{"id":43298,"date":"2024-03-09T06:21:06","date_gmt":"2024-03-08T21:21:06","guid":{"rendered":"http:\/\/kochihen.replan.ne.jp\/?p=43298"},"modified":"2024-03-09T06:21:06","modified_gmt":"2024-03-08T21:21:06","slug":"%e3%80%9016%e4%b8%96%e7%b4%80%e5%88%9d%e9%a0%ad-%e3%83%8b%e3%83%83%e3%83%9d%e3%83%b3%e3%80%8c%e9%a3%9f%e3%81%ae%e4%b8%96%e7%95%8c%e3%80%8d%e3%81%a8%e6%96%99%e7%90%86%e4%ba%ba%e3%81%9f%e3%81%a1","status":"publish","type":"post","link":"http:\/\/kochihen.replan.ne.jp\/?p=43298","title":{"rendered":"\u301016\u4e16\u7d00\u521d\u982d \u30cb\u30c3\u30dd\u30f3\u300c\u98df\u306e\u4e16\u754c\u300d\u3068\u6599\u7406\u4eba\u305f\u3061\u3011"},"content":{"rendered":"

\"\"<\/a>
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English version\u2b07<\/p>\n

Nippon’s “World of Food” and its Cooks in the Early 16th Century
\nIn what kind of space did our predecessors confront cooking? The atmosphere directly resonates beyond time and space. Life has been handed down in this way. <\/p>\n

This Yamato-e is from a panel displayed at the Yuzuki Castle Museum in Matsuyama, Ehime, Shikoku, Japan, as was the case yesterday.
\n\u3000The origin material seems to be from the “Sake and Rice Theory Picture Scroll” painted in the early 16th century. The following Wiki abstract – It is said to be based on a painting by the Kano school and is also called “Shimoto Kamito Emaki,” “Sanron Emaki,” “Sake Shokudo Ron,” and “Shimoto Kamito no Kaki” (literally, “A man who loves sake and rice”). The painting is said to be composed of three people, one who loves sake, one who loves rice and is a “down-and-out” drinker, and one who enjoys both in moderation, each developing his own theory on the subject. The detailed descriptions of cooking, serving, eating, and drinking are valuable materials for understanding the food culture of the time. ~ (laughs)
\n\u3000That’s right (laughs). The actions of the cooks are recorded quite clearly, and it is enjoyable to get a sense of the space and atmosphere of “Japanese food,” the basis of daily life, transcending time and space.
\n\u3000In the above illustration, we can feel the realism of fish and birds on a large cutting board with legs, about to be processed. Today, it is considered reasonable to “stand” when cooking, but until the Edo period (1603-1868), it seems that it was common practice to “sit” when preparing food. The floor is a wooden floor, and the chef himself works on a bamboo floor laid out like a cushion. The fish cook describes the moment when he captures the fish with large chopsticks and inserts the knife with his right hand at the very moment, perhaps to restrain the fish from flailing in his left hand. The chef’s table and the dish containers can be seen behind him, and from the looks of it, it may be a “live cooking” type of dish. It seems that the liveliness of the dish is the most important thing.
\n\u3000On the other hand, the chef is working to process the bird. The working posture is almost the same.
\n\u3000Both seem to be putting in a lot of effort in a kneeling posture, but I wonder how it went. I feel that there is a “gap” in the wooden floor. This may be because a large amount of water is required when processing fish and chickens.
\n\u3000In the foreground, a dish is being cooked over a charcoal fire. The finished food is being put into a bowl and about to be handed to someone.
\n\u3000In addition, on the left in the foreground, a cook is preparing a bird. He appears to be the only one sitting on the edge in a mid-leg position. Since he is removing the fur from the bird, it may be easier to work outdoors. We can also see the foundation of the stone building. Next to her is a woman with a baby in her arms, working on a bowl-shaped container. Perhaps she is helping her husband with his work and is trying to pour water from a water jar into a “sink.
\n\u3000It is as if the scene is a clear description of the daily life of the people who were cooking for the nobility over a period of 500 years. The way in which this situation is depicted from a slightly elevated perspective in traditional Japanese painting is also fascinating.
\n\u3000As a food lover myself, I have a weakness for this kind of expression (laugh). I was grateful to him for having left us a painting with this kind of subject matter.<\/p>\n

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