All posts by jun

Gouda Grief, Malaysian Cheese!? 谁做了我的奶酪?

January 30, 2018 2018年1月30日
Annisa holding up a Tomme cheese wheel. / Annisa 举着一整块多姆奶酪

Cheddar, Camembert, Gouda, Gorgonzola, Reblochon… These cheeses, in all their moldy, funky glory have been prevalent throughout our rich history with food, but nowhere else in the world is it more ingrained than in European food culture. Take the little Swiss town of Gruyères for example, in which a certain eponymous cheese has been its economic heartbeat for the past twenty decades. Or walk into any cheese shop in Paris, and you’ll find a steady stream of locals sniffing out and purchasing the rows and rows of Brie de Meaux, creamy Camemberts, funky Époisses, great moldy wheels of Roquefort, and many other suspiciously over-ripened, unlabeled cheeses. Cheese has always been synonymous with European culture, there’s no doubt about that.

In the past decade however, there’s been a quiet cheese revolution pervading through Asia, with artisanal cheesemakers like Liu Yang of China and Tina Khan in India paving the way for a greater appreciation for cheese in their respective countries. In the midst of it all, Malaysia has had its own surge of cheesemakers too, with artisans popping up in Kuala Lumpur, Sarawak, and even Langkawi. Most notably, Annisa Iwan, an Indonesian cheesemaker now residing in Kuala Lumpur, has managed to combine her strong base of European cheesemaking methods with a local agenda (she sources her milk locally, adapts her recipe to the Malaysian climate, and sells her cheese to a largely Malaysian clientele). And through her punnily-named Milky Whey Cheese business, she’s been steadily converting many local cheese doubters into lifelong cheese aficionados.


芝士,又称奶酪。 切达奶酪(Cheddar)、卡门贝尔奶酪(Camembert)、莫比尔奶酪(Morbier)、戈尔贡佐拉奶酪(Gorgonzola)、瑞布罗申奶酪(Reblochon)……在人类美食历史上,这些通过发酵制成的食物,味道奇怪,有时还长着霉斑,却是一直以来备受人们追捧的美食,尤其是在欧洲,奶酪更是其饮食文化中的重要部分。譬如,在瑞士小镇格鲁耶尔(Gruyères)盛产着一种和小镇同名的奶酪(没错,就是“格鲁耶尔”奶酪),在过去二十年来,这种奶酪可以说是当地的经济命脉。而在巴黎,随便走进一间奶酪店,你都能看到当地人正凑着鼻子在一排排奶酪前闻着,有莫城布里奶酪(Brie de Meaux)、口感柔滑的卡门贝尔奶酪(Camemberts),散发着刺激异味的埃普瓦斯奶酪(Époisses)、洛克福特(Roquefort)奶酪,当然,还有许多疑似发酵过度、没有标签的奶酪。总之,奶酪几乎可以说是欧洲的代名词。

然而,在过去的十年里,亚洲却悄然出现了一场“奶酪革命”,涌现了许多手工奶酪制作者,譬如来自中国的刘洋和印度的 Tina Khan,他们都是奶酪文化的铺路者。而在马来西亚的吉隆坡、沙捞越和兰卡威,手工制作奶酪的人也越来越多,来自印度尼西亚的 Annisa Iwan 就是其中的佼佼者。Annisa 现在住在吉隆坡,她将自己精通的欧洲奶酪制作工艺与本地食材相结合,从当地采购牛奶,根据马来西亚的气候调整奶酪制作方法,她的客户也是以马来西亚人为主。她还给自己的奶酪公司起了一个有意思的名字“Milky Whey Cheese”,她制作的奶酪,让当地许多对奶酪无感的“路人”变成了忠实粉丝。

Soft-style cheese rolled in Sarawak peppers (in black), Herbes de Provence (the slightly green-ish ones to the right), and paprika (in red). / 软质奶酪之“沙捞越”奶酪(黑色的),Herbes de Provence 奶酪(右边略带绿色的),Parika 奶酪(红色的)
One of Annisa's many cheese "caves." / Annisa 的奶酪储藏柜之一
A Tomme cheese wheel. / 一整块圆形多姆奶酪
A Montasio cheese rind. / 一块蒙塔西欧奶酪

Full disclaimer: I am one such convert. As a self-professed cheese lover, I initially had large doubts about how cheeses made from the milk of Malaysian cows could ever begin to compare to the great Gouda, Cheddar, and Parmigiano-Reggiano of Europe. But as Annisa has proven, I was dead wrong.

Not only are her cheeses up to par with those stalwart Europe cheeses, her experimental, almost zany, approach to cheesemaking has many Malaysians heaping on praises. Some of her Tomme cheese wheels, for instance, have been spiked with bird’s eye chilies just to kick the piquancy up a notch to satiate the spice-loving Malaysian palate. She’s even infused local produce like bamboo leaves and Sarawak peppers into her cheeses, the latter of which she uses in a soft-style cheese she adoringly named Sarawak.


讲真,我也是“路转粉”其中之一。一开始,自诩为奶酪爱好者的我,很是怀疑用马来西亚当地牛奶做的奶酪怎么可能做出媲美欧洲的奶酪?!但 Annisa 证明,我这种想法大错特错。她制作的奶酪简直太好吃了!经她制作的豪达奶酪(Goudas)、瑞布罗申奶酪(Reblochon)和卡门贝尔奶酪(Camemberts),丝毫不逊色于欧洲的原产奶酪。除此之外,她还以十足的实验精神、甚至可以说有点奇特的奶酪制作方式赢得了许多马来西亚人的称赞。譬如,为了迎合马来西亚人偏辣的口味,她在一些多姆奶酪(Tomme)中加入鸟眼辣椒(Bird’s eye chili),升级其中刺激的辣味。她用一些本地特色食材制作奶酪,譬如一款她取名为“沙捞越”(Sarawak)的奶酪,就是加入了沙捞越胡椒制成的,甚至连竹叶都被她用来制作奶酪!

Soft-style cheeses. / 软质奶酪
Soft-style cheeses rolled in ash. / 包裹着草木灰的软质奶酪

Raised in Indonesia, Annisa’s indoctrination into the world of cheese started at a young age. Her family had close ties with a Dutch family who visited every winter bearing gifts. “I still remember the three things they [the Dutch family] would bring – chocolate, pâté, and cheese. Those three things, even now, I still cannot live without!” Annisa recalls fondly. Although she no longer keeps in close contact with the Dutch family, those foods, especially cheeses, have clearly left a mark on her very being. Annisa likens it to drugs, saying “[It’s like how] you can’t just introduce crack to somebody and stop giving [it to] them. Cheese is addictive!”


在印尼长大的 Annisa,很小的时候就开始接触奶酪。每年冬天,一家来自荷兰的好友都会带着礼物去她们家作客。“我还记得他们 (她的荷兰好友家庭) 每次会带三样礼物来:巧克力、馅饼(pate)和奶酪。这三样吃的,直到现在仍然是我的最爱!”Annisa 回忆道。虽然现在她和那个荷兰家庭的联系已经不如以前频繁,但这三样食物,尤其是奶酪,已经在她人生中留下了重要的印记。Annisa 把奶酪比作令人上瘾的“毒品”,她说:“你可不能一见面就跟别人介绍这些‘毒品’,因为奶酪可是会让人上瘾的,一旦尝了就停不了了!”

Checking on a young bird's-eye-chilli-infused Tomme cheese wheel. / 查看加入了鸟眼辣椒的多姆奶酪成熟与否
A bird's-eye-chilli infused Tomme cheese wheel. / 一整块已成熟的、加了鸟眼辣椒的多姆奶酪

While she has always been a cheese eater. Annisa’s true cheesemaking obsession came after her honeymoon in Italy, where she had Mozzarella di Bufala for the very first time. To Annisa, those gooey, pillowy mozzarella balls she had in Rome were the epitome of love at first bite. Understandably then, when she returned home, the lackluster faux-mozzarella balls sold at her local supermarkets were never quite able to satisfy her in the same way. Frustrated by this, Annisa resorted to making her very own mozzarella.


虽说 Annisa 一直是个“奶酪食客”,但她真正成为并爱上“奶酪制作者”的身份,却是她到意大利度蜜月之后。在罗马,她第一次尝到水牛马苏里拉奶酪(Mozzarella di Bufala),那些松软又粘糊糊的马苏里拉奶酪球,让她“一口定情”。而度完蜜月回国后,Annisa 再也不能满足于超市里那些暗淡无光的仿奶酪球了。于是,Annisa 决定自己亲手来制作马苏里拉奶酪。

A wedge of chilli-flake-infused mature Tilsit cheese. / 一块同样成熟了的、加了鸟眼辣椒的提尔西特奶酪
Slicing a Reblochon cheese. / 瑞布罗申奶酪切片

Little did she know at the time, she’s picked one of the most temperamental cheeses in the world to make. Heat it too much during the curd formation process and you’ll get empty, watery mozzarella shells; stretch it too much at too low a temperature and the cheese will resemble plastic-y squash balls. After many spectacular failures (which she often turned into halloumi or ricotta) and no end in sight, it was one of her French cheese mentors who pulled her out of this mozzarella spiral and got her working on other, simpler cheeses like the Welsh Caerphilly and Swiss Tomme. That was when her cheese-making prowess truly burgeoned. After mastering these simpler cheeses, Annisa quickly grew confident enough to try her hand at making longer-aging cheeses like Cheddar and Montasio. She then dabbled with making bloomy rind cheeses like Brie and Camembert, and finally came full circle back to mozzarella, which this time around, was a roaring success! And the rest, as they say, is history.


但是当时的她并不知道,她选了世界上最有“脾气”的奶酪来制作。在凝结过程中,马苏里拉奶酪如果加热过度,最后就会变成中空的、水汪汪的奶酪壳;如果温度太低,奶酪就会变得像坚韧的塑料球一样。所以一开始,她制作的马苏里拉奶酪总是不成功,口感较硬(比如像 Halloumi 或 Ricotta 那样的干酪)。惨遭多次失败,在她几乎快要绝望时,她的法国奶酪导师把她从这个“马苏里拉奶酪”的黑洞里救了出来。导师让她先去制作相对简单的硬质奶酪,譬如威尔士卡尔菲利干酪(Welsh Caerphilly)和瑞士的多姆奶酪。在这之后,她的奶酪制作技术才有了长足的进步。而在熟练掌握这些简单奶酪的制作方法之后,Annisa 开始有足够的信心去尝试制作半硬质奶酪,如切达奶酪和蒙塔西奥(Montasio)奶酪。接着,她开始制作布里奶酪和卡门贝尔奶酪这类白霉奶酪;最后,她才再开始制作马苏里拉这种新鲜奶酪,而这一次她终于获得了成功!之后的事情,大家都知道了。

A Montasio-style cheese wedge. / 一块蒙塔西奥奶酪

Since the beginning, Annisa’s business has only gone from strength to strength. In 2012, she started by selling her cheeses at festivals and bazaars around Kuala Lumpur and offered cheese-tasting session out of her small home in Mont Kiara. But with a great boom in business over the past two years, she now supplies her cheeses to many top restaurants in the city. Through it all, however, her focus has always been on keeping it personal and artisanal, satisfying all who steps into her home with her warm hospitality and infectious love for the cheesemaking craft. She especially loves introducing her cheeses to (read: blowing the minds of) local Malaysians who’ve never had a whiff of cheese in their lives, and on the other end of the spectrum, European expats craving for a genuine taste of their home country. And as far as I know, she’s never failed to impress.

Well, it’s only a matter of time before all of Kuala Lumpur, if not Malaysia, gets caught up in the heady, funky, but oh-so-addictive world of Annisa’s cheese. So here’s to a cheese-filled, funked-up future for Malaysia! All the Brie-est, Annisa!


2012年以来,Annisa 的奶酪公司越做越大。最开始,她只是在吉隆坡附近的集市上卖奶酪,或是在 Mont Kiara(马来西亚吉隆坡市中心西北部的一个乡镇) 的家中举办奶酪试吃活动,直到去年,她的奶酪生意越来越成功,她现在已经是吉隆坡许多顶级餐厅的奶酪供应商。但制作奶酪这件事,对她来说,自始至终都出于个人对奶酪的热爱,和对手工制作工艺的热忱,她喜欢用自己制作的奶酪来招待家中的客人,希望让他们也爱上这门工艺。她特别喜欢把奶酪介绍给从来没吃过奶酪的马来西亚人,还有那些怀念家乡美食的欧洲人。而据我所知,还从来没有人对她的奶酪失望过。

用不了多久,Annisa 打造的那些风味“浓郁”、创新独特的奶酪必定会让所有吉隆坡人(甚至是整个马来西亚)都为之上瘾。让我们拭目以待奶酪在马来西亚发扬光大的一天吧!Annisa,请接受我最真“芝”的祝福!

Facebook: ~/milkywheycheese
Instagram: @milkywheycheese

 

Contributor & Photographer: Yi Jun Loh


脸书: ~/milkywheycheese
Instagram: @milkywheycheese

 

供稿人与摄影师: Yi Jun Loh

Bendang Studio 脏一下你的手吧,没关系!

December 14, 2017 2017年12月14日

At the edge of the quiet, unassuming village of Kampung Sungai Petai, a half-hour drive out of the rich historic hub of Malacca, lies Bendang Studio, a contemporary ceramics workshop that is making waves in the industry. Having started from humble beginnings, its founder Rozana Musa has developed her own brand and a style of tableware ceramics that’s now highly sought after in Malaysia. Not complacent in entrepreneurial success alone, Musa aspires to mold and fire the Malaysian ceramics scene into a new era.


双溪大年(Sungai Petani)是距离马来西亚历史文化中心马六甲一个半小时车程的村庄,在这个平静的村郊地区,就坐落着Bendang工作室——这就是在业界掀起了不小波澜的当代陶艺工作室。工作室创始人Rozana Musa从零开始,成立了自己的陶瓷餐具品牌,形成自己的独特风格,塑造且推动了马来西亚的陶瓷产业进入一个全新的时代。

Musa’s initial encounter with ceramics came early in her childhood when she unwittingly stumbled upon the core ingredient of ceramics – clay. As a child, she often played with the carmine, clay-rich mud on the riverbank, behind her grandmother’s Malaccan home, sculpting skyscrapers and drawing shapes in the sand and silt. Little did she know, this childhood pastime of hers would translate to a deep-seated love for ceramics in her adulthood. Now, rather than building transient sculptures in the sand, she creates intricate ceramics with a touch of modern flair.


Rozana第一次接触陶瓷是在她童年的时候,她偶然接触到了粘土——而这正是制作陶瓷的核心原料。小时候,她经常到祖母位于马六甲的家后面的河边,用胭脂红色的粘土泥,捏出泥巴大楼,在沙地和淤泥里画画。当时的她并不知道,这种儿时的消遣会在后来变成自己所热爱的陶瓷艺术。现在,她不再仅仅是捏泥巴玩儿了,她打造着精致复杂的现代陶瓷作品。

At Musa’s studio, each piece starts off as a specially tailored clay mixture, containing a blend of silica, feldspar, kaolinite and a slew of other minerals. Then, depending on the particular piece, the clay will either be cast in a mold, shaped by hand on a pottery wheel, or cast and then finished off by hand. The product from the shaping process is then left to dry for several hours before being baked in a kiln at 840°C for six hours through a process known as biscuit firing. The brittle “biscuits” are then cooled for a day before being colored with a glaze through a subsequent firing process at 1100°C for eight hours. All the recipes for the glaze are developed by Musa and her team, using metal oxides such as cobalt, copper, sodium, and calcium as dyes. Though each piece is somewhat planned, Musa admits she and her team often improvise on the fly, especially when they’re struck by moments of artistic inspiration.


在Rozana的工作室,每一件作品都是用专门定制的粘土混合物制成的,需要通过复杂的配方,将硅土、长石、高岭土和其它矿物混合而成。然后,根据不同的创作理念,将这些粘土或盖上模具定型,或在轮盘上进行手工拉坯,或先用模具定型,再手工处理完成。定型之后,这些陶坯需要先被放置风干,再放到一个840℃的陶瓷窑里焙烧6 个小时,这个工序被称为“素烧”(biscuit firing)。素烧好后的坯体需要冷却一天,然后施釉,再经历一次烧制工序,这一次需要在1100℃下焙烧8小时。所有釉彩的配方都是Rozana和她的团队亲自研究出来的,采用的是钴、铜、钠和钙等金属氧化物作为染料。虽然每件陶瓷作品都是按照预定设计制作的,但当灵感突然闪现的时候,Rozana说她和团队也经常会即兴发挥。

This free, unshackled approach can be seen throughout her studio – a splash of cobalt blue on an ivory plate, a shimmering gold brushstroke on the lip of a teacup, an embossed batik print on a china tray. Even her studio itself exudes this sense of unbridled freedom; The airy, glass-fronted facade, the high ceilings and brick walls painted in hues of white, the plates and bowls haphazardly stacked on low tables, all the while her cats sashay around the displays, jumping from table to table, weaving in between the dishware, while her apprentices, Nisa and Aliah, work with quiet focus and intent at their pottery wheels.

Browsing through her wares, one gets the sense no two pieces of Musa’s ceramics are the same. Each of her creations has its own beauty, its own flaws, and its own identity. At first glance, they all seem too beautiful to use, but their beauty belies a utilitarian sturdiness. Perhaps this combination of beauty and utility is the driving factor behind the surge of demand for her line of ceramics, so much so that she’s now often booked up months in advance with order requests from renowned restaurants throughout Malaysia, and even some from Paris and Japan!


这种自由、不受束缚的创作方式在她的整个工作室随处可见,譬如是象牙碟上的一抹钴蓝色彩,茶杯杯口上的一划闪耀金色,以及陶瓷托盘中的浮雕蜡染印花。就连她的工作室本身也散发着肆意的自由氛围:透明的玻璃幕墙,高高的天花板和砖墙涂成白色色调,碗碟随意地堆放在低矮的桌子上,而她的猫则随意地漫步其中,在各张的桌子上来回跳跃,穿梭于餐具之间,而她的两名学徒Nisa和Aliah则安静专注地在轮盘上拉坯。

一眼扫过她的陶瓷作品,你会发现,Rozana的陶瓷作品没有两件是相同的。她的每个作品都有其独特的美丽,独特的瑕疵,独特的个性。乍一看,这些陶瓷似乎都太漂亮了,让人舍不得用,但它们的美丽外观之下却是实用的功能性。或许,这种美观与实用的结合是她的陶瓷作品越来越受欢迎的原因,她收到的订单非常之多,许多马来西亚的著名餐厅常常需要提前许多个月预订,甚至还有来自巴黎和日本的订单!

Despite Musas’ current success, her road to where she is was wrought with challenges. Like most young Malaysians, pursuing such an unconventional career wasn’t really on the cards in her young adulthood. But then, through perhaps a stroke of serendipity, she enrolled in the art and design program at the Universiti Teknologi MARA (UiTM), choosing to major in ceramics. When she graduated, however, Musa found it difficult to advance her skills or come across opportunities for work, largely due to the immaturity of the Malaysian ceramics industry. Finding a mentor was difficult, demand for handcrafted ceramics was slow, and the equipment and barriers to entry were high (a ceramics kiln alone can cost upwards of 3,000 USD). According to Musa, of the dozen or so students who graduated along with her at UiTM, only one or two still remain in the craft. Fortunately for her though, she eventually found a mentor in Umibaizurah Mahir Ismail, an established Malaysian ceramics artist whose works have been featured in exhibitions in Japan, Korea, and Pakistan.


尽管Rozana目前很成功,但一路走来,她也经历了很多的艰难挑战。和大多数年轻的马来西亚人一样,要追求这样非传统的职业,在她年轻的时候都会觉得是很不现实的事情。后来也许是机缘巧合,她入读了马拉工业大学(Universiti Teknologi MARA)的艺术与设计课程,选择主修陶艺。但是毕业后,Rozana发现很难能找到提升的机会,主要是因为马来西亚的陶瓷产业尚不成熟。要找到导师很困难,社会对手工制作的陶瓷需求很少,进入这个行业还需要一定的设备,也有很高的壁垒(一个陶瓷窑炉价格至少3000美元)。Rozana说,从马拉工业大学毕业的十几名陶艺专业学生,只有一两个还留在这个行业。她很幸运,因为她最终找到Umibaizurah Mahir Ismail作为自己的导师。Umibaizurah Mahir Ismail是马来西亚著名的陶瓷艺术家,她的作品曾在日本、韩国和巴基斯坦展览。

After just several months of apprenticeship, Musa was inspired to start her own business, and thus Bendang Studio was conceived. She started off small, selling trinkets and accessories to a very niche market. Not long after, she wanted to expand her business, but being bootstrapped, buying an industrial ceramics kiln was out of the picture. Undeterred and being the self-starter that she is, Roza enlisted the help of her ex-lecturer at UiTM to build a fiberglass kiln from scratch. This move not only saved money, but her design was so innovative it won them an award that came with more than 4,000 USD in prize money from the government. And for the past seven years, Rozana has continually reinvested her profits, along with the winnings, back into her studio, buying a new kiln, and more recently, refurbishing the whole space. Rozana’s dedication and innovativeness have turned Bedang Studio what it is today – an impressive studio that’s leading the way for Malaysian ceramics.


在当了仅仅几个月的学徒之后,Rozana有了创业的冲动,于是成立了Bendang工作室。一开始它只是一个非常小的工作室,针对非常小众的市场售卖各种小饰品和配件。但过了没多久,Rozana想扩大自己的业务,却因为是白手起家,根本没有资金去购买工业用的陶瓷窑。但Rozana不愿服输,她找来自己以前在马拉工业大学的老师,一起从零开始打造出一个玻璃纤维窑。她不仅因此解决了自己的资本问题,更凭借这个创新的设计获奖,获得由政府资助的超过4000美元的奖金。在过去的七年间,Rozana将获得的收入和资金不断再投资到她的工作室中,购买了一个新的陶瓷窑,最近还将整个工作室重新装修。正是Rozana的奉献精神和创新让Bedang工作室成为了如今这个令人印象深刻的陶瓷工作室,带领着马来西亚的陶瓷产业开拓发展。

Musa’s studio sits right by the through road between Malacca City and Kampung Sungai Petai, two vastly different places, one being a bustling, cultural city, and the other, a secluded, relatively unknown village. The location is perhaps fitting, as Musa’s brand of handcrafted ceramics has connected two similar yet separate worlds – the commercial, utilitarian mass-market ceramics industry, and the niche artistic, dreamy space of ceramic artists. Over the past years, Bendang Studio has brought glimpses of that artistic world to the mass market, with restauranteurs clamoring over her wares before they are even made. Perhaps it is a sign of changing times, of a greater artistic appreciation for ceramics, of the fledgling state of the handcrafted ceramics scene in Malaysia maturing into something significant. Musa certainly hopes so, and if her recent growth is anything to go by, there will certainly be more cobalt splashes and golden brushstrokes to come.


Rozana的工作室坐落在连通马六甲和双溪大年的道路之间,这是两个截然不同的地方,一个是繁华的文化名城,另一个是鲜为人知的僻静村庄。这样的位置也许正契合了Rozana的手工陶瓷品牌,因为它也是在连接两个相似又截然不同的世界——商业功利的大众陶瓷产业与小众的艺术陶瓷制作空间。在过去几年间,Bendang工作室将这种陶瓷艺术世界不断展示给大众市场,许多餐厅甚至还没看到成品就已经争相下单购买。也许这是时代变迁的标志,代表着人们对陶瓷有了更大的艺术鉴赏兴趣,代表着马来西亚手工陶瓷行业日渐成熟。Rozana当然希望如此,以她近期的成长来看,未来她也一定会挥洒出一个充满钴蓝和亮金色的陶瓷世界。

Address:
KM 20, Kampung Sungai Petai
78000 Alor Gajah
Malacca, Malaysia

Website: www.bendangstudio.com.my
Facebook: ~/bendangstudio
Instagram: @bendangstudio_official

 

Contributor & Photographer: Yi Jun Loh


地址:
马六甲马来西亚
78000 亞羅牙也
KM 20, 双溪大年市

网站: www.bendangstudio.com.my
脸书: ~/bendangstudio
Instagram: @bendangstudio_official

 

供稿人与摄影师: Yi Jun Loh

362 Heong Peah

October 13, 2017 2017年10月13日

It’s 7 a.m. The sun has barely risen over the sleepy town of Gunung Rapat, but already, Uncle Liow is sweating profusely. His lone figure silhouettes against plumes of smoke snaking out of the four self-made brick furnaces of his ramshackle biscuit workshop-hut, the air heavy with the bittersweet scent of burnt caramel and coconut husk. Around him, rays of light stream down through holes in the makeshift rafters, the chiaroscuro illuminating balls of dough arranged neatly on the table to his side, patiently waiting to be baked off. Uncle Liow shovels more coconut husks into the furnaces, fuelling the growing pyres of flame. Then as the fires subside and the coconut husks turn into perfumed cinder, he takes in a long drag of his cigarette, picks up a dough ball and plunges his hands into the 300°C brick furnace, baking off the first of 1,200 heong peahs for the day.


早上7点。太阳刚刚升起,小镇昆仑喇叭(Gunung Rapat)还万籁俱寂的时候,Uncle Liow已经忙得满头大汗。他孤零零的身影,映衬着四个自制砖炉中飘出的缕缕烟雾,在他这个简陋的饼干工坊里,空气弥漫着焦糖与椰子壳交融那种甜中夹苦的浓郁气味。在他的四周,一束束阳光从临时搭建的屋椽间投射下来,照在他身旁桌子上整齐排列的面团,形成或明或暗的光影变化,这些面团接下来就要被放入砖炉里烤制。Uncle Liow锹更多椰子壳入炉,让火焰燃烧得更旺盛。然后,火势逐渐减弱,椰子壳也烧成了芳香煤渣,这时,他深深抽了一口烟,拿起面团,徒手把面团放入300°C高温的砖炉中,准备烤制今天头1200个香饼(heong peah)。

Though biscuit shops and confectionaries aren’t all that uncommon in Malaysia (after all, the neighbouring city of Ipoh is well known for its egg tarts, kaya puff biscuits, and lotus paste buns), Uncle Liow’s workshop makes, and have only ever made, one particular type of biscuit – the legendary heong peah, which literally means fragrant pastry in Hokkien. They’re flaky, delectable puff biscuits filled with oozing, sinfully thick malted caramel. Its outermost layers are often charred to a deep golden brown, while the caramel inside remains glisteningly moist. It’s akin to a lighter, flakier, Asian version of a Breton Kouign Amann, with a heavier caramel hit.


虽然马来西亚有很多饼家和糖果点心厂家——毕竟,旁边的怡保就是闻名的蛋挞、加央角(kaya puff)和莲蓉饼(lotus paste buns)产地,但Uncle Liow的工作坊只制作一种特定的甜点——著名的香饼。香饼一词来自于闽南语“Heong Peah(芳香糕点)”。薄脆的酥饼内充满浓浓的麦芽焦糖。最外层通常烤成深金黄色,而饼芯则是湿软的焦糖。它就像是亚洲版的布列塔尼特色甜点黄油酥饼(Breton Kouign Amann),但更清淡、更酥脆,焦糖味更浓郁。

Despite having a Chinese moniker, these biscuits first gained recognition in Malaysia back in 1981 when a second-generation Chinese couple started Yee Hup, a small biscuit workshop based in Gunung Rapat. Yee Hup specialized in heong peah, which until then had only been a niche, sparsely sold biscuit of the region. They developed and improved upon the traditional recipe and baking method, and in less than a decade, their heong peahs gained a cult following throughout Malaysia. Bakers and biscuit-makers around the region soon joined them, wanting to learn their ways of biscuit making. Soon after, with Yee Hup’s growing popularity came the desire to scale up production, but with the traditional methods requiring much effort and manpower, they eventually turned to mechanization and moved to a large-scale factory setting.


尽管有一个中文名字,但香饼一开始在马来西亚家喻户晓得归功于1981年一对第二代移民的中国夫妇所创立的余合饼家(Yee Hup)。余合是一家位于昆仑喇叭的饼家,以制香饼(Heong Peah)为主,同时也会制作当地特色饼糕甜点。在此之前,香饼一直是很小众的甜点。他们在传统秘方和烘烤方法的基础上进行研发和改进,在不到十年时间里,使之成为马来西亚各地广受欢迎的美食。附近的面包和饼干制造商很快就加入了他们,想要学习他们的饼干制作方法。不久之后,余合越来越受欢迎,也有了扩大规模生产的想法,但传统的制作方法需要投入很多功夫和人力,他们最终选择机械化,搬到一个大型工厂进行生产。

Uncle Liow was one of Yee Hup’s very first workers, and after many years of toil, he rose up the ranks to become one of their stalwart bakers. But when Yee Hup upscaled their business, he parted ways with the company as he wanted to preserve the artisanal methods of biscuit-making. And today, despite having labored over heong peahs for over 30 years, he remains true to his belief, never once faltering and submitting to the less-laborious, profit-driven modern methods of biscuit production. According to Uncle Liow, to get the truest, best-tasting heong peahs, two things are needed – a searing hot furnace fueled with coconut husks for that musky aroma and char, and more importantly, solid technique, which he clearly has a wealth of.


Uncle Liow是余合饼家(Yee Hup)第一批工人之一,经过多年的辛劳工作,他逐渐成为了店里的资深饼糕师傅之一。然而,当余合饼家扩大业务后,他选择了与公司分道扬镳,因为他想保持传统的手工饼糕制作方法。如今,他已经制作香饼30多年,但他仍然坚持着自己的信念,从来没有选择那些更省功夫、更赚钱的现代机器来制饼。Uncle Liow说,要做出最正宗、最美味的香饼,有两件必须品——灼热的烤炉,并且要用椰子壳来生火,因为可以有麝香香气和焦香气味;更重要的是,要有过硬的制作技艺,这一点他显然不缺。

Watching him work is truly mesmerizing. To make the heong peahs, Uncle Liow braves the 300°C heat of the cylindrical brick furnaces, sticking each piece of dough to the searing hot furnace walls in one deft movement. All the while, the hissing flame at the very bottom of the furnace licks at his fingertips, vaporizing the sweat on his hairless, burn-scarred arms. He works in a trance-like state, dancing around the furnace. His brows are furrowed; his hands in and out of the fire with fluid speed and purpose, stopping only to wipe away the beads of sweat collecting on his temples. His focus is palpably intense, as any slip-up would immediately result in painful third-degree burns. Only when every inch of the inner walls of the furnace has been filled with heong pPeahs does he allow himself breathe and take in a few drags of his cigarette as they bake off. Barely ten minutes later though, he is back at it again, this time with a scraper in hand to pry the biscuits off the furnace walls and onto cooling trays, ready to be checked for quality, packaged, and sold.


看着他工作很引人入胜。制作香饼时,Uncle Liow无惧于圆柱形砖炉300°C的高温,迅速将一块块面团放入灼热的炉壁上。砖炉底部的嘶嘶火焰舔着他的指尖,蒸发掉他光滑、布满烧伤伤痕的胳膊上。工作的时候,他仿佛置身另一个世界,变成一名在砖炉上跳舞的舞者。他的眉头紧皱,除了拭去额角上的汗珠,他的双手一直在快速、准确地伸入、抽出砖炉。他如此的专注,因为任何的疏忽都可能会导致三级烧伤的痛苦后果。只有当每一寸炉壁都摆满了香饼后,他才会停下来休息一下,抽口烟,等待香饼烤熟。不到十分钟,他又要回到砖炉前,这一次他手中拿着一把刮刀,把香饼从炉壁上取出,放到冷却托盘上,然后检查香饼的质量,进行打包和出售。

Together, with his team of five employees who helps him in making, filling, and packaging the biscuits, they bake off thousands of heong peahs every day in his humble workshop. They work tirelessly 12 hours a day, six days a week, which is admirable, to say the least, given the intensity and laboriousness of this artisanal business. However, Uncle Liow’s diligence and dedication have definitely paid off, as his workshop (362 Heong Peah) has over the years become a stand-out among the slew of biscuit shops and confectionaries in the area, garnering many loyal customers who travel from all over the country just to get his freshly baked biscuits.


在他的这间制饼工坊里,他和团队里的五名员工一起配制、装馅和包装饼干,每天烤制数千个香饼。他们每天不知疲倦地工作12小时,一周工作六天,鉴于这份工作的强度和辛苦,实在是令人钦佩。然而,Uncle Liow的勤奋和专注显然得到了回报,因为他的制饼工坊“362 张记炭烧香饼”经历多年努力,如今已经成为当地著名的品牌,赢得许多忠诚的顾客,甚至有许多人专程从马来西亚的其它地方过来,只为了能吃到他新鲜烤制的饼糕点心。

Although Uncle Liow’s heong peah business has continued to thrive over the years, other artisanal biscuit-makers have not been as successful, either succumbing to the ever-growing pressure to turn to modern, less laborious methods or having to close down their businesses due to old age and the laboriousness of the process. Thus, 362 Heong Peah now remains one of the few, if not the only artisanal heong peah workshops left in Malaysia, which reflects the unfortunate ravages of mechanization on the humble artisanal biscuit trade. However, despite the current state of the industry, Uncle Liow remains loyal to his mantra that flavor is king, and as such, he believes there will soon be a new wave of young artisans to take up the mantle of reviving and elevating the near-lost art of handmade heong peahs.


虽然Uncle Liow的香饼生意还在不断发展,但很多其它手工饼干制造商却没有他这么成功。他们要么屈服于不断增长的压力,转向现代化、省力的制作工艺,要么不得不因为年纪大了、制作过程太辛苦而选择结业。因此,362 张记炭烧香饼现在仍然是马来西亚为数不多的手工制饼工坊之一,这也反映出机械自动化对手工制饼行业的冲击。然而,虽然行业当前状态不容乐观,但Uncle Liow仍然忠于他的口头禅——好的味道才能成为最终的赢家,因此,他相信,很快会有新一代的年轻制饼师傅,承担起振兴和提升手工香饼制作这一门即将失传的艺术。

Address:
362, Jalan Gunung Rapat
Taman Rapat Setia, 31350 Ipoh
Perak, Malaysia

Tel: +6053113529

Instagram: ~/explore/locations

 

Contributor: Yi Jun Loh


地址:
362, Jalan Gunung Rapat
Taman Rapat Setia, 31350 Ipoh
Perak, Malaysia

电话: +6053113529

Instagram~/explore/locations

 

供稿人: Yi Jun Loh