Products
| Bizen Sake Bottle & sake Cup | Tea Ceremony Things | Bizen Flower Vase | Bizen Dish & Bowl | Others |
Bizen Sake Bottle & sake Cup
1004 Items
1 / 84 page NEXT LAST
Tomoyuki Oiwa - Kuro Guinomi
24,200 YEN
size : W7.1cm×7.0cm×H7.8cmThis is a new Kuro guinomi by Tomoyuki Oiwa, who studied ceramic technique under Ryuichi Kakurezaki and continues his research and practice in Kamigori, Hyogo Prefecture.
It is his latest work, unloaded from the kiln in October 2025 (Reiwa 7).
Through Oiwa’s powerful firing, the black slip has developed a vivid tone, resulting in a lustrous, clear black reminiscent of Kakurezaki’s own black works.
Oiwa places particular emphasis on the high-temperature phase toward the end of the firing. By carefully holding near peak temperature for a relatively long time, he brings out a striking blue fire effect.
A beautiful cobalt blue spreads across the outer surface of the piece, except for the front area, the foot, and the interior well. When used, it will take on the moisture of the sake and shine even more beautifully.
On the foot and inside as well, the black slip is thoroughly fired, transforming into a glossy black that looks almost wet.
The form itself is simple—an inverted-triangle, glass-like design—which perfectly sets off the intense blue fire effect.
Tomoyuki Oiwa - Beni Guinomi
22,000 YENSold out
size : W8.1cm×6.8cm×H6.7cmThis is a new Beni guinomi by Tomoyuki Oiwa, who studied ceramic technique under Ryuichi Kakurezaki and continues his research and practice in Kamigori, Hyogo Prefecture.
It is his latest work, freshly unloaded from the kiln in October 2025, Reiwa 7.
This piece forms a counterpart to his representative “Kuro” series. A specially prepared clay slip was applied and fired to achieve a subdued, not overly bright salmon-pink tone.
While the overall color remains a calm salmon pink, areas where natural ash glaze landed have developed brighter brownish fire effects.
The gradation from Shiro-Goma, through warm brown, and into salmon pink is especially captivating, and it evokes an atmosphere reminiscent of Hon’ami Koetsu’s white Raku tea bowl Fujisan.
Oiwa’s teacher, Kakurezaki, has long explored the potential of various clays, and this work can likewise be seen as one possibility, realized through Oiwa’s own unique methods, for expanding how clay itself can be utilized and expressed.
The form is also compelling: Oiwa has absorbed the three-legged design associated with his teacher and reinterpreted it in his own way. From the foot to the rim, the piece is filled with Oiwa’s meticulous attention to detail.
Kazan Matsuda - Bizen Guinomi
11,000 YENSold out
size : W6.7cm×6.6cm×H5.4cmThis is a Bizen guinomi by the fourth-generation Kasan Matsuda, who inherited the techniques of the third-generation Kasan as one of the most orthodox practitioners of tea ceramics.
A career history sheet dated Heisei 10 (1998) is included, and this piece is believed to have been made around that time.
With no gimmicks or affectation, it is a straightforward, all-out shiso-purple guinomi. The deep, rich tone is exactly what you would expect from the solitary mastery of the fourth-generation Kasan.
The form, like the firing, is brought together with remarkable simplicity: a wide, flat foot and the understated carving on the body reveal the refined skill of a true master.
The entire piece is a basic, single shiso tone, and precisely because of that, the Kigoma that falls from the rim into the interior stands out beautifully.
Sadly, the Matsuda Kasan lineage came to an end with this fourth generation, yet it is deeply moving to feel how the techniques passed down through four generations live on in the work and are carried from person to person.
Although this is an earlier piece, there is no staining or sense of use.
Yuho Kaneshige - Imbe Hidasuki Sakazuki
25,300 YEN
size : W9.0cm×8.2cm×H8.5cmThis is an earlier work by Yuho Kaneshige, who continues to create while constantly questioning himself—an Imbe Hidasuki Sakazuki.
A ceramic resume dated 2004 is included, and this piece is believed to have been made around that time.
It was fired in a custom electric kiln in Ushigami-shita, Imbe, and the distinctive sense of rhythm that can be felt in his current works is already clearly present here.
The rim, shaped as if the clay has been gently gathered and rounded inward, is a feature also seen in Sozan’s Guinomi forms. In this piece, however, the throwing is thinner and more supple—showing further evolution while still inheriting that spirit.
The firing is close to what is known as So-Hidasuki, with dense Hidasuki covering the entire surface like a thin film. The clear, refreshing tones suit the softly rising form beautifully.
Another fascinating point is that, in harmony with the overall Hidasuki, the white clay is revealed only in small openings inside the foot and the well—an intriguing “reverse” approach compared to kiln-change effects where ash covers and transforms the whole piece.
Although it is an earlier work, there are no stains or signs of use.
Makoto Kaneshige - Bizen Guinomi
38,500 YENSold out
size : W7.6cm×7.3cm×H5.8cmAs the eldest son of Sozan Kaneshige and heir to the Enzan kiln, Makoto Kaneshige has captivated many collectors through the harmony of delicate, elegant clay tones and powerful form. This is one of his earlier Bizen Guinomi works.
A ceramic résumé up to 1999 is included, so this piece is believed to have been made around that time.
The entire outer surface is covered in Kigoma, while the interior features a soft, airy Hidasuki—a superb balance, as achieving both Hidasuki and Goma together is often considered technically demanding in terms of firing control.
The Hidasuki inside, paired with the bright gray clay tone, has an inviting presence, and the richly nuanced surface—grounded in the quality of the clay—becomes even more beautiful and vivid when filled with sake.
The foot is deeply carved, as if testing the limits of the tatatsuki, and this bold treatment seems to have been one of Makoto’s signature approaches even at the time. Even without excessive decoration, the piece speaks eloquently through its presence alone.
Although it is an earlier work, there are no stains or signs of use.
Tomoyuki Oiwa - Kuro Guinomi
24,200 YENSold out
size : W7.9cm×7.3cm×H6.3cmHe is a disciple of Ryuichi Kakurezaki.
He learned about Kakurezaki's innovative design and firing methods of Anagama.
This Guinomi was fired in October 2025.
He makes works with normal Bizen clay, and paints black clay after drying.
"Kuro" is made of clay with a high iron content in the Osafune district of Okayama prefecture.
Add a small amount of cobalt after dissolving them in water to make it liquid.
The black clay applied to the work changes to beautiful black when fired.
And this Guinomi has a very special fire pattern.
The bright, transparent light blue fire pattern is a unique color.
As moisture seeps into the blue fire pattern, it changes to a more beautiful hue.
Makoto Kaneshige - Hidasuki guinomi
38,500 YENSold out
size : W6.6cm×6.6cm×H6.5cmThis is an earlier Bizen Hidasuki Guinomi by Makoto Kaneshige, who inherited Maruyama-gama as the eldest son of Sozan Kaneshige and captivates many collectors through the harmony of refined clay character and powerful form.
A career history sheet up to 1999 (Heisei 11) is included, and this piece is believed to have been made around that time.
Unlike Hidasuki fired in an electric kiln, this is a Hidasuki guinomi fired in a noborigama (climbing kiln). Over an adzuki-brown surface, Hidasuki with subtle orange tones has been applied.
It is said that when Sozan developed electric-kiln firing in Bizen, he chose a slightly coarser clay for Hidasuki works. This piece also features an appealingly strong texture with small stone inclusions.
Its most distinctive feature—the orange-tinged Hidasuki—appears as if it is gently seeping out from within the clay surface, and the rich gradations created by the climbing kiln’s flames are deeply atmospheric.
The foot is boldly trimmed almost to the very edge of the Tatamitsuki (the flat ring where the vessel rests), a signature approach that seems to have been one of Makoto’s trademarks even then. Even without excessive decoration, the piece speaks eloquently through its presence alone.
Although this is an earlier work, there are no stains or signs of use.
Yuho Kaneshige - Imbe Yamahai
25,300 YENSold out
size : W9.3cm×9.0cm×H4.1cmKaneshige Yuho is known for creating his works while continually questioning himself. This is one of his earlier Imbe Yamahai.
A career profile up to 2003 is included, and this Yamahai is believed to have been made around that time.
It dates from the mid-Heisei period, when he was presenting many works primarily using mountain clay, and it beautifully combines an aged, matte Goma surface with the quiet, subdued character of mountain clay.
Inspired by rustic mountain tea bowls—everyday wares appreciated for their honest charm—this Yamahai has an especially interesting balance on the wheel: the clay feels as if it is allowed to “stop short” of fully stretching. That subtle restraint creates a pleasant awkwardness, giving the form a unique and endearing character.
The entire surface, including the lightly scattered Tobi-Goma, is matte and without gloss. However, once sake is poured in and the surface takes on moisture, the seemingly weathered clay tones suddenly come alive—like an ordinary rock in the mountains that becomes irresistibly captivating the moment rain begins to fall.
Yuho has said that hiyose clay is highly plastic and reflects one’s thoughts and emotions like a mirror, while rough, less elastic mountain clay makes everything a one-moment, do-or-die challenge. In this piece, that philosophy is palpable: although the form is very simple, it carries a quiet magnetism that makes you want to pick it up again and again.
Although it is an earlier work, it shows no stains or signs of use.
Tadashi Yoshimoto - Bizen Shuhai
9,900 YENSold out
size : W7.3cm×6.9cm×H5.5cmA former work by Tadashi Yoshimoto, a devoted disciple of Kei Fujiwara, who carried on his philosophy and distinctive style.
A career profile (up to around 1996) is included, and this piece is believed to have been made around that time.
A botamochi (clay cover) is placed prominently on the front, resulting in a firing effect that truly reflects the hallmark character of Fujiwara-style Bizen.
Following his master’s pursuit of bold yet warm and inviting forms, this guinomi is slightly thick-walled, allowing you to fully appreciate the comforting feel of the clay in the hand.
The combination of a slightly dark, chocolate-toned body and refined yellow goma creates a classic Bizen atmosphere—an enduring piece you can enjoy for years without tiring of it.
Although it is an earlier work, it remains in excellent condition, with no noticeable signs of use or staining.
Mitsuru Isezaki - Bizen Guinomi
14,300 YEN
size : W6.6cm×6.3cm×H5.9cmThis is a Bizen Guinomi by Mitsuru Isezaki, a master potter who loved Bizen ware and made significant contributions to the Bizen community.
A career history sheet up to 1999 (Heisei 11) is included, and this piece is believed to have been made around that time.
Believing that the true beauty of Bizen lies in the character of the clay itself, Mitsuru Isezaki consistently worked with a deep commitment to high-quality Hiyose clay. This Guinomi carries that quiet depth and richness.
Natural ash has fallen over the entire outer surface, allowing you to enjoy a well-balanced scenery where Kigoma, Kase-Goma, and Sangiri blend together.
Inside the guinomi as well, fine Goma has settled like powdery snow. It is not showy at first glance, but precisely for that reason it feels like a piece you can enjoy for many years to come.
The form is one of Mitsuru Isezaki’s classic shapes: the shoulder gently narrows while the rim opens outward, making it simple, comfortable in the hand, and very easy to use.
Makoto Kaneshige - Hidasuki Guinomi
38,500 YENSold out
size : W6.8cm×6.7cm×H6.6cmThis is an earlier Bizen Hidasuki Guinomi by Makoto Kaneshige, who inherited Maruyama-gama as the eldest son of Sozan Kaneshige and captivates many collectors through the harmony of refined clay character and powerful form.
A career history sheet up to 1999 (Heisei 11) is included, and this piece is believed to have been made around that time.
Unlike Hidasuki fired in an electric kiln, this is a Hidasuki guinomi fired in a noborigama (climbing kiln). Over an adzuki-brown surface, Hidasuki with subtle orange tones has been applied.
It is said that when Sozan developed electric-kiln firing in Bizen, he chose a slightly coarser clay for Hidasuki works. This piece also features an appealingly strong texture with small stone inclusions.
Its most distinctive feature—the orange-tinged Hidasuki—appears as if it is gently seeping out from within the clay surface, and the rich gradations created by the climbing kiln’s flames are deeply atmospheric.
The foot is boldly trimmed almost to the very edge of the Tatamitsuki (the flat ring where the vessel rests), a signature approach that seems to have been one of Makoto’s trademarks even then. Even without excessive decoration, the piece speaks eloquently through its presence alone.
Although this is an earlier work, there are no stains or signs of use.
Yuho Kaneshige - Imbe hidasuki Guinomi
25,300 YENSold out
size : W5.5cm×5.5cm×H6.9cmThis is an earlier Imbe Hidasuki Guinomi by Yuho Kaneshige, an artist who continues to create while constantly questioning himself.
A career history sheet up to the year 2000 (Heisei 12) is included, and this piece is believed to have been made around that time.
It was fired in a custom electric kiln in Ushigami-shita, Imbe, and the distinctive sense of rhythm that can still be felt in his current works is clearly present here as well.
The form is especially unique: the rim and the foot seem to pull in opposite directions, as if drawn outward by two different forces. Rather than pressing the clay down to deform it, the shaping feels like calmly allowing the clay to stretch and “grow” in a natural, expansive way.
The foot trimming is also fascinating—almost as if the clay has naturally peeled back by itself, a characteristic detail seen in his more recent works as well. The dynamic sense of form inherited from Sozan Kaneshige appears to be evolving here into something distinctly Yuho’s own.
Hidasuki covers the piece diagonally like a monk’s kesa robe. By skillfully using different parts of the rice straw—tips and stems—the artist creates a clear rhythm and variation in the Hidasuki, matching the movement and tempo of the form itself.
Although this is an earlier work, there are no stains or signs of use.
1 / 84 page NEXT LAST
