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Karashi (芥子, 辛子, Japanese yellow mustard) is Japan's traditional spicy condiment — a hot, pungent yellow mustard paste made from the seeds of Brassica juncea (brown mustard), ground and mixed with water to produce a sharp, sinus-clearing heat that is instantaneous rather than lingering. Unlike Western prepared mustards, karashi contains no vinegar or other taming agents — it is simply ground mustard seed and water, sometimes with a small amount of flour or turmeric. The result is a mustard with extremely direct, immediate pungency (the allyl isothiocyanate release is fast and intense) that disappears almost as quickly as it arrives. Karashi is used as the standard condiment for tonkatsu, oden, natto, gyoza, and various nimonoand miso preparations.

Karashi mentaiko (辛子明太子) — spiced pollock roe — is one of Kyushu's most celebrated food products and Fukuoka's defining local specialty: sacs of Alaska pollock roe (suketoudara) marinated in a complex spiced brine of chilli (togarashi), sake, soy, konbu dashi, and other seasonings until fully cured, producing an intensely flavoured, spicy-savoury, slightly tangy roe product that has become one of Japan's most beloved condiments and a multibillion-yen industry. Mentaiko (明太子) — the name derived from the Korean word myeongtae for pollock — was originally brought to Japan from Korea in the early 20th century, where Koreans had long produced a spiced pollock roe product. In 1949, Toichi Kawahara of Fukuoka established Fukuya, considered the founding company of the modern karashi mentaiko industry, producing a commercially consistent version of the Korean prototype adapted to Japanese palates with more sake, less extreme chilli, and more aromatic complexity. The current industry is enormous: Fukuoka alone has several hundred mentaiko producers, each with proprietary brine formulas, and the product generates approximately ¥400 billion annually. The production process involves: removing the pollock roe sacs (mentaiko) intact from fresh fish, salting briefly, then marinating in a seasoning liquid (tare) containing chilli, sake, soy, konbu, and other proprietary ingredients for 1–3 days. The chilli type and quantity determine the heat level: standard mentaiko uses dried Japanese red chilli; warai mentaiko (mild) uses less chilli; extra-spicy uses high-oleoresin chilli. The final product is classified by colour (red from chilli vs. the pale pink of uncured roe), firmness (fresh vs. aged), and bite-size (whole sac vs. individual membrane-burst roe). Mentaiko's applications extend far beyond its origins: it is the filling for onigiri, a toast spread, a pasta sauce (mentaiko pasta — one of Japan's most popular pasta dishes), an ingredient in tarako pasta sauces, and a component in contemporary sauces for yakitori and grilled fish.

Karashi (芥子/からし, Japanese mustard) is Japan's primary hot mustard — made from ground brown/oriental mustard seeds (Brassica juncea) without vinegar, producing an explosive sinus-clearing heat quite different from European prepared mustards. Unlike Western dijon or yellow mustard (which use vinegar to moderate heat), karashi is mixed with warm water alone — activating myrosinase enzyme that converts sinigrin to allyl isothiocyanate (the same compound in wasabi). The heat peaks within 5-10 minutes of mixing and dissipates over 30 minutes. Classic Japanese applications: served with oden, natto, tonkatsu, and dengaku. Prepared tubes (pre-mixed with water) are convenient but less intense than fresh-mixed powder.

Karashi (Japanese mustard) is made from ground brown mustard seeds (Brassica juncea), producing a pungent, fiery, sinus-clearing heat that is different in character from European yellow mustard (milder, more vinegary) or Dijon (sharp but balanced). Unlike wasabi's volatile, evaporating heat, karashi's pungency is more sustained and oil-based. It is used as a condiment — a small amount placed on the side — rather than as a sauce component in most traditional preparations. Key applications: oden dipping condiment, tonkatsu side condiment, natto flavouring, miso-karashi sauce for karashi-sumiso dressing, takoyaki accompaniment, and karashi-miso as a flavouring agent in nimono.

Karashina (mustard greens, Brassica juncea) and its regional varieties constitute one of Japanese winter cooking's most important green vegetable categories — encompassing the spicy, peppery bitterness characteristic of all brassica mustard species in forms specific to Japanese cultivation: fushimi karashina (deep red-purple Kyoto variety), takana (Kyushu flat-leaf mustard used raw in ramen), karashina no ohitashi (briefly blanched and seasoned), and the numerous varieties used in nuka-zuke pickling that develop pronounced mustard heat during fermentation. The distinctive spicy character of mustard greens (from sinigrin hydrolysis to allyl isothiocyanate — the same compound in wasabi) intensifies with cold weather, making late autumn and early winter karashina the most pungently flavored. In Kyoto's culinary tradition, karashina appears as one of the classic winter vegetables — blanched, seasoned with dashi-soy-mirin, and presented as ohitashi that balances the inherent bitterness with restrained seasoning. Takana from Kumamoto is unique in Japanese cuisine for being used raw — the mild Kyushu cultivation produces less pungent leaves that go directly into ramen bowls as a garnish without cooking. Fermented takana (takana zuke) develops intense spiciness and is Kumamoto ramen's signature accompanying pickle.

Japan's cruciferous vegetable culture extends far beyond the daikon radish that dominates Western understanding of Japanese vegetables into a rich diversity of leafy greens, mustard varieties, and brassica relatives that define regional pickling traditions and seasonal cooking. Karashina (からし菜, mustard greens, Brassica juncea) is the foundational leafy mustard of Japanese cooking — more pungent and bitter than its milder Chinese mustard cousins, with a sharp, slightly spicy character from isothiocyanate compounds (the same family as the heat in wasabi and horseradish) that makes it a natural partner for pickles, miso soup, and pork preparations. Nozawana (野沢菜, Brassica rapa var. hakaburi) is Nagano Prefecture's most celebrated pickle vegetable — a large-leafed turnip variety grown in the cold mountain valleys of Nozawa Onsen whose crisp, slightly bitter leaves are traditionally pickled whole in large wooden barrels with salt, producing Japan's most celebrated tsukemono in November during the doyo (midwinter) pickling festival. Komatsuna (小松菜, Japanese mustard spinach, Brassica rapa var. perviridis) is Tokyo's traditional winter green — named after Komatsu-gawa (Komatsu River) in Edogawa, Tokyo, where it was cultivated as the defining winter green of Edo cooking. Komatsuna is milder than karashina, with less pungency and more subtle bitterness, making it a versatile cooking green for ohitashi (blanched with dashi-soy), miso soup, and stir-fry. Chingensai (チンゲン菜, bok choy, Brassica rapa var. chinensis) entered Japanese cooking from China in the 1970s and is now completely integrated into Japanese cooking as a standard vegetable for stir-fry, soup, and nabe. All Japanese crucifers share the seasonal winter character — they develop sweetness and reduce bitterness with cold exposure (a phenomenon known as kanmuri — winter sweetening).

Karashi sumiso (からし酢味噌) is one of Japan's most important dressings for blanched vegetables and seafood — a mixture of shiro-miso (white miso), rice vinegar, sugar, and karashi (Japanese hot mustard) creating a sweet-sour-spicy-savory balance unlike any other Japanese condiment. The mustard provides heat that dissipates quickly, the vinegar provides bright acidity, the miso provides umami and body, and the sugar rounds everything. Classic applications: blanched wakame seaweed, briefly blanched octopus (tako no karashi sumiso-ae), and spring vegetables. It must be dressed at service — the moisture continues to develop if left.

Karasumi (唐墨) is Japan's most prestigious dried roe product — salted and air-dried mullet roe (bora, Mugil cephalus) that is the Japanese equivalent of Mediterranean bottarga. The name 'karasumi' refers to Chinese ink stick (唐墨), whose compressed rectangular shape and dark colour the product resembles. Production: fresh mullet roe sacs are carefully removed without puncturing the membrane, washed in brine, salted for 24–48 hours, rinsed, and then hung or laid flat to air-dry for 2–8 weeks depending on size and climate. The result is a firm, dense, amber-gold block with a surface of fine white salt crystals and an interior that slices to a cross-section showing the amber-red roe. The flavour is intensely savoury, pleasantly briny, with a deep oceanic richness and a sweetness from the roe's natural lipids. Nagasaki is the primary production centre — the city's Portuguese trade connection brought bottarga knowledge (and the mullet) through Dejima, and the Nagasaki karasumi tradition now spans 400 years. The premium season is autumn (October–November) when mullet roe are at their largest and most developed before spawning; prices for top Nagasaki karasumi range from 5,000–20,000 yen per pair (a pair being the two joined roe sacs). Karasumi is served thinly sliced (2–3mm) with sake, grated daikon, or thin slices of rice cake (mochi) — typically as a sake accompaniment or elegant snack rather than a cooking ingredient. Unlike Italian bottarga, which is also used grated over pasta, Japanese karasumi is primarily eaten in thin slices for the direct flavour experience.

Karasumi — Japanese-style dried and salted grey mullet (bora) roe — is one of Japan's three great chinmi (rare delicacies) alongside uni and konowata (sea cucumber intestines), produced primarily in Nagasaki Prefecture from autumn-harvested mullet roe sacs that are salt-cured, pressed, and sun-dried into the characteristic amber-orange slabs of intense savory richness. The preparation process begins in September-October when female mullet are caught full of roe in Nagasaki Bay — the entire roe sac is removed intact, salted under pressure for several days, desalted with sake washing, then air-dried on wooden frames in cool, ventilated conditions for 2-4 weeks until the exterior achieves a firm, amber translucency with the rich, fatty roe compressed into its final dense form. The result is sliced paper-thin (1-2mm) and served in small quantities — traditionally with daikon, sake or shochu, and occasionally thinly sliced nashi pear — where the intense salted-fermented richness is balanced against the clean neutrals of these accompaniments. The name derives from Tang China (karasumi = Chinese ink stick) due to the resemblance of the dried roe block to Chinese calligraphy ink sticks.

Karasumi (唐墨, literally Chinese ink) is Japan's equivalent of Italian bottarga — the salted, pressed, and dried roe sac of grey mullet (bora), produced primarily in Nagasaki Prefecture. After salt-curing 3-7 days, the roe sacs are pressed flat under weighted boards and air-dried 1-2 weeks until firm and amber-colored. Karasumi's flavor profile is rich, intensely savory, and with a characteristic sweetness from the roe's natural oils — different from the stronger Italian bottarga. Thinly sliced and served with sake, or grated over hot rice and pasta, karasumi represents Japanese luxury preserved roe culture. Nagasaki karasumi is designated a Japanese luxury product.

Japanese karasumi is the local version of bottarga—salt-cured, pressed, and air-dried mullet roe sac—considered one of Japan's three great delicacies (Nihon Sanchin) alongside sea urchin (uni) and sea cucumber intestines (konowata). The name derives from a Chinese ink stick (kara-sumi) due to the finished product's resemblance in shape and color. Nagasaki became the production center during the Edo period through Chinese merchant trade contacts. The production process: fresh female mullet roe sacs are carefully removed intact, salted for 1-3 days (by weight percentage), rinsed, and then pressed between boards with progressively increasing weight while air-dried for 3-4 weeks, rotating and massaging daily to prevent mold and achieve even drying. The finished karasumi is deep amber-orange with a firm, waxy texture and intensely concentrated oceanic-umami flavor. It is shaved paper-thin over warm rice, sliced thinly with sake and daikon, or grated over pasta (the Japanese version of pasta with bottarga). High-quality Taiwanese karasumi from grey mullet caught during autumn migration is also prized. Storage in the refrigerator for months or frozen for up to a year maintains quality.

Karasumi—Japan's dried, salt-cured mullet roe—is one of the country's most prized delicacies, produced primarily in Nagasaki Prefecture from the grey mullet (bora, Mugil cephalus) caught in Kyushu's coastal waters and estuaries during autumn when the ovaries are at maximum size and fat content. The production parallels Mediterranean bottarga (Sardinian, Sicilian, and Turkish variations) so closely that scholars debate whether the technique arrived in Japan through Portuguese or Chinese trade in the 16th century, or developed independently. The salt-cured roe sacs are pressed between wooden boards over 2–3 weeks, regularly repositioned to flatten uniformly, and air-dried until firm—producing amber-to-orange-red translucent blocks with intense umami, a complex savoury-sweet-salty-bitter flavour profile, and a wax-like texture that is thin-sliced for sake accompaniment, shaved over pasta, dissolved into dashi, or paired with daikon in the classic Hakata combination. Nagasaki karasumi with Nagasaki Dejima Wharf's sake pairing is the canonical holiday gift food pairing—a piece of karasumi costs ¥10,000–40,000 depending on size and quality.

Japanese cuisine distinguishes precisely between hirame (平目, olive flounder — eyes on left when viewed from above) and karei (鰈, spotted halibut — eyes on right) — both flatfish but with different texture and fat profiles. Hirame is prized for sashimi and kobujime — its lean, firm, sweet flesh aging beautifully. Karei is preferred for simmered and grilled preparations (karei no nitsuke) and has slightly higher fat content. The engawa (縁側) — the fin muscle along the edge of flatfish — is considered the most delicious part: small, very lean, with intense flavor; sashimi restaurants charge premium for engawa slices.

Karei no nitsuke is considered Japan's definitive home-cooking fish dish — a simmered flounder (or similar flatfish) in a concentrated broth of sake, mirin, soy sauce, and dashi or water, producing a lacquered, glossy finish on the fish and an intensely savoury reduction sauce. The technique is the foundation of all Japanese nimono (simmered dish) preparation for fish. Key principles: the cooking liquid ratio (sake:mirin:soy approximately 2:1:1 with added water, adjusted to taste), the otoshibuta (drop lid) technique, and the timing of liquid reduction. Otoshibuta is a lid slightly smaller than the cooking vessel placed directly on the surface of the simmering food — this creates even liquid circulation, prevents the fish from moving, and allows sufficient evaporation for reduction while keeping fish moist and preventing surface drying. In professional practice, an aluminium foil or baking parchment circle with a central hole is used; at home, a real wooden otoshibuta is a valued kitchen tool. The two-stage technique for whole flatfish: flash-blanching (shimo-furi — literally 'frost sprinkling') before simmering removes surface proteins and scales residue, producing a cleaner-flavoured dish. Bring water to boil, submerge fish briefly until surface whitens, remove and plunge in cold water, then proceed to nimono. This pre-treatment is often skipped in home cooking but is standard in professional preparation.

Kare-kare is the Philippines' most distinctively flavoured stew — oxtail, tripe, and banana blossom braised in a rich peanut sauce thickened with toasted rice and ground annatto (achuete), served with a separate side of bagoong alamang (fermented shrimp paste) that is added individually at the table. The peanut sauce is made from ground toasted peanuts (not peanut butter) combined with annatto-coloured stock, and it should be deeply golden, nutty, and rich without sweetness. The bagoong is not optional — it provides the salt and fermented depth that the unseasoned peanut sauce requires. The combination of the mild, nutty sauce with the pungent, salty bagoong creates a flavour dialogue that neither element could achieve alone.

Karengo is gathered from intertidal rocks during late winter. It is washed to remove sand, then sun-dried on racks. The dried sheets are dark purple-red, paper-thin, and intensely flavoured. Karengo can be eaten dried (as a snack, similar to nori), rehydrated and added to soups, crumbled over dishes as a seasoning, or sometimes added to the hāngi for aromatic depth. The flavour is deeply marine — more intense than nori, saltier, with a mineral complexity from NZʻs clean waters.

Kare pan (curry bread) is Japan's most beloved savory bread product—a soft, enriched dough encasing Japanese curry filling that is coated in panko breadcrumbs and deep-fried until golden, creating a crispy shell with a savory, spiced filling interior. The preparation represents a Japanese innovation that combined German-style enriched bread dough (introduced through Meiji-era German baking instruction), the Japanese curry tradition, and the tempura/tonkatsu frying tradition into something entirely new. The dough is slightly enriched with milk, egg, and butter for softness; the curry filling is a thick, concentrated Japanese curry with potato and ground meat; the panko coating is pressed firmly before frying at 170°C until deeply golden. Freshly fried kare pan from a neighborhood bakery (pan-ya) is one of Japan's most quintessential convenience foods—found in every bakery, convenience store, and train station kiosk. The quality ranges from mass-produced to artisanal with restaurant-quality curry fillings. Kare pan is typically eaten hot, standing in front of the bakery or on a train, and the crunch of the panko exterior against the fragrant curry interior is the defining sensory experience. Several bakeries compete for regional 'best kare pan' recognition as a legitimate culinary category.

Kare raisu (カレーライス, 'curry rice') is one of Japan's most popular everyday foods — a thick, mildly spiced sauce of onion, carrot, potato, and meat (typically beef, pork, or chicken) served over white rice, developed from British Raj-influenced curry during the Meiji period when the Japanese navy adopted the British naval diet. Japanese curry is not Indian curry, nor British curry, nor Thai curry — it is its own category: sweeter, thicker, less aromatic, and fundamentally different in spice profile from any source tradition. The standard Japanese curry uses a roux-based sauce thickened with curry powder and S&B or House brand curry roux blocks; fine restaurants make their own roux from scratch. The cult of Japanese curry is enormous — there are curry specialists (karē-ya) in every Japanese city with decades of dedicated development.

Kari debal — Devil's Curry — is the signature preparation of the Kristang culinary canon: a fiercely complex, deep-red, vinegar-bright curry of meat (traditionally pork, chicken, or leftover Christmas meats) in a thick spice paste that synthesises the Portuguese colonial tradition of using vinegar as a cooking acid with the Malay rempah system of ground rhizomes and dried chilies. The name 'devil' refers not to heat but to the assertive complexity and the deep red colour — a curry that makes its presence unambiguously known. The curry paste (rempah debal) is distinguished by two features absent from standard Malay curries: white or black mustard seeds (a Portuguese influence, possibly via Goa and the Indian trading network), and white vinegar added during the frying of the rempah — not as a finishing acid but as an integral cooking component that caramelises into the paste. The vinegar contributes a roundness and depth that tamarind cannot replicate — it is the defining flavour marker that makes kari debal unmistakably Kristang rather than Malay. The meats traditionally used are leftovers — pork, chicken, sausage — which take on the complex marinade of the curry paste over a slow braise. Service: kari debal is the centrepiece of the Kristang Christmas table, served on 26 December as the Boxing Day dish using Christmas Day roast meats. It is not a delicate dish — it is assertively seasoned, deeply coloured, and served in generous portions with white rice or bread. The professional standard: the sauce should be thick enough to coat a spoon without running off, dark red-brown with flecks of chili and whole mustard seeds, and aromatic enough to be identifiable from across the kitchen.

The rempah for kari debal is the most complex paste in the Kristang system — a 12-15 ingredient construction that integrates the standard Malay aromatic base (galangal, lemongrass, shallots, garlic, dried chili, belacan, turmeric, candlenut) with the distinctively Kristang additions of fresh ginger, lemon zest or preserved lime, and the Portuguese-derived mustard seeds. The paste is ground to a very smooth consistency — smoother than standard Malay rempah — because the longer braise requires a paste that integrates completely into the sauce rather than remaining as visible grained particles. Grinding sequence: (1) dried and soaked chilies with turmeric and candlenut; (2) galangal and lemongrass; (3) fresh ginger; (4) shallots and garlic; (5) belacan; (6) optional: a small piece of fresh lemon zest or preserved lime rind. The paste should be ground finer than standard rempah — use a blender for final passes if using a mortar, adding minimal water. The finished paste is deep red with an orange undertone from the turmeric, and smells of overlapping citrus (lemongrass, lime), earth (galangal, turmeric), heat (chili), and sea (belacan). Frying the rempah: in lard, over medium heat, until the paste breaks from the oil and the colour deepens from orange-red to terracotta. The vinegar addition (2 tablespoons white vinegar) is made at the 5-minute mark of frying — the paste sizzles loudly as the vinegar contacts the hot fat, then subsides as the acidity cooks in. Continue frying for 3-4 more minutes after the vinegar addition until the paste is deeply fragrant and the colour has deepened further.

Karigane (also called kukicha or kabuse kukicha) is the stem and twig tea made from gyokuro—Japan's highest-grade shade-grown green tea. Unlike standard kukicha which uses stems from sencha production, karigane uses stems from the premium gyokuro harvest, inheriting the shade-grown cultivation that dramatically elevates amino acid (particularly theanine) content through covering the plants 20+ days before harvest. The shading increases chlorophyll and theanine while reducing catechins, producing the characteristic deep marine, seaweed-like umami (specifically from theanine's conversion to glutamate) that distinguishes gyokuro family teas. Karigane has slightly lower caffeine than gyokuro leaf tea while retaining much of the distinctive flavor—making it a more accessible and economical entry to the gyokuro flavor category. The brewing temperature is critical: 50-60°C for karigane (versus 40-50°C for gyokuro leaf) to extract maximum theanine while minimizing bitter catechins. The tea produces a pale, yellow-green liquor with characteristic 'ame' (sweet marine) aroma. Uji in Kyoto Prefecture is the primary production center for premium gyokuro and karigane. Cold-brewed gyokuro karigane (30+ minutes at room temperature, then refrigerated) produces an extremely smooth, sweet preparation popular in summer.

Kari kapitan — Kapitan's Curry — is a chicken curry of the Straits Settlements, claimed by both Nyonya (Peranakan Chinese) and Kristang kitchens, with enough cross-community exchange in the history of Malacca that the distinction is productive rather than exclusionary. The Kristang version is slightly less sweet and more vinegar-influenced than the Nyonya version, with lard replacing the Nyonya use of coconut oil and a slightly more pronounced belacan character. The rempah includes the standard aromatic base (dried chili, shallots, garlic, galangal, lemongrass, turmeric, candlenut) plus a distinctive use of coriander seed (ketumbar) ground fresh — the coriander is toasted and added with the dried chili in the first grinding stage. The name 'Kapitan' refers to the Portuguese-Malay merchant leader (Kapitan China or Kapitan Cina) of the Malacca trading community — the curry is said to have been developed to serve at the Kapitan's table and reflects the elevated standards of the Straits merchant class. Chicken on the bone is essential — bone-in pieces release collagen during the braise, thickening the sauce naturally and contributing body that boneless chicken cannot provide. The chicken is jointed, browned in lard, then simmered in the fried rempah and coconut milk until the sauce reduces to a glossy, thick, deeply coloured coating. Fresh calamansi juice is added at the end — a few squeezes that brighten the entire dish and cut through the richness.

Karinto is one of Japan's oldest deep-fried confections—kneaded dough made from wheat flour, baking powder, and brown sugar that is extruded through a die into short cylindrical or irregular stick shapes, then deep-fried until puffed and golden, and finally coated in a boiled brown sugar or black sugar syrup that hardens as it cools. The result is a light, airy, intensely sweet snack with a brittle-crispy exterior and hollow puffed interior. The name may derive from the Chinese term for fried candy. Karinto has been made in Japan for over 1,000 years (its origin is attributed to early Nara period temple confectionery from Chinese influence), and while it is now considered an everyday snack, its appearance at traditional tea ceremonies and ancient festivals reflects an earlier ceremonial status. The black sugar (kurozato) version using Okinawan or Amami black sugar (muscovado-like unrefined cane sugar) is considered superior for its deeper molasses flavor. Quality differences between mass-produced and artisanal karinto are significant—the best versions have a complex brown sugar sweetness with faint caramelized notes, while cheap versions taste only of white sugar and oil. Karinto is sold in paper bags at traditional sweet shops (wagashi-ya), department stores, and as regional souvenirs.

Karintou (also written karinto) is a traditional Japanese confection consisting of deep-fried strips of dough coated in dark or pale brown sugar syrup — crisp, addictive, and deeply satisfying in their simplicity. Dating to at least the Edo period (some accounts trace similar preparations to the Nara period via Chinese influence), karintou represents the type of artisanal small confectionery that was once made by every neighbourhood confectioner but is increasingly produced only by a handful of traditional producers. The dough is made from wheat flour with small amounts of sugar and sometimes black sesame, yeast or baking powder for lightness, and water — a simple formula whose quality entirely depends on technique. The dough is rolled or extruded into sticks and deep-fried at moderate temperature (170–175°C) until the dough is cooked through and just beginning to colour, then removed and immediately coated in a hot sugar syrup made from unrefined brown sugar (kokuto from Okinawa for the best quality, or kurozato). The syrup coats the fried sticks, caramelises against the hot surface, and crystallises as it cools — creating the characteristic crackly, sweet coating. Different sugar varieties produce different results: pale karintou uses light brown sugar for a more delicate flavour; dark karintou uses deep black sugar (kokuto) for a molasses-rich intensity. Sesame, nori, and peanut variations extend the range.

Germany's most regionally contested dish — the North German version (mayonnaise-dressed cold potato salad, often with pickles, mustard, and boiled egg) and the South German/Bavarian version (warm potato salad dressed with bacon fat, white wine vinegar, mustard, and fresh herbs, served at room temperature) represent fundamentally different philosophies about what the same name means. The Bavarian Kartoffelsalat (which is also the Austrian standard) is a vinaigrette-dressed salad where the potatoes absorb the dressing while still warm — the starch leaches slightly from the cut surface and thickens the dressing into a natural emulsion. Both versions require waxy potatoes (festkochend) that hold their shape after boiling; floury potatoes collapse into mash. The North German version is the origin of American potato salad (carried by German immigrants).

Japanese carbonara-style pasta (wa-fu carbonara or karubonara) represents one of the most successful Japanese adaptations of an Italian classic — maintaining the egg-and-cheese technique but incorporating distinctly Japanese ingredients and adjustments. Common Japanese modifications include: adding mentaiko (pollock roe) to the egg sauce (mentaiko carbonara has become a Japanese pasta category in itself); using shiitake or shimeji mushrooms alongside or instead of pancetta; incorporating Japanese mayonnaise for extra creaminess; adding soy sauce for umami depth; using Japanese noodles (udon or ramen) instead of spaghetti in some versions; and adding shiso perilla as a fresh herb. The base technique remains close to Italian — raw egg and Parmesan cheese emulsified by pasta heat into a sauce without cooking the egg to scrambled. Japanese carbonara tends to be creamier than Italian carbonara (Japanese preference for softer texture), often with a small amount of cream or mayonnaise added, and is a staple of the family restaurant (famiresu) menu across Japan. The mentaiko carbonara variant is perhaps the most creative — the roe's saltiness, umami, and slight spice replaces both the guanciale and some of the cheese.

Kodomo no Hi (Children's Day, May 5), formerly Tango no Sekku (Boys' Day), is observed with two specific wagashi confections whose plant wrappings carry symbolic and antimicrobial functions: kashiwa-mochi and chimaki. Kashiwa-mochi is a round mochi filled with smooth or coarse azuki bean paste (or occasionally miso-bean paste) and wrapped in a kashiwa oak leaf, which is not eaten but whose presence is symbolic — the kashiwa oak retains its dead leaves through winter until new leaves push them off in spring, representing the hope that the family line continues without interruption (kashiwa = oak, no = possessive, ha = leaf, but also 'no interruption'). The leaf also imparts a faint green, grassy fragrance to the mochi surface. Chimaki are cone-shaped glutinous rice preparations (sometimes sweetened, sometimes plain rice cake) wrapped in bamboo or cogon grass leaves and tied with dried rush grass, then steamed. The bamboo or grass imparts a clean herbal fragrance. Chimaki were originally a Chinese ritual food (zongzi) introduced to Japan during the Heian period as Tango offerings, while kashiwa-mochi is a purely Japanese development. Regional variations: in Kansai and westward Japan, chimaki dominates Children's Day over kashiwa-mochi; in Tokyo and Kanto, kashiwa-mochi is the norm — the geographical boundary is sometimes called the 'kashiwa-chimaki line.'

Kashmiri dum aloo is a vegetarian preparation of great sophistication that epitomises the Kashmiri Pandit (Hindu Brahmin) cooking tradition — a cuisine that excludes both onion and garlic entirely, relying instead on asafoetida, fennel, dried ginger, and the deep warmth of whole Kashmiri spice. The dish uses small waxy potatoes that are pricked all over, parboiled, and then deep-fried until the skin blisters and forms a porous, cratered surface that can absorb the surrounding yogurt-based sauce. The pricking and deep-frying step is the technical heart of the preparation. The tiny perforations created by pricking (traditionally with a wooden pick) allow the hot oil to enter the potato, creating interior pockets. The blistered skin then becomes an ideal sponge for the sauce — as the potatoes braise in the fennel-yogurt base, the sauce penetrates deeply into the flesh rather than merely coating the exterior. The sauce itself is built on mustard oil taken to smoking, asafoetida, whole Kashmiri spices (clove, black cardamom, cinnamon), and then whisked yogurt added incrementally. Fennel seed powder and dried ginger powder (soonth) are the defining spices — they give Kashmiri dum aloo its characteristic anise warmth that distinguishes it completely from Punjabi or generic North Indian potato curries, which rely on onion and fresh ginger. The dish is finished with Kashmiri red chilli for colour, a small amount of water to create a sauce of sauce-like consistency, and cooked covered (dum) until the potatoes are fully saturated and the sauce clings. It is served with rice or bread and is central to both everyday Pandit cooking and festive Wazwan banquet menus.

Kashmiri garam masala is the most delicate and refined expression of the warming spice tradition — a blend dominated by green cardamom, brown cardamom, clove, and dried ginger without any chilli content. Kashmir's culinary identity is built around specific warm spices (saunf/fennel, dried ginger, cardamom) rather than the chilli-forward approach of most Indian regional cooking. The characteristic colour of Kashmiri dishes comes not from fresh chilli but from Kashmiri chilli (a mild, deeply coloured dried chilli used for colour and minimal heat), and the characteristic warmth from this garam masala blend that includes no capsaicin whatsoever.

Rogan Josh is the defining slow-cooked lamb dish of Kashmiri Wazwan cuisine, and its deep crimson colour is the first technical test of authenticity. The colour comes not from heat-heavy red chillies but from two specific ingredients: Kashmiri mirch (Capsicum annuum var. — grown in the Vale of Kashmir, with intense red pigment and mild heat) and ratanjot (Alkanna tinctoria — a root used as a natural red dye, added to the cooking fat early). The Kashmiri tradition makes Rogan Josh with no tomato and no browned onion — the sauce is built entirely on yoghurt, whole spices, and the lamb's own juices. In the Kashmiri Pandit version, it is also cooked without onion or garlic; the Muslim version (Wazwan) uses shallots (praan).

Rogan josh is among the most recognisable dishes of Kashmiri cuisine, but its authentic preparation differs substantially from the onion-tomato versions served across North India. The authentic Waza (hereditary Kashmiri Muslim cook) method uses no onion and no tomato — the distinctive deep red colour and body come entirely from Kashmiri dried chillies (Degi Mirch), which provide brilliant colour with comparatively mild heat, and from mawal flowers (cockscomb flowers), which deepen the red to crimson without flavour contribution. The name 'rogan josh' translates to 'red (rogan) and intense heat (josh)' in Persian — a reference to the technique of cooking meat in intensely hot oil until the fat separates and the surface of the meat caramelises before any moisture is introduced. Lamb is cooked on the bone in mustard oil or pure ghee, and the spice base — asafoetida (hing), dried ginger (soonth), fennel seeds, and whole Kashmiri spice — is built into this hot oil before the meat is added. Kashmiri spice philosophy is unique in Indian cooking for its deliberate avoidance of alliums (onion and garlic) in many traditional preparations, a tradition rooted in Brahmin Kashmiri Pandit cooking but shared in modified form in Waza Muslim cuisine. The dominant aromatics are fennel, dried ginger, cardamom, and asafoetida — warming, digestive, and distinctly different from the sharp pungency of onion-based North Indian gravies. The sauce is built from the fat released by the meat and the liquid released by yogurt, which is added gradually in small amounts to prevent curdling. The result is a sauce that is reddish-orange, slightly glossy, and completely integrated with the rendered lamb fat — not a thin gravy but a cohesive coating sauce.

Wazwan is the ceremonial feast tradition of Kashmir — a multi-course banquet of up to 36 dishes served on a shared platter (trami), prepared by specialist chefs called wazas. The cooking techniques are distinct from other Indian cuisines: yogurt-based gravies rather than tomato, extensive use of dried Kashmiri chillies (vivid colour, mild heat), fennel powder and dry ginger as signature spices, and a unique slow-cooking technique using a copper vessel (deg) sealed with dough and buried in hot coals. The spice profile is warm and aromatic rather than sharp — cinnamon, cardamom, clove, and saffron dominate.

The Wazwan is one of the great festive food traditions of the world — a multi-course ceremonial banquet central to Kashmiri Muslim weddings and celebrations, prepared entirely by hereditary cooks called Wazas whose families have practised the craft across generations. A full Wazwan may comprise 36 courses, nearly all featuring lamb prepared in different cuts, techniques, and spice matrices, served to groups of four diners sharing a common trami (large copper platter). Within the Wazwan, roghan josh is the signature prestige preparation — the course around which the banquet's identity organises itself. Waza roghan josh differs from domestic versions in scale, technique precision, and the quality of the fat base: pure rendered lamb fat (called waza ghee) is used in place of commercial ghee or mustard oil, which gives the dish a specific gamey-sweet richness that is the hallmark of the professional Waza kitchen. The Wazwan cooking environment itself is part of the technique — massive deg (iron pots) holding 50–100 portions simultaneously, wood-fired with controlled heat from below, and managed by a team of cooks with precise role divisions. The Waza's apprenticeship system ensures that timing, spice ratios, and the precise sequence of the banquet are preserved with oral accuracy across generations. Beyond roghan josh, the Wazwan features tabak maaz (rib chops fried in fat), rista (fine-ground lamb meatballs in red sauce), gushtaba (large pounded meatballs in yogurt gravy), and seekh kebabs — each a technically demanding preparation. The philosophical approach is one of abundance through restraint in spice: Kashmiri cuisine seeks to reveal the quality of the lamb itself rather than mask it.

As plant-based and vegan cooking expands in Japan and globally, the concept of kaso dashi (flower-vegetable stock, a loose term for plant-based dashi) and the use of kombu, dried shiitake, dried gourd strips (kampyo), vegetable trimmings, and kelp-based broths as complete umami foundations — without any animal-derived ingredients — has become increasingly formalised and discussed. The traditional foundation for shojin ryori (Buddhist vegetarian cuisine) provides the most developed Japanese framework for this: kombu cold-extraction dashi, dried shiitake rehydration liquid, and occasionally dried lotus root or gobo as additional dashi contributors. The scientific basis for plant-based umami: kombu provides L-glutamic acid (approximately 1,600–3,000mg per 100g dried kombu); dried shiitake provides 5'-guanylate (GMP) at high levels after drying activates the enzymatic conversion; combining them creates the glutamate-guanylate synergy parallel to the glutamate-inosinate synergy of kombu and katsuobushi. A complete plant-based dashi system: primary kombu dashi (cold extraction), secondary shiitake dashi (rehydration liquid), and a third tier of vegetable stock from aromatic trimmings (negi green ends, shiitake stems, dried kombu scraps) simmered together at low heat. This three-tier system approaches the flavour complexity of traditional awase-dashi and is increasingly used by contemporary kaiseki chefs responding to dietary restriction requests. Shio koji and tamari (aged soy sauce with deep amino acid complexity) further extend the umami vocabulary of plant-based Japanese cooking.

Miso katsu — pork tonkatsu served with a thick, sweet-savory sauce made from Hatcho or blended Nagoya miso rather than standard tonkatsu Worcester sauce — is the defining dish of Nagoya's meshi (food) culture, representing the Chubu region's culinary declaration of independence from Tokyo shoyu and Osaka dashi-based cuisine through the assertion of its unique dark miso paste as a universal condiment. The dish is believed to have originated at Yabaton restaurant in Nagoya's Osu shopping district circa 1947 when pork cutlet was first tried with the local miso sauce, though competing origin stories exist across Nagoya's historical tonkatsu establishments. The miso katsu sauce is prepared by combining hatcho miso with dashi, mirin, sake, and sugar — cooking down to a thick, pourable glaze consistency that coats the breaded cutlet without soaking the panko coating (unlike watery Worcester sauce). The depth of Hatcho miso's 2-3 year fermentation produces a dimension in this sauce unavailable to standard sweet tonkatsu sauces. Nagoya's broader teishoku-style restaurant culture serves miso katsu as the centerpiece of the distinctive Nagoya-meshi set that includes miso soup, rice, and accompaniments — a complete meal statement.

Kasujiru (粕汁, sake lees soup) is a warming winter soup made with sake-kasu (酒粕, the pressed lees from sake production) combined with root vegetables and often pork or salmon to create one of Japan's most distinctively flavoured cold-weather preparations. Sake-kasu is the solid by-product of sake pressing — containing residual starch, proteins, amino acids, alcohol (8-14% by weight), and a complex flavour profile derived from the sake's fermentation history. Mixed with dashi or water and seasoned with a small amount of miso or salt, sake-kasu transforms into a rich, creamy, subtly alcoholic soup base with an earthy, yeasty depth that no other ingredient can replicate. The soup is thickened naturally by the starch content of the lees, giving it a viscous, coating quality ideal for warming from the inside out. Traditional kasujiru ingredients: daikon, carrot, gobo, konnyaku, salmon or pork belly, and miso in varying proportions by region. Kansai regions favour salmon (sake/shake) kasujiru; northern regions (Akita, Niigata) use local vegetables and pork. The alcohol content of sake-kasu means kasujiru is technically not appropriate for those who cannot drink alcohol — something to note when serving. Sake-kasu is available fresh from sake breweries in winter and early spring.

Kasuzuke is the pickling of fish, meat, or vegetables in sake kasu (酒粕) — the lees (pressed solids) remaining after sake is pressed from fermented rice mash. The kasu contains residual sugar, amino acids, yeasts, and alcohol; it acts simultaneously as a preservative, a flavouring agent, and a tenderising medium. The most celebrated kasuzuke: Narazuke (奈良漬け, from Nara Prefecture) in which vegetables are pickled in sake kasu for months to years; and sakekasu-marinated fish such as gindara no kasuzuke (black cod in sake lees), one of Nobu Matsuhisa's most celebrated dishes.

Katachi (form/shape) in Japanese food presentation encompasses a sophisticated visual language developed over centuries that prioritises naturalness, seasonal reference, and emotional resonance over symmetry or abundance. Japanese plating philosophy diverges fundamentally from Western classical presentation in its preference for asymmetry (fukinsei), empty space (ma), irregularity (fukinsei), and the deliberate evocation of nature — a piece of fish plated to suggest a wave, a garnish of pine needles evoking winter, a single cherry blossom petal placed to recall the season. The vessel (utsuwa) is as important as the food it carries — Japanese ceramic tradition produced an extraordinary range of plates, bowls, and vessels specifically designed to complement food, and the chef's choice of vessel is considered part of the dish's composition. Different seasons call for different materials: summer food served on glass or cool celadon, winter on dark earthenware or lacquer that retains warmth visually and literally. Size relationships between food and vessel follow the rule of thirds and ma — a plate should never be entirely filled, because the empty space allows the eye to rest and the food to breathe. Colour relationships follow seasonal logic: spring calls for soft greens and pink; summer for cool blues and white; autumn for deep reds, gold, and brown; winter for black, white, and stark contrast. Odd numbers (three, five, seven) are preferred over even numbers for grouped elements.

Katakuriko (片栗粉, 'potato starch') is the Japanese kitchen's primary thickening and coating starch — used for ankake sauce thickening, karaage (Japanese fried chicken) coating, agemono dusting, and as a binding agent in various preparations. Despite the historical name (katakuri refers to the dogtooth violet plant whose starch was the original source), modern katakuriko is made from potato starch — transparent, neutral in flavour, with exceptional thickening power and the ability to produce a more translucent, glossy gel than cornstarch. Key applications: ankake sauce thickening (produces cleaner, more translucent sauce than cornstarch); karaage coating (potato starch alone or mixed with flour creates a crispier, more delicate crust than all-flour coatings); gyoza wrappers (small amounts improve texture); and mochi-type confectionery where it is used as an anti-sticking powder on surfaces.

Katakuriko (片栗粉, originally the starch of the katakuri flower — Erythronium japonicum — now almost universally produced from potato starch) is Japan's workhorse thickening and coating starch — functionally different from cornstarch (maizena) in its transparency, gloss, and texture when used as a coating or thickener. As a coating for frying (karaage fried chicken, agedashi tofu, kakiage), katakuriko produces a lighter, crispier, more translucent crust than wheat flour — the potato starch gelatinises rapidly at frying temperature to create a thin, glassy shell that shatters cleanly. For thickening sauces (ankake thick sauces over tofu or noodles, Chinese-influenced Japanese preparations), katakuriko produces a translucent, slightly glossy gel that remains clear at room temperature and sets firmly when chilled — unlike cornstarch which can turn cloudy. Katakuriko slurry for ankake: mix cold water and starch 1:1 before adding to hot liquid; add gradually while stirring to control thickness; the sauce will thicken rapidly and should be removed from heat immediately when correct consistency is reached. The original katakuri root starch (actual Erythronium) is an extremely rare, expensive specialty product compared to its potato-based replacement — sold at premium wagashi shops for specific applications.

Katakuriko (片栗粉) was historically ground from the starchy rhizomes of the katakuri plant (Erythronium japonicum, dogtooth violet), but since the 20th century virtually all commercial katakuriko is potato starch. It is the primary starch thickener and coating agent in Japanese cooking — with distinct properties that differentiate it from cornstarch: lower gelatinisation temperature (60°C vs 70°C), more transparent and glossy gel formation, better freeze-thaw stability, and the ability to produce the characteristic crystal-clear ankake sauce. As a coating for frying, katakuriko produces a distinctively light, crisp, shatter-on-bite texture different from flour or cornstarch coatings.

Katakuriko — originally derived from the bulbs of Erythronium japonicum (Japanese dog-tooth violet/katakuri plant) — is Japan's premium starch thickener and coating agent, historically valued for producing the most luminous, transparent sauces (ankake) and the crispest, cleanest tempura-adjacent frying coatings. The genuine katakuri plant is now endangered and commercial katakuriko is 100% potato starch, though artisanal producers in Hokkaido and limited mountain regions still produce authentic katakuri starch in small quantities. Potato starch (sold as katakuriko) behaves distinctly from cornstarch in Japanese cooking: it produces cleaner, more transparent gels when used for ankake sauces; creates a crispier exterior at lower oil temperatures when used as karaage or gyoza coating; and dissolves at a different temperature threshold (59-65°C gelatinization versus cornstarch's 62-72°C). For karaage, the addition of potato starch to the chicken coating creates the characteristic rough, craggly surface area that maximizes crispiness, while katakuriko-thickened ankake stays clear for far longer than cornstarch-thickened sauces before clouding. Understanding the distinction between potato starch (katakuriko), cornstarch (cornstarch), rice starch (joshinkoko), and true kudzu (kuzu) enables precise application selection.

Tonkatsu (pork cutlet), chicken katsu, and menchi katsu (minced meat) — a specifically Japanese deep-frying technique producing a dramatically crisper crust than any Western breadcrumb method. The secret is panko: Japanese breadcrumbs made from crustless white bread dried without browning, then ground into large, irregular flakes with high surface area. These flakes fry to a shattering crispness that fine Western breadcrumbs cannot approach.

Katsu curry is one of Japan's great comfort dishes: a breaded and fried pork or chicken cutlet, sliced and placed on Japanese rice, drenched in a thick, mild, sweet-spiced Japanese curry sauce. The curry is not Indian — it is a Japanese interpretation of a British interpretation of an Indian preparation, arriving through the Victorian-era colonial British navy. It is mild, sweet, and deeply umami-forward from the roux.

Katsu karē (breaded pork or chicken cutlet with Japanese curry sauce) is arguably Japan's most beloved comfort food—a combination of two yoshoku (Western-influenced) preparations that became entirely their own Japanese entities. The panko-breaded tonkatsu (pork cutlet) or chicken katsu is placed atop Japanese rice and covered with thick, sweet-savory Japanese curry sauce, with pickled daikon (fukujinzuke) and occasionally tonkatsu sauce drizzled over. Japanese curry sauce (karē roux) differs fundamentally from Indian curry—it is made from a fat-and-flour roux base (like a French sauce) with curry powder and various sweetening agents (apple, honey, chocolate), producing a smooth, thick, glossy sauce with moderate heat and characteristic sweetness. The roux base was adopted from British curry powder imported in the Meiji era. CoCo Ichibanya, Japan's largest curry chain, has systematized the format globally. The combination of textures—crispy panko-breaded katsu against the thick, coating curry sauce over starchy rice—represents a complete sensory and nutritional meal. The thickness of the curry (comparable to a rich gravy) is specifically designed for rice service. The dish has grown beyond its yoshoku origins to be considered a Japanese national dish by surveys of Japanese consumers.

For everyday home cooking, the complexity of making ichiban dashi from whole katsuobushi blocks is often replaced by katsudashi — pre-shaved katsuobushi flakes (hana-katsuo) used for quick stock extraction or as a direct flavouring ingredient. Pre-shaved flakes are widely available in supermarket packs and are the practical foundation of daily Japanese cooking for the majority of households. The quality hierarchy: hanakatsuo (花かつお — flower katsuobushi) from medium-grade arabushi (smoked without mould), which represents the majority of packaged flakes; itogaki (糸削り — thread-shaved) from hon-karebushi blocks, thinner and more delicate for refined use; kezuribushi (削り節 — shaved node) from hon-karebushi, the highest grade in packages. Usage: 10g flakes per 500ml water for quick dashi (simmer 2 minutes, strain immediately); as a topping for cold tofu (agedashi tofu), okonomiyaki, takoyaki, where the flakes 'dance' in steam/heat; as a flavouring mixed directly into ohitashi dressing; in furikake (dried rice topping with sesame and nori). The degradation timeline: pre-shaved flakes in an opened pack oxidise significantly within 1 week at room temperature; refrigerated in airtight containers they maintain quality for 3–4 weeks.

Katsudon (カツ丼) and oyakodon (親子丼) are the two canonical 'egg-finished donburi'—rice bowls where the primary protein is cooked with egg in a sweet-savory dashi-soy broth and served together over rice, the egg binding the sauce and protein into a unified toppingstructure. Katsudon uses tonkatsu (fried pork cutlet), partially re-cooked in the tare; oyakodon uses chicken (oya, parent) and egg (ko, child) in the classic 'parent and child' naming pun. The binding sauce (tare or kakejiru) for both is built from dashi, mirin, and soy sauce—typically 4:1:1 ratio—with more mirin and less soy than tsuyu, giving a softer sweetness. The technique of egg finishing is critical: egg is beaten and poured into the simmering sauce around the protein in two additions. The first addition (at higher heat, 80–85°C) coagulates around the exterior, creating solid egg curds; the second addition (at lower heat, 70°C) softens the centre with barely-set silky egg—creating textural contrast within the topping. Removing from heat while the egg centre is still fluid, then placing over rice immediately and covering with a lid for 30 seconds, allows carryover heat to set the surface without overcooking. Katsudon reuses the tonkatsu's fried crust as a flavour and texture element—the crust partially dissolves into the sauce, contributing fat and umami while retaining some crunch. The rice underneath must be freshly cooked and hot—cold or reheated rice ruins the thermal contract of the dish.

Donburi (丼, large bowl) dishes are Japan's ultimate one-bowl meals — proteins and sauce served over steaming rice in a deep ceramic bowl. The two most beloved: katsudon (カツ丼) — breaded pork cutlet simmered briefly in dashi-soy-mirin with onion and egg; and oyakodon (親子丼, parent-and-child bowl) — chicken and egg simmered together in the same sauce, the name referring to the poetic/grim connection between parent (chicken) and child (egg). The technical challenge in both: the egg must be set to a specific consistency — barely cooked, still flowing with deep yellow yolk color, draped over the protein.

Katsudon (カツ丼, 'cutlet rice bowl') is a donburi bowl of white rice topped with a tonkatsu pork cutlet that has been simmered briefly in a sweet-savoury dashi-soy-mirin broth and then enveloped in a barely-set, softly scrambled egg before being poured over the rice. The dish is one of Japan's most beloved comfort foods — the twice-cooked cutlet (fried, then gently simmered in broth) and the silky, partially set egg together produce a dish greater than the sum of its parts. The katsu simmering liquid — dashi, soy, mirin, and sometimes sugar in a small shallow pan — must be strongly seasoned but not overpowering: it must flavour both the cutlet and the egg without making either too salty. The egg is beaten with chopsticks (not uniformly — loose strands are better than completely beaten) and poured around and over the cutlet in the simmering broth; the heat of the broth sets the egg to a barely-cooked, custard-soft state before the whole assembly is lifted with a lid and slid over the rice. The defining quality of great katsudon is the egg texture: it should be molten, barely set, yielding — never fully cooked or rubbery.

Katsudon—a tonkatsu pork cutlet simmered in sweetened dashi with egg, onion, and mirin, served over a bowl of steamed white rice—is one of the most beloved Japanese comfort foods, combining the crisp-fried cutlet tradition with the Japanese mastery of egg-as-binder sauce. The dish represents a fundamental technique lesson in Japanese cooking: the 'toji' (closing with egg) method, in which beaten egg is poured over simmering ingredients in a small round pan (oyakodon/katsudon pan), allowed to set to a specific half-cooked consistency (han-nama—half-raw), and slid in a single motion over rice. The egg should be 70% set, 30% liquid at the moment of service—clinging to the cutlet and rice rather than fully cooked through. Katsudon has cultural significance beyond its recipe: exam students eat it before important tests (katsu = 'to win' or 'pork cutlet'), making it Japan's de facto victory food. There are regional variations—Fukui Prefecture's sauce katsudon (no egg, thick Worcestershire sauce), and Nagano's variant with thin sauce—but the Tokyo egg-and-dashi version is canonical.