This five-spice mix forms the backbone of Uyghur cuisine – at least that part of it that deals with roast meats. Variations of this mix are used to flavor many Uyghur dishes, with other ingredients – salt, garlic, onions, etc., added to the mix as needed.
The flavor of the Uyghur five-spice blend is robust and smoky with light spicy bites from the Sichuan peppercorns, and the effect it has on roast meats is phenomenal. Feel free to use it on kebabs and roasts like the Uyghurs do, or just on regular old steaks like I do. My kids love when I use it on beef and lamb, and miss it when I don’t.
It has a great deal in common with other five-spice mixes from East Asia, and also with some of the masalas from the Himalayas – especially those from Tibet and Nepal. (To read a post about the variations in these spice mixes, follow this link.) In fact it is sort of a combination of both sets of spices. With the east, it shares Sichuan pepper and star anise, and with the Himalayan masalas it shares black peppercorns and black cardamom. Interestingly, the base of the Uyghur five-spice blend is made up of roasted cumin, which is found in abundance with Western and Southern Asian spice mixes. So once again, the Uyghur recipe blends ingredients from across the Silk Road with unique results.
As to chili peppers, there are a number of them used in Uyghur cooking that range from mild to blazing hot. Unfortunately, I have not been able to find any of these in the US, and thus turned to the familiar and widely available Japone. If you can find Sichuan chilis, these are a good moderately-hot substitute for Uyghur chilis.
I need to stress that there is no set recipe for these mixes. They vary by region, city or even by household, depending upon individual and familial tastes. That said, however, the roasted cumin is always there as are the Sichuan peppercorns to some degree or another. The smokiness, however, can sometimes come from black cumin instead of black cardamom, and sometimes I have had versions that distinctly had cinnamon as part of the mix. Here’s my favorite blend:
Ingredients 1/4 cup cumin seeds
1 tablespoon Sichuan peppercorns
3 tablespoons black peppercorns
10 dried red chilies (Japones will work but Sichuan is best)
Seeds from 4-5 black cardamom pods
3-4 star anise pods (pieces are fine)
Method Dry roast spices separately until fragrant (do not scorch or burn)
This is a quintessential Uyghur Dish. Stir-fried chicken, potatoes and bell peppers in a rich, savory sauce redolent with star anise and cinnamon. Roasted cumin flavors the base of the sauce, with black cardamom lending a smoky taste, and Sichuan pepper offering up a few bright, spicy lights. Interestingly, the heat of this dish is extremely variable and ranges from mild to four-alarm hot, although most people prefer the dish with moderate to high heat. As written, the dish is moderately spicy and sure to please anyone who desires a taste of The Silk Road.
2 cups water
¼ cup light soy sauce
2 tablespoons dark soy sauce
1 cinnamon stick
3-4 whole black cardamom pods
2 star anise pods
1½ teaspoons fine sea salt
2 pounds of chicken (bone-in pieces or boneless breast meat)
3 tablespoons hsao xing rice wine
1 tablespoon light soy sauce
1 tablespoon dark soy sauce
2 tablespoons black rice vinegar
1 tablespoon broad bean paste (Doubanjiang) *
1 tablespoon sugar
1 teaspoon salt
1 teaspoon Sichuan pepper
3 – 4 star anise pods
2-3 tablespoons vegetable oil
1 small bunch spring onions (6-8 stalks) roughly chopped **
5-6 cloves garlic, minced
1½ – 2 inch piece of fresh ginger, peeled and thinly sliced or minced
1 heaping tablespoon Uyghur five-spice mix
6-8 dried mild-to-moderately hot red chili peppers ***
1 cup water
2-3 medium golden potatoes, peeled and cut into ½ -inch chunks
2 medium red bell peppers, cored and cut into chunks
2 tomatoes, diced
Method Marinate the chicken. Mix the liquid marinade ingredients together in a large bowl. Break the cinnamon stick into pieces and lightly crush the black cardamom and the star anise pods before adding to the marinade. Add salt and stir well. Add chicken pieces and stir well to evenly coat the chicken with the marinade. Cover and rest at least overnight, stirring occasionally.
Preparing to cook. In a small bowl, mix together the hsao xing, light and dark soy sauces, black vinegar, bean paste, sugar and salt. Stir well until sugar and other solids are dissolved. Lightly crush the Szechuan pepper and the star anise pods and stir into the mixture. When other ingredients and prepared, drain chicken but do not rinse.
Cooking. Heat the oil in a wok on high heat and when the oil begins to smoke add the drained chicken pieces and stir fry for about 3-4 minutes or until the chicken becomes opaque and starts to color. Remove meat from the wok with a slotted spoon or strainer and set aside.
If necessary add a bit more oil to the wok and when it smokes, add the spring onions and stir fry for 1-2 minutes. Add the garlic and cook, stirring constantly, until the garlic begins to swell and color. Add the ginger and stir for another minute or two. Add the Uyghur 5-spice mix and the whole chili peppers and stir well to coat the onion mix in the wok. Cook for 1 minute to warm the spices.
Add about 1/3 – to ½ cup of the water and stir. When the water has heated up, add the potato slices and stir well. Cover and cook for 6-8 minutes stirring occasionally. Add more water as necessary to keep the potatoes from burning.
Now add the bell peppers and tomatoes and stir – lifting more than stirring to keep the partially cooked potatoes intact. Give the hsao xing and soy sauce mixture a good stir to bring the solids back into solution and then pour into the wok and stir once more. Cover and cook for 3-4 minutes then add the chicken back into the wok and stir. Cover and cook another 3-5 minutes or until the chicken has warmed and the rest of the vegetables are cooked but still firm.
Plate and serve with rice, noodles, or naan flatbread.
My favorite things about Big Plate Fried Chicken – called “Chong Tahsilik Tohu Qorimisi,” in Uyghur – are the clear links the recipe has with Central Asian and Himalayan cuisines. In particular, the rich star-anise laden sauce has many variants across Central Asia and the use of black cardamom is common in the Himalayas and parts of Central Asia. That said, however, there are several clearly Chinese ingredients as well, such as black vinegar, broad bean paste and hsao xing rice wine. Although Chinese in origin, Sichuan pepper has many close relatives (same genus, different species) that impart similar flavors in Himalayan cuisine as well, so it is difficult to know whether this ingredient links the recipe to China, or to the Himalayas. The bottom line is that this is a UYGHUR dish, and as such it is a product of the Silk Road that joins ingredients and preparation methods from a variety of cultures to form its own unique recipe. Uyghur cuisine is a one of the world’s lesser-known fusion cuisines.
Big Plate Fried Chicken is available everywhere in Xinjiang Province. It is a standard in restaurants and is also a commonly prepared home-cooked meal. It can be served as single main course – which is the most common presentation at lunchtime – or it can be part of a larger multi-course (usually) evening meal. With only a couple of changes, the sauce is used with lamb or mutton as well as chicken.
Some adjustments have been made in cooking to adjust for vessel shape and material. Uyghurs usually prepare stews in a large cast iron pot with slightly slanted sides very much like the Uzbek qozon or cauldron. These vessels can get blazingly hot, but like any cast-iron pot or pan, they take a long time to heat up and to cool down. The meat and the potatoes cook much quicker Uyghur style than they do in a steel wok. Because of this, I suggest stir-frying the meat first, then removing it from the stew while the vegetables cook, and then returning it to heat up before serving.
* I used the kind that has few (if any) chili peppers in it (low heat).
** If you use the giant Asian spring onions, 1-2 should suffice.
*** Any mild-to-moderate red chili will work, but I used Japone chilies.
(Words, recipe and photograph of Uyghur Big Plate Chicken by Laura Kelley.)
In an inhospitable area between the Gobi and the Taklamakan Deserts northeast of Jaiyuguan, China a time capsule was buried almost 2000 years ago. Underneath the treeless, grey sand that blankets the region today are a series of over 1000 tombs from the Wei-and Jin period (265-420 ACE). The walls of the tombs are decorated with frescoes that depict details from everyday life in a land that was temperate, fertile and teaming with life. Images of farming, hunting, animal husbandry, cooking, feasting, and playing musical instruments adorn the walls; there is even an image of China’s early pony-express mail delivery that shows a galloping horse and a man carrying a letter in his hand with an urgent look on his face. Paintings filled with the nuances from the everyday lives of the people who lived near one of China’s main Silk Road corridors in the remote hinterlands of the dynasty.
Many of the frescoes have to do with gathering or preparing food. The one depicted below shows a woman and a girl picking mulberries or mulberry leaves. The fruits could have been used to make jams, juice, sauces, desserts or wine; or they could be dried and eaten like raisins. The leaves could have been used to give a sour flavor to food and salads, used to make tea, used as anti-inflammatory medicine, or if of the correct species to feed hungry silk-worms and provide a place for the metamorphosis of next season’s egg-laying moths.
The girl is wearing wearing ribbons and both she and the adult female have short hair which identify them as from the Qiuci ethnic group. The Qiuci were Indo-European settlers in ancient China who spoke an Indo-Iranian dialect, traded on the Silk Road, and eventually became part of the early Uyghur empire. Many historians believe that they arose from the people who first brought Buddhism into China from India and Pakistan. Given the Indo-European roots of the Qiuci, the mulberry leaves could have been used as a flavoring for bread, as is done in some Indian parathas today.
The second fresco presented here show servants preparing a meal. The head cook is picking meat from bones on a board to the right. Possibly recycling meat for another meal from uneaten parts of a roast, or preparing bones for soup. Mutton is hanging from hooks on the ceiling to age, and another cook is stirring a pot to the left. In the foreground and background there appear to be steamer trays lined with dumplings or buns.
The third fresco shows a maid warming wine. She holds a tray with cups in her right hand and with her left she reaches for a ladle to fill the cups with wine from the warmer. Grape and raisin production and wine-making is an ancient industry in Xinjiang and Gansu and this painting shows the popularity of wine in the Wei and Jin Dynasty.
The last painting shows two men having dinner together. The man to the left is the host of the meal and perhaps a noble because he is sitting on a low-bed or a couch. His guest is someone of relatively equal importance because he is depicted at the side of the host and more or less the same size as the host (other frescos denote a marked difference in the size between master or mistress and their servants). The guest proffers a large trident-like skewer with bite-size bits of meat on it – kebabs. Although evidence for kebab eating goes back to Akrotiri, Greece in the 17th Century BCE, and possibly earlier to Ancient Mesopotamia, this fresco gives a solid date range to the food in western China at almost 2000 years ago. Introduced to China by Indo-Europeans coming across the main track of the Northern Silk Road (the Uyghur word is kewap), kebabs are now enjoyed all across China.
Many other images are captured in the tomb paintings: dancing, raising chickens, a Bactrian camel on a lead, and herding horses. To preserve the paintings, only one or two tombs are open to the public at a time and different tombs are open on a rotating basis to allow for repeat visits. One has to descend almost 30 meters beneath the arid surface to enter the cool, damp rooms of the tombs to view the frescoes, but it is a unique way to experience life in ancient China. Where there is now barren desert, there were rich farms, pastureland, and trading posts teaming with travelers and traders, moving goods, ideas and culture around on the Silk Road. (Words by Laura Kelley; Photos from postcards of the Wei and Jin Tombs by Laura Kelley (photography is not allowed in the tombs)).
In a world of mass production and consumption, it is wonderful from time to time to appreciate the beauty and increasing rarity of hand-crafted goods. One of the ways that I was recently able to do so was during a visit to a Uyghur musical instrument workshop in Kashgar. There I found a variety of instruments crafted from mulberry or apricot wood that, in addition to being functional, were works of art – true masterpieces of inlay and marquetry.
A selection of fretted and unfretted lutes and other stringed instruments hung from the walls and ceiling, bodhran-like daf drums in stacks on the floor. In the rear of the store is a large, magnificent rawap or rabab decorated with snakeskin, bone and horn, and the bowed kushtars with carved birds perched lightly on the top of the neck where scrolls are positioned on western violin-like instruments. Reeds, pipes and painted and inlaid camel gourds were scattered on the central tables of the store. A treasure-trove of Uyghur musical culture all under one roof.
For the most part, many Uyghur musical instruments are related to Central and Western Asian instruments with some even having counterparts in the Levant and on the Arabian Peninsula. Some scholarly work suggests that some of these instruments even arose from Mesopotamian instruments and the history of their use is several millenia old.
In the lute-like class, there is the tanbur which is a long-necked fretted lute with a pear-shaped resonator of mulberry wood and a thin, graceful walnut neck. The tanbur has fourteen frets tuned in a semi-tempered chromatic scale and five metal strings attached in three courses to a bridge. The dutar is made from separate ribs of mulberry wood glued together with often a narrow half round strip on the outside of the joins. Its flat front has no soundholes. Its long thin neck has movable frets usually tuned in a half-diatonic scale. It has two strings and is strummed or plucked with the fingers of the right hand. The khushtar is a stringed instrument that resembles a viola that has 4 strings tuned G, D, A, E. It is played upright, often while balanced on the knee and bowed with the right hand while the left works the frets. The setar is a lute with four (sometimes three) strings and a large and variable number of movable frets (sometimes as many as 25 -27).
For me, the most visually stunning of the instruments is the rawap. It has a rounded base made of a single piece of mulberry wood that is usually covered with snakeskin. In the case of this instrument workshop, python skin imported from Burma was the most commonly used skin. In addition to the snakeskin, the horns just above the junction of base and neck are characteristic. Today these are usually constructed of marqueted bone, but one or two examples in the shop had old-school horns on them. Both the base and neck are often inlaid with intricate designs. These instruments have three strings laid in three courses and are usually played with a plectrum on the right hand.
The most special part of the visit was to meet the shop owner, Mr. Muhammad Emin Ababakri, who is a fifth generation Uyghur musical instrument craftsman, and to get a brief tour of the workshop where all of his remarkable creations are made. Made by hand, by himself and by the other craftsmen he employs. I got to view several stages of instrument construction from honing the neck of a lute to tuning a newly made dutar and making sure the tone was of good enough quality’s to sell in Mr. Ababakri’s shop. You’ll find no plastic or nylon on his instruments, all of his frets are made from viscera or silk, and no plastic in the inlay, only bone, horn and wood – the finest traditional materials for the most beautiful instruments.
Alas, I left the shop empty-handed, because the instruments are dear even by western standards, but I will fondly remember the trip and may even write back to see if a rawap can be shipped to the US someday. (Words and photos by Laura Kelley. For those wishing to contact Mr. Ababakri, his card is scanned beneath the Uyghur musical samples.)
This first example Uyghur music is of a musician named Envar playing the dutar and singing:
This next you-tube video is great (if a bit cheesy with the musicians on a rotating lazy-susan) because it showcases several instruments and shows basically how they are played and sound. I also like the traditional riff rendered on a modern cello: