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[Visiting the Komai Residence in Kitashirakawa]

In Kyoto's quiet residential neighborhood of Kitashirakawa lies a district with a slightly different atmosphere from the rows of traditional Kyoto townhouses (machiya). From the late Taisho to the early Showa period, this area became home to many scholars from Kyoto Imperial University and other literary figures. Standing quietly in one corner is the "Komai Residence," which retains its serene ambiance from 1927 (Showa 2).

Dr. Taku Komai, a geneticist often called the "Darwin of Japan," and architect William Merrell Vories. Created through the encounter of these two men, this residence is not a mere blend of Japanese and Western styles; its exterior is based on the Spanish style that was popular in America at the time. The roof features red, wave-shaped Western-style flat tiles (sangawara). While Spanish-style architecture typically utilizes rounded Spanish tiles, sangawara—tiles commonly used in Japan—were chosen for the Komai Residence out of consideration for the surrounding landscape. At first glance, it appears to be a complete Western-style house, but inside, Japanese interior elements are skillfully integrated. Shoji paper sliding screens are housed inside the bay windows of Japanese-style rooms, and lifting the central tatami mats reveals a built-in horigotatsu (sunken hearth). Ingenious touches abound, such as window placements that bring light and breeze into each room and views of the outdoors from within, all attuned to Kyoto's climate and four seasons. Rather than a Western-style house meant for show, it embodies a new form of housing designed to cherish everyday life.

Stepping inside the building, the clean beauty of the linear floor plan and elegant grace harmonize comfortably. The windows feature tasteful semicircular arches, and the stair handrail curves with the graceful form of a grand harp. Built-in benches are set beneath the bay windows, creating a structure that is both practical and focused on relaxation. Without relying on excessive ornamentation, the beauty of the lines inherent in the space itself brings a thrill to the heart.

This aesthetic sense is felt not only in the structure and design of the building, but everywhere. Inside the house, there was a sort of consistent, beautiful discipline. For instance, the color of the doorknobs is subtly varied between the doors used by family members and the doors through which guests are welcomed. The doorknob for the sunroom door is a clear purple, while most of the others are colorless, a distinction said to have separated public and private spaces. This seemed to breathe a quiet respect for the residence, the people living in it, and those visiting.

There are also delightful details where practicality and playfulness harmonize. A small drawer for storing a shoe-shining set and shoe polish is installed in the wall just before the entryway, and sliding-door storage is casually provided beneath the benches in the living room. Despite dating back to 1920 (Showa 2), window fixtures already incorporated screens, and a wide storage space under the roof with a hoisting staircase was designed for Dr. Komai, who had to handle large amounts of luggage such as suitcases from traveling abroad. Vories's cutting-edge rationality and meticulous consideration for residents are scattered everywhere. A living room that warmly welcomes residents and visitors alike, a study for deep contemplation, and a sunroom overflowing with light. The atmosphere where utility and design melt together in an unprecedented balance, harmonizing without force, is precisely what I feel is the beauty of the Komai Residence.

What Vories, a Christian missionary, aimed for was neither original nor eccentric architecture; rather, he sought to keep expenses to a minimum while providing the utmost satisfaction. Vories's design philosophy—that a home should be comfortable to live in, healthy, and fulfill the desires of its occupants in daily life—continues to quietly convey to us the true meaning of a wealthy way of living, even nearly a century later.

Komai Residence (Taku and Shizue Komai Memorial House)
http://www.national-trust.or.jp/protection/index.php?c=protection_view&pk=1490651710
Showroom Information
https://www.shokunin.com/en/showroom/

References
https://kyoto-museums.city.kyoto.lg.jp/museum/185/
https://san-ei-kyoto.com/topic/kyoto-kitashirakawa-ichijoji-local-information/

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[A Recent Word on Biryani]

Originating in the Indian subcontinent, biryani has recently become easier to find in authentic forms at major supermarkets like Seiyu and even convenience stores.

When it comes to Indian cuisine, I feel like naan and butter chicken curry used to be the quintessential popular choices. Lately, however, we can enjoy a wide variety of dishes such as South Indian meals and biryani, which makes me very happy as an Indian food lover.

The extra-long grain rice found in biryani is known as "basmati rice," an aromatic indica variety. It is characterized by its slender, unique appearance and a lightness that gently melts in the mouth, perfectly complementing heavy sauces and robust spices. Because of its light, non-heavy texture on the stomach, I always end up eating a little too much of it.

Basmati rice is sometimes described in Hindi as meaning "the queen of fragrance" or "full of fragrance." It is characterized by a sweet, savory, and unique aroma reminiscent of popcorn or nuts. A key component heavily involved in this fragrance is an aroma compound called "2-acetyl-1-pyrroline (2AP)." The aroma of basmati rice is influenced by many factors, including not only the variety's characteristics but also its growing environment and maturation. Cultivated for centuries in the region corresponding to modern-day India and Pakistan, it encompasses a wide diversity of varieties, with those produced in the Himalayan foothills often considered to be of particularly high quality.

The etymology of "biryani" has various theories, with suggestions pointing to the Persian word "birinj," meaning "rice," or "biryan," meaning "to fry" or "to roast."

Biryani is a dish that developed in the Indian subcontinent through the fusion of the rice cooking culture introduced to Persia (modern-day Iran) with India's rich spice and rice cultures. It is thought that Persian rice dishes like pulao combined with Indian spices, basmati rice, ghee (clarified butter), and other ingredients within the court cuisines of empires such as the Mughal Empire, subsequently developing while incorporating regional ingredients and cooking methods. Deeply intertwined with the movement of people via Indian Ocean trade and the exchange of Islamic culture, ingredients, and culinary traditions, it evolved into regional biryanis and rice dishes unique to each locale.

The former northern capital of Lucknow features Awadhi biryani, which developed against the backdrop of court cuisine. It is characterized by an elegant and gorgeous aroma utilizing saffron, rose water, and kewra (flower water). Its representative "pakki" method involves layering pre-cooked meat and half-boiled rice, sealing the pot, and slow-cooking it using a steaming method called "dum." Its charm lies in a delicate flavor profile where the rich flavor of the meat, spices, and floral fragrances layer upon one another rather than relying on intense heat or spiciness.

On the other hand, Hyderabad in southern India features the robustly flavored Hyderabadi biryani. Utilizing green chilies, mint, coriander, and spices, it is characterized by a piquant heat and the refreshing fragrance of herbs. Particularly well-known in Hyderabadi biryani is the "kachchi" method. Raw meat is marinated in spices, yogurt, and other ingredients, layered with half-boiled rice, and the pot is sealed to finish with dum cooking. Because the moisture, fat, and steam released from the meat cook the meat and rice simultaneously, the meat's savory juices infuse into the rice, creating a powerful and unified flavor profile. India also features other regional variations of biryani. The preparation methods are not uniform, including types that use raw rice directly or types that use smaller Kaima rice instead of basmati.

Lately, what we relatively often see in Japan might be the Hyderabadi-style spicy biryani. In Japan, you can find everything from authentic versions to those localized to suit Japanese ingredients and cooking environments. I find it remarkable that we can now enjoy basmati rice biryani even at convenience stores.

Learning about, eating, and cooking rice dishes from around the world—it is truly delightful to have an increasing choice of such dishes.

Seiryugama's Sencha Cup
https://www.shokunin.com/en/seiryu/sencha.html

References
https://ja.wikipedia.org/wiki/ビリヤニ
https://ja.wikipedia.org/wiki/バスマティ
https://ja.wikipedia.org/wiki/香り米
https://mashal.jp/blog/explain-how-to-make-biryani/
https://en.wikipedia.org/wiki/Dum_pukht

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[Asuka Village]

Can you immediately recall how many World Heritage sites there are in Japan? Currently, there are 27 natural and cultural World Heritage sites combined in Japan, and the 27th site, registered in July, is the "Asuka-Fujiwara Palace Sites" in Nara Prefecture. This World Heritage registration was heavily covered in the news, so it is likely fresh in many people's memories.

The "Asuka-Fujiwara Palace Sites" consist of 19 assets across a region spanning Kashihara City, Sakurai City, and Asuka Village in Nara Prefecture. During the Asuka period from the late 6th to the early 8th centuries, this region served as the political and cultural center. Through exchanges with countries in East Asia, it incorporated new technologies, cultures, and political systems, establishing the framework of a centralized state. It is truly the birthplace of "Japan."

I was able to visit Asuka Village, home to numerous such constituent assets, in early June. As a side note, the day after I visited Asuka Village, the news reported that UNESCO's advisory body recommended the "Asuka-Fujiwara Palace Sites" for World Heritage cultural registration. Feeling a sense of timing and destiny, it made for a delightful journey.

The first place I visited was the ruins of Asuka-dera Temple. Founded at the vow of Soga no Umako, Asuka-dera is the oldest temple in Japan featuring a full-scale Buddhist garan (temple layout). According to the "Nihon Shoki" (Chronicles of Japan), Buddha's sarira (ash relics) were brought from Baekje in 588, and construction began. For its construction, technologies transmitted by immigrant artisans from Baekje (in the southwestern part of the Korean Peninsula)—such as temple builders, tile experts, and painters—were utilized. Asuka-dera is also the first building in Japan where roof tiles were used, and the tiles excavated from the site feature floral patterns known as "soben renge-mon" (plain lotus petal patterns), which closely resemble tiles excavated from Baekje temple ruins.

Although the buildings from the time of its foundation were lost to fire, the "Asuka Daibutsu" (Seated Shaka Nyorai), the oldest existing Buddha statue in Japan, still sits enthroned in the exact same location as when it was first created. Observing the face of the Asuka Daibutsu closely, one can strongly feel the influence of continental culture in its elongated face and almond-shaped eyes. This makes complete sense, as the sculptor of this statue is believed to be Kuratsukari no Tori, a Buddhist sculptor of immigrant descent.

Furthermore, on the west side of Asuka-dera stands the head mound of Soga no Iruka. This is because a legend remains that the head of Soga no Iruka—who was assassinated by Naka no Ōe no Ōji and Nakatomi no Kamatari at the Asuka Palace Site (a constituent asset) located south of Asuka-dera—flew all the way to this spot. Soga no Umako, Soga no Iruka, Naka no Ōe no Ōji, Nakatomi no Kamatari, and the Isshi Incident. The vocabulary words we desperately memorized, tucked away deep in the drawers of our memory, are pulled out one after another. Asuka Village is a place where textbook stories from a distant era manifest before your eyes in tangible forms.

The next place I visited was Ishibutai Kofun (Stone Stage Tomb). Although the person entombed has not yet been definitively identified, the theory that it is Soga no Umako is the most prominent. It is one of the largest square tumuli in Japan, with an estimated total weight of 2,300 tons for the stone chamber constructed by piling up 30 giant stones. Because the earthen mound has been lost, the stone chamber is exposed. Encountering Ishibutai Kofun in person leaves you overwhelmed by its sheer size, rendering you speechless. Your mind fills with questions: How on earth? Who built it in an age without cranes, heavy machinery, or computers? Experiencing wonder not just from what is in front of you, but letting your imagination expand and sparking your own "questions"—this, I realized, is the true way to enjoy Asuka Village and the ancient era.

What sparks curiosity here is how the traces of an era as unimaginably distant as 1,400 years ago have been preserved. The person who devoted himself to this was Keizo Mii. Mii was working as a Kampo (traditional herbal) doctor in Osaka, but he became enchanted by the timeless, beautiful landscape of Asuka and moved there. Feeling a profound sense of crisis as the wave of residential development during Japan's high economic growth period encroached upon Asuka Village, Mii recorded his heartfelt thoughts onto a single cassette tape in 1970 as a "spoken direct appeal" and entrusted it to Konosuke Matsushita, the founder of Panasonic, with whom he had a close relationship. The tape was passed from Matsushita to then-Prime Minister Eisaku Sato, who actually visited Asuka Village to inspect the area. Afterwards, a Cabinet decision was made toward its preservation. This series of events supported various measures and the enactment of laws to protect the natural environment and scenery of Asuka Village for the future.

The ancient people who forged the birthplace of "Japan" in this land, the people who advocated for its importance and sought to protect its traces, and the people who currently live in Asuka Village and safeguard its landscape. I felt that it is through the connection of people's thoughts spanning 1,400 years that led to this World Heritage registration.

I toured Asuka Village using a rental car this time, but once a slightly more comfortable season arrives, I hope to revisit Asuka Village to fully immerse myself in ancient romance by making the most of bicycles and walking. Just imagining the beautiful, seasonally changing appearance of Asuka Village swells my heart with anticipation. Recently, Nara Prefecture announced plans centering around the World Heritage registration, including improvements to local transportation access and touring environments, as well as collaborative events. Asuka Village is bound to attract even more attention from both within Japan and abroad. How about considering it as one of your travel destinations for the upcoming autumn?

References
https://asuka-fujiwara.jp/kids/
https://www.asukabito.or.jp/benefactor.html
https://asukamura.com/asuka-fujiwara/
https://www.pref.nara.lg.jp/ikasu-nara/bunkashigen/main10649.html
https://yamatoji.nara-kankou.or.jp/03history/04stone/03east_area/ishibutaikofun/
https://online.bunka.go.jp/heritages/detail/544736