Atsuko Kato welcomes us in front of her 200-year-old farmhouse. As soon as we enter, we sense the quiet, almost meditative atmosphere. The spacious dining room with its exposed wooden beams and the typical Japanese alcove tells of tradition and history. We are their only guests today. Not because her restaurant, tucked away among the fields of the Izu peninsula, is little frequented – on the contrary: at Rakan, the chef, who is well-known in Japan, only caters for a maximum of six people a day. She devotes her skills, her home and her full attention exclusively to these few guests.
Ceramic art and wood fire
Atsuko Kato heats the wood-burning stove, which is accessible from the outside. She cooks the rice for the upcoming kaiseki meal in the traditional way. On the way to the stove behind the house, we walk through a room overflowing with beautiful plates, platters and small bowls. She tells us that they come from her late husband Chihiro Kato, a well-known ceramic artist. She serves many dishes from her kaiseki menu on his work.
Omotenashi – The art of hospitality
Japanese hospitality, omotenashi, is firmly anchored in Japanese culture and manifests itself in countless gestures. We encounter it at tea ceremonies, in restaurants, when greeting people in hotels or public spaces. Atsuko Kato has mastered omotenashi to perfection. We quickly feel a pleasant sense of calm. We open ourselves up to the forthcoming menu, which consists of lovingly and meticulously prepared dishes. The attention that our hostess gives us is transformed into a mindfulness towards our food that is rarely experienced in the West.
Cuisine in harmony with nature
The kaiseki menu is considered the highest form of Japanese cookery. It demands the utmost care in the presentation, colour, texture, shape and arrangement of the dishes. Each composition reflects the season, emphasises regional ingredients and creates harmony between the courses. It is not just the appearance that counts: the dishes should also surprise with their flavour and texture. Even the arrangement of the dishes combines the art of cookery, aesthetics and symbolism – always with the aim of delighting the guest holistically.
A kaiseki menu consists of several small courses that showcase different cooking techniques and seasonal ingredients. It forms a complete menu that is skilfully adapted to the respective season. Atsuko Kato uses rice and vegetables from nearby Amagi, complemented by regional products such as wasabi and shiitake mushrooms.
As if blown by the wind
Artfully prepared starters are laid out on a large, grained wooden platter. Each one is a small work of art in itself, but together they look as if they have been blown off a tree by the autumn wind with green maple leaves. In kaiseki, this artistic appetiser platter is called hassun, the principle of the scattered but harmonious distribution is called chirashi mori.
Moritsuke – everything has its place
Atsuko Kato opens her kitchen and introduces us to a central aspect of kaiseki that counts alongside texture, flavour and seasonality: Moritsuke – the art of arranging food aesthetically and carefully on plates or in bowls. The aim is to create a harmonious and appealing overall picture. Shape, colour, season and the interplay of ingredients determine the result. Flowers and leaves often adorn the dishes. There are various techniques within moritsuke. Atsuko Kato demonstrates Yose-Mori: here, the components lie close together in the centre, complementing each other but still retaining their independence.
Small starters open the kaiseki menu, followed by mukōzuke (sashimi) and takiawase (braised vegetables with beef, fish or tofu). Futamono, the clear soup in a bowl with a lid, is a must. Yakimono stands for grilled food, mushimono for steamed food and sunomono for vinegar dishes. The main course, shokuji, consists of rice, miso soup and pickled vegetables. Mizumono, a light dessert, is served at the end, accompanied by a cup of tea.
Findings at Chabudai
Atsuko Kato gave us her full attention, and we transformed her generous hospitality into a mindfulness towards our food that is rare in the West. In kaiseki, as I learnt after these hours at her dining table, a traditional chabudai, a good meal goes far beyond the saying “the eye also eats”. Here, the art of cookery, aesthetics and symbolism merge even on the smallest plate and repeatedly confirm the credo of Atsuko Kato’s husband, the ceramic artist, who modestly describes his art: “A vessel is only complete when it carries a dish.”
The stay in Shizuoka Prefecture was supported in part by the Shizuoka Tourism Association
