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  • Japanese Tea Omakase Tasting and Music Pairing with Uyo Okabe June 15, 2026
  • Chasen Master Tanimura Tango in San Diego and Los Angeles, May 29th, 30th, and 31st April 18, 2026
  • Morning Tea and Craft Pop-up at PARU Salon February 19, 2026
  • PARU Salon Gathering November 1st & 2nd, 2025 October 22, 2025
  • Blue-and-White Sometsuke Porcelain by IWANAGA Hiroshi in Arita, Saga August 14, 2025
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Category: People

Chasen Master Tanimura Tango in San Diego and Los Angeles, May 29th, 30th, and 31st

By:
Ai Kanazawa
April 18, 2026Events, Workshops and Webinars Tea (Chado) TANIMURA Tango

Entoten will be hosting chasen master Tanimura Tango to hold demonstrations and workshops in San Diego and Los Angeles.

Friday May 29th: Japanese Friendship Garden & Museum San Diego
Presentation and Demonstration (Matcha and Sweets Included)
Garden Members $50 / Non-members $65
1:00 p.m.-2:00 p.m.
Tickets >> JFGM Presentation and Demonstration

Saturday May 30th: PARU La Jolla
All workshops at PARU include a session to learn about the history of Takayama Chasen and Chasen making demonstration, Tanimura Tango’s preferred matcha from Nara and sweets. Chasen will also be available for purchase for participants.
Chasen Threading Workshop (Sold Out)
10:30 AM – 12:30 PM
Participant $250 (Limited to 5 Participants)
Tickets>> PARU Chasen Threading Workshop (Participant):

Observer $50 per person (limited to 10 observers)
Tickets>>PARU Chasen Threading Workshop (Observer)

Chashaku Carving Workshop (Few Spots Left)
2:30 PM – 4:30 PM
Ticket required: $200 per person (limited to 20 participants)
Tickets>>PARU Chashaku Carving Workshop

Sunday May 31st: Japan House Los Angeles SALON, Level 5 (Sold Out)
Presentation and Demonstration (Matcha and Sweets Included)
1:30 p.m.-3:30 p.m.
Tickets >>JAPAN HOUSE Los Angeles

Blue-and-White Sometsuke Porcelain by IWANAGA Hiroshi in Arita, Saga

By:
Ai Kanazawa
August 14, 2025IWANAGA Hiroshi Arita Ceramics

My decade long search for a Japanese Sometsuke (blue-and-white porcelain) artist came to a successful conclusion when I discovered Iwanaga Hiroshi’s work at a gallery in Tokyo in 2023. I was enamored by Iwanaga-san’s Sometsuke with the brilliant blue brushwork and fresh porcelain bodies of widely variable shapes. They reminded me of the vibrant Koimari -old Imari, named after the nearby Imari port- ceramics that were produced in the pottery town of Arita, Saga, in Northwestern Kyushu during the Edo period (1603-1868).

Blue-and-white Sometsuke pottery by Japanese potter Iwanaga Hiroshi, Arita, Saga

Porcelain making began in Arita in the first decade of the 17th century, after the first kaolin deposit was discovered in Izumiyama by skilled Korean potters who were brought to Japan through two invasions in the 1590s. Inspired by the popular blue-and-white ware imported from China since the Middle Ming dynasty (1368-1644) and invigorated by the kaolin discovery, the Arita potters began creating ceramics known as Imari with designs and motifs catering to Japanese tastes. These designs often followed the examples of Chinese motifs but with direct and playful expressions of fauna and flora that I think is uniquely Japanese -a quality also present in Iwanaga-san’s work.

Izumiyama quarry in Arita, Saga was discovered in 1616. Within 30 years following the discovery of exceptionally pure porcelain stone here, Japan shifted from a country that imported porcelain to an exporter.

Last spring, I visited Iwanaga-san’s studio in Arita, which today has a population of approximately 19,000 people. When I arrived at the studio, Iwanaga-san, a broad-shouldered man with long red hair donning a Van Halen T-shirt (he loves rock music), cheerfully greeted me into his garage. We squeezed past his car, a well-maintained vintage Nissan 370Z, through to the studio where hundreds of pieces of greenware were drying on boards with side shelves stacked with numerous molds.

Pottery studio of Iwanaga Hiroshi in Arita, Saga
Sometsuke potter Iwanaga Hiroshi demonstrating how to hold a “dami” brush for filling motif outline with cobalt
Wheel-thrown, drape-molded, wheel-trimmed, bisque ware waiting to be painted at Iwanaga Hiroshi’s studio

For four decades, Iwanaga-san has been throwing and molding the porcelain, drawing and painting the designs, preparing and applying the natural pine ash glaze and firing the pots all with his own hands. I was surprised at the level of output that was evident from the sheer volume of unfinished pieces stored in his studio.

Traditionally, painted porcelain dishes in Arita have been made through a division of labor.  “My father was a “soji” maker who shaped clay and prepared greenware for painters,” Iwanaga-san said. “Many of the mold making tools belonged to my father.” These days Arita’s local ceramics industry is dominated by wholesalers who make it difficult to sustain a good wage for the workers at the foothills of porcelain production, like mold and greenware makers. It is also little known outside but, in Arita, most porcelain bases are slip-cast using machines. “I don’t have anything against slip-casting,” Iwanaga-san said. “But I think inconsistencies in hand-thrown pots and varying tones of cobalt are desired ‘flavors’ of sometsuke work.”

“From the beginning, I wanted to become a studio potter, so I studied both throwing and drawing,” Iwanaga-san said. He studied sumi ink drawing under Kanetake Jinen, a traditional ink drawing craftsman. “Sensei purchased the famous “Manual of the Mustard Seed Garden” for his students, and I copied the drawings from the book for many years,” Iwanaga-san fondly recalled. He also studies Koimari designs and gets inspirations from motifs on chards found at old local kilns dotted around his neighborhood.

After the wheel room, Iwanaga-san took me to the painting room where he stores various outlines of his designs on paper. These outlines are transferred onto bisqueware using gourd ink that burns away in the kiln. “Several years ago, the local producer of gourd ink went out of business and I almost went out of business,” Iwanaga-san said jokingly as he showed us pieces of burned gourd. “So, I started making them myself.” These types of challenges seem to invigorate Iwanaga-san.

Gourd ink on xuan paper is used to transfer the base of a motif onto bisqueware.
Gourd charcoal made by Iwanaga Hiroshi
Porcelain bisque at various stages of base decoration called “honegaki (bone drawing)” at Iwanaga Hiroshi’s studio
Iwanaga Hiroshi demonstrating line and wash technique with a dami brush. He used a damaged piece -a crack was found and marked on the rim-
Goldfish design before glazing. The light blue wash that burns away in the firing is applied first on the rim and center to test for cracks. It is important to discover cracks before drawing which can save a lot of time because some designs take hours to draw. <Photo Courtesy of Iwanaga Hiroshi>

Iwanaga-san established his own Sometsuke studio in 1985 and for several years he knuckled down to pay off his family’s debt. 10 years later in 1995 he held his first successful solo exhibition in Tokyo. Since then, public recognition of his extraordinary work has grown steadily and he has regularly exhibited at well-known galleries throughout Japan. In 2008 he was selected by Yoshioka Sachio, a renowned dye artist, to create 25 Sometsuke chargers for the “Work by Hand: A Japanese Tradition” for an exhibit at the Terminal 2 arrivals concourse at Narita Airport. And recently Iwanaga-san took on non-ceramic work that involved the painting of the designs of yukata (cotton summer kimono) fabric for professional sumo wrestler Takayasu Akira.

Fuyode, or Kraak style, Sobachoko by Iwanaga Hiroshi. The designs of Iwanaga-san’s work is a visual reminder of Arita’s historical success through trade with the Dutch East India Company (1602-1799)
Yukata fabric designed by Sometsuke potter Iwanaga Hiroshi for sumo wrestler Takayasu Akira

Iwanaga-san is 65 years old this year and has decided to retire from doing annual solo exhibitions in Tokyo. His elbows and neck have developed chronic pain, so he needs to work less after decades of spending too many hours on the wheel and holding a brush. As we left the studio, Iwanaga-san explained his plans to clean up his studio so that his daughter’s family could move into his house. He said he will continue to work at a slower pace and divide his time between Arita and Tokyo, where his girlfriend lives and runs a small gallery while taking care of her elderly mother.

Luckily, a slower pace for Iwanaga-san will allow a small gallery like mine to be able to continue to bring his work to the U.S. “I want to keep making good work that will be cherished by people even after I’m gone,” Iwanaga-san says.

Since the appeal of blue-and-white pottery never seems to cease, history is on his side. I hope that you find Iwanaga-san’s work as uplifting as I do just like Arita’s Imari ware traveled the world and inspired people in faraway regions a few centuries ago ✦

All photos at Iwanaga Hiroshi’s studio by Tomoko Matsubayashi

Pottery wheel and drape mold on the seat
Drape Molds
Tonbo -tools used to measure the width and depth while throwing on the wheel
Tatakibo -paddles used to shape the thrown clay on drape molds.
Yumi tools used to cut the rim of vessels on the drape mold
Xuan Paper with “honegaki” base design

Kitamura Tokusai in San Diego and Los Angeles April 19th, 20th, and 23rd

By:
Ai Kanazawa
January 29, 2025Events, Workshops and Webinars KITAMURA Tokusai Tea (Chado)

Entoten is delighted to announce that we will be hosting Kitamura Tokusai Fukusa Ten, Kyoto’s silk textile maker for practitioners of tea, in San Diego and Los Angeles this spring.

Mr. KITAMURA Tokusai IX

Kitamura Tokusai of Nishijin, Kyoto, has been making silk cloths, or fukusa, for practitioners of tea since 1712. Their elegant textiles are among the finest woven silk fabrics available in Japan and are made by highly skilled weavers in Kyoto’s historic Nishijin area that has been the main center for textile production in Japan for over a thousand years. Kitamura Tokusai’s inventory of fabrics features over 400 patterns of historical significance, many of which were expressly favored by the founders and most prominent devotees of Japan’s tea culture.

Kitamura Tokusai is testimony to how Japanese tea culture, a unique art form, has helped sustain dedicated craftsmen and preserve numerous traditional crafts in Japan and beyond for the last 400 years.

 

—San Diego—-
Fukusa Sale and Special Ordering Event
[Saturday April 19th]
at PARU La Jolla  7441 Girard Ave Suite B, La Jolla, CA 92037
11:00am – 4:00pm
Sale and order of various fukusa and kobukusa, Special order dashibukusa (Omotesenke), sukiyabukuro, shifuku. Sale of sweets by Kyoto’s Shioyoshiken

Presentation by Mr. KITAMURA Tokusai IX & Tea Demonstration
[Sunday April 20th]
at Japanese Friendship Garden and Museum  Inamori Pavilion 2215 Pan American E Rd, San Diego, CA 92101

Purchase tickets from the link below

First Session 11:00am – 12:30pm
Second Session 1:30pm – 3:00pm

A bowl of matcha tea and seasonal sweet will be served to all participants (Member $25 / Non-member $35 Garden Admission is not included)

Overglaze pottery by DOI Makiko with Tokusai’s fukusa design

Pottery with Tokusai’s design by overglaze artist DOI Makiko will also be on display.

Hana Shobu Nerikiri Wagashi by Terumi Koga of CalVegan Wagashi

Sakuramochi Domyoji and Chomeiji by Terumi Koga of CalVegan Wagashi

Japanese Sweets by Terumi KOGA, WaSweets
Author of CalVegan Wagashi
See Terumi’s Profile on INSTAGRAM

—-Los Angeles—-
Presentation and Talk by Mr. KITAMURA Tokusai IX
[Wednesday April 23rd]

at Japan Foundation, Los Angeles 5700 Wiltshire Blvd, Suite 100 Los Angeles, CA 90036
7:00pm – 8:30pm
<This event is free and open to the public please register from here>

Seven Year Yearning: Ceramics by Korean Potter Park Yeon Tae

By:
Ai Kanazawa
November 23, 2024Ceramics Korea PARK Yeon Tae

Teaware by Park Yeon Tae in our shop->

It was love at first sight when I came across the work of Korean potter Park Yeon Tae at the 2017 Chasabal (Teabowl) Festival in Mungyeong, Korea. The alluring warmth and vibrant lines of his buncheong work triggered a immediate connection and a flood of inspirations.

Buncheong teapot by Park Yeon Tae
Potter Park Yeon Tae pouring tea in his tearoom adjacent to his gallery

The Chasabal Festival is an annual spring event that takes place inside an open movie set in Mungyeong Saejae Provincial Park that is approximately a three hour bus and taxi ride from Seoul. The park, located on the historic Joseon road from Seoul to Busan, has a towering stone gate and vast hanok village. (Click here to see more photos from the 2017 festival).

The historic Juheulgwan gate at Mungyeong Saejae. The gate controlled the traffic of the Yeongnam path from Seoul to Busan during the Joseon period.

The primary purpose of my first visit to Korea in 2017 was to go to the well-known Icheon Ceramics Festival that was taking place in Seolbong Park from late April to early May. I had high expectations for the festival but came away unfulfilled because it felt more like a gathering for pottery-makers and students rather than for the users and connoisseurs of handmade pottery (ie people like me). I couldn’t fully grasp how the entire festival was organized and probably missed many key exhibits because I couldn’t read or speak Korean.

Following the disappointing trip to Icheon, my time in the country was nearing its end and I only had one full day left. As I moped in my hotel room in Seoul, I did a random Internet search and came across the Chasabal Festival and decided to pay a visit.

I really enjoyed my serendipitous visit to Mungyeong despite the long trek there from Seoul East Bus Terminal. The countryside was beautiful, venders were very local, and I saw some great handmade pots. It also gave me a tantalizing glimpse into the local tea culture and life in rural Korea.

Buncheong Jar by Park Yeon Tae displayed at the 2017 Mungyeong Chasabal Festival

Of all the work featured at the festival, I was most enchanted by Mr. Park’s, so I eagerly waited for him at his booth while he participated in an event at the festival. My hope was to meet him and get his permission to bring his work to the US. Unfortunately, I had to leave to catch the bus back to Seoul before he returned, so I didn’t get to meet him.

Fast forward seven years to October 2024 and I finally got to meet Park Yeon Tae at his studio during my second visit to Korea. His house and studio are on a hill in Mungyeong, past soybean and red chili pepper fields that were coming into season.

Korean potter Park Yeon Tae next to his wood-firing kilns
Dal hang-ari or “moon jar” offerings on the kilns at Gaunyo.
The chambers of the climbing kiln.

Two large wood kilns next to the studio were adorned with beautiful moon jars. “I built everything myself,” he said, as he pointed to the studio next door with a gallery above. When I commented that his kiln chambers were much taller than the ones I’m used to seeing, he smiled and explained, “I’m tall. I designed it so that I don’t have to bend down too much when I load the kiln.”

Calligraphy above the door of Park Yeon Tae’s studio with the writing “Gaeundoyo 加恩陶窯”
Pottery studio of Park Yeon Tae
Gallery above the studio

The outside view of Park Yeon Tae’s studio, gallery and tearoom.

I tried to interview Mr. Park, as I always do for my blog posts, but this was far from easy since I don’t speak Korean and he doesn’t speak English. What I took away from our basic conversations, with the help of my Korean Canadian friend who accompanied me, were a few insights.

First, Mr. Park wanted to become an artist when he went to university but not necessarily in ceramics. Second, Mr. Park eventually graduated from Dankook University’s Graduate School of Ceramics, but he learned much of the practical skills as a potter from his mentor living in Icheon. Third, Mr. Park settled in Mungyeong because his wife is from the area. I had met his wife at the festival 7 years ago and promised that I’ll be back in touch.

The view of the window of Park Yeon Tae’s tearoom.

Seeing that I was eager to ask more questions, Mr. Park joked and asked, “are you writing a book about me?” Mr. Park makes pots, drives a Jeep, camps, and practices tea, which proves my theory that good artists have a good sense of humor and a broad capacity for fun.

Tea pot with white slip and silver lid by Park Yeon Tae

After the tour of his studio, Mr. Park invited us to his tearoom and poured tea, while soft jazz played in the background. It was wonderful to share the tea, watch his teapot in action, and appreciate the beautiful view of the mountains from the tearoom window. After selecting some pieces for my shop, it was time to catch the bus back to Seoul.

“Master of tea utensils” recognition Issued by the Korean Tea Practitioners Association for Park Yeon Tae

As I sat on the bus back to Seoul, I wondered how difficult it would be to learn Korean. And although it is a little late to start at this point in my life, I promised myself to go back again to Mungyeong to see this talented potter and explore the beautiful Mungyeong countryside.

Mungyeong Chasabal Festival 2017

By:
Ai Kanazawa
November 19, 2024Korea PARK Yeon Tae

In 2017, I visited the Mungyeong Chasabal Festival in Mungyeong, Korea. It is an annual festival that takes place inside an open movie set in Mungyeong Saejae Provincial Park that is approximately three hours from Seoul by bus and taxi.

I really enjoyed my serendipitous visit to Mungyeong despite the long trek there and back. The countryside was beautiful, very local, and I saw some great handmade pots. It also gave me a tantalizing glimpse into the local tea culture and life in rural Korea.

Photos of participating potters along the path to Mungyeong village
The gate of Mungyeong Saejae.
Ladies in Hanbok offering tea inside a tent lined along the path to the festival.
Inside a tent booth selling handmade tea cups.
The guardian lion at Mungyeong Saejae.
Hanok Village inside the park. Each house features a potter.
Korean traditional tea gathering reenacted.
Potter Park Yeon Tae, Gaeun Yo booth inside a hanok in the open set village in 2017
Tea pots and cups by Park Yeon Tae in Mungyeong in 2017
Buncheong jar by Park Yeon Tae in Mungyeong in 2017
Food at 2017 Mungyeong Chasabal Festival
Local produce booth at 2017 Mungyeong Chasabal Festival
On the bus to Mungyeong from East Seoul Terminal

 

 

Born to Cook: Chef OZASA “Masa” Masayoshi of Kyoto’s Matsusho Restaurant in San Diego

By:
Ai Kanazawa
September 24, 2024Events, Workshops and Webinars Kyoto Research Food and Craft OZASA Masayoshi (Chef)

For Ozasa “Masa” Masayoshi, a perfect day is to wake up and cook until bedtime -and then dream about it. Masa is the head chef and fourth generation heir of Matsusho restaurant in Kyoto, which specializes in Kyoryori (Kyoto cuisine) focusing on fresh local vegetables. With a history of more than 1200 years, Kyoryori is at the pinnacle of Washoku (Japanese cuisine). Washoku was designated as an UNESCO world heritage intangible cultural asset in 2013.

I first met Masa in San Diego in the fall of 2023 when he came to prepare for an event to introduce Kyoryori at the Japanese Friendship Garden and Museum in Balboa Park.

“I think about cooking all the time,” Masa smiled enthusiastically. “My grandfather used to say, a chef’s worth is only determined by how much he cooks.” Masa’s pure enthusiasm for cooking and feeding people seems to make everyone he meets feel happy and nourished.

Chef Ozasa Masa of Matsusho Kyoto

After the successful event at the Friendship Garden in January 2024, Masa wanted to return to San Diego this summer, so I agreed to host him to conduct workshops featuring vessels made by artists for Entoten in August.

This time, he arrived with a heavy rectangular pan for making dashimaki, a Kyoto-style rolled omelet that is a signature dish of Matsusho’s. The large pan took up half a suitcase, but he was eager to make dashimaki for the people of California. “Many customers in Kyoto have their favorite dashimaki, and restaurants with their roots in catering take pride in their own recipes,” Masa said. “The dashimaki I make is imbued with the spirit of our restaurant’s 90-year history, and our customers come to taste it with that in mind.”

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Masa’s restaurant, Matsusho, started in 1936 as a catering service in central Kyoto, and in 1980 opened a restaurant in Kameoka, in the agriculturally rich Kyo-Tamba region. The restaurant also offers shidashi (catering) services that includes delivering food packed in boxes (bento), food on tableware that is later collected, or by going in-person to a client’s home or venue to cook, serve, and clean up.

Matsusho Restaurant in Kameoka, Kyoto. The sign reads “Kyoryori, sushi, shidashi”

Shidashi business flourished during the Edo period (1603-1868) to feed the busy merchants of Kyoto’s traditional industries, their customers, and employees. Even today, if you’ve been lucky enough to have been invited to eat in someone’s home in Kyoto, it is likely that your host ordered shidashi-catered food. Kyoto people consider this arrangement more comfortable and relaxing for the host and their guests because both parties feel less pressure and obligations.

Cultivated in this age-old tradition of Kyoto’s unique hospitality, what sets Masa apart from other chefs is a deep sense of humility and ample patience to listen to and respond to the needs of the people that he serves. He is skilled at answering questions and sharing his expert knowledge -with a sense of humor- that is helped by his experience as a teacher at the Culinary Academy in Kyoto.

Some of the questions that he was asked most often during his time in San Diego were:-

How long have you been cooking?
23 years.

How do you make dashi?
By simmering kombu kelp for an hour in the morning that has been soaked overnight, and adding katsuobushi bonito shavings at the end. We use ma-kombu kelp from Southern Hokkaido’s Osappe and Kakkumi area, and katsuobushi bonito shavings, that includes the bloodline of the fish, from Kagoshima’s Makurazaki.

Which roll is the most difficult in making the dashimaki?
The last roll is the most difficult, but the first roll is the most important.

How sharp is your knife?
So sharp that the fish doesn’t realize that it’s been sliced.

If you didn’t become a chef, what other career would you have chosen?
To be a teacher or an MLB baseball player (he took one day off during his stay in California to watch a Dodgers game).

Aside from the kelp and katsuobushi that are used for the all-important and delicious Matsusho dashi stock, locally grown California ingredients were at the center of Masa’s cooking. I enjoyed taking him to meet Tom Chino of legendary Chino Farm, made famous by Alice Waters of Chez Panisse who started the New American Cuisine movement back in 1971.

Visiting Tom Chino of Chino Farm in Rancho Santa Fe

Another great destination was Tuna Harbor Dockside Market where locals can directly purchase the fresh catch off the local fishing boats every weekend. Masa observed that, “San Diego has delicious uni (sea urchin) and this uni eats good kelp. There must be good kelp here that can be used for dashi too, but no one is harvesting or processing this kelp.”

With our events that spanned 12 days, more than 140 people got to taste Masa’s cooking. He also connected with local chefs, carried out chanoyu kaiseki workshops, organized a tea pairing event with PARU, volunteered for a food education class for American children with Table for Two at the Friendship Garden, and also traveled to Los Angeles to teach a cooking class at TOIRO, in Hollywood.

Ozasa Masa Kawaii bento food education event with Table for Two at the Japanese Friendship Garden and Museum in San Diego

Sustainability is frequently talked about these days, and there is something that we can learn from the culinary attitudes and techniques found in an ancient capital that has survived for over a millennium. Kyoryori is a technique to cook with elegance and restraint, keeping the sources and preparation of ingredients honest, simple, and seasonal. “Kyoryori should never be a parade of luxury ingredients,” Masa explained, and the cuisine does not participate in the competition of decadence and indulgence.

In retrospect, what impressed me the most about Masa was a sense of joy that he radiated to the people around him through his cooking. He spent mornings harvesting fig leaves from a friend’s tree to use in the menu that evening. He woke up at the crack of dawn to arrive early at the fish market to get the first choice picks. He snuck into the kitchen in the middle of the night to make desserts for the tea students. He carefully sliced carrots to make beautiful curls for garnish.

Perhaps if we really open up our senses and cook thoughtfully like Masa, we can better connect to the world around us and what it has to offer. If you are ever in Kyoto, I urge you to make the side trip to Kameoka, meet Masa, and enjoy his food and hospitality

Chef Ozasa Masa at the Den on Laurel Street, San Diego

More photos taken mostly by our friend Tomoko Matsubayashi. Enjoy!

The dashimaki pan
Masa’s knives
Masa uses Sakai Ichimonji Mitsuhide brand knives from Osaka
Rockfish yuanyaki for tea kaiseki hakeme bowl by Kazu Oba
Sweets for thin tea kaiseki on glass plate by Naru
Kohaku-to sweets Masa made for the tea students
Matsusho’s dashimaki recipe contains about 42% dashi and is difficult to roll for amateurs
(I tried and it became a scrambled egg).
Dashimaki omelet making is a rapid, professional process that takes a mere 2-3 minutes per roll.
Peeled carrots for making carrot curls
Inspecting the Catch at Tuna Harbor Dockside Market
Vermillion Rockfish
“A river at the foot of the mountain” food arrangement. Protein doesn’t have to always come in the front in Japanese food -Iga bowls by Kojima Yosuke
Nagaimo -Chinese yam- tofu. Kaguya glass bowls by Naru
Deep Fried Tofu with Lotus Root -Hirousu Sesame Dofu, Simmered Carrot Haricot Vert Shredded Ginger
Urushi bowl by Tsutsumi Takuya
Chef William Eick from Matsu Restaurant in Oceanside adding carrot curl garnish
Celadon Plate by Hoshino Gen
Iga Bowl by Kojima Yosuke
Appetizers on Kojima Yosuke Platter
Izumiyama Porcelain Bowls by Mike Martino
Donabe-Cooked Rice White Bait -Shirasu Umeboshi Sour Plum
Kumquat and Spring Onion Teppoae
Ekaratsu by Mike Martino
Salmon -Yuanyaki Vinegared Lotus Root Kumquat and Spring Onion Teppo-ae. Sometsuke plate by Iwanaga Hiroshi
Figs
Beef wrapped in fig leaf with fig paste

 

Beef wrapped in fig leaves
Vessels by Kojima Yosuke
Vessels by Hoshino Gen, Iwanaga Hiroshi Kazu Oba, Kojima Yosuke, Mike Martino, Naru, and Tsutsumi Takuya
Donabe for cooking rice
Donabe Rice Cooker at TOIRO Kitchen, Hollywood. Donabe are indispensable for Japanese chefs
Masa with author and donabe cooking expert Naoko Takei Moore and TOIRO kitchen donabe shop team

Kyoto Cuisine and PARU Tea Pairing

By:
Ai Kanazawa
September 10, 2024Events, Workshops and Webinars OZASA Masayoshi (Chef)

On Wednesday August 28, 2024, Kyoto cuisine and tea pairing workshop was held at the Den on Laurel Street in San Diego, California. The 5-course tasting menu was created by Chef Masa Ozasa, 4th-generation Chef of Matsusho restaurant in Kyoto featuring various teas presented by Amy Truong, owner and tea sommelier of PARU La Jolla. Entoten provided the vessels for each course.

The event was made possible by Yukiko Sakurai of Takachiho Foundation, operator of the Den on Laurel Street. My sincere gratitude goes out to Jon Osio Lardizabal of PARU La Jolla, and to Chef William Eick, and Keiko Kayamoto from Matsu Restaurant in Oceanside and to our friend, Midori Simovich who helped connect us all. Thank you for your assistance!

Photos by Tomoko Matsubayashi.

Tsukidashi
 (Starter)
Sweet Rice Oolong 12
Corn Chawanmushi
Savory Egg Custard

Sweet Rice Oolong 12 in Oval Glass by Naru
Savory Egg Custard Vessel by Kazu Oba

Owan
(Soup)
Honey Orchid Oolong + Chiang Rai Green
Tea Sesame Dofu
Local Rockfish

Chiang Rai Green
Urushi soup vessel by Tsutsumi Asakichi Urushi

Fish Course
House-Milled Matcha
Seabass, Matcha Miso Sauce
Pickled Radish

Wood-fired Iga ware by Kojima Yosuke
“A river at foot of the mountain” Protein doesn’t have to always come in the front in Japanese food

Rice 
Shiso Hibiscus PARU signature blend
Tea Rice, Myoga

Wood-fired Izumiyama porcelain rice bowl by Mike Martino

Dessert
Cardamom Wakoucha PARU signature blend
Tea Kudzukiri
Brown Sugar Sauce

Kaguya Glass Vessels by Naru
Yukiko Sakurai (Takachiho Foundation), Amy Truong (PARU), Masa Ozasa (Matsusho Kyoto), William Eick (Matsu Oceanside), Ai Kanazawa (Entoten), Jon Osio Lardizabal (PARU)

Entoten Collaboration with 4th Generation Chef Masayoshi “Masa” Ozasa of Matsusho, Kyoto

By:
Ai Kanazawa
August 12, 2024Events, Workshops and Webinars Kyoto OZASA Masayoshi (Chef)

Entoten will be hosting various cultural events and workshops in collaboration with 4th generation Japanese chef Masa Ozasa from Kyoto, during August 22nd – September 1st, 2024

Masayoshi “Masa” Ozasa

Head Chef, Kyo-Ryori Matsusho, Kameoka, Kyoto, Japan

Photo Courtesy of Tomoko Matsubayashi

Masa Ozasa is a Japanese chef, culinary educator, a certified wine expert of the Japan Sommelier Association, and a certified educator of the German Wine Academy.

Masa is the head chef and 4th generation heir of Kyo-Ryori Matsusho Kyoto cuisine restaurant, located in Kameoka, Kyoto. Masa strives to create dishes at Matsusho that bring out the very best of the seasonal ingredients locally available in the agriculturally rich Kyo-Tamba region.

“Kyoto cuisine has a history of over 1200 years. It is said that the average peak career span of a Kyoto chef that carries the tradition is 30 years. Since I was little, I grew up watching my grandfather and father work in the kitchen. And even though I was young, I remember thinking that one day I would follow in their footsteps. I entered this tradition at the age of 19, and 2024 is my 23rd year. I believe that the meaning of my life is to pass on what my great-grandfather, grandfather, father, and myself have built over the last 80 years to the next generation.”

Culinary Background

After graduating from Kyoto Culinary Art College, Masa continued his culinary training for three years at Kinobu, one of the finest traditional restaurants in Kyoto.

From 2016 to 2020, he served as a part-time instructor at his alma mater, teaching Kyoto cuisine culture, sake, and wine to approximately 100 students every year.

In 2019, Masa began to introduce Kyoto cuisine overseas and has led successful Japanese food events in Rome, Arizona, and San Diego. In the same year, he represented Japanese Sommeliers at the German Wine Association Summer School. He is a certified educator and promoter of German Wine in Japan.

In 2023, Masa was selected to cook dinner for Alice Waters, the legendary American chef and pioneer of the farm-to-table movement, using Kameoka’s locally grown organic vegetables during her visit to Japan.

Photo Courtesy of Harvest Journey Kameoka

History of Kyo-Ryori Matsusho

Kyo-Ryori Matsusho started in 1936 in central Kyoto as a catering service. In 1980, it opened a restaurant and catering establishment in the city of Kameoka, providing a serene and relaxing fine dining venue in traditional style rooms surrounding a beautiful Japanese garden. Kameoka is just 20 minutes by fast train from central Kyoto.

Shinokami Kitaura 91-1 Shinocho, Kameoka, Kyoto 621-0826  (Click for Google Maps)
Tel: +81-771-24-0567

Events:-

August 24th, 3:00 pm-
Kawaii Healthy Bento Class for Kids at the Japanese Friendship Garden & Museum with Table for Two

August 28th, 12:00 pm-
Exploring Traditional Kyoto Cuisine and Tea Pairing Experience with PARU

September 1st, 12:00 pm-
Kyoto-style Seasonal Vegetable Cooking Class TOIRO Kitchen

Visit Matsusho and Explore Beautiful Kameoka
For more information, contact Anna Namikawa at Fogin Association
fogin616@gmail.com

POP UP Pottery Making Demonstration and Sale by Kazu Oba at PARU La Jolla July 19th & 20th

By:
Ai Kanazawa
July 10, 2024Events, Workshops and Webinars Ceramics Kazu OBA

Entoten will host a pop-up ceramics show with Colorado potter Kazu Oba at PARU La Jolla. There will be live pottery making demonstration and sale.

Kazu makes simple vessels loved by Michelin starred restaurant chefs all of the United States including our own Soichi Sushi, Quince in SF, UCHU in NY.

Kazu Oba pottery demonstration in 2021 he throws multiple vessels from a large lump of centered clay

CERAMICS SHOW with Kazu Oba

Friday July 19th, 11 am – 5 pm
Saturday July 20th, 11 am – 5 pm
Kazu will demonstrate pottery throwing throughout the day in front of
PARU La Jolla7441 Girard Ave Suite B, La Jolla, CA 92037
(Click for Google Maps)
Call or Text 858-314-8081 for more information

Pots made by Kazu Oba

POP UP GLASS SHOW at the Den on Laurel Street July 6th and 7th and Charity Sake Tasting

By:
Ai Kanazawa
June 18, 2024Events, Workshops and Webinars Naru (INOUE Naruhito)

Entoten will host a pop-up glass show with Japanese glassblower NARU (Inoue Naruhito) from Taketa in Oita, Kyushu

GLASS SHOW with Naru
July 6th 11 am – 5 pm
July 7th 11 am – 4 pm (Charity Sake Tasting 2-4 pm)
At The Den on Laurel Street
205 Laurel Street, #104
San Diego CA 92101
(Click for Google Maps)
Call or Text 858-314-8081 for more information

This show will feature many stunning drinking vessels and also Naru’s signature KAGUYA series tea bowls and sake cups that are cast in cured bamboo molds. KAGUYA series is named after the bamboo princess Kaguya, who came from the moon and was born from a segment of bamboo in the old Japanese folklore, “The Tale of The Bamboo Cutter (竹取物語).”

During the pop-up on Sunday, July 7th from 2 pm – 4 pm, there will be a sake tasting fundraiser hosted by Raechel Kadoya of Kibou Events. Raechel is co-owner of Soichi Sushi, one of San Diego’s best omakase dining restaurants that has been recognized with a Michelin star.

Raechel is raising money to help Matsunami Shuzo, a sake brewery with more than 150 years of history that was founded in 1868 in Noto Peninsula in Ishikawa Prefecture. The old building that houses the brewery suffered extensive damage from the recent earthquake that struck Noto on New Year’s Day 2024.

Naru and Entoten will donate all of the proceeds from selling the Kaguya clear sake cups ($40 each) to Raechel, who will hand deliver the money to Matsunami Shuzo in July. We hope to raise over $1000 for Matsunami Shuzo, so please join us! No purchase necessary to taste the sake.

You can read more about Matsunami Shuzo here ->

These cups will be sold for $40 and all of the proceeds will be donated to Raechel Kadoya who will hand deliver the money to Matsunami Shuzo
Damaged building of Matsunami Shuzo in Noto, Ishikawa Japan

 

 

 

 

 

Raechel Kadoya and Entoten at a recent fundraiser at TAKA Sushi in San Diego

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