#cook:鰹節

[vegehana-food]

✿ 梅かつお納豆 ✍️ ねぎ

[falseandrealultravival]

Boiled Indian spinach (prose, cooking)

A summer vegetable of the Basellaceae family. Native to Southeast Asia. A healthy vegetable containing beta-carotene, vitamin C, vitamin Bs, potassium, calcium, iron, etc. Boil and soak in water for 10 minutes, then dress with soy sauce, sesame oil, bonito flakes, etc. It has a slightly earthy smell, but its sticky flavor is appetizing.

2024.09.15

ツルムラサキのお浸し（prose , cooking）

ツルムラサキ科の夏野菜。東南アジア原産。β-カロテン、ビタミンC、B群、カリ���ム、カルシウム、鉄分などを含む健康野菜。茹でて１０分強水に晒し、醤油、ごま油、鰹節などで和える。やや土臭い癖があるが、粘り気のある風味が食欲をそそる。

[cooking256]

うずしお鍋 香川の料理

「うずしお鍋」は、香川県や徳島県など四国地方で親しまれている郷土料理の一つです。この料理は、讃岐地方や阿波地方で食べられています。 - 鰹節を使用した出汁 うずしお鍋のベースとなる出汁は、鰹節を主に使って作られます。澄んだ出汁が特徴的で、魚介の旨味が凝縮されています。 - 魚介類と野菜の鍋料理 鰹節出汁で魚介類（主に魚や貝類）と季節の野菜を煮込んだ鍋料理です。新鮮な海の幸と山の幸を組み合わせたバラエティ豊かな具材が使用されます。 - 家庭料理や宴会料理として親しまれる 地域によって具材や調理法は異なりますが、家庭料理や親しい仲間同士で楽しむ宴会料理として人気があります。 うずしお鍋は、季節や地域によって具材が変わることがありますが、その地域の新鮮な食材を使い、家庭的な温かさを楽しめる郷土料理です。四国地方を訪れた際には、地元のレストランや旅館でこの郷土料理を味わってみると良いでしょう。

✄🔪🥄🍽✄🔪🥄🍽✄🔪🥄🍽✄🔪🥄🍽

Whirlpool hot pot Kagawa cuisine

``Uzushio nabe'' is a local dish that is popular in the Shikoku region, including Kagawa and Tokushima prefectures. This dish is eaten in the Sanuki and Awa regions. - Dashi soup using dried bonito flakes The soup stock that is the base of whirlpool hotpot is mainly made using dried bonito flakes. The clear soup stock is distinctive, and the flavor of the seafood is concentrated. - Seafood and vegetable hot pot dish A hot pot dish made with seafood (mainly fish and shellfish) and seasonal vegetables simmered in bonito flakes soup stock. A wide variety of ingredients are used, combining fresh seafood and mountain ingredients. - Popular as a home-cooked meal or banquet dish Although the ingredients and cooking methods vary depending on the region, it is popular as a home-cooked meal or a banquet dish enjoyed with close friends. The ingredients for whirlpool hotpot may change depending on the season and region, but it is a local dish that uses fresh local ingredients and allows you to enjoy the warmth of home. When visiting the Shikoku region, be sure to sample this local cuisine at local restaurants and inns.

[sunnys61]

youtube アップしたから観てね🧑‍🍳 「やすまる出汁の贅沢ローストだし使ってローストビーフ🍖」やってみようじゃん😊 今回使うのは 「贅沢ローストだし」 国産減量や焼塩と焙煎飛魚やいりこや 鰹枯節のアクセントがとてもいい🙋‍♀️ 真空調理と合わせてお肉に出汁をしっかりと含ませた ちょいと特殊な調理方法を紹介しよう👨‍🍳 是非とも参考にしてくれたら幸い🥰 ��・・・・・・・・ 四国で1番売れてる だしパック ”やすまるだし” 「出汁パック」としても「粉末調味料」としても使える万能だしでいつものお料理の味と手間が劇的に変わります！   【割引キャンペーン実施中】 初回購入アンケートで 「sunny's61」 と答えるとお得に購入できます！！   購入はコチラから▶https://www.shop-takahashi.jp/page/421?utm_source=youtube&utm_medium=ambassador&utm_campaign=sunny's_61 ↑このURLからの購入限定！３種のお試しセットも 2280円→1630円 と特別価格です‼   #やすまる #やすまるだし公式アンバサダー　#yasumarudashi #pr #おうちごはん #クッキングラム #レシピ #レシピ動画 #food #foodie #foodlover #instafood #cooking #cookingclass #homecooking #instagood #yummy #sunnys61 (Nagoya-shi, Aichi, Japan) https://www.instagram.com/p/CnTNHwjS7qK/?igshid=NGJjMDIxMWI=

[momokuri-sannen]

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辛肉味噌丼 Spicy Meat Miso Donburi

When I'm tired and unmotivated, I tend to make a simple bowls.

Saute ginger and garlic and add minced meat.

Add soy sauce, sake, mirin, miso, and sugar together, as well as soy sauce.

Add the chives last, but fry briefly and quickly as they cook easily.

The powdery substance seen in the photo is dried bonito flakes that have been heated in the microwave for 30 seconds and crushed. It is substituted for fish meal.

The rest is Chinese egg soup.

疲れてやる気が出ないときは、簡単な丼を作ることが多い。

生姜とニンニクを炒め、ひき肉を入れる。

醤油、酒、みりん、味噌、砂糖を一緒に入れて、さらに醤油も入れる。

ニラは最後に加えるが、火が通りやすいので短時間でさっと炒める。

写真に見える粉状のものは、鰹節を電子レンジで30秒加熱し、粉砕したもの。魚粉の代用品である。

あとは中華風卵スープ。

[robbiemd]

Homemade Takoyaki

Just because it's homemade doesn't mean it's mediocre in quality. For this dish, we stopped by a nearby Japanese grocery to procure the necessary ingredients. But first, let's back up a little bit.

A few days ago, Ez was surprised to come home from duty with me holding a new takoyaki pan that I bought from Shopee. Well, it was just one of my spontaneous spur of the moment sh*t that happens to me every once in a while. But I promised to her that this spontaneity will all be worth it.

And it sure was.

Ingredients:

All purpose flour Corn flour / cornstarch 1 egg Dashi stock Cooked octopus tentacles Cabbage Spring onions Beni shoga (紅生姜) / pickled red ginger Katsuobushi (鰹節) / bonito flakes Aonori (アオノリ) / dried green seaweed flakes Takoyaki sauce Japanese mayonnaise

Instructions:

1. Make a batter by combining 1 egg, all purpose flour, and cornstarch. I didn't really measure my stuff here. I just used feelings like how Uncle Roger does it. Fine. Combine 1 egg with approximately 30g of flour, 30g cornstarch, and dilute it in 200mL of dashi stock. Consistency should be diluted like evaporated milk, not condensed.

2. Prepare your stuff. Chop your spring onions, beni shoga, and the tako in small pieces that would fit inside your takoyaki balls.

3. Pour oil in your takoyaki pan. Fill to probably about 1/8th or 1/6th of each pit.

4. Pour your batter in each pit. Drop everything in the cooking batter -- chopped cabbage, beni shoga, spring onions, tako.

5. Flip once side is formed enough to be flipped. Pour some batter again and form balls out of it.

6. Your balls are done. Time to top them with everything umami --- first with the takoyaki sauce (we bought the Otafuku brand but there's a recipe on YouTube if you feel like doing yours from scratch), then the Japanese mayo (Kewpie), finely ground katsuobushi (I used a suribachi to finely grind mine into powder), the aonori, and lastly with the katsuobushi flakes.

7. Enjoy it while it's hot.

(yields 12 takoyaki balls)

Ez rated my first attempt on Takoyaki as 'qualité restaurant', or restaurant-grade. She actually made me cook more for her younger sister, who also gave 'em balls her stamp of approval.

Ok, now what should we do with the rest of the 1kg of cooked octopus tentacles?

August 2021 Manila, Philippines

[theyuko]

にんべんから、 #春の新商品 が送られてきました✨ #だしとスパイスの魔法 の #レモンソテー 😋 #ポークステーキ ＊ #糖質70パーセントオフつゆの素ゴールド #料理かんたんつゆの素 #本枯鰹節フレッシュパック の5品ですが、早速既に使っています。また紹介しますね！ ＊ #にんべんだしアンバサダー2期生 #にんべん #にんべんだしアンバサダー #japanesedashi #yummy #ninben #dashi #ambassador #ninbendashiambassador #cooking #世界をおいしくする出会い #速水もこみち #おうちごはん #pr #にんべん新商品 #おだし生活 @yuko_fuji3 ← #follow 💕 https://www.instagram.com/p/BufuwF6gF6i/?utm_source=ig_tumblr_share&igshid=pw3wx7tmppf9

[madametraceydiary]

🍱 Yakisoba (Ham, Garlic Sausage, Onion, Peas and Carrots) Top with Bonito flakes (Katsuobushi) #madametracey #bento #lunchbox #お弁当 #夫婦弁當 #旦那弁当 #弁当記録 #prepackagedmeal #lunch #lunchboxideas #homemade #cook #料理 #instadaily #foodie #food #foodstagram #workday #daily #easylunchboxes #lunchboxforwork #yakisoba #鰹節 #焼きそば https://www.instagram.com/p/CP9ROC0lbiZ/?utm_medium=tumblr

[mins-cooking]

レシピ 2020年５月 料理動画レシピ … … 今回も手順を動画にいたしました。 … … 健康維持への重要性が高いとされる梅干しを美味しく食べるレシピです。 … … 今回は、干しホタテを使いました。 具は、干しホタテのみです。 … つるんとしたのど越しが楽しめます。 本来の卵が味わえる茶碗蒸しです。 … 茶碗蒸しのポイントは、卵液と蒸し方です。 蒸すのが苦手な方は、時間はかかりますが・・・鍋の蓋をとって蒸してください。 スがたたず奇麗に蒸し上がります。 … 一度お試しください。 … ＊茶碗蒸しは普通のだしよりも鰹節が効いただしを使います。 … … … 詳細はCPCサイトf-cpc.jp をご覧ください。 https://f-cpc.jp/ … … 極上 梅干し 紀州南高梅 しそ漬け 塩分8％ 減塩タイプ 2L〜3Lサイズ （270ｇ×２個セット） . . 🛒今すぐ購入 << https://store.shopping.yahoo.co.jp/f-oishii/n-food-003.html … … … …材　料　（３人前） 干しホタテ　・　１５ｇ 紀州南高梅　しそ ・ 大２～３個 三つ葉 . . . 《 卵液 �� 卵 ・ １個 だし汁 ・ １８０ｍｌ みりん ・ 大１/２ 塩 ・ 小１/３ 酒 ・ 大１ . かつおぶし ・ ５ｇ … … … …作　り　方 . １．紀州南高梅　しそ を一晩水に浸けておきます。 . ２．干しホタテを水に漬けて戻しておきます。 . ３．一晩水につけた（１）の紀州南高梅　しそ を裏ごしして、だし汁を少量加えて梅肉ソースを作ります。 . ４．だし汁にかつおぶし５ｇをだしパックに入れ、沸騰させて加え、火を落とし、冷まします。 . ５．（４）・卵・みりん・塩・酒を加えて越します。 . 6. 茶碗蒸しの器に戻した干しホタテを分けて入れて越し、（５）の卵液を入れます。 . ７．湯気が充分に立った蒸し器に（６）を入れてふたをし、強火で２分、弱火にして約１１分ほど蒸します。 . ８．（７）に梅肉をたらし、三つ葉を飾って出来上がりです。 … … …follow@cpc_cooking… … … #茶碗蒸し #梅干し #南高梅 #うめぼし #しそ梅レシピ #茶碗蒸しレシピ #うまい #lovetocook #創作料理 #料理動画レシピ #卵 #うまし #たまご #クッキングラマー #料理動画 #美味しい料理 #帆立 #ホタテ #貝柱 #cooking #cookingram #cook #chawanmushi #cooks #chawanmusi #chawanmushilover #chawanmushirecipe #eggrecipes #eggrecipe #eggrecipies … …

[kitchengp]

No1464 筍空豆春夏炒め ー 春夏旬の合わせ技！ 筍、空豆、ニンジン、椎茸、万能ねぎ、 炒める順番が大事。 生空豆と筍に焼き色をつけて香ばしさUP！ めんつゆと塩と鰹節を炒め絡めて完成！ ー #クッキングラム #レシピブログ #料理写真 #パパ料理 #一品 #食育 #dish #recipes #simplecuisine #dietaryeducation #foodphoto #foodpics #foodlover #healthy #cooking #food #followme #japanesefood #空豆 #筍 #合わせ技 #香ばしさ #鰹節 #椎茸 #ニンジン #春夏 #万能ねぎ #めんつゆ

[falseandrealultravival]

Fried tofu steak (prose, cooking)

Tofu that is deep-fried is called "thick-fried tofu". Tofu that is sliced ​​and deep-fried is called "aburaage". Cut the top and bottom of the fried tofu, cut it in half, and soak it in salted bonito juice for half a day. Grill it in olive oil and serve it with the dipping sauce. The subtle flavor of the bonito flakes permeates the dish, making it delicious.

2024.10.28

厚揚げのステーキ（prose , cooking）

豆腐をそのまま揚げたものを「厚揚げ」という。スライスして揚げたものを「油揚げ」という。厚揚げの上下に切り込みを入れ、半分に切り、半日、塩を加えた鰹節汁に漬ける。これをオリーブオイルで焼き、つけ汁も合わせてサーブする。鰹節の味がほのかに沁み込み、美味しい。

[cooking256]

土佐料理 高知の料理

土佐料理は、四国の高知県を中心とした地域の郷土料理です。土佐地方の特産品や風土が反映された食文化で、その特徴的な料理が数多くあります。 1. 鰹節を使用した料理 土佐地方は鰹の水揚げが盛んであり、鰹節は多くの料理に使われます。鰹節を削って作られる出汁は土佐料理の基本的な味付け要素の一つです。 2. かつおのたたき 新鮮なかつおを薄く切り、生で食べる料理です。刺身にするよりも厚めに切っているのが特徴で、薬味やネギ、生姜といったものと共にいただきます。 3. かつおの酒盗 かつお節を発酵させた酒盗（さけぬすみ）は、土佐地方の伝統的な保存食です。香り豊かで、さまざまな料理に活用されます。 4. 地魚料理 土佐は海に面しており、マダイやカツオ、タイなどの新鮮な魚介類を使った料理が豊富です。刺身���煮付け、塩焼きなどさまざまな調理法があります。 5. 野菜料理

Tosa cuisine Kochi cuisine

Tosa cuisine is a regional cuisine centered around Kochi Prefecture in Shikoku. The food culture reflects the special products and climate of the Tosa region, and there are many distinctive dishes. 1. Cooking using bonito flakes In the Tosa region, bonito fishing is popular, and bonito flakes are used in many dishes. Dashi stock made by shaving bonito flakes is one of the basic seasoning elements of Tosa cuisine. 2. Seared bonito This is a dish in which fresh bonito is sliced ​​thinly and eaten raw. It is characterized by being cut thicker than sashimi, and is eaten with condiments, green onions, and ginger. 3. Bonito liquor thief Sakenusumi, made from fermented bonito flakes, is a traditional preserved food from the Tosa region. It has a rich aroma and is used in a variety of dishes. 4. Local fish dishes Tosa faces the sea, and there are plenty of dishes using fresh seafood such as red sea bream, bonito, and sea bream. There are various ways to prepare it, such as sashimi, stewed, and salt-grilled. 5. Vegetable dishes

[kinowa-wappa]

わっぱの具材は材料に合わせてひとつひとつ丁寧に調理しています。調味料は天然醸造の醤油やみりん、海の塩、昆布と鰹節からとったお出汁。素材の味を活かせるように味つけています。お客さまに喜んでいただけるように、、一手間を惜しまずに。The ingredients for wappa are carefully prepared one by one according to the ingredients. Seasonings are naturally brewed soy sauce, mirin (sweet cooking rice wine), sea salt, and soup stock made from kombu (kelp) and dried bonito flakes. We season the ingredients to bring out the best of their flavors. We cook every day, sparing no effort, so that our customers can enjoy our food. #きのわ #京わっぱ #京都グルメ #天然調味料 #伏見桃山グルメ #無添加 #町家カフェ #こだわり食材 #町家レストラン #グルテンフリー #伏見酒蔵 #kinowa #wappa #kyoto #machiya #glutenfree #naturalseasoning #japanesefoodrestaurant #bestkyotorestaurant #cozyrestaurant (きのわ) https://www.instagram.com/p/CjuB8S_LUQR/?igshid=NGJjMDIxMWI=

[chanoyu-to-wa]

Nampō Roku, Book 2 (13b):  (1587) Twelfth Month, Sixteenth Day, After the Morning Meal, Part 2.

13b) After [chanoyu in the small room] was finished, [Hideyoshi] deigned to go out into the shoin; [and] Oshō took his leave¹.

▵ Shiru  tsuru [汁 鶴]².

▵ Namasu [鱠]³.

▵ Ni-mono  hara-hara kou imo [煮物 ハラ〰 コホウ イモ]⁴.

▵ Ni-no-shiru tara [二ノ汁 鱈]⁵.

▵ Kawarake ko-tori [カハラケ 小鳥]⁶.

▵ Ae-mono uto [アヘモノ ウト]⁷.

▵ Sashimi koi ・ mana-katsuo [サシミ 鯉 ・ マナカツホ]⁸.

▵ Kō-no-mono [香物]⁹.

▵ O-sakana tairaki ・ uzura [御肴 タイラキ ・ ウツラ]¹⁰.

▵ Hasu [ハス]¹¹.

▵ Suimono hashira ・ ko-kabu [吸物 ハシラ 小カフ]¹².

▵ Kashi  kan ・ senbei ・ zakuro ・ ko-neri ・ nashi [菓子 カン ・ センヘイ ・ サクロ ・ 小ネリ ・ ナシ]¹³.

[In the] toko [床]¹⁴

◦ A pair of landscape paintings by Ba En [馬遠]¹⁵.

◦ Sai-kōro [豺香爐], [displayed] on a guri-guri kō-dai [クリ〰香臺]¹⁶.

[On the] shoin-doko [書院床]¹⁷ ◦ [子昂 硯]; ◦ [龜水入]; ◦ [筆架]; ◦ [筆 ・ 墨]; ◦ [子昂 軸物]¹⁸.

[On the] chigae-dana [チカヘ棚]¹⁹ ◦ jikirō [食籠]²⁰; ◦ bon-san Kiji [盆山　紀路]²¹.

    [Hideyoshi] expressed his desire for the daisu to be arranged, and he made tea [with his own hands] using a taikai²².

_________________________

¹Migi sugite shoin [h]e oide-nasare, uma-no-toki o-zen deru, Oshō ha o-kaeru [右過テ書院ヘ御出被成、午時御膳出ル、和尚ハ御歸].

    Migi sugite [右過テ] means “after the preceding was finished....”

    The details of Rikyū's shoin during this period are unclear.  All that seems to be known with any certainty is that it had a 6-mat jō-dan [上段].  The above is a reconstruction based on the shoin in the Hisada family's residence* (however, the Hisada shoin had a 4-mat jōdan, rather than one of six mats).  At any rate, this will give the reader at least a general understanding of the nature of the room in question.  (Note that the 6-mat area at the top of the sketch is the jō-dan, in which a 2-mat area, in the upper left-hand corner, was raised still higher as the seat for the nobleman:  the dashi-fu-zukue is appended to that part of the room, and it was there that the hand-scroll of Chinese poems was displayed -- together with Sugō‘s writing implements.)

    Oide-nasare [御出被成] is a polite form meaning that Hideyoshi (and the others) moved on to the shoin.

    Uma-no-toki [午時] means “at the hour of the Horse,” in other words, in the noon hour.  Given the amount of food that was served, there likely was a certain delay, during which the guests inspected the objects that Rikyū had placed on display in the toko, and on tsuke-shoin and chigai-dana.

    Oshō ha o-kaeru [和尚ハ御歸]:  as mentioned in the previous post, Kokei Sōchin probably excused himself after the inspection because he did not care to participate in the banquet that would follow (which would naturally include fish and fowl, and drinking as well).  This early departure would have been accepted by Hideyoshi without any ill feeling.

    With respect to the kane-wari of this arrangement, the two kakemono and kōro count for three units, and so are han [半].  The writing implements count as a single unit (since they are grouped together, as shown in the sketch), while the hand-scroll of Chinese poetry is separate†, giving the dashi-fu-zukue a value of two, which is chō [調].  And the jikiro and bon-san arranged on and below the chigai-dana count for two units, and so the tana is also chō [調].  Han + chō + chō is han, as is suitable for the latter part of a chakai held during the daytime. __________ *The Hisada family descended from one of Rikyū’s daughters, and seems to have actively tried to preserve Rikyū‘s legacy in details such as this.

†Tanaka Senshō said that he believed that the hand-scroll of poems was displayed on the chigai-dana, rather than the dashi-fu-zukue.  While this disagrees with the way Rikyū has formatted the entry, it has no bearing on the total count, so far as kane-wari is concerned.

²Shiru  tsuru [汁 鶴].

    The first bowl of soup (probably a clear soup) contained crane.

    Crane (and other large birds, such as swan and wild goose) were occasionally taken by Hideyoshi's hawkers (hawking was enjoyed by Hideyoshi and his court), and then prepared and served at court banquets -- as well as during chakai held within the palace complex when the fowl were available, as a sort of special treat.

   Soup was made by boiling the bones, while the meat was usually mashed and formed into dango [團子] (meatballs), which were cooked in the broth along with pieces of daikon, mushrooms, and other seasonal vegetables.

³Namasu [鱠].

    Namasu is a sort of salad, made from julienned daikon and carrot, served raw, dressed with a mixture of rice vinegar, soy sauce, and mirin.

⁴Ni-mono  hara-hara gobō imo [煮物 ハラ〰 コホウ イモ].

    Ni-mono [煮物] are food cooked (and usually served) in a broth.  The difference between “shiru” (soup) and “ni-mono” seems to be that a soup course contains more liquid, while the ni-mono is primarily solid food*.

    Hara-hara [はらはら]† is dried daikon strips‡; gobō [牛蒡] is burdock root; and, imo [芋] -- which is usually translated “potato” -- refers to the corm of the taro.  These three vegetables were cut into bite-sized pieces and boiled in dashi**. __________ *It is possible to serve the ni-mono in a bowl or dish without any soup at all, though in chanoyu some soup is usually included.

†Hara-hara [はらはら] means something like flutter down (like snowflakes).  The image refers to the dried strips of daikon, which flutter (so they say) when the mound is fluffed (in the latter stages of drying) -- in contrast to the way the freshly chopped daikon would behave.

‡The daikon is cut into strips and sun-dried in a shallow basket for a week or so.  This process sweetens it, and deepens its natural flavor.  Modern-day kiri-boshi daikon [切干大根] is similar, though it is shreded more finely than hara-hara.

    The hara-hara needs to be rehydrated (by soaking in water) before it can be used.

**Japanese soup-stock made by boiling kombu [昆布] (kelp) and katsuo-bushi [鰹節] in water.

    For ichi-ban-dashi [一番出し] (used for miso-shiru and for cooking foods with a strong flavor), the kombu is boiled first (starting from cold water, after reaching a boil it is kept simmering for about 5 minutes, then the kombu is removed and a cup of cold water added to lower the temperature of the broth), then the katsuo-bushi are boiled (after returning to a boil, the katsuo-bushi are boiled for a further 5 minutes or so).  The pot is removed from the fire and the katsuo-bushi allowed to settle, after which the clear broth is decanted.

    Ni-ban-dashi [二番出し], which is usually what is used for ni-mono, reuses the above kombu and katsuo-bushi -- added to water, the mixture is brought to a boil, and then simmered for about 5 minutes or so (some people prefer to remove the kombu as soon as the liquid begins to boil, while others leave it in the pot for the entire session).

⁵Ni-no-shiru tara [二ノ汁 鱈].

    This would be what is usually called tara sumashi [鱈清汁] -- a clear soup containing pieces of codfish (tara [鱈]), daikon*, e-no-ki mushrooms, leeks, and a small piece of yuzu-skin added to each bowl just before the soup was served. __________ *Perhaps a little crushed garlic was also added to the soup, since Rikyū was from Sakai.

⁶Kawarake ko-tori [カハラケ 小鳥].

    Ko-tori [小鳥] -- literally “small birds” -- is a generic term for the various sparrows and finches that were taken by the hawkers.  These were cleaned (the heads, lower legs, feathers, and internal organs were removed) and then minced very fine, and mixed with miso.  Then the mixture was baked on top of an unglazed plate set over a charcoal fire until the flesh was cooked.

    This kind of miso-based food was always served with sake.

⁷Ae-mono udo [アヘモノ ウト].

    Udo [独活] is a Japanese vegetable with long, asparagus-like stalks, that have a delicate, fennel-like flavor.  When served as an ae-mono [和え物], the immature stalks are cut into julienne strips and then dressed with a mixture of rice vinegar and white miso (2 parts to 1), with soy sauce and sesame oil added to taste.

⁸Sashimi koi ・ mana-gatsuo [サシミ 鯉 ・ マナカツホ].

    Koi sashimi [鯉刺身] refers to what is usually called koi-arai [鯉洗い]:  the cleaned fillets of carp are placed into a hot water bath before being chilled in cold water.

    Mana-gatsuo [真名鰹] (above) is a distant relative of the katsuo [鰹] (“slapjack tuna”).  It has white flesh (whereas katsuo is pink to red in color) that is very oily.  Accordingly, while delicious, people should not eat much of it, or it will cause digestive problems.

    These would likely have been served with iri-zake [煎り酒]* as a dipping sauce -- though it is also possible that a shallow dish of precious soy sauce was offered to this important guest. __________ *Iri-zake [煎り酒] is a sort of dipping sauce prepared from "old" sake (sake that has lost a lot of its alcohol through evaporation).  First, a piece of dashi-kombu is soaked into the room-temperature sake for several hours (to deepen the taste), then removed.  Then several ume-boshi are placed into the sake, and the sake is brought to a boil.  After about 5 minutes, a large handful of katsuo-bushi is thrown in to the sake, and it is allowed to continue simmering until the volume is reduced by half.  Then (as when making dashi) the pot is removed from the heat and allowed to cool for five minutes while the katsu-bushi settle.  Then the clear liquid is decanted off (or filtered through a piece of sarashi).

    This is the iri-zake, and it can be used as a dipping sauce once it is fully cooled.

⁹Kō-no-mono [香物].

    Kō-no-mono [香の物] are vegetables pickled for a time* in a brine solution -- this is what is usually referred to as shin-tsuke [新漬け] today.  The pickled vegetables (sliced cucumbers, hakusai, carrots, and so on) were usually served with crushed sanshō [山椒] (Japanese pepper) as a seasoning. __________ *Ranging anywhere from overnight to several days, depending on the desired result.

¹⁰O-sakana  tairagi ・ uzura [御肴  タイラキ ・ ウツラ].

    O-sakana [御肴] refers to the course usually referred to as shii-zakana [強肴] today.  Sakana [肴] means cooked or prepared food; while shii-zakana refers specifically to such food served as an accompaniment to drinking.  Irrespective of the name, this course would have been accompanied by several rounds of sake.

    The tairagi [タイラギ = 玉珧] (Atrina pectinata) is commonly known as the Japanese scallop or Comb pen-shell.  It is the kai-bashira [貝柱] (the muscle that opens and closes the shells) of this mollusk that is eaten.  This kind of scallop can be prepared in numerous ways -- including as sashimi, grilled over charcoal, broiled on the half-shell, cooked in broth, and even as tairagi-dengaku [たいらぎ田樂]*.  Rikyū does not indicate how it was served.

    Uzura [鶉] is the quail†.  There are two ways it could be prepared.  First is by mashing the flesh and bones into a paste, forming the paste into meatballs (dango [團子]), and boiling these in broth.  Three dango are typically skewered on a bamboo brochette, and served in that way (either with a dipping sauce, or with some sort of sauce poured over).

    The other way that these, and other fowl, were sometimes prepared for Rikyū's guests was as what he called senba-iri [船場煎り]:  the cleaned quail were roasted over a wooden fire while being basted with a mixture of soy sauce (or possibly iri-zake [煎り酒]‡), sake, mirin, sesame oil, and perhaps crushed garlic (since this sort of food was endemic to the wharfs of Sakai). __________ *Dengaku [田樂] is a type of grilled food, originally eaten by the peasants though taken up by the upper classes during the sixteenth century.  The food (halved egg plant, momen-tōfu, shiitake mushrooms, or -- in this case -- scallops) is skewered and grilled over charcoal, and dengaku sauce is brushed over the upper side.  After the sauce is dried, the food is turned over to caramelize the sauce.

    The sauce is made by mixing white-miso (though red miso or other varieties can be used, depending on the preferred taste) with mirin, and sake (in the present white sugar is also added to make the taste sweeter -- though probably not in Rikyū's day):  roughly, one measure each of sake and mirin (and sugar) are combined with two measures of miso.

†Tanaka Senshō comments that some people conflate these two things, resulting in tairagi-uzura, which they say means the quail were split in half and (presumably) grilled in that way.

‡See the sub-note ("*") under footnote 8.  Iri-zake was often used the way soy sauce -- which was both rare and very costly in Rikyū's period -- is used today, both for cooking and as a dipping sauce.

¹¹Hasu [ハス].

    By hasu [蓮] (lotus), Rikyū seems to be referring to ren-kon [蓮根], lotus root.

    Usually lotus root is braised by sauteing ("stir-frying") the thinly sliced root (actually, it is a rhizome) in sesame oil, and then simmering in sake (until the liquid is gone), and then mirin (again, until the liquid is gone).  In the present day this is usually followed by adding sake and continuing to simmer briefly, though this last step may have been missing in Rikyū's day (or the soy sauce was replaced by iri-zake).

¹²Sui-mono  hashira ・ ko-kabu [吸物 ハシラ 小カフ].

    Suimono [吸物] is food cooked (and served) in clear broth.

    Hashira [ハシラ = 柱] seems to mean kai-bashira [貝柱] -- though most likely from a different variety of scallop than what he served above.  Probably these were quite small.

    Ko-kabu [小蕪] means small turnips -- probably from the kitchen garden, since kabura was one of the plants grown for winter greens.

¹³Kashi  kan ・ senbei ・ zakuro ・ ko-neri ・ nashi [菓子 カン ・ センヘイ ・ サクロ ・ 小ネリ ・ ナシ].

    Kan [柑] refers to the citrus fruit usually called mikan [蜜柑] -- tangerine -- today*.

    Senbei [煎餅] are rice-crackers.  They would have been procured from a specialty shop.

    Zakuro [柘榴] is the pomegranate.

    Koneri [木練り] are naturally formed hoshi-gaki [干し柿] (dried persimmons), and so of very small size†.

    Nashi [梨] is the Oriental pear‡. __________ *Mikan [蜜柑] means honey-sweet (mi [蜜]) tangerine (kan [柑]), and was probably originally a marketing term.

†Usually, natural koneri -- the name means to soften on the tree -- also have many seeds:  the small size and presence of many seeds both facilitate the natural drying process (since larger fruit would simply rot before drying:  artificially drying persimmons requires the removal of the skin for this reason).

‡The skin cannot be eaten, so the pear must be pealed and cut into bite-sized pieces.  Oriental pears are more juicy than the Western varieties, so they are generally eaten with a yōji [楊枝] (such as a a small kuromoji [黒文字]), rather than with the fingers.

¹⁴Toko [床].

    This was the toko in Rikyū's shoin, which seems to have been at a level below the jōdan [上段] -- the elevated seat for a noble guest -- as shown in the sketch.

¹⁵Ni-fuku ittsui Ba En san-sui  [二幅一對 馬遠山水].

    Ni-fuku ittsui [二幅一對] means a diptych, a pair of pictorial scrolls intended to be hung in the toko at the same time*.

    “Ba En” is the Japanese pronunciation of Mǎ Yuǎn [馬遠; c. 1160 or 1165 ~ 1225].  Mǎ Yuǎn was an important painter, from a family of professional painters, of the Southern Song dynasty.  Mǎ Yuǎn's works are mentioned six times in the Kun-dai Kan Sa-u Chō-ki [君臺觀左右帳記], by Nōami [能阿彌], and four times in Sōami's [相阿彌;  ~ 1525] O-kazari Sho [御飾書].

    Nōami notes that, when hung as a diptych, one scroll should be a landscape, while the other should have the figure of people.  Meanwhile, Sōami indicates that the diptych of small scrolls consisted of one painting by Mǎ Yuǎn, paired with one by (Mǎ Yuǎn's contemporary) Xià Guī [夏圭 or 夏珪; dates unknown, but active between 1195–1224].

    In the Kun-dai Kan Sa-u Chō-ki, Nōami simply segregates Mǎ Yuǎn's (and other artists') works by genre (landscape, birds-and-flowers, paintings of figures, and so forth), without giving them titles by which the individual paintings might be identified.  And while Sōami's original manuscript of the O-kazari Sho originally included small sketches of all of the works cited, none of the subsequent copies (which are all that survive) have any.  Consequently, it is impossible to determine which of Mǎ Yuǎn's works were displayed by Rikyū on this occasion -- or whether or not those paintings are still extant today.

    Above are two of Mǎ Yuǎn's surviving paintings which I selected as representative based on Noami's specifications regarding the two scrolls included in a diptych†. __________ *The pair of scrolls were usually prepared with identical mountings, indicating they were part of a diptych.

†A glimpse of the mountings are usually not included in photographs of these works (and most were remounted during the Edo period anyway, since the preferred proportions came to be based on Kobori Masakazu's [小堀政一; 1579 ~ 1647 -- he is better known today as Kobori Enshū, 小堀遠州] creations, rendering the earlier continental model employed by Nōami and his fellow dōbō [同朋] uninteresting), thus even this potential clue to which of the paintings were used as diptychs is lacking.

    Most of the diptychs and triptychs that were decided upon by the dōbō-shū [同朋衆] were broken up during the early sixteenth century, and those that continued to be used together were almost all split divided into different collections in the Edo period.  Thus there is no clear historical evidence to go by, either.

¹⁶Sai-kōro guri-guri ko-dai ni [豺香爐 グリ〰香臺ニ].

    The kanji sai [豺] means a jackel*.  It seems that Rikyū is referring to a piece that would usually be classified as a variety of shishi kōro [獅子香爐]†.

    The above piece, made of purple bronze, was one of Jōō's personal treasures, may be the kōro that Rikyū displayed on this occasion‡.

    Since this, and several other utensils that Rikyū used on this occasion eventually ended up in Hideyoshi's collection (without the records indicating that they had been owned by Rikyū previously), some scholars have suggested that Rikyū did not actually own them, but that he had taken them on consignment from other Sakai chajin, with the intention being that, should Hideyoshi like them, they would be sold to him for a good price (which Rikyū naturally would negotiate -- while accepting a generous fee for facilitating the sale from the original owner**).

    Unlike Rikyū’s kōgō, the guri-guri kō-dai was probably black††. __________ *In Japan, where such exotic creatures had never been seen, the sai was reimagined as a yama-inu (which name is more commonly written yama-inu [山犬], meaning a kind of feral dog).  The Japanese wolf (ōkami [狼], Canis lupus hodophilax), with which the sai is sometimes equated, differs in several ways from the yama-inu.  In fact, recent genetic evidence suggests that both of these creatures were ancient wolf-dog hybrids (the Japanese wolf has been considered extinct since the early 20th century).

    That said, it is not clear whether Rikyū actually considered this kōro to resemble a wolf, or whether he simply wrote the wrong kanji.

†With which speculation Tanaka Senshō concurs.

‡The other “shishi-kōro” [獅子香爐] commonly associated with Rikyū was one made for him of pale-yellow Seto ware by Furuta Sōshitsu, shown above.   However, this would have been too many things made by Oribe, so the purple bronze kōro seems more likely.

**As a number of these utensils actually had been among Jōō's personal treasures, it is possible that they had been passed to Rikyū by Imai Sōkyū, who was managing Jōō's estate on behalf of Jōō's son Sōga [宗瓦; 1550 ~ 1614].

    Rikyū accused Sōkyū of selling these things and then keeping the profits for himself (which Sōkyū said was to reimburse himself for the expenses of Sōga's upkeep); and this may have been how Sōkyū's name came to be associated with this chakai (the inclusion of this gathering in the Imai Sōkyū Chanoyu Nikki Nuki-gaki [今井宗久茶湯日拔記], mentioned above under footnote 6 -- which collection seems to be at least partly spurious -- may have been calculated to support these accusations; or, possibly, to validate the traditional denrai [傳來] of certain pieces in the Tokugawa family collection -- pieces which do not appear to have had any actual connection with Rikyū, beyond the assertions made in this document).

††Guri-guri pieces were painted with alternating layers of red and black lacquer.  While Rikyū's guri-guri kōgō had red as the outermost layer, most guri-guri pieces (especially furniture and trays) seem to be finished with black lacquer (probably so scratches would be less visible).  Guri-guri-nuri is not shiny like shin-nuri.

¹⁷Shoin-doko [書院床].

    Shoin-doko [書院床] seems to be Rikyū's name for the dashi-fu-zukue [出し文机], the built-in writing desk that was found in the shoin.

   The way to arrange the writing implements on the dashi-fu-zukue is based on Nōami's recommendations in the Kun-dai Kan Sa-u Chō-ki. __________ *This built-in desk is usually called a tsuke-shoin [付書院] today.

¹⁸Sugō suzuri, kame mizu-ire, fude-kake, hitsu sumi, Sugō jiku-mono [子昂 硯、龜水入、筆架、筆 墨、子昂 軸物].

    Sugō [子昂] refers to Chén Zǐáng [陳子昂; 661 or 656 ~ 702], an important poet of the Tang period.  In fact, according to scholars, Chén Zǐáng was responsible for bringing into being the style of poetry that is considered to be “characteristically Tang.”  By many he is considered to be the first poet of the Tang period.

    The objects arranged on the dashi-fu-zukue seem to have been all associated with Chén Zǐáng:

◦ Sugō  suzuri [子昂 硯] -- this ink stone was supposedly the one owned by Chén Zǐáng;

◦ kame mizu-ire [龜水入] -- this was his water-dropper;

◦ fude-kake [筆架], this was a small stand (sometimes carved from precious wood, sometimes made of pottery, and sometimes of jade or other stone) against which brushes were rested, so the brush would not roll around, or the wet head stain the desk (or paper on which the person was writing) -- however, the fude-kake in question has not been identified;

◦ fude ・ moku [筆 ・ 墨] means a brush and an ink stick (while probably both imported from the continent, the specific brush and stick of ink, or who the previous owner might have been, cannot be known from the little that is written here);

◦ Sugo jiku-mono [子昂 軸物] -- this was probably a horizontal scroll, an anthology of Chén Zǐáng's poems, though whether it was an actual Tang period manuscript, or (more likely) a later continental copy, is unknown:  the scroll has not been identified.

    Above is a late Song or early Yuan period hand-written copy of one of Chén Zǐáng's poetry collections.  The jiku-mono displayed by Rikyū on this occasion may have appeared similar to this.

    Perhaps some of these things (as well as other objects displayed in the shoin) had originally belonged to Jōō (certainly, as a trained poet, Jōō would have enjoyed owning just such relics of a very significant poet from the past), and were on loan to Rikyū (from Imai Sōkyū*, into whose keeping they had been given when Jōō died† -- hence his name being ambiguously associated with this chakai) so that Hideyoshi might view them (and possibly purchase them).  While some of these things were used by Rikyū at future chakai, other things are associated with him this one time only, after which the denrai [傳來] suggest they entered Hideyoshi's collection (often without mentioning Rikyū as a previous owner at all), and passed from him (surely unintentionally, at least on his part) to the Tokugawa family, where they still remain.

    As mentioned above, Tanaka Senshō argues against the jiku-mono being placed on the tsuke-shoin (even though that is how the kaiki is formatted).  He prefers to think that the scroll was displayed on one shelf of the chigai-dana (with the jikirō placed on the other).  Nevertheless, at a chakai included in the Rikyū Hyakkai Ki, an open scroll is definitely displayed on the dashi-fu-zukue, and the way Rikyū wrote the present account suggests that this was his preferred way to do things‡. __________ *Imai Sōkyū was married to Jōō's sister, and hence his brother-in-law.

†Jōō's son Sōga was a child of 5 when Jōō died, and Sōkyū was designated both foster parent and executor of Jōō's estate.

    It is said that the bad blood between Rikyū and Sōkyū was occasioned by Sōkyū selling some of the meibutsu utensils that had belonged to Jōō, and then keeping the profits for himself.  Sōkyū claimed this was to reimburse his purse for expenses related to Sōga's upkeep; but Rikyū was disinclined to accept this explanation.  Perhaps this chakai was the occasion on which this sale was initiated -- and, if so, Rikyū would therefore have been intimately aware of the monetary details, since he would have negotiated the price with Hideyoshi on (he would have assumed) Sōga's behalf.

‡The scroll was supposed to be inspected by the guests.  Displaying it on the chigai-dana may have encouraged them to wait until Rikyū entered, so he could retrieve it for them.  Placing the scroll on the writing desk, however, would invite them to inspect it at their leisure without waiting for the host to help them -- and since part of the reason for the delay was so that the meal could be prepared, this seems like it might have been the best way to do things.

¹⁹Chigae-dana [チカヘ棚].

    Rikyū's semi-phonetic rendering of the word chigai-dana [違い棚] -- the staggered shelves usually found adjacent to the dashi-fu-zukue.

    The jikirō [食籠], containing kashi, was probably placed on the lower of the two shelves (while the upper shelf remained empty), with the bonsan displayed on the floor beneath the pair of shelves, as was customary.

²⁰Jikirō [食籠].

    This was a container -- originally a lacquered basket (as the name implies) -- for kashi that was displayed on the chigai-dana -- together with a bon-san [盆山].

    Rikyū's jikirō has not been identified, though the one shown above (which was made during the Ming dynasty) seems to agree with his taste.

²¹Bon-san Kiji [盆山　紀路].

   Kiji [紀路] is the name of a bon-san*.  It has not been identified, and may have been lost.  Perhaps it served as the model for Rikyū's sketch, found in the Nambō-ate no densho [南坊宛の傳書] (though the sketch is just as likely to be fanciful).

    According to the Yamanoue Sōji Ki [山上宗二記], only two of the viewing stones belonging to Ashikaga Yoshimasa were worthy of note (and so suitable for display during chanoyu gatherings)†:  

- The first of these was named Zan-setsu [殘雪].

- The second was called Sue no matsu-yama [末ノ松山], and that stone is shown below.

    According to Sōji, these stones were sometimes arranged on a shallow Korean platter (kōrai-bachi [高麗鉢])‡, and sometimes in a lacquered naka maru-bon [中丸盆]**, both of which may be seen in the photos, above. __________ *Bon-san [盆山] literally means a mountain in a tray (or a tray-sized mountain).  The more modern words bon-seki [盆石] (stone arranged on a tray) and sui-seki [水石] (an abbreviation of san-sui-seki [山水石], which means a landscape stone) refer to the same things.  They are often referred to as “viewing stones” in English.

    In Yoshimasa's period, these kinds of stones were used in a type of meditation practice, with ones vision concentrated on the stone until one entered into a state of peace (after mentally running though the various thoughts that the sight of the stone inspired).  According to a poem by Yoshimasa, when arranged on a tray, two mounds, representing sand-dunes, should be raised up in front of the stone, while the sand behind the stone should be raked to resemble waves (the nature of which was changed depending on the natural conditions of the ocean during that season).

†Apparently Yoshimasa had assembled a sizeable collection of these stones -- which usually resemble distant mountains, or suggest other such scenes from nature -- over the course of his lifetime.  But only these two stones had been celebrated in poems, and it was perhaps for that reason that they were judged suitable for display during chakai (while the others were rejected by Sōji).

    The same sort of (what we might consider) nitpicking is found with respect to which of the Ogura shikishi were originally considered “suitable” for display in the tearoom:  while they were all written by Fujiwara no Sadaie, and all represent poems carefully selected by him and his committee of eminent courtiers (and written on paper selected by him to complement the verse that he would write on it), Jōō is said to have declared that only those poems written on paper that had a background painting on them (the paintings were done by professional artists) could be hung in the toko, while those written on plain colored paper (or Chinese paper with a block-printed decoration) were “wholly unsuitable” for use in chanoyu.

‡This shallow platter (it is described as being a Korean bowl, korai-hachi [高麗鉢] in the Yamanoue Sōji Ki) was made of Korean bronze or sawari [四分一] (it is variously referred to as a kane-no-hachi [金ノハチ], and sometimes as a Namban karakane [南蠻カラカネ], in the various kaiki from the sixteenth century in which it is mentioned:  sawari is a pale gold with black mottling when it has not oxidized, and this aggrees with the platter seen in the photo).

**This tray was 1-shaku 2-sun 3-bu in diameter, with straight sides (that had a raised band on the outside, as can be seen in the photo).  Yoshimasa seems to have used this tray because the original (which was destroyed when Yoshimasa's storehouse was burned down during the Ōnin Wars) had a brass plate inlaid into the face of the tray (the tray seems to have been used in China for carrying hot containers of food from the kitchen to the residental apartments).  The brass plate would protect the face of the tray from being scratched by the sand or the bottom of the stone.

²²Gyo-i ni te daisu kazari, taikai ni te o-cha tate [御意ニテ臺子カサリ、大海ニテ御茶立].

    Gyo-i [御意] means according to the pleasure (of the noble guest); according to the desire (of the noble guest).  In other words, Hideyoshi requested Rikyū to bring his daisu out of storage and display it in the shoin.

    Above is Rikyū's daisu and kaigu from this period in his life.  This daisu was made around 1586, and so some months before this chakai (during which it may have been used for the first time).  After Hideyoshi was initiated into the gokushin futatsu-gumi temae, he forbade Rikyū to teach that temae to anyone else without his express permission.  At that time, Rikyū modified the proportions of the daisu (by making the legs half their previous thickness -- this was enough to move the furo and mizusashi far enough apart so that the previous effect was lost), and then had this daisu made to reflect the changes.  This was the daisu that Rikyū used from that time until his death (and it -- along with Sōtan's “wabi daisu” that is cobbled together from parts of several old daisu, so the ten- and ji-ita are different sizes -- is the daisu that is known and used today).

    Rikyū's Seto taikai-chaire [瀬戸大海茶入] is shown below.

    The expression o-cha tate [御茶立] is very formal, and means that tea was prepared (using the daisu) by Hideyoshi.  Under the circumstances, it is likely that Hideyoshi served usucha to Tsuda Sōkyū and Rikyū -- and perhaps drank a bowl himself.

    The chawan is not mentioned, but perhaps it was the same one that Rikyū used earlier, the Shima-suji-kuro [嶋筋黒] bowl made by Furuta Sōshitsu. 

    Hideyoshi probably performed his temae using the furo.

[cyunley]

今日の晩ごはん！ 向かいのお婆ちゃんからもろた｢つまみ菜｣ 揚げ玉､醤油､鰹節､大蒜🧄等でスタミナサラダに🌱 シャキシャキで美味しかった😋 赤魚が安かったのでシンプルに塩焼き！ 身がブリッブリで脂ジューシー美味でした😍 #赤魚の塩焼き #つまみ菜とトマトのあげたまサラダ #切り干し大根の煮物 #自家製らっきょう #越後姫🍓 #サッポロゴールドスター #家呑み #おうちごはん #おうちごはん部 #おうちごはんlover #今日の晩ごはん #TodaysDinner #晩ごはん記録 #献立記録 #てづくりごはん #てづくりごはん365 #cooking #cook365 #タベリー #フーディーテーブル #クッキングラム #キッチングラム #夫婦ごはん #ふたりごはん #豊かな食卓 #cyuley作ディナー #cyuley 最後の画は先日お婆ちゃんにもろたクリスマスローズ 植え替えた時から頭が下がってお辞儀みたく なってたけど少しづつ元気になってきてる😊 龍の髭も貰ったからクリスマスローズの 根元に植えたのでこれからどんどん増える予定😙 なう(2022/04/20 20:47:31) https://www.instagram.com/p/CckmIXfv-EV/?igshid=NGJjMDIxMWI=

[sushiyokokimono]

The 24th Online Cooking Class, Report Part 3 It was held in collaboration with Otafuku Sauce. I was surprised that some Swiss people used a lot of dried bonito flakes😄 By the way, my family doesn't eat dried bonito.😅 Thank you for your participation. I hope I can meet you at the Yakisoba class, which is a collaboration project with Otafuku Sauce, which starts at 17:00 on March 28 (Sun). You can reserve seats for cooking classes. on https://www.sushi-yoko.ch/events/cat/online/ or if you join the free FB cooking group, the first attendance will be free. https://www.facebook.com/groups/452072832222386 24回目のオンライン料理教室レポートのパート3 今回オタフクソース様とのコラボ企画で実施させて頂きました。 スイス人の方でもカツオ節を沢山使っていらっしゃる方がいてビックリしました。ちなみにうちの家族は鰹節は食べません。😂 ご参加ありがとうございました。 3月28日(日) 17時開始のオタフクソースさんとのコラボ企画の焼きそば教室でもお会いできますように。 料理教室は https://www.sushi-yoko.ch/ja/events/cat/online/で予約するか、 無料のFBクッキンググループに参加頂ければ、初回受講は無料になります。 https://www.facebook.com/groups/452072832222386 #aarau #basel #bern #cookingclass #kimono #kochkurs #luzern #okonomiyaki #online #otafuku_global #schafhausen #shrimp #stgallen #thun #winterthur #zoom #zug #zurich #お好み焼き #オタフクソース #オンライン #スイス #料理教室 #着物 #チーズ #cheese #カツオ節 @otafuku_global @otafuku_sauce @sushi_yoko_kimono ==================== #Repost @tortenhaus.ch ・・・ Oishii!!!! 😋 Okonomiyaki Online-Kurs mit @sushi_yoko_com und der leckeren @otafuku_global Sauce! 😋😋😋 So lecker! 🙏🏻Danke vielmals für den feinen Znacht!!! 🤩 (Winterthur, Switzerland) https://www.instagram.com/p/CL_1RnGBNLZ/?igshid=8qz4rxluscsy