One Fruit a Day is a hardcover book written by Zongshen Kimura on [Japan] and published by Purui Culture and Hunan Fine Arts Publishing House. The book is priced at 138.11 yuan, with 461 pages. The article gives some readers' comments after reading, hoping to be helpful to everyone.

thoughts on "One Fruit a Day" (1): The breathtaking natural mind and professional craftsmanship

The delicate and seasonal harmony fruit is an essential part of the Japanese aesthetic system.

One of the characteristics of Japanese aesthetics is that a picture and a detail in all things in nature are highly abstract, and then displayed in a unique way, giving people infinite meditation and enlightenment, accompanied by a quiet and ethereal beauty experience. This process is not only the embodiment of the oriental view of nature, but also contains a strong local flavor. This is true of the dry landscape in classical gardens, the flower road tea ceremony, and the fruit.

For example, on April 11, the fruit was named "Spring Mountain", and the vessel was a paper dish imitating Renqing's painting of Dongshan cherry blossoms. The author Zong Shen Kimura wrote: Spring Mountain is as light as a smile. With the change of line thickness and color depth, the artistic conception of the golden ball fruit is also different. This fruit is wrapped in fine flocs of pink and plain white, which reminds people of the brilliant spring scenery.

In the Book of Songs in July, there is also a saying that "the sun shines in spring, and there is a Ming Cang Geng". The woman holds the basket and follows it, begging for soft mulberry. The sentence "Spring is late, and Qi Qi is adopted" properly describes the contrast between Japanese fruits and utensils. Square paper dishes with cherry blossom patterns are very much like ancient battlements, where flowers are blooming and spreading to the suburbs. The distant mountains are hidden in the mist, and the clouds are ethereal, moving slowly towards the slender and towering heavy tower in the northeast corner. As far as the eye can see, the golden fruit looks like the largest cherry tree, and it blooms quietly and warmly in the warm wind of spring.

It is worth mentioning that the corner at the top left of the battlements is far away from the crowded places. The mountains and neat gaps that cannot be seen clearly bring a touch of regret to the vision, which leads to or continues to ask questions, or curious and imaginative thoughts, which are full of fun.

It is written in the book that a craftsman who makes fruit once said, "Leave room for practice" and "Don't let the fruit surpass the utensils that decorate it". Not only that, but sometimes it even needs to be "not too delicious". This shows that the vessel is as important as the fruit itself. However, in the daily fruit essay, Mr. Kimura did not spend a lot of sentences on the explanation of utensils, but touched on his own inspiration. In this way, the explanation of words is not better than the appreciation of vision. This is also a way to leave room.

at first glance, this thick book is a picture album, but in fact it is a rich feast. And fruits change with the seasons and seasons, and match the utensils that match them. When looking through it, I will unconsciously think about where this beautiful scenery comes from, and my mood will fly to the original nature.

When I was a freshman, I became interested in Hehuozi. When I was nearing graduation, I was very excited to see "One Fruit a Day" produced by Purui Culture. The process of reading is also a process of experiencing Japanese aesthetics, and the professionalism is amazing and admirable. Personally, I think this is the best book about fruit harmony on the market now. If you are interested in fruit harmony and beauty, you must read it!

Comments on "One Fruit a Day" (II): Four Seasons (Notes and Fragments) on the plate

Some introductions about the fruit of peace in the text:

Fruit of peace

is not only used for tea seats, but also for entertaining guests, which is often understood as the first-class fruit of peace given to guests. In Kyoto, the original intention is to "offer fruit" to the monarch.

raw fruit

steamed fruit, cooked flour, cutting, fattening and golden balls used for tea seats all belong to this category.

imperial fruit

is only made for specific customers, which is defined as royalty, lords' names and aristocratic officials in a narrow sense, and includes many tea lovers in a broad sense.

chaosheng fruit

it can't be stored overnight when it is eaten on the day of making in the morning, and its types can be found in rice cakes, dumplings, kudzuvine fruit and wheat steamed bread. It is often used to make daily snacks, also known as fruit.

Fancha Fruit

A coarse snack served when drinking Fancha every day. There are steamed bread, dumplings and pancakes.

dried fruits

The dried fruits in the New Year are mostly made at the end of the previous year.

Fruits on Imperial Topics

Fruits with themes are sung in the Palace Song Festival on New Year's Day, and each family has its own original fruit for solving problems, which is often used for tea parties in early spring.

Jiaxiang Fruit

On June 16th in the lunar calendar, there was a Jiaxiang custom of eating fruit to avoid disaster, which began in the early years of Yu Jiaxiang (848), and now June 16th is designated as the day of fruit harmony. At the end of the edo period, the emperor had the custom of eating seven kinds of fruits on this day.

Lead fruit

Red and white weddings and funerals are given back to guests, also known as "ceremony fruit", which is used for happy events, but not for funerals.

Craft fruit (sugar art fruit)

Pictographic fruit made of unrefined sugar, the patterns and styles are mostly like flowers, birds and romantic flowers. It began in the Edo period and was used as a tribute to court and noble officials.

The three famous fruits

have different opinions, generally referring to the longevity hall in Kanazawa, the snow in Nagaoka and the mountains and rivers in Songjiang. All three places are the cities where the lords who knew and loved tea in the past were located, and the fruits are all dried fruits that are convenient for long-term preservation.

Raw fruit

After being made, the water content is more than 31%, so it can't be preserved for a long time. The tea table is generally used as the main fruit to match strong tea.

There are cakes and fruits, steamed bread, mutton soup and so on.

dried fruit

after being made, the water content is below 11%, which can be preserved for a long time. Tea tables are generally used to match green tea, which is also called total fruit.

beating things, pawning things, hanging things, baked things (dried fruits), fried things, fried things, bean fruits, etc.

half-baked fruit

is somewhere in between.

Twitter of chicken soup style:

There was "One Flower a Day" ahead. I didn't hesitate to place an order when I saw this book, and I was not disappointed afterwards. Comparatively speaking, what is better is that this book has a lot of popular science on the fruit itself, and the intention of collocation is also introduced in more detail.

I think this book, like A Flower a Day, aims to keep people aware of the four seasons and cultivate their perception of beauty. This beauty is not eye-catching, it adjusts with the change of light at any time, echoes with the surrounding environment, quietly in the corner of your life, will not attract all your attention, but can always remember.

Therefore, delicious fruits need seasonal ingredients and colors, flowers, trees and containers, and a decoration is like a feeling of graduation for a period of time, or a welcome to the new season.

I think of a friend who once forwarded it to Weibo, a food blogger, feeling that ordinary people don't have the energy to prepare so many matching tableware. As a result, it was replied and forwarded, which attracted attacks from fans and hastily deleted Weibo. But in fact, friends themselves are good cooks and occasionally send pictures to share.

there is nothing wrong with posing, and friends are right. I spent a long time cooking, then I selected bowls, plates, chopsticks and spoons, laid a tablecloth and inserted flowers, took photos and added layers of filters, and finally posted them on social networks. In the fast times, it is also good for us to slow down occasionally and leave some conceived pictures for those who don't have time to do it.

But I hope everyone can have such a heart to perceive ideas, and also have a mind to tolerate different things. The author of this book said later that for the sake of exhibition, he chose all kinds of expensive utensils, but in life, he didn't have to be so harsh. It's great. I'll show you the ultimate beauty, and I hope you can enjoy the culture and beauty of small fruit in simplicity. This is the real master style.

thoughts on "one fruit a day" (3): autumn fruit

when I was a child, there was a children's railway in Harbin, which was operated by all primary school students. It is said that it was rare in the world. Everyone took turns to be stationmaster, train conductor and flight attendant, pretending to be a family wine, and the main task was to receive foreign guests. In such a chance, I met a great monk in Nikko Toshogu, Japan. Later, he politely sent me a set of postcards of Toshogu, which contained the famous woodcarving "Three Apes": see no evil, don't listen if you are indecent, don't speak if you are indecent, and in addition, there was a box of "Harmony Fruit". The fruit is a dried baked fruit, high in waist and delicate, with fillings, namely red beans and chestnuts, which are especially beautifully packaged. The double-layer thick cardboard box sprinkled with red brown gold feels like good rice paper. It's autumn, and the attached note says "Autumn Fruits". In an era when materials are still scarce, this box of fruit looks like a work of art, which will be unforgettable for life.

With the gradual opening up of the country, more and more Japanese foods are imported. It's common for people to collect mountains and fill the sea in supermarkets, such as Tongluo Shao, Dafu, Xianbei, mutton soup and small pancakes. However, I still have an obsession with the box of "autumn fruits" of that year, specifically, the fruits that were "presented" like that. In my opinion, food for the stomach, snacks for the tongue, and fruit for the eyes. Food is to satisfy hunger, snacks are to satisfy hunger, and fruits are pleasing to the eye. In the eyes of fruit lovers, they are valuable because they are useless. It is for this reason that this book by Tomoshi Kimura is quite satisfactory to me. Every kind of fruit is filled with the most suitable utensils, with a sense of season, thoughts of homeland, the prosperity and splendor of the ceremony, the peace and quiet of the tea ceremony, and one fruit a day, like a concrete and subtle microcosm of Japanese culture, with "silence", "mystery" and "mourning for things". Those who "mourn for things" are embodied in "love for things" at this moment. They present the beauty of things through understanding and displaying, and express their attachment to nature and life in a way that can be perceived, controlled and symbolized in concrete and insignificant things.

the so-called "harmony fruit", defined by the author, is "a dessert deeply rooted in Japanese life". Its taste is mainly sweet, its temperament is in harmony with Japanese space, and it is also suitable for Japanese hospitality. Compared with western-style dim sum, "harmony with fruit is about matching the situation with the mat and utensils, which can be described as seeing a world with one fruit." At the same time, there is a key element in the concept of harmony fruit, that is, harmony fruit is something made by craftsmen, because it does not directly come from nature, so it is a kind of "exquisite freehand brushwork". The most important thing is that the fruit and tea ceremony are "connected and inseparable".

Fruits in ancient Japanese cuisine are generally grouped with tea as an independent part. Later, the tea ceremony flourished. From the perspective of tea ceremony, harmony with fruit is an indispensable element to express elegance. From the perspective of harmony with fruit, today's sudden prosperity is also due to the tea ceremony. In tea seats, the topic is often focused on tea sets, but flower arrangement, charcoal fire, incense, water, and fruit are only ephemeral things, which makes the owner more original. In a sense, it is precisely because the fruit of harmony is laborious, exquisite and perishable that it can better reflect the essence of "mourning for things".

Zong Shen Kimura confessed that "One Fruit a Day" is not intended to restore the situation of tea seats, so the collocation of fruits and utensils in the book may seem too grand if used in actual tea seats. But what attracts readers in China is this kind of deliberately managed but natural beauty. There are 365 combinations in the book, which are 365 encounters between fruits and utensils, and even 365 "perfect matches between human beings"-for the fruits in the new world, it is just right for the utensils in the world that have been read for a long time, and it is "the person suddenly looks back but the lights are dim". The so-called complement each other, which is the case.

There are two main components of the tea ceremony, one is "number sending" and the other is "posture and manners". The focus of this book is on the former. The author said that the original intention of "counting and sending" refers to the collection of insufficient things, referring to people who love tea and pursue novelty, and trying their best to collect all kinds of beautiful things to decorate the tea-drinking environment in order to entertain guests. The background of all the photos in this book is the same simple tatami mat, but the utensils that appear are really beautiful.

Geographically, these vessels include Tang objects (from China), Harmony objects (made in Japan), Korean objects (from North Korea), island objects (from Southeast Asia), and a few from Europe, America, Iran, Turkey and India. In quantity, Tang objects and Harmony objects are equally divided. In terms of texture, these utensils cover metal, glass, lacquerware, wood and ceramics. Ceramics are the most complex, and there are white porcelain, celadon, blue and white, painted, red painted and earthenware. From the time point of view, it spans Nara, Ping An, Kamakura, Muromachi, Taoshan, Edo, Meiji, and even contemporary-a big red acrylic box designed by Europeans and filled with a corner of yellow cauliflower sugar, which is so brilliant and harmonious. The author really has a unique idea.

Japan has a great respect for China utensils in history. For example, "Tang Tong" refers to the highest-grade bronze, and "Nan Tie" refers to the highest-grade silverware in China. Interestingly, Japanese tastes are different from those of China after all. The utensils used in this book include China's classic "Tang objects", such as the celadon of the official kiln in the Song Dynasty, the copper plate, the red-picking box, the mother-of-pearl square plate in the Ming Dynasty, the plum blossom lacquer plate and the enamel seven-treasure dish in the Qing Dynasty. There are also "Tang objects" that don't enter the eyes of China literati. For example, during the decline of Jingdezhen official kilns in the late Ming Dynasty, some blue-and-white porcelain fired by folk kilns was not refined in painting, but Japan named it "ancient blue-and-white" and thought it was elegant in style. Another example is "Wu Xu's Red Painting", which is mainly painted in Zhangzhou. Its color patterns are bold and unrestrained. China literati think that the village is vulgar, while Japanese tea people admire it. Another example is the Vietnamese imitation of China blue-and-white porcelain "Annan Porcelain", but Japanese artisans are willing to imitate it. There is such a Japanese imitation of Annan's cover bowl in the Edo period, which may be precisely the "silence" feeling caused by the "imperfection" of coarse porcelain.

What amazes me is the author's aesthetic taste and super ability to switch between Tang objects and harmonious objects, between elegant people and village people, and between gorgeous and simple. In the Ming Dynasty, a red octagonal lunch box was filled with three simulated birthday peaches, with pink leaves and green leaves, which was quite China. However, the effect of using the pink-blue Longquan celadon lamp in the Southern Song Dynasty with the faint pink-purple water chestnut cake is particularly Japanese. In the late Ming Dynasty, the square plate with plain and unpainted cracks was filled with "beans falling wild geese" made of soybeans, and the shape was the smiling face of Adolfo, who was ugly and ugly. This is "Tang Wei He Yong". There is another example with the same effect. In the late Ming Dynasty, Clark blue-and-white porcelain (called "Hibiscus Hand" in Japan) was matched with two pieces of Ge Fen soft mutton soup in the shape of bonito sashimi. It was translucent and oily and light pink, surrounded by the neat opening of Clark porcelain. Japan, China and Western Europe had mixed tastes and high rhyme.

Personal preference, I like those poetic collocations. A kind of "distant mountain cake", which takes the meaning from haiku: "Walking and walking, still in the green hills", is dyed extremely light green, made into a long rolling mountain shape, and filled in a blue-green interdigitated pocket bowl, such as distant mountains and clear water, misty and lovely, which clearly reminds people of Jiangnan. There is also a kind of "light snow soup", which is made into a curved moon and lined with a bronze bowl of the Korean era. The bowl is endless and blue like the night sky, which reminds people of the sentence: "When the golden wind meets the jade dew, it will win, and there will be countless people."

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