Sake for Beginners

On our very first evening in Tokyo, there was one thing we knew we absolutely had to experience before anything else – sake served in the traditional Japanese way. After a long day of travelling and our first walk through Shinjuku, we eventually found ourselves in a tiny izakaya hidden somewhere between office towers, railway tracks and glowing neon signs. It was there, on that first evening in Japan, that I had my first real introduction not only to sake itself, but also to Japanese drinking culture as a whole, which turned out to be far more relaxed, social and lively than I had imagined before arriving.

Sake is one of Japan’s most traditional alcoholic drinks. Outside Japan it is often described as rice wine, although technically its production process is actually much closer to brewing beer than making grape wine. Sake is produced from fermented rice, water, yeast and kōji mould, which converts the starch in the rice into fermentable sugars. The process itself is surprisingly intricate and highly refined, and in Japan the quality of sake is treated with the same seriousness that wine receives in France or whisky in Scotland.

Only a few days into the trip, I had already begun to realise how enormous and complex the world of sake really is. There are countless varieties differing in flavour, aroma, sweetness, texture and production method. Some are light and almost floral, others richer, earthier or much drier. One of the things that surprised me most was how important temperature is when serving sake. Depending on the variety, it may be served either chilled or warm. More delicate and expensive types are usually served cold to preserve their subtle flavours, while simpler varieties are often heated, which brings out stronger and fuller notes.

We decided to try cold sake, and this was when I first encountered one of the most distinctive rituals associated with serving it. Small glasses were placed inside square wooden boxes called masu, traditionally made from fragrant cedar wood. The waiter then began slowly pouring the sake into the glass until it overflowed completely and spilled into the wooden box underneath. From a European perspective, it almost looked like a mistake or unnecessary excess at first. In reality, however, the overflowing sake is entirely intentional and symbolises generosity, hospitality and abundance. The idea is that a guest should receive more than enough, never merely a full glass.

We first drank directly from the glass itself and afterwards either sipped the remaining sake from the masu box or carefully poured it back into the glass. The entire ritual felt strangely elegant despite its simplicity and perfectly matched the atmosphere of those tiny izakaya hidden beneath the railway tracks of Shinjuku.

Only later did I begin to understand how broad Japanese drinking culture really is, because sake was only one part of it. During the trip we also tried several other alcoholic drinks that turned out to be just as characteristic and deeply connected to everyday life in Japan.

The most common drink by far was actually beer. It seemed to be everywhere – in restaurants, izakaya, supermarkets, vending machines and convenience stores. In the evenings, huge numbers of office workers would gather after work simply to drink beer together, usually accompanied by endless small dishes shared around the table. Japanese beer is typically light, crisp and extremely easy to drink, particularly with food. Even people who do not normally care much for beer might be surprised by how naturally it fits Japanese cuisine. Brands such as Asahi, Sapporo, Kirin and Suntory are deeply woven into everyday Japanese life, and only after arriving there did I fully realise how important beer culture actually is in Japan.

Another drink that appeared constantly around us was shochu. At first, the easiest comparison in my mind was something between vodka and a stronger distilled spirit, but very quickly it became clear that shochu has its own entirely separate identity. It can be produced from rice, barley, sweet potatoes, buckwheat or sugar cane, and depending on the ingredient the flavour changes dramatically. Some varieties are smooth and delicate, while others are earthy, heavy and surprisingly intense. Shochu is commonly served over ice, diluted with water or mixed with tea, and despite being hugely popular in Japan, it remains relatively unknown outside the country.

One of the most approachable drinks we discovered was undoubtedly umeshu, a plum liqueur made from ume fruit. Compared with sake or shochu, it is sweeter, fruitier and much easier to enjoy immediately. It was often served over ice or mixed with sparkling water and had a wonderfully balanced flavour – sweet, fragrant and slightly tart at the same time. It was probably one of those drinks that almost anyone could enjoy, even people who normally dislike stronger alcohol.

Perhaps the biggest surprise for me, however, was Japanese whisky. Before travelling to Japan, I had barely realised that the country produced whisky considered among the finest in the world. Japanese distilleries originally drew inspiration from Scottish whisky-making traditions, but gradually developed a style of their own – smoother, more restrained and exceptionally refined. Today names such as Yamazaki, Hibiki and Nikka are internationally recognised, but at the time this was an entirely unexpected discovery for me.

What stayed with me most from those evenings, though, was not any specific drink itself but the entire atmosphere surrounding it. Going out for drinks in Japan rarely felt like simply going drinking. Instead, evenings in izakaya became long, social rituals built around conversation, shared dishes, grilling food together at the table and slowly ordering one small plate after another. And perhaps that was exactly what fascinated me most during those first evenings in Tokyo. During the day the city felt orderly, disciplined and almost overwhelmingly controlled, yet at night the tiny izakaya hidden beneath the skyscrapers filled with groups of friends, students and office workers laughing loudly, eating, drinking and finally relaxing after work.

 

Sake for Beginners

Koinobori

While in Japan, we saw many times windsocks in the form of fish hanging over streets, over rivers or in front of houses. The first time it was in the streets of a small city somewhere in the greater Tokyo agglomeration. That time I thought it was just some fancy street decoration (see picture). I did not put much attention to it and even have forgotten the photos I made.

But two days after, I was on a bus on the way to a remote national park. We crossed small villages. I was sitting next to a colleague who has a degree in Japanese culture. He said ‘look’ and pointed his finger on a set of five fish windsocks displayed on one of the houses. Those stand for the family. Besides the father and mother, there are three kids in this house, two sons and one daughter. I can read this from the colors of those windsocks’. The next day I started to put attention and noticed the windsocks in many other places.

The windsocks are called ‘koinobori’. They reflect carps (fish art) that are considered as symbolic in the Japanese culture. In Japanese carp means ‘koi’. The carp is capable of moving up-stream. Thus it is a symbol of perseverance and strength. Altogether it symbolizes good fortune and prosperity. Walking around Japanese gardens, you will often find ponds (lakes) with carps inside. Besides darker ones, you will notice orange carps.

Traditionally, koinobori are displayed on streets and around houses for a couple of weeks around the Children’s Day that in Japan is celebrated on the 5th of May. The holiday is a part of the so-called Golden Week a series of public holidays that take place at the end of April (from the 29th) and the beginning of May (till the 5th). It is a kind of ‘long weekend’ that means a series of public holidays quite close to each other in the calendar, so taking only single days of paid leave and counting on weekends one may enjoy a short vacation of ten or more days.

 

Koinobori

The Golden and Silver Pavilions of Kyoto

While staying in Kyoto, the former capital city of Japan, presently considered as the religious center of Japan, we visited several temples or temple complexes. Two of them were Zen Buddhist temples with small buildings called Pavilions at their focus – the Temple of the Silver Pavilion and the Temple of the Golden Pavilion.

Both Pavilions were commissioned ages ago by Japanese Shoguns of the Ashikaga shogunate: Ashikaga Yoshimitsu in the late XIV century (Golden Pavilion) and one of his successors Ashikaga Yoshimasa in the mid-XV century (Silver Pavilion).

Some historical comment is probably needed here. Japan was for a thousand years an empire. Most of the time, however, from the late XII to the late XIX century, the actual rulers of the country were shoguns – the military dictators with absolute power. Emperors held only a ceremonial role. Ashikaga shogunate lasted from 1336 to 1573.

The Temple of the Golden Pavilion.

Kinkaku-Ji or Temple of the Golden Pavilion, also known as Rokuon-Ji or Deer Garden Temple, was initially built in the XIV century. Ashikaga Yoshimitsu bought this place at that time known as Kitayama-dono from a noble family and converted into his retirement villa, a place for contemplation and solitude. After his death, the pavilion and the surrounding buildings were converted into a Zen temple and renamed into Rokuon-Ji after his posthumous name Rokuon’in. The posthumous name was an honorary name given to nobles in Japan after they passed away.

The main feature of the pavilion is the golden leaf coat that gives it an outstanding look. The building we can admire today is not the original one. The Pavilion was torched in 1950 by a novice monk and fully restored in 1955. The golden leaf coat was restored in the eighties.

The building is surrounded by a garden of Japanese style with carefully cut trees, clean moss (means with no blades of grass), carefully laid stone formation, small waterfalls, and irises that seem to emerge from the water. The garden is dominated by a small lake (the Japanese call it pond). The pavilion is built just at its edge, so from far away, you are under the impression it is floating on water.

The Kinkaku-Ji gardens with carefully cut trees, clean moss, carefully laid stone formations, small waterfalls, and irises planted in the water.

Ginkaku-Ji, or Temple of the Silver Pavilion or Jishō-Ji or Temple of the Shining Mercy, was initially a villa with a garden that like the Kikaku-Ji, was used by a retired Shogun Ashikaga Yoshimasa. Like his grandfather, Ashikaga Yoshimasa made arrangements that, after his death, his villa becomes a Zen temple. Initially, the building was to be covered with silver foil. For different reasons, it was, however, never painted with silver. As his successor son died early, Yoshimasa had to reassume the power and responsibilities. He retired again after he arranged for his nephew to step in. Like in the case of Rokuon-Ji, the Temple of the Silver Pavilion was named by his posthumous name that was Jishōin.

The Temple of the Silver Pavilion

The temple is surrounded by a garden, laid out naturally Japanese style. In comparison to other gardens, we saw while traveling Japan, the majority of it was just a natural forest, bushes, and moss climbing a mountain. A small area of it was covered with a bamboo forest. The lower parts were more artificially taken care of with ponds surrounded by stone and moss arrangements, as well as pruned trees.

Japanese Garden arrangements around the Silver Pavilion

Already in other gardens, we saw paths of gravel or gravel raked to form water-like patterns. But here, the first time we saw a raked sand field and a heaped symmetric pile of sand (a small mound) built with much care. At first sight, I thought the gardeners prepared the soil for some plants. The sand arrangements are, however, the part of the garden’s permanent decoration. The pile is said to symbolize Mount Fuji. On the garden schematic, the sand arrangement was described as Ginshadan or the Silver Sand Sea and the sand pile as Kogetsudai or the Moon Viewing Sand Mound. I can only imagine that restored each time after it has rained.

A pond formed of raked sand that symbolizes a sea and a sand mound in the Silver Pavilion Gardens.

The sand and gravel arrangements are a feature of the so-called Japanese rock gardens.

The Golden and Silver Pavilions of Kyoto