福心客栈

Meika Hoshino breathes her own creativity into Korean royal court cuisine, which she studied in Seoul. Prix fixe offerings follow ‘yakushoku-dogen’, the idea that diet has an essential role in maintaining good health. The double-tiered food box filled with multi-coloured items is an inspiration drawn from Korea’s courtly dining tables. Namul and kimchi are prepared with Kyoto vegetables; cuisine from the early Joseon dynasty comes from a time before chilli peppers were introduced. A dialogue between traditional cooking and modern sensibility brings Korean culinary culture to a wider audience.

His father was an artist specialising in maki-e, gold and silver decorations on lacquer; his mother the latest in a long line of tea-ceremony instructors. Overseas, he spread the word about the virtues of shojin-ryori. ‘En’ means ‘swallow’; the chef named his restaurant for this migratory bird in reference to himself, a man who had lived away from Japan but had come home to Kyoto. The menu is broad in scope and includes some dishes incorporating Western elements. The swallow is said to bring good fortune, and the chef’s personality and the reputation of his cooking bring customers flocking to

A procession of dishes that linger in the diner’s memory. Seasonal flavours are used in generous measure, such as Japanese pepper flower, pike conger, matsutake mushrooms and crab. Preparation methods, whether that be grilling, boiling or more, are astutely tailored to each ingredient, showcasing its qualities from every angle. This talent for bringing out the best in food is born of long years of experience. A favourite haunt of the literati, the Uozuya sign calligraphy is by essayist Masako Shirasu.

Bold, elegant cuisine, stripped down and pure, sets off works by Rosanjin and other artists. Avoiding piling element upon element, Ogata finds creativity in deceptively unsophisticated appearances. Technique is guided by intuition gained from each ingredient or inspired by seasonal expressions. Seasonal aesthetics are manifested through the choice of ingredients, revealing the natural vitality of each.

The chef, a native of the Goto Islands, weaves the flavours of Nagasaki into his prix fixe menus. He beguiles his guests with the fish of his native region, served as sashimi and wanmono. ‘Hatoshi’ is minced shrimp between two slices of crispy fried toast; Goto udon is a beloved local old favourite. With cultivated kappo technique, the chef turns common dishes into pictures of elegance. ‘Hakuran’ is an amalgam of his parents’ names. Sharing the charms of Nagasaki with the diners of Kyoto is an act of gratitude to his hometown.

The next generation of chefs apply themselves diligently to every task from cooking to service, following the proprietor’s teaching to always be sincere. The chef devotes himself to his craft, staying close to the basics while feeding his curiosity with inventive combinations. Vegetables such as peas, corn, ginkgo nuts and turnip are kneaded into baked sesame tofu, heralding the arrival of the season.

Flexible and creative while revering the classics, Kinobu adds new twists to the way Kyoto cuisine reflects yearly events and the changing of the seasons. At the heart of the chef’s approach is a restless curiosity. He corresponds regularly with overseas chefs to deepen his store of knowledge. His ‘wine menu’ of dishes that pair well with wine is an innovation that broadens the scope of kaiseki. Kinobu began as a caterer and transformed itself into a ryotei. Treading a contemporary path, Kinobu keeps its eye on the future.