きのうは一昨日から掛かりきりの「難航」案件に引き続き対処。状況が見通せないプロセスが続きます。国家行政組織との対応案件。さまざまな制度上の推移経験の結果、現状の機構構造があるのでしょうが、省庁間の縦割りの実態をもいろいろ実感させられる次第。
　一方で民間企業との対応案件では「大きな会社」の最終的社長決裁が降りた、という知らせ。おお、であります。やっぱりなにごとも決して諦めず、淡々と向かい続けるしかないことを、ありがたく知らされた。ご助力いただいたみなさん、すべてに感謝であります。
　というようなビジネスでの日常があるのですが、すべてが終わらなければ途中経過段階では発表は出来ない、いや結局は「終わらない」ので、日々のブログテーマにはムリ。
　ということでテーマ避難。写真はことし奈良の興福寺に行って円安＋コロナ明けの異常な海外旅客集中・大混雑ぶりにいたたまれず、飛鳥地方に避難行に向かったとき、最初に発見して参詣した閑静な神社「大和神社」。そちらの拝殿に掲額されていた飛龍の絵の一部であります。
　神社などではこういう「やまと絵」が基本的に採用される。伝統的な絵画技法で、こういう技法が現代の後藤純男さんの絵のような日本画のベースになっているのでしょう。添え書きなどはなかでは見られなかったので、いわば名もなき額絵。
　こういう額絵の「寄進」の社会習慣というのは、日本社会では相当古くからあったのでしょう。地域が農業開発されて人口規模が拡大していくのが日本の普遍的社会形成でしょうが、基本的に「八百万」という地神は各地に伝承されて、神社に祀られ、そうした地神への奉納として地域での成功者たちが感謝の意味を込めて贈ったモノでしょう。こういう「芸術者」たちには、そういう機会が貴重なビジネスチャンスであって、このような作品を残した。
　西洋社会でのキリスト教の教会などに聖母マリアの絵を寄進するというようなことと同様なのでしょうが、そういった「定型化」が日本の場合にはこうした飛龍の絵なのでしょう。たぶん寄進した個人・家に対してその勢い・勢力を表現するのに、躍動感たっぷりのこうした飛龍が画題として、一般的に選択されたのでしょう。
　そんなことを考えながらいつも参観させていただいています。現世での生々しい権力ゲームがいま繰り広げられていて、メディアも明白にその権力機構の一部である実態も赤裸々になっている。そういう光景に対して、俗世をやや離脱した歴史事物には、ふしぎと癒される空気感がありますね。日本の歴史にはそういう「濾過装置」が仕組まれているのでしょうか。

English version⬇

[The clear and bizarre reality of the media in relation to power struggles and the framed picture of a local shrine
The naked and bizarre reality of the media in relation to the struggle for power. Let’s take a look at the “Hiryu” (flying dragon) frames of Yamato-e paintings and try to heal our hearts. The “flying dragon” of the Yamato-e painting is a little comforting.

　Yesterday, we continued to deal with the “difficult” case that we have been working on since the day before yesterday. The situation continues to be unpredictable. This is a case of dealing with a national administrative organization. The current structure of the organization is the result of the experience of various institutional transitions, but it also makes me realize the reality of the stove-piping between ministries and agencies.
　On the other hand, in the case of dealing with the private sector, I received the news that the final decision of the president of a “big company” had been made. Oh, yes, that’s great. I am grateful to have been informed that we must never give up on anything and continue to face the situation without hesitation. I am grateful to everyone who helped me.
　I have a daily business life like this, but I can’t make an announcement in the middle stage unless everything is finished, and in the end, it won’t be finished, so I can’t use it as a daily blog theme.
　So, the theme was evacuated. The photo is of Yamato Shrine, a quiet shrine that I first discovered and visited when I went to Kofukuji Temple in Nara this year to take refuge in the Asuka area due to the unusually high concentration of foreign passengers and large crowds after the depreciation of the yen and the Corona. This is a part of a picture of a flying dragon displayed in the hall of worship there.
　Yamato-e” is a traditional painting technique used at shrines. It is a traditional painting technique, and this kind of technique is probably the base of modern Japanese paintings such as Sumio Goto’s. The accompanying notes were not seen in the painting. Since there were no accompanying inscriptions, so to speak, this is a framed painting without a name.
　The social custom of “donation” of framed pictures like this must have existed in Japanese society for quite some time. The “eight million” local deities were basically handed down from generation to generation and enshrined in shrines, and the successful people of the region gave them as an offering to these local deities as a token of their gratitude. For these “artists,” such an opportunity was a valuable business opportunity, and they left behind such works.
　This is probably similar to the Western society of donating a painting of the Virgin Mary to a Christian church, but in the case of Japan, this type of painting of flying dragons is a “formulation” of such an occasion. Perhaps the lively flying dragons were generally chosen as subjects to express the vigor and power of the individual or family who donated the money.
　I always visit the exhibition with this in mind. The raw power game in this world is now being played out, and the reality that the media is clearly a part of the power structure is also laid bare. In contrast to such scenes, historical events that are somewhat removed from the mundane world have an air of mystery and healing. Is there such a “filtering device” built into Japanese history?

Posted on 8月 23rd, 2024 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

　先日の上富良野・後藤純男美術館参観でふたたび自分の本性というか、絵にいかに惹かれているのかを深く知らされた思いがしています。後藤純男美術館にはたぶん４−５年は行っていなかったハズなのですが、そういう絵との「再会」ということが自分のなかのなにかに着火する思い。
　日本人の連綿としてつながってきた絵ごころというものに、わたしは深く癒されるのだと気付かされるということでしょうか。
　現実の仕事のことなどはなかなか客観視できない部分があるので、ブログではやはり特定テーマでの定点的な観察・深掘りがほどよいと思うので、絵とニッポン人みたいな領域で書きたい。
　で、絵と日本人ということではこの1972年に極彩色の壁画が発見された高松塚古墳壁画がスタートにふさわしでしょうね。いまから52年前ということになるが、当時のわたしは20歳そこそこ。学生運動の最盛期でしたが、やはり発見された壁画、それも飛鳥美人画につよい印象を持った。
　絵については小さい頃から好きで小学校１年のときにアメリカ・ポートランド市と札幌が「姉妹都市」になったことを記念した児童絵画の交換で、わたしの描いた絵が選ばれてあちらに渡ったという経験がスタートで、自然にマンガに強く惹かれて行ったりもした。この当時には西洋絵画の「ルネ・マグリット」の展覧会がちょうど開かれたりして初めて美術館で参観して、大いに刺激された。
　そういうなかで日本の「飛鳥時代」の感性に出会って、深く「ルーツ」感に包まれていたのだ。
　写真は奈良県の「橿原考古学研究所附属博物館」での展示でのもの。複製陶板まで制作されたという一大ブームだった。
　若い男性の私としてはやはり、古代の日本人の「女性美」への興味が非常に強かった。とくに明瞭に輪郭線の残っている女性の顔がみごとに「うりざね」形であったことに刺激された。「そうか、自分だけではなく多くの日本人はこういう美顔に弱いんだ（笑）」。
　そしてファッション感覚も、まことにきらびやかで、日本人はこの時期、このような感受性で交感していたのだと思い知った。コトバではなく「絵」でこそ人間は「わしづかみ」されるのだということも学ばされたように思う。
　ちょうど大江健三郎の小説の難渋ぶりに辟易していた頃で、より強いインパクトがあった。コトバは明晰さの方により価値感を感じ、心象はやはり絵がわかりやすいと悟らされた。
　で、日本人はこの飛鳥の時代から連綿と絵画文化をつないできている。時代によって変わるもの、変わらないものが現在にまで至っているのだ。

English version⬇

Takamatsuzuka Tomb Mural: The Japanese Painting Spirit
A theme that can be continued away from daily work. Pictures express the mental images in an easy-to-understand way. I would like to reflect on the paintings of Japanese people that have stopped in my mind. I would like to contemplate the Japanese people’s paintings that have stopped in my mind.

　My recent visit to the Sumio Goto Museum of Art in Kamifurano made me realize once again my true nature, or rather, how deeply I am attracted to painting. I have not been to the Goto Sumio Museum of Art for probably 4-5 years, but this “reunion” with the paintings ignited something in me.
　I guess I realized that I am deeply healed by the Japanese people’s unbroken connection to the spirit of painting.
　Since it is difficult for me to be objective about my actual work, I think it is better to write a blog on a specific theme with a fixed point of view and to dig deep into the subject.
　In the area of paintings and Japanese people, the Takamatsuzuka Tumulus mural paintings, which were discovered in 1972, are a good place to start. It was 52 years ago, and I was just under 20 years old at the time. It was the height of the student movement, and I was very impressed by the wall paintings that had been discovered, especially the Asuka beauty paintings.
　I had been interested in painting since I was a child, and it all started in my first year of elementary school when my painting was selected for an exchange of children’s paintings to commemorate the “sister city” relationship between Portland, U.S. and Sapporo, and was sent over there. At that time, an exhibition of Western paintings by “René Magritte” was just opening, and I visited the museum for the first time and was greatly inspired.
　It was in this context that I encountered the sensibility of the Asuka period in Japan and was deeply enveloped in a sense of “roots.
　The photo was taken at an exhibition at the Museum of the Archaeological Institute of Kashihara in Nara Prefecture. It was a big boom, and even replicas of the ceramic panels were made.
　As a young man, I was very interested in the “feminine beauty” of ancient Japanese. I was particularly stimulated by the fact that the clearly outlined female face was perfectly shaped like a uriza-ne. I thought to myself, “Well, not only myself, but many Japanese have a weakness for such beautiful faces.
　The sense of fashion was also truly glittering, and I realized that Japanese people were communicating with this kind of sensitivity during this period. I think I also learned that people are “grabbed” not by words but by “pictures.
　It was just at the time when I was fed up with the difficulty of Kenzaburo Oe’s novels, so it had a stronger impact on me. I felt the clarity of Kotoba was more valuable, and I realized that the mental images were easier to understand in pictures.
　The Japanese people have continued to develop their painting culture since the Asuka period. What changes with the times and what does not change has continued to the present day.

Posted on 8月 21st, 2024 by 三木 奎吾
Filed under: 歴史探訪 | No Comments »

　写真は先日参詣していた菩提寺の境内に立っていた菩薩像。名前とか由縁などは確認してはいない。たまたま写真に収めてあとでパソコン画面で確認したら、なんとうっすらと霧が立ちこめていたのが、写真に写り込んでいた。なんとも神々しい雰囲気。菩提寺は後背に山を背負っていて、一度も行っていないのだけれど88箇所の参拝ポイントがあるのだと聞いている。そういう山の「気」が映り込んでくれたのかも知れないと喜んでいる。
　ご多分に漏れず、加齢とともに「心的風景」のようなことにこころが自然に向かっていく。健康のこととか寿命のこととかに否が応でも向き合うようになって、ひととして自然なことなのでしょう。
　日本列島では四季の変化が非常に明瞭だけれど、その四季変化がながく日本列島人に「花鳥風月」という心性を日本人らしさの骨格にしてきたと思う。とくに北海道という寒冷地も日本人の自然環境観に加わってきたことで、より深い陰影感が加わった。
　先日観てきた後藤純男さんの日本画には、そのあたりの日本人の「花鳥風月感」が大きく拡大・拡張した様子が、心象風景として表現されているように思えてならない。日本画という表現形式自体、日本人的な「自然」観をわかりやすく伝えてくれている。
　「こういう景色を見て、やっぱりこういう表現に至るよなぁ」という日本人的な納得感、美感というようなものがつたわってくるのだと思う。そしてそういう表現の系譜、連綿と伝わってきた精神性に深く帰依したくなってくるのだと思う。
　もののあわれ、という日本人的心性のコアと思える領域が、花鳥風月と通底する世界観。四季変化の中で諸行無常という哲学も自然に日本人は獲得してきたのでしょう。縄文社会由来の生活様式伝統のなかで明瞭な四季変化はその骨格を形成してきた。たぶん八百万の神が祀られる神道の世界観のベースなのだろう。それに対して世界宗教である仏教が伝来してくるけれど、他国の場合とは違って、日本列島では両者が非対立的に、基層と表層のように機能してきたのではないか。ホンネと建前みたいな「落とし所」感覚が日本人に強く生起していったと思える。世界宗教である仏教寺院である高山寺の宝物として「鳥獣戯画」のようなマンガ表現が存続し続けてきた社会。
　おっと、お盆休暇はきのうまでだった（笑）。これは休暇の「総括」か。
　本日から、残っていた懸案を処理して、またあらたな役務がスタートであります。なんとかテキパキと処理して行きたいと思います。

English version⬇

The mental image of “Kacho Fugetsu” and the way of dealing with religion
As I age, I am drawn more and more to the “mercy of things” sentiment. The four seasons show us their diverse expressions from year to year. The Obon vacation is over, and I’m back on track. … .

　The photo shows a statue of a bodhisattva standing in the precincts of a family temple where I was paying a visit the other day. I did not confirm the name or the origin of the statue. I happened to take a picture of it, and when I checked it on my computer screen later, to my surprise, a faint mist was rising in the air, which appeared in the picture. It was a divine atmosphere. The Bodai-ji temple is backed by a mountain, and although I have never been there, I have heard that there are 88 places of worship. I am happy that the “spirit” of the mountain may have been reflected in the image.
　As is typical, as one ages, one’s mind naturally turns to things like “mental landscapes. We are forced to face our health and life expectancy, and this is a natural part of human nature.
　The Japanese archipelago has four distinct seasons, and I believe that this seasonal change has long been the backbone of the “Kacho Fugetsu” (flower, bird, wind, and moon) mentality of the Japanese people. In particular, the cold climate of Hokkaido has added a deeper sense of shade to the Japanese view of the natural environment.
　The Japanese-style paintings of Sumio Goto that I saw the other day seem to me to express, as mental landscapes, the expansion and extension of the Japanese people’s sense of “Kacho Fugetsu” (flowers, birds, winds, and the moon). The form of expression itself, Japanese-style painting, conveys the Japanese view of “nature” in an easy-to-understand manner.
　The Japanese view of “nature” is conveyed in a way that is easy to understand. I believe that the Japanese people are deeply moved by the lineage of such expressions and the spirituality that has been handed down from generation to generation.
　Mono no aware (mercy of things), a core area of Japanese spirituality, is a worldview that is commonly shared by Kacho Fugetsu (flowers, birds, winds, and the moon). The Japanese have naturally acquired the philosophy of the impermanence of all things through the changes of the four seasons. The distinct changes of the four seasons have formed the framework of the lifestyle traditions of the Jomon society. This is probably the basis of the Shinto worldview, in which 8 million deities are worshipped. In contrast, Buddhism, a world religion, was introduced to Japan, but unlike in other countries, in the Japanese archipelago the two have functioned in a non-confrontational manner, as if they were the base and the surface of the world. It seems to me that a sense of “the bottom line,” like “honne” and “tatemae,” has emerged strongly in the Japanese people. In a society where cartoon expressions such as “Birds and Beasts Caricatures” have continued to exist as treasures of Kozan-ji Temple, a Buddhist temple that is a world religion.
　Oops, my Bon vacation ended yesterday (laugh). This is the “summary” of the vacation.
　Today, I will start my new duties again, dealing with the remaining issues. I will try to handle it as quickly and efficiently as possible.

Posted on 8月 19th, 2024 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

　わたしは美術鑑賞というと基本的には「日本画」がメイン。東京では山種美術館がベースキャンプ的な存在で、だいたい展示替えがある度に鑑賞するのが習慣化しています。
　やはり自分の性向として絵画・美術がいちばん根の部分にあるのだと思っています。そういう人間として日本人が感じてきた「美感」の歴史みたいな部分への探究心が強くて、どうしても日本画が中心になっていくのだろうと思っています。京都高山寺の「鳥獣戯画」も高山寺に参観に行って観てきたので、いまちょうど北海道立近代美術館で展覧会については、もう見ているけれど一応と、参観に行ったのですが待ち時間が数時間と聞いてさすがに断念した。
　こうした日本画について北海道内では、唯一に近い存在として上富良野にこの美術館はある。これまでも数回このブログでも紹介していますが、往復では250kmくらいのドライブになるので、さすがに加齢と共にややツラくなっていたのですが、連休でもあり今回また訪問。
　作家は日本画を追求していく中で、北海道の自然に深くこだわられて、その雄大な自然造形を描くなかで神々しいまでの体験をしたと述べられている。
　氏は現・千葉県野田市の真言宗寺院に生まれて、父君のみちびきで奈良京都の古刹寺院に宿泊しながら絵を描き続けていたのだという。宗教人としてそれらの建築体験がベースを形成して、それと対話するなかで、ある「視点」を獲得されたのではないか。
　そういう視線で北海道の雄大な自然造形に接したとき、心理の内奥から強い感動が襲ってきたに違いない。その雄大で厳しい自然のなかに立ち尽くしながら、スケッチしていた。日本人が立ち向かったこの大地への感動を体の中に蓄積させられたのだろう。
　旭川市内で氏が層雲峡などの作品について講演されたときに受講されていた上富良野町の役場のひとたちが、ぜひ現在地にアトリエをと積極的に誘致したとされる。下の写真は上富良野のこの美術館から遠く西に視線を伸ばした空撮写真。＜冬期の図＞

　何回も行っているけれど、今回は氏の娘さんが案内役で紹介されているビデオが上映されていて、上の写真の「違いがわかる男のゴールドブレンド」という珈琲のコマーシャルに出演された経緯もユーモラスに紹介されていた。このCMは1967年に日本初のフリーズドライ製法を取り入れて発売した、ネスカフェゴールドブレンドの広告キャッチフレーズ。これ自体、50数年前という歴史の中に沈んでいるけれど、その時代の空気感がなつかしい（笑）。
　日本画家として名を残したあと、こういうお茶目な側面も見せていただいた。北海道はすばらしい美術館を持っていると思います。

English version⬇

Japanese Painter Sumio Goto Museum / Kamifurano
More than 50 years have passed since the commercial “of a man who understands the difference. In this way, what Japanese people live becomes history as it is. This is the legacy of sensitivity. The Japanese Art House, Goto Sumio Museum of Art/Kamifurano

　When it comes to art appreciation, my main focus is basically on Japanese-style paintings. In Tokyo, the Yamatane Museum of Art is my base camp, and I make it a habit to visit the museum whenever there is a new exhibition.
　I believe that painting and art are the most fundamental part of my nature. As a human being, I have a strong desire to explore the history of the “sense of beauty” that Japanese people have always felt, and I believe that Japanese-style paintings will inevitably take center stage in my life. I went to see the “Birds and Beasts Caricatures” at Kozanji Temple in Kyoto, and I have already seen the exhibition at the Hokkaido Museum of Modern Art, but I gave it up when I heard that the waiting time was several hours.
　The museum is located in Kamifurano, which is the only place in Hokkaido where Japanese-style paintings such as these are exhibited. As I have mentioned several times in this blog, the round-trip drive is about 250 km, which has become somewhat tedious as I get older, but I visited again this time because of the consecutive holidays.
　In his pursuit of Japanese-style painting, the artist was deeply attached to the nature of Hokkaido, and he says that he had a divine experience while painting its magnificent natural formations.
　He was born in a Shingon Buddhist temple in Noda City, Chiba Prefecture, and continued to paint while staying at ancient temples in Nara and Kyoto under his father’s guidance. As a religious person, these architectural experiences formed the basis of his work, and he must have acquired a certain “point of view” while interacting with them.
　When he came into contact with the magnificent natural formations of Hokkaido from such a perspective, he must have been strongly moved from deep within his psyche. I was sketching while standing in the midst of this magnificent and severe nature. He must have let his body accumulate the impressions of this land that the Japanese people had faced.
　It is said that when he gave a lecture on his works in Sounkyo and other places in Asahikawa, the people of Kamifurano who were attending the lecture actively invited him to build his studio in the present location. The photo below is an aerial view from the museum in Kamifurano, looking far to the west.

Posted on 8月 17th, 2024 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

　札幌の近郊、長沼には国道沿いに広大な駐車スペースをそなえた農産物市場があります。ときどき手軽な行楽として季節の野菜類を探すことが習慣化しています。
　きのう、ちょっと朝寝坊したので長距離移動を避けて、こちらに向かった。行ってみたら各店舗棟が建て替えられていて、リニューアルしていた。わたしの実家、父親は入植した祖父から受け継いだ畑で「まるで野菜類の品評会だ」といわれるほど多種多様な野菜生産に取り組んでいた。そこでいろいろ実験して成果の得られた野菜類をほかの農家に伝え製法の勘所などを教えて、多量生産にして、その生産物を遠く大阪の市場に出荷して北海道野菜の販路拡大に取り組んでいた。そういうなかで「ユリ根」は大当たりしたと聞いている。
　その生産にあたっては当時のもっとも先端的農業者だった岐阜県からの移住者一家で育った母親が、その生産技術で取り組んでいた。わかい夫婦が手を取り合って新品種開拓に取り組んでいたのだというのですね。３歳までしか農家にいなかったわたしとしてはすべてが伝聞。
　だけれど、こういう農産物市場に来ると、無意識でそういう新品種に目が行く。はるかな父母のことをそういうカタチで「探している」のかも知れません。
　そんな目に飛び込んできたのが写真の「コールラビ」。〜アブラナ科の越年草。原産地は地中海北部。球状に肥大した茎部を、皮をむいて食用とする野菜である。茎は緑色系と紫色系があり、キャベツやブロッコリーの茎に似た味で、サラダやピクルスなどにする。語源はドイツ語で、キャベツを指すkohlとカブを指すrabiより。〜


　値段を見るとなんと「100円」。買ったときにはその素性詳細はわからなかったのだけれど、内面から「騒ぐ血」を感じて即座に購入（笑）。市場の売り場でもカンタンに説明があった通り、浅漬けにしてみた次第です。
　ということで頃やよし、ということでさっそく食してみた。軽く塩を振って「浅漬けのもと」を加えて厚手のビニールパックに入れ、なおコンブを小さく切って混ぜ合わせて加圧しまくる。で、放置して数時間。口に入れてみた。
　まぁライトな「カブ」か。カブ大根よりもちょっと「キャベツ」っぽい味わいがあって、カブよりも皮が厚くてごつい。「あ、こりゃぁ皮は剥いた方が無難かな」というところですが、切り方を薄くしたヤツだと、それなりの柔らかさは出てくる。まぁワルくはないといった一品でありました。
　店頭ではこれ一個だけの出品だった（売り切れ寸前だった？）ので、まだ実験的段階なのでしょう。さて日本人の味覚ワールドに参入できるかどうか、でありますね。でも姿はカワイイ。

English version⬇

Discovering New Vegetables, Exploring Produce Markets
I have a strong desire to pioneer new vegetables from my parents’ farming days, and my eyes tend to swim at the market. What is the reaction of the Japanese market to the “in-between cabbage and daikon” variety? …

In Naganuma, a suburb of Sapporo, there is a produce market with a large parking lot along the national highway. It has become a habit for me to look for seasonal vegetables as an occasional easy outing.
　Yesterday, I overslept a bit so I headed here to avoid a long-distance trip. When I got there, I found that each store building had been reconstructed and renovated. In my family, my father was engaged in the production of a wide variety of vegetables in the fields inherited from my grandfather, who settled in the area, to the extent that it was said, “It’s like a vegetable fair. He experimented with a variety of vegetables and taught other farmers the secrets of their production methods, which led to mass production and the shipment of their products to markets as far away as Osaka, thereby expanding the sales channels for Hokkaido vegetables. The “lily bulb” was a big hit among such efforts.
　The mother, who grew up in a family of immigrants from Gifu Prefecture, the most advanced agricultural community of the time, was the one who used the most advanced production techniques. As I was only a farmer until I was three years old, this is all hearsay to me.
　However, when I come to a farmers’ market like this, I unconsciously pay attention to such new varieties. It may be that I am “looking for” my parents in that way.
　The one that caught my eye was the “kohlrabi” in the photo. 〜Kohlrabi is a perennial herb of the Brassicaceae family. It originates from the northern Mediterranean. It is a vegetable whose globularly enlarged stems are peeled and used for food. The stems are green or purple in color and taste similar to cabbage or broccoli stems, and are used in salads and pickles. The word is derived from the German words kohl for cabbage and rabi for turnip. ~ (from the German kohl, meaning cabbage, and rabi, meaning turnip)

　When I looked at the price, I saw that it was 100 yen. When I bought it, I didn’t know the details of its identity, but I felt its “noisy blood” inside and bought it immediately (laugh). I tried to make asazuke (pickled in soy sauce), just as the explanation at the market had explained.
　So it was about time, and I tried it right away. I lightly sprinkled salt, added “Asazuke no Moto” and put it in a thick plastic pack, cut kelp into small pieces, mixed them together, and pressurized it. And left it for a few hours. I put it in my mouth.
　It was a light “daikon”. It tasted a little more like cabbage than daikon, and the skin was thicker and tougher than daikon. It was a bit like “Oh, it would be safer to peel the skin off,” but if you cut it thinner, it would have a certain softness to it. It was not bad at all.
　This was the only one of its kind on display at the store (or was it on the verge of being sold out?), so it is still in the experimental stage. So, it is probably still in the experimental stage. Now, it remains to be seen if it will be able to enter the world of the Japanese taste buds. But it looks cute.

Posted on 8月 15th, 2024 by 三木 奎吾
Filed under: おとこの料理＆食 | No Comments »