising the event. Here, I wanted to show some of the behind-the-scenes (since that is where I was) helpers who made this a heart-warming and successful event. To all of you who attended, makoto ni arigatou gozaimashita, a most sincere "Thank you."

You can find more information about Japan relief efforts and events on-line at 
Marimba player Memmi Ochi warming up.
Busy Bake Sale staffers.


Hard-working volunteer, Madoka-chan.

Bake sale good were sold-out last night!
Charaku Teas for Sale





  Kyusu by Daisei-gama &Sencha Chawan by Minowa Yasuo, both of Mashiko;  Guinomi by George Gledhill; Payette, ID.
 

Sunday, January 06, 2013

Songs of Hope - Benefit Concert on Jan. 12, 2013

I'll be serving complimentary tea, alongside traditional Japanese wagashi by Tokaragashi and contemporary Japanese pastries by Setsuko Agata, at a Songs for Hope benefit concert for continued relief efforts in Japan. Charaku teas will also be available for sale, with a portion of the proceeds going to Songs for Hope.

The featured performers will be pianist Dr. Sachi Hirakouji, originally from Miyagi Prefecture where the earthquake struck and now a resident of Hawaii, and marimba player Memmi Ochi, a Music doctoral candidate at the University of Washington. A special guest speaker will be Yusuke Usukura, a former Air Defense Official who was stationed  at Matsushima, (very close to the epicenter) at the time if the earthquake and tsunami, and is now living in Seattle.

Date: Saturday, January 12, 2013
Time: 7:00pm. Sweets & Tea will be served at 6:30.
Place: Trinity Lutheran Church
6215 196th Street SW, Lynwood, WA
Admission: Free, donations gladly accepted.

If you're in the greater Seattle area and can make it, I hope you'll come and support this important cause. For more information, please visit Songs for Hope.


January 1, 2013 - HAPPY NEW YEAR!

Papier Mache Snake; Miharu Village Fukushima
HAPPY NEW YEAR!
-C.E. 2013  
-HEISEI 25 (Japan)
-BUDDHIST ERA 2557 (April)  
-YEAR OF THE (BLACK) WATER SNAKE (February - Lunar New Year)!



It seems that I've posting lots of food images lately, but as these relate to Japanese culture and have always been a passion of mine; here go some more.

Below are images from traditional Japanese New Year's meals. The foods are symbolic of good luck, long life, prosperity, etc. in their names (sometimes homonyms for other auspicious words) or physical shapes (image the shrimps curved back representing the bent backs of the elderly and symbolizing long life.)
parboiled ozouni ingredients

In the morning, the typical dish served is Ozouni, the central component being omochi, glutinous rice cakes grilled to a golden brown. These are served in either clear soup or miso soup, depending on the region of Japan (clear soup - Eastern Japan, miso - Western Japan) or the family's traditions.

Omochi (using the honorific 'O' here before 'mochi') stretches and is therefore symbolic of extending life and prosperity.
Ironically, the chewy nature of mochi also causes a few choking deaths each year in Japan and hearing those statistics is somewhat of a national pastime in the early weeks of the year. Let's hope that this year's tally will be 'zero!'



stove top grilling mochi
I usually cook ozouni for my family in Seattle and this year was no exception. Some of the traditional ingredients were not readily available this year so we had to make some substitutions. Instead of chrysanthemum leaves, shungiku  (lit. "spring chrysanthemum,") we used spinach; the daikon radishes in the market this year were non-existent or rotted so we left out the usual tortoise (another long life symbol) shell-shaped pieces of  daikon. Carrots were carved into plum blossom shapes to represent the first trees to bloom after the harsh winter.





We actually live in a rural area about an hour from Seattle and there are few Japanese people out here, and Asian cooking ingredients are fairly limited. However, we are very fortunate to have close friends who are Japanese and are also excellent cooks! Our friends put on a spread of some of the best osechi ryouri I've ever had and that's a tall and serendipitous order out here in rural American farm country.
Other good friends and food enthusiasts come and it's always a wonderful way to start the year. 
Osechi Ryouri is comprised of many items traditionally served for New Year's. It's a big job, akin to the Thanksgiving feast in America. However, due to the tradition of avoiding work on the first day of the year, much of the food is prepared in the day's leading up to January 1st. In the past, this required heavy salting and sugaring of foods as a preservative. Now, our friend uses a lighter hand and the balance is perfect. As mentioned, the foods have symbolic meanings for prosperity and long life. I'll skip the Japanese food dictionary here and provide a Wiki link for osechi ryouri definitions. Hope you enjoy the photos!

ready to eat...
boxes full of delicacies...
takuri, "rice paddy maker"















loaded tray with sake

Guests, including us, contributed some contemporary items to the meal. Our friends just came back over the pass from Eastern Washington and picked up some delicious Huckleberry Wine from Icicle Ridge Winery in Peshastin (next to the Bavarian Village-themed Leavenworth.) Everyone said it was "dangerously delicious" and it's lovely red color kept with the Japanese tradition of red being a celebratory color.  I made a Matcha Cheesecake using our Charaku Premium Organic Matcha. On the side was azuki cream made with anko (sweetened red bean paste) & whipping cream. It's actually a light dessert using yogurt, cream cheese, and whipped cream instead of all cream cheese. 
huckleberry wine!
matcha cheesecake w/azuki cream
Charaku Matcha in Lee Love chawan
Since there were ten people, including the kids; a number of chawan (tea bowls) were used for serving matcha at the end of the meal. I thought I'd feature this one, a Mashiko-yaki piece by my good friend Lee Love. Lee apprenticed with National Living treasure Shimaoka Tatsuzo and this was a bowl that was featured at his McKnight Residency Exhibition at Northern Clay Center in Minneapolis, MN. (I was the interpreter for his interview with Shamaoka-sensei when I was living in Mashiko in 1999-2000.) The exterior has a traditional Mashiko kaki glaze, and Lee has used some hakeme brushwork on the interior. However, it's the decorative crests on the bowl that give it special meaning to me this time of year. It features the family crest of Ooishi, the leader of the 47 Ronin. Lee and I are both fans of the story of the 47 Ronin, known as "Chuushingura" in Japan. This true story of the epitome of samurai loyalty concluded in the famous avenging scene in the 12th month of 1703. Since then, the epic has become one of the most popular themes in Japanese art and culture, with numerous TV & movie versions aired each winter; as well as frequent new releases of woodblock prints (now comic books,) plays, and even puppet shows. It is an end of the year tradition in Japan to catch one of these, or to visit the graves of the 47 Ronin at Sengaku Temple in Tokyo (as I have) and light incense for each on of them.  To let you know the extent of the story's reach in Japanese popular culture, watch for a new 47 Ronin movie to be released Dec 25, 2013 starring Keanu Reeves!
Happy New Year!