Please Use Often: The Philosophy of Wood Artist Maeda Mitsuru

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Wood artist Maeda Mitsuru strongly believes that the special beauty of wood is only achieved after repeated use. He strives to make his designs as simple and utilitarian as possible to encourage continued use by the owner. “I create things that are used everyday so I hope that people grow to love them more as they use them.” He says.

As a young boy, Maeda-san spent many hours carving wood at the workshop of his uncle who was a carpenter. He also had a mother who enjoyed making things by hand so it was only natural for him to eventually become a wood artist after growing up in such practical and creative environment. After graduating from university and spending 15 years working in furniture companies, Maeda-san started creating his own work with wood at his studio in Tokyo in 2005.

Tools used by Maeda Mitsuru — Maeda-san’s selections of carving knives
Photo courtesy of ki-to-te

Maeda-san’s care for his work is evident in the beautiful lines and slight but elegant curves that he adds to each item with a carving knife. He carves the spoons so they are easy to scoop and extremely comfortable to hold, while the spouts on his bowls never dribble. “Each piece of wood is unique, so I look at their grain and consider their quality before deciding what I make out of them” Maeda-san says.

Katakuchi by Maeda Mitsuru — Carving the spout of the bowls
Photo courtesy of ki-to-te

I have been using one of Maeda-san’s wooden spoons for a while now to taste as I cook. The spoon never leaves my coat pocket as I move around the kitchen and is ideal because the wood does not slip even when my hands are wet, nor does it get hot when I pour boiling sauce on it to taste.

Apart from tableware, Maeda-san also makes custom-made furniture at his studio in Tokyo called “ki-to-te”, which means “wood and hand”. I think it is such an apt name for his handmade work and his wish that his wooden creations never leave the hands of their owners.

A Short History of Craft Shows in Japan and Their Surprising Origin

By:

Ai Kanazawa

November 20, 2012Travels

I was traveling in Japan over the past few weeks and one of my destinations was to visit an open-air craft show in Sakai, a suburb of Osaka, called Tomoshibito-no-tsudoi. This well-curated show, held in a quiet park, features 100 artists from all over Japan and takes place annually at the end of October.

Sakai craft show of October 2012 — Panoramic view of the Sakai craft show on a sunny Osaka day

The Sakai show attracted large crowds of people from the surrounding areas. The atmosphere was festive and family-friendly. Besides the many rows of artist booths, there were also plenty of delicious food stalls to feed the hungry masses.

Helped by the excellent weather (at least for the day I was there), the show was packed. Some artist booths had long lines of people waiting to get their hands on the creations of their favorite artists. It is hard to believe that this show was only in its fourth year.

Sakai Craft Fair — A crowd waiting to meet their favorite artist

Craft shows are fun occasions for the artists too. These venues are opportunities for the artists to get out of their studio, meet their fans and the general public, other artists, and people like me who want to spread the word about them outside of Japan. Few if any of them are known or sell their wares outside of the country.

When I go to these shows and meet the artists, I always think about how tough an occupation it is to be an artist. They spend the vast majority of their working hours in solitude, and we have the privilege to enjoy the results of their hard endeavors.

artist meets her fans — A glass artist happily chats with some admirers

There are more than 300 craft shows held around Japan every year. To put this in perspective, imagine 300 of these shows taking place within the state of California, which is roughly the same size as Japan, in one year!

You might also be surprised to find out that these very popular shows only began in Japan in 1985 with Craft Fair Matsumoto. The artists who organized the Matsumoto show saw some outdoor craft shows in the U.S. and Britain and wanted to start something similar in Japan. So these shows have their origins from the West.

Before these shows became popular in Japan, artists were limited to showing their work at galleries and department stores. It appears that there has been a renaissance in the popularity of handmade craft and tradition in the last 5 years in Japan that has been helped by these shows that provide venue for artists, especially promising younger artists, an outlet to show their work.

Potter at Sakai Craft Show — A potter’s booth at the Sakai Craft Show

In the coming months, I will update information about Japanese craft shows on our “links” page that will be accessible from the navigation button at the bottom of our homepage. If you are visiting Japan, there is an excellent chance that one of these shows is taking place during your stay. If so, I highly recommend that you visit the show if you can.

Roasted Butternut Squash and Apple Soup Served in a Ribbed Cup Made by Hanako Nakazato

By:

Ai Kanazawa

September 29, 2012Hanako Nakazato Food and Craft

Autumn is here and that means butternut squash and apple season has arrived! As the temperature drops (even in Southern California), I start to crave hearty hot soups and so decided to make a delicious soup with these seasonal ingredients and share the recipe with you.

When serving a meal with several courses, I like to serve soups in small vessels so that the guests have plenty of appetite left for the rest of the dishes. Hanako’s ribbed cup (or shinogi sobachoko) carries about 6 oz of soup per cup and is the perfect ‘goldilocks’ solution: not too little and not too much.

Don’t forget to put on your favorite music before you start cooking!

Roasted Butternut Squash and Apple Soup

Makes about 48 oz (about 8 x 6 oz servings)

Roasted butternut squash and apple soup served in a ribbed cup made by Hanako Nakazato

Ingredients

Butternut squash, diced 2 lb (approximately 1 butternut quash)
Granny smith apple, diced 8 oz (approximately 1 apple)
Yellow onion, small diced 8 oz
Garlic, chopped 1 clove
Chicken stock 1 quart + 1-2 cups
Nutmeg pinch
Olive oil 2 tbsp and as needed
Bay leaf 1 each
Salt and Pepper TT

Garnish

Leftover bread, small dice ½ cup
Parsley, chopped fine 2 tbsp
Granny Smith apple, thinly sliced 16 slices

Preheat the oven to 350F.
Dice the butternut squash and apple into even cubes and toss in olive oil. Roast in the oven until cooked and lightly browned.
While the squash is roasting, chop the parsley and make the croutons. Use small diced bread and coat in olive oil or melted clarified butter and toast in the oven until nice and crunchy. Remove from oven.
Remove the squash and apple when done, and turn down the oven heat to 300F.
Slice the apple in single layer and lay flat on a baking sheet with parchment paper. Put in the oven and roast until they become dry, crispy and lightly brown.
Turn off the oven and place the cups inside to warm with residual heat.
Heat the olive oil in a saucepan and sweat the onion and garlic.

8. Add the roasted squash and apple and 1 quart of chicken stop. Bring to a simmer and add the bay leaf and cook until the squash and apple are soft.

9. Remove the bay leaf, puree the mixture in a blender, strain through a chinois.

10. Add the remaining chicken stock until the soup is at the preferred consistency, bring to a simmer, add nutmeg and salt and pepper to taste.

11. Pour the soup in the ribbed cup and garnish with croutons and chopped parsley. Place the apple chips on the side.

Bon Appétit!

Hanako Nakazato Shinogi Sobachoko — The portion is perfect when the guests feel they want a tiny bit more

Takami Yasuhiro: Master Bamboo Basket Weaver

By:

Ai Kanazawa

September 11, 2012Baskets Takami Yasuhiro

Baskets by Takami Yasuhiro in our shop ->

The most remarkable aspect of Takami Yasuhiro’s baskets is the stunning beauty of every bamboo splint woven into them. Their evenness and glow create lines that are refreshing to the eye, and give his work a unique air of grace.

Double-Weave-Kikko — Double Weave Tortoise Shell (or Kikko) Basket featuring bamboo segments on the rim by Takami Yasuhiro

I met Takami-san in May 2012 at a special exhibit of crafts in a Tokyo department store. It was sheer luck to be able to meet this soft-spoken artist in Tokyo, because he is usually based in Yufuin city, Oita prefecture, in the southern island of Kyushu. He has been using bamboo to make a wide range of items from small trays to large ceiling installations for over 30 years.

Takami-Yasuhiro — Takami Yasuhiro at his studio in Yuhuin, Oita
Photo courtesy of Chikuseikan

When I saw his work, I was enamored by the contemporary look of his baskets that cleverly featured bamboo segments. Usually the segment part of the bamboo is trimmed off because it makes it more difficult for the artist to weave the splint. I loved that Takami-san uses the segment in his work because this, in my view, is the most iconic and beautiful part of bamboo.

triple-splint — Triple splint bamboo tray
Photo Courtesy of Chikuseikan

Takami-san manually splits every bamboo splint (called Higo in Japanese) using traditional tools and methods. It is hard to imagine the amount of patience required in splitting and matching the width of the splints. Being adept at splitting bamboo is the most important skill for a basket weaver, because the beauty of each splint determines the appeal of the end product. It is said that this skill alone takes three hard years to master.

splitting-bamboo-web — Master basket weaver Takami Yasuhiro splitting bamboo
Photo courtesy of Chikuseikan

Evenly cut splints
Photo Courtesy of Chikuseikan

Tools — Takami Yasuhiro’s tools used in bamboo basket weaving
Photo courtesy of Chikuseikan

When asked why he chose to become a bamboo basket weaver, Takami-san simply said that “I wanted to become a person that absorbed all aspects of bamboo”. What I think he meant by this statement is that he deeply cherishes the qualities that makes bamboo special and has striven to emulate these attributes in his work: the importance of endurance, flexibility, strength, and continuing maturity.

Takami-san seems to have successfully achieved his long-sought goal after spending three decades in mastering this highly demanding craft. He passes on this gift to us in his spectacular work.

Kobayashi Katsuhisa: A Japanese Woodworker’s Homage to Shaker Design

By:

Ai Kanazawa

August 28, 2012Wood Kobayashi Katsuhisa

Woodwork by Kobayashi Katsuhisa in our shop ->

These beautiful Shaker-style tea boxes are made by Kobayashi Katsuhisa, a woodware and furniture maker from Okayama, Japan.

I met Kobayashi-san at a craft show in Himeji in May. He has been making Shaker-style oval boxes for several years now, and feels that the Shaker design philosophy has truly helped to instill in him the importance of restraint in his creative process.

Woodworker Kobayashi Katsuhisa — Kobayashi Katsuhisa
Photo Courtesy of Kobayashi Katsuhisa

The Shakers were the pioneering masters of simple and utilitarian design, which is the heart of mingei as mentioned in our previous blog post. The Shaker creations, including the oval boxes that were first made over 200 years ago, are the very embodiment of their famous tenet that “beauty rests on utility”.

Shaker-style Japanese Tea Set by Kobayashi Katsuhisa
Photo Courtesy of Kobayashi Katsuhisa

Nutmeg and teabox — Shaker-style Tea Box with Inner Tight Fitting Lid Holding Nutmeg Seeds

Putting “beauty rests on utility” into practice is not easy. Kobayashi-san believes that perhaps the most important aspect that a woodworker needs is the ability to resist the temptation to be individualistic, which too often results in unnecessary form that serves no purpose. These simple yet comfortable chairs that he makes are models of utilitarian beauty.

Kobayashi Katsuhisa Chairs — Beautiful Chairs with Clean Utilitarian Design by Kobayashi Katsuhisa, Taken at Himeji Craft Show in May 2012

Making oval boxes requires much skill and patience. Kobayashi-san faithfully follows the Shaker design from the swallowtail fingers to the copper tacks securing the wood. To him, the Shaker oval box design is a perfect form that should not be altered.

Bending of Wood — Bending the Wood by Hand Around the Elliptical Form
Photo Courtesy of Kobayashi Katsuhisa

Securing with Copper Tacks — Securing the Bent Wood with Copper Tacks
Photo Courtesy of Kobayashi Katsuhisa

Meeting Kobayashi-san made me realize that a good design has no boundaries. It speaks a universal language that is understood throughout different generations and cultures on opposite sides of the world. In this sense, the Shaker design is a unique and extremely valuable American cultural treasure and heritage, whose spirit can even be found in the heart and workshop of a quiet and talented Japanese woodworker.

Kobayashi-san’s Shaker-style tea boxes are available at our shop.

Hanako Nakazato: Expressing the Natural Beauty of Clay

By:

Ai Kanazawa

August 14, 2012Ceramics Hanako Nakazato

Ceramics by Hanako Nakazato in our shop ->

A bowl made by Hanako Nakazato is so succulent that the clay seems as though it is still pliable.

Hat Bowl by Hanako Nakazato
Photo Courtesy of Monohanako

“I try to bring out the natural beauty of the clay and glaze”, says Hanako. She finds that the beauty of clay is in its unique plasticity, receptive to the slightest pressure from the fingertips. That characteristic of clay is masterfully brought out in her works. It is hard to resist the urge to pick it up and hold it in your hands.

Production at Monohanako by Hanako Nakazato (1) — Production at Monohanako by Hanako Nakazato
Photo Courtesy of Monohanako

And pick it up you should because Hanako creates wares that are intended for regular use. “A ware’s significance is only complete when it is used” she explains. “The same ware will manifest different expressions depending on the food it carries. I want people to enjoy that variation.”

Katakuchi by Hanako Nakazato
Photo Courtesy of Monohanako

Among the assortment of plates and bowls in the cabinet at home, a select handful keep getting used over and over to serve different kinds of foods. They are chosen because the cook can visualize how well the food fits with the vessel. Hanako’s creations easily trigger such visualizations. The Shinogi sobachoko, for example, is ideal for serving appetizers, soups, ice cream, and many more dishes.

Shinogi-Sobachoko by Hanako Nakazato
Photo Courtesy of Monohanako

Hanako wants her wares to be used often and for many years by their owners. She explains that the key to making such wares is to keep a neutral mind and to “go with the flow” during the production process. Too much planning, eagerness, and intent by the potter will result in works that suffocate and bore people over time. Hanako never measures her wares as she throws.

Production at Monohanako by Hanako Nakazato (2) — Production at Monohanako by Hanako Nakazato
Photo Courtesy of Monohanako

Hanako can only pull off such a feat because she is an extremely skilled potter. She is from the Nakazato lineage of potters that have been throwing pottery for 14 generations in Karatsu, Saga Prefecture, Japan. Refined expertise can only come through rigorous study and learning from the best, and Hanako went through many years of tough apprenticeships under her father, renowned potter Takashi Nakazato, and also Malcolm Wright in Vermont, a student of Tarouemon Nakazato XII, Hanako’s grandfather who was designated as a living national treasure by the Japanese government in 1976.

Monohanako Studio
Photo Courtesy of Monohanako

Hanako’s unique approach is also shaped by the way that she is able to harmonize and find balance between the dual worlds that she inhabits. Born and brought up in Japan, Hanako went to high school in Florida and subsequently studied Art at Smith College in Massachusetts before returning to Japan to apprentice with her father.

This bicultural potter has expertly synthesized the deep traditions of the Nakazato heritage with her own modern American interpretations and experiences. Hanako now spends half of her time in Japan and the other half in her studio in Union, Maine.

Select wares made by Hanako Nakazato and Monohanako West is available at our shop.

Introducing Sasaki Shoko: Making Original and Elegant Kiln Formed Glass

By:

Ai Kanazawa

July 31, 2012Glass Sasaki Shoko

Sasaki Shoko is one of the exciting new talents in Japan’s glass making community. This young and energetic glass artist has a creative vision that is reflected brilliantly in the tasteful combination of shapes and colors that distinguish her kiln formed glass works.

Studio KotoKoto came across Shoko’s work in a show at a prominent department store in Tokyo in October 2011. The show featured handcrafted items for contemporary tea ceremonies and was organized by an artist collective called Enishi.

Kiln formed glass plates by Sasaki Shoko

Shoko explains her approach: “I always try to bring out the best in the ability of glass to create interesting expressions by layering colors”. She strives to bring out the beautiful yet subtle Japanese colors such as gunjyo (ultramarine), sumire (violet), and kurenai (crimson) into her fused glass. Shoko’s exquisite works instantly attracted our eyes.

Fused Glass Plate Diagram — Glass artist Sasaki Shoko’s base drawing and design of her plates
(Photo courtesy of Sasaki Shoko)

Scoring glass with a glass cutter (photo courtesy of Sasaki Shoko)

Sasaki Shoko using glass runner — A running plier is used for breaking the glass along the score line
(photo courtesy of Sasaki Shoko)

An interesting twist is that the colored glass that Shoko works with is produced in the U.S. by Bullseye Glass Co., which has been providing fusing compatibility tested glass to artists around the world since 1974. By layering, sandblasting, and firing and re-firing this glass to precise temperatures in the kiln, Shoko masterfully allows the glass to express the delicate and sometimes slightly muted colors that are uniquely Japanese.

Kiln with slumping mold — Placing the glass on a slumping mold in the kiln
(Photo courtesy of Sasaki Shoko)

Shoko grew up in Niigata, a prefecture in the island of Honshu on the coast of the Sea of Japan. After moving to Tokyo to attend Musashino Art University, she was instinctively drawn to glass as a medium because of their transparent and colorful nature. During her formal training at the university for a Masters of Fine Arts, she was especially drawn to kiln-formed glass because it allowed her to accomplish numerous expressions by understanding and manipulating the kiln temperatures.

“My work may not be flamboyant, but I design them to have a distinct presence when people use them”, Shoko points out. The work she creates are stunning and elegant indeed!

A selection of kiln-formed glass plates made by Sasaki Shoko is available from our shop.

Visit to Saratetsu Dye Studio Part 3 – Butterflies and Fern: Bringing Back the Magnificent Stencil Patterns of the Past

By:

Ai Kanazawa

July 17, 2012Textiles Saratetsu

Saratetsu linen furoshiki with vintage stencil pattern in our shop ->

Saratetsu, the last yuzen wrapping cloth (or furoshiki) dyer in central Tokyo, has accumulated a treasure trove of stencils since opening for business in 1910.

KotoKoto was especially fascinated by the design of old paper stencils that Saratetsu used before switching to computer generated screens 22 years ago. These old paper stencils are called katagami, and are made by layering multiple pieces of Japanese paper glued together with persimmon tannin. Kimono and other fabric dyed with these waterproof paper stencils were extremely popular in Japan from the mid Edo (around 1800) to the early 20th century.

We wanted to pick two stencil patterns to be used for our new linen designs. But with such rich choices available, making a decision was incredibly difficult.

Many were not just beautiful but had special meaning to the Japanese people. For example, the ‘feather of arrow’ pattern had the power to ward off evil. It also was often used on gifts to a bride to wish her a happy marriage. As an arrow never came back once it was shot, the gift senders wanted to wish that the bride would not return home because of a broken marriage.

After taking many pictures of the old stencils, countless hours were spent back in California contemplating all these attractive patterns and the meanings they convey. We are finally happy to announce the selection of the butterflies and fern patterns!

According to the book “Symbols of Japan – Thematic Motifs in Art and Design” by Merrily Baird, the butterfly is a symbol of joy and longevity. It is also a symbol of rebirth, a sentiment that we strongly wish for the Japanese people as they continue to recover from the devastating earthquake of 2011. We also thought that it was appropriate for KotoKoto’s launch in our hope to be an ever changing and exciting website for people to discover new things. The butterfly motif has enjoyed widespread popularity in Japan since the Nara period (710-794).

The fern is a symbol of long life and family prosperity because of the numerous spores on its leaves. We especially liked this pattern because the fern represents elegance and hardiness, characteristics that we seek in the skill and craft of artists. The fern motif has been popular in Japan since the Heian period (794-1185) and has also been fashionable in the West since the ‘pteridomania’, or a craze for ferns, struck Victorian Britain in the 19^th century.

Exif_JPEG_PICTURE — Color Testing on Linen

We are now testing colors with Saratetsu and will be starting to print these fabrics very soon!

Read all of the previous postings about Saratetsu here.

How are these used? Read our furoshiki blog post ->

Visiting the Old Pottery Town of Bizen and Kurashiki Craft Show in Okayama

By:

Ai Kanazawa

July 3, 2012Bizen Travels

If you are a traveler interested in Japanese crafts and like to visit places that are not major tourist destinations, we suggest that you travel to Okayama prefecture in Western Japan. In May, Studio KotoKoto visited Okayama, home to the famous Bizen pottery and also known for glass, Japanese paper, and other local crafts.

Bizen vases filled with water to test for leakage
Ichiyo Gama Bizen

You can get to Bizen from Okayama station by taking the Japan Rail (JR) Ako line and getting off at the sleepy station of Imbe, about 40 minutes east of Okayama. We were excited to visit this famous pottery town with more than 1000 years of history because we have great respect for what Bizen stands for: crafts that are close to the earth. We also love the natural and modest beauty of these unglazed and unadorned pots.

The starting point for any visit is the Bizen Pottery Art Museum where many Bizen masterpieces and works of art from Japanese artists deemed to be living national treasures are on display. After feasting your soul on this splendid artistry, walk around the streets to see how pottery is at the core of this town’s life and identity.

We strolled along the main street and noticed that many pottery shops are right in front of the kilns that produce their wares. While visiting one of the most established kilns in Bizen called Kimura Ichiyo-gama, we had the fortune to meet its owner, Mrs. Kimura, who gave us a thorough tour of her studio and noborigama kiln (“climbing” kiln.)

Kurashiki is another delightful town in Okayama that we were able to spend time to uncover its charms. The town is dominated by stunning old wooden storehouses (or Kura) built in the 17^th century with white plastered walls and black tiles. The storehouses are built along a beautiful canal where you can watch colorful Koi fish swimming gracefully.

night kurashiki — Kurashiki Bikan Chiku and canal by night

Bikan1 — Kurashiki Bikan chiku and canal by day

Some of these storehouses have been converted into museums. The most famous is the Ohara Museum of Art, the first-ever Western art museum in Japan. But our favorite was the Japan Folk Toy Museum where hundreds of handmade and antique toys from different parts of Japan are displayed in a converted rice storehouse. The museum’s owner Ohga Hiroyuki is listed in the 1983 Guinness Book of World Records for spinning a large handmade top for an hour and 8 minutes!

Photos: Ohga Hiroyuki spinning a top; A top on a tightrope, Folk Toy Museum, Kurashiki, Okayama

We enjoyed wandering around the back alleys of Kurashiki, especially in the Honmachi and Higashimachi districts that are full of old houses, cute shops, and wonderful sake shops.

Sake shop — A sake shop
Honmachi Kurashiki, Okayama

If you are going to Kurashiki, we highly recommend going in May when the town hosts one of Japan’s best annual craft shows called “the Field of Craft Kurashiki”. This high-quality show is hosted by the town and features more than 70 artists. This year’s event took place on 12-13 May and we had a fascinating time enjoying and being impressed by the rich offerings on display!

Our Itinerary

Day 1 Tokyo-(3hrs 30mins)-Okayama-(40 mins)-Imbe-(1 hr)-Kurashiki
Day 2 Kurashiki craft show
Day 3 Kurashiki museums and sights-(20 mins)-Okayama-(3hrs 30mins)-Tokyo

FOC — A Potter’s stall at the Field of Craft Kurashiki

The Inseparability of Food and Craft: Hand-Woven Bamboo Tray by Takami Yasuhiro & Shrimp and Avocado Canapé

By:

Ai Kanazawa

June 28, 2012Baskets Food and Craft Takami Yasuhiro

Do you think food only looks good and tasty in plain-colored, uniformly mass-manufactured vessels? At Studio KotoKoto, we believe that appreciating and enjoying the vessels that contain the food should also be an important and fun part of the dining experience. We want people to ask not only what is on the plate but also who made the plate.

In this food blog, we want to inspire the notion that food and craft are inseparable by offering ideas and thoughts about this relationship. To do this, we will feature a handmade piece by an artist and suggest a dish to go with it.

Today we are using a double-layered mesh (ajiro) woven bamboo tray by Takami Yasuhiro of Chikuseikan*.

二重透かし網代 — Double-Layered Mesh Ajiro Hand-Woven Bamboo Tray by Takami Yasuhiro
14″W × 2.5″H

The refreshing summer look of this vessel is perfectly suited for plating delicious, bright appetizers, and so we decided to serve shrimp and avocado canapés. A simple chip and dip recipe with a fine dining twist by Ai makes them really attractive!

Shrimp and Avocado Canapé Makes about 16 canapés

Base

Round Corn Chips 16

Spread

Avocado 2 each
Lime Juice 1 tbsp
Garlic, chopped fine 2 cloves
Cilantro, chopped fine 1 tbsp
Salt and Pepper TT

Put the avocado in the blender and add lime juice.
Take the avocado paste out of the blender and mix in garlic and cilantro. Salt and pepper to taste.

Garnish

Small-Medium sized Shrimp 16
Red Onion, brunoise (see photo) 2 tbsp
Lime Juice 1 tsp
Cilantro, chopped fine 1 tsp
Cilantro leaves 16 each
Olive Oil TT
Salt and Pepper TT

1. Boil shrimp and put in ice water to cool. Pat them dry. Add lime juice, cilantro and coat with olive oil. Salt and pepper to taste.
2. Brunoise red onion. This will be the “wow” factor of this dish to show your knife skills so spend time to make them nice! Coat this with a little olive oil also.

Now all the parts are ready to build the canapé.

Pipe out the spread onto corn chips.
Scoop some brunoise red onion on top.
Position the shrimp on top of the spread.
Garnish with a leaf of cilantro.