#Sansho

[geekynerfherder]

Showcasing art from some of my favourite artists, and those that have attracted my attention, in the field of visual arts, including vintage; pulp; pop culture; books and comics; concert posters; fantastical and imaginative realism; classical; contemporary; new contemporary; pop surrealism; conceptual and illustration.

The art of Mona Fuchs (Sansho).

[laladbzland]

[silverovaskitchen]

Food #002: Porcini and chestnut risotto (with a fusion twist)

MADE: 07 MAR 2023

Before anything, yes, I have a favorite bowl. I mean, who can resist the meow? 👀

Alright. So. When I made this, I had a revenge to take. The last risotto I ate before that (in a supposedly fancy restaurant!) was b l a n d —and I hate bland.

Hence, my mission here was to make a risotto that could be fancy AND not bland. Oh, and to use the jar of chestnuts that had been sitting in my pantry, too. I mostly based my recipe on this one, this one and a tiny bit of this one, but I did add some twists of my own... so please, Italian people, don't kill me for what I'm about to disclose 🙃

INGREDIENTS

250 g risotto rice (arborio/carnaroli)

30 g dried porcini mushrooms

1 cup (250 mL) porcini soaking liquid (see in recipe instructions)

2 1/2 cups (625 mL) vegetable broth (I used a cube of unsalted broth + water)

12 crumbled cooked chestnuts (+ some whole ones to serve)

1 or 2 shallots

1/2 cup (125 mL) sake (as a replacement to the traditional white wine, because that's all I have in my teetotaler's pantry)

20 g pecorino romano (it should be parmesan, but there are only very few cheeses I like and parmesan isn't one of them)

30 g butter (optional)

salt & pepper

olive oil

chopped scallion (to serve)

sanshō (Japanese pepper, to serve)

DIRECTIONS

(Optional) Stir fry the whole jar of chestnuts with salt and pepper for a few minutes, then reserve them. Crumble the 12 chestnuts that will go into the risotto.

Put the dried porcini in at least 1 cup boiling water for 10-20 mins. In the meantime, you can prepare the other ingredients (like chopping the shallots for instance)

In a saucepan, combine 1 cup porcini soaking liquid and the vegetable broth. Heat up until it boils and is completely mixed. Keep warm on the stove.

In a saucepan big enough to cook the amount of rice, stir fry the shallot in the olive oil over low heat, until it becomes translucent. Add all the rice. Stir everything and let toast for a few minutes, then add the sake to deglaze.

Add a ladle of hot broth. Gently mix and cook until the mixture starts to look dry. ONLY then add another ladle of broth, etc. (This process is very important! It ensures the starch in the rice gives a nice, creamy texture.)

When there's about half of the broth left, add chopped porcini and the crumbled chestnuts, mix, then keep adding broth ladle by ladle.

When you're done adding the broth and the rice is done, remove the risotto from the heat and stir in butter and pecorino. Salt and pepper to taste.

Serve hot with chopped scallion and sanshō sprinkled on top, as well as whole chestnuts.

Pic 1: showing off my giant ass jar of porcini

Pic 2: if you've never seen a jar of chestnuts, that's what it looks like in my local grocery store

[joyousnudibranch]

We harvested abundant sansho pepper this spring! Amazing! The sansho tree produced only about 20 of peppercorns last year, and I was hoping to get just a little bit more this year. But I wasn't expecting THIS!!

Believe me. There's about this much still left on the tree.

I washed, blanched, and soaked them in water for several hours. Then I froze them in a ziploc bag because I've read that it was the best way to preserve the sansho peppercorns for a long time.

Let's see how it works. ;)

[sanshofox]

„comforting cuddles“ quick something I made for that

I love interactions where Tav is able to break through astarion‘s facade to show him that there’s more to a deeper connection, that he isn’t just wanted for his body. Just being yknow. I like to imagine that tav would watch over his nightmares and cuddle him to comfort him; like a „warm water bottle“ would be nice for a comfort needing vamp haha (and yes astarion has a more lavish pillow than the others ;D)

[radiojardinage]

Sansho

https://fr.wikipedia.org/wiki/Zanthoxylum_piperitum

Français : sansho, poivre sansho English : Japanese pepper, Japanese prickly-ash 日本語 : 山椒、さんしょう

Famille : Rutaceae Genre : Zanthoxylum Espèce : Zanthoxylum piperitum

Malgré son nom, le sansho n’est pas un poivre mais un agrume. Il pique comme un piment et brûle comme du poivre, ceci dit. Le manger frais est une mauvaise idée, mais en poudre il fait un bon condiment.

J’en ai ramassé 200g dans la forêt mi-juin, mais j’ai pas encore cueilli ceux qui sont tout autour de la maison !

J’ai fait sécher les fruits, puis je les ai broyés en poudre.

[shinyayamauchi]

驚き桃の木山椒の実

[supernova-co]

I call em line I see em honey

And you're very pretty

🦊🍪

[life-set-to-random]

Poor little dude lol! Could you imagine, just chilling in your home and suddenly a maniac with a sword nearly makes you even shorter than you already are 🤣

[doublebilled]

Sansho the Bailiff (1954) dir. Kenji Mizoguchi

Pather Panchali (1955) dir. Satyajit Ray

[jadbalja]

[nine-frames]

"I found that humans have little sympathy for things that don't directly concern them."

山椒大夫 (Sanshō Dayū / Sansho the Bailiff), 1954.

Dir. Kenji Mizoguchi | Writ. Fuji Yahiro & Yoshikata Yoda (Based on the Short Story by Mori Ōgai) | DOP Kazuo Miyagawa

[sanshofox]

„Holding hands: a new concept“

This time I wanted to make smth soft. Smth where astarion is smitten and smiles softly. Also wanted to get that ethereal lighting from some places in bg3 juuuust right. It fits so well to this scene I have in my head. Them going somewhere and astarion daring public display of affection. Him wanting to hold hands. And of course I had to draw a forehead touch.

Prints as always available on my inprnt (link in bio through linktree)

[byneddiedingo]

Kyoko Kagawa in Sansho the Bailiff (Kenji Mizoguchi, 1954)

Cast: Kinuyo Tanaka, Yoshiaki Haniyagi, Kyoko Kagawa, Eitaro Shindo, Akitake Kono, Masao Shimizu, Ken Mitsuda. Screenplay: Fuji Yahiro, Yoshikata Yoda, based on a story by Ogai Mori. Cinematography: Kazuo Miyagawa. Production design: Hisakazu Tsuji. Film editing: Mitsuzo Miyata. Music: Fumio Hayasaka, Kinshichi Kodera, Tamekichi Mochizuki. 

It's rare to see a film whose title character is the villain -- unless you count monster movies like the many versions of Dracula -- but Sansho (Eitaro Shindo) is decidedly that, the slave-driving administrator of a medieval Japanese manor. (It's as if Uncle Tom's Cabin had been called Simon Legree.) But in fact, Sansho serves as a catalyst for the story that centers on an aristocratic family. The father displeases his feudal lord by being too merciful to the people he governs, so he's banished to a distant province while his wife, Tamaki (Kinuyo Tanaka), and their children, Zushio and Anju, remain behind with her brother until the children are old enough to make the dangerous cross-country journey. But when they set out, they are betrayed and sold into slavery. Tamaki is forced into prostitution and separated from the children, who grow up as slaves on the estate administered by Sansho. One day, Anju (Kyoko Kagawa) hears a new slave, brought from the island of Sado, singing a song about a woman who mourns the loss of her children named Zushio and Anju, and learns that her mother is still alive. Meanwhile, Zushio (Yoshiaki Hanayagi) has decided that the best way to survive in slavery is to go along with Sansho's demands, which include punishing an elderly slave by branding him on the forehead. Anju is appalled by what her brother has become, because he has turned against the principles of mercy and human equality that their father taught them, but when the opportunity to escape presents itself, she persuades him to do so. Staying behind, and facing the wrath of Sansho, she drowns herself. Eventually, Zushio wreaks revenge on Sansho and liberates the slaves, then goes in search of his mother. This reworking of an ancient fable is one of the most miraculous of films, an exquisitely photographed (by Kazuo Miyagawa), designed (by Hisakazu Tsuji), and acted work, radiating Mizoguchi's deep human sympathy. Tanaka, who starred in Ugetsu (1953) and The Life of Oharu (1952), the other two films usually ranked alongside Sansho the Bailiff as Mizoguchi's greatest works, has a smaller role than in the others, but her final scene in this film is one of the most heart-breaking performances in all movies.

[cinemaronin]

Sansho the Bailiff (1954)

山椒大夫 Sansho the Bailiff (1954)  directed by Kenji Mizoguchi

[supernova-co]

I have a fat ass and I’ve been told my boypussy tastes great >;)

-🪐

YOU CANNOT DO THIS TO ME I AM IN PUBLIC-