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Bizen Sake Bottle & sake Cup
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Yu Fujiwara - Bizen Shuhai
66,000 YEN
size : W6.4cm×6.3cm×H5.2cmThis is a Bizen Guinomi by Yu Fujiwara, a Living National Treasure who broadened his vision beyond Japan and helped share the appeal of Bizen ware with the world.
It is a work that can be recognized as Fujiwara’s at a glance—direct and uncompromising, as if it confronts the viewer with an unadorned sincerity, free from superficial technique.
Created in the very late period of his life, it clearly shows the distinctive firing results for which Yu Fujiwara is known.
About half of the surface is covered with dark green Kase-Goma, creating a striking contrast with the clay body, where vivid Hi-iro and rich reddish-purple tones emerge.
The way the piece presents its “scenery” through Botamochi effects—one of the signatures of Fujiwara Bizen—is especially captivating. On the front, a crescent-shaped Botamochi sits near the rim, and inside the Guinomi, another Botamochi appears like the moon reflected on the surface of a lake.
Yu Fujiwara is often associated with a deep reddish-purple tone in the clay, yet this work also shows a strong Hi-iro in the interior—around the rim, within the bowl, and inside the foot. As it becomes wet with sake, the colors deepen further, enchanting the viewer all the more.
Tomio Ochi - Shigaraki Guinomi
11,000 YEN
size : W7.3cm×7.1cm×H6.6cmThis is a Shigaraki Guinomi by Tomio Ochi, who has worked quietly and diligently on kiln firing under Yasuhito Abe, pouring his still-unfulfilled aspirations into his ceramics.
Using clay that he once collected in Shigaraki together with Abe-sensei, Ochi fired this piece multiple times—just as he does with his Bizen works.
For this work, he aimed for an even stronger result and fired it an extraordinary seven times. By thoroughly vitrifying the relatively heat-resistant Shigaraki clay, he achieved a brilliant orange surface that almost looks as if it were coated in platinum.
A creamy natural ash glaze has splashed across the front and into the interior, and its unique pale, slightly greenish tone stands out beautifully against the orange body.
This Guinomi is significantly larger than his previous pieces, so it could also be enjoyed not only as a sake cup, but as a small rock glass or a shochu cup.
Please note: the body is slightly absorbent, and if water is left inside for about an hour, the foot area may become wet.
Yuichi Yamamoto - Bizen Guinomi
16,500 YENSold out
size : W6.3cm×6.1cm×H5.2cmThis is a Bizen Guinomi from a slightly earlier period by Yuichi Yamamoto, an Intangible Cultural Property holder and the son of the master potter Tōshū Yamamoto, renowned for his almost miraculous craftsmanship.
A printed career record up to 2004 (Heisei 16) is enclosed, and the piece is believed to have been made around that time.
Across the entire surface, an intense kiln effect appears as if the piece had been showered with scoops of ash. On top of the ash-deposited transformation, Nagare-Goma further overlaps, creating an exceptionally bold and dramatic fire pattern.
True to Yuichi’s firing style—using not only split red pine but also mixed hardwood—the Nagare-Goma takes on a colour reminiscent of weathered rock that has been exposed to wind and rain for tens of thousands of years.
The ash-deposited texture itself seems to have risen powerfully, yet every raised area—including the interior—has been carefully shaved and refined. As a result, the surface feels comfortable in the hand and causes no stress during use.
The form, too, bears the impact of this intense firing. What may originally have been a near-perfect, symmetrical circle—typical of “Yamamoto Bizen”—has gently distorted under the heat. In an intriguing way, it feels as though the theme of “wheel-throwing technique” has been deliberately set aside to confront the overwhelming energy of the kiln.
Although it is a slightly earlier work, it shows no stains or signs of use.
Jun Isezaki - Bizen Kuro Guinomi
132,000 YEN
size : W7.0cm×6.9cm×H6.8cmThis is a newly fired Bizen black Guinomi by Living National Treasure Jun Isezaki, who continues to lead the world of Bizen ware with an inexhaustible creative spirit.
It is one of his latest works, taken from the kiln in October 2025 (Reiwa 7).
The piece was fired for about ten days in a semi-underground Anagama, and the black slip and intense Goma compete across the surface, while natural ash glaze dripping from the kiln wall creates a striking, dramatic Fire pattern.
This work was fired upright rather than laid on its side. A veil-like layer of Kigoma covers the surface, while glossy black appears only in certain areas, creating a strong contrast.
Where the flames hit the piece directly, powerful Koge-Goma has formed, giving the work a vivid sense of the fierce firing that Jun Isezaki is known for.
Because it was fired upright, a “rain” of Goma also fell vertically into the interior. The thick pool of Kigoma at the bottom, set against the jet-black walls of the inside, creates a very bold and compelling contrast.
With its smooth, deep black tones in the exposed clay areas and its large-scale, energetic form, this piece is a concentrated expression of the appeal of Jun Isezaki’s black works.
Seiho Kakumi - Bizen Guinomi
13,200 YENSold out
size : W6.1cm×6.0cm×H6.1cmThis is a Bizen Guinomi from the period when Toshimine Kagami used the name “Seihou”, an artist who was nurtured by the great masters of modern ceramics and went on to open up his own distinctive artistic world.
A printed career record up to 1998 (Heisei 10) is enclosed, and the piece is believed to have been made around that time.
Having received guidance from some of the most renowned potters in the Bizen world—such as Tōyō Kaneshige and Tōshū Yamamoto—Seihou created a work that fully captures the fascination of ash-deposited kiln effects produced in a Noborigama (climbing kiln).
The slowly and thoroughly fired ash deposits appear almost to glow in a mouse-grey tone, creating a beautiful contrast with the soft Hiiro that emerges in the areas where the ash has cleared.
Also noteworthy is Seihou’s signature form: a thick wheel-thrown body that is then carved with a hera to create a bold shinogi texture. The spiral-like shape, as if converging while rotating, evokes the image of a sacred peak towering upward—true to the character “mine” in his name.
Jun Isezaki - Bizen Kuro Guinomi
132,000 YENSold out
size : W7.5cm×7.3cm×H6.9cmThis is a newly fired Bizen black Guinomi by Living National Treasure Jun Isezaki, who continues to lead the world of Bizen ware with an ever-flowing creative spirit.
It is one of his latest works, taken from the kiln in October 2025 (Reiwa 7).
The piece was fired for about ten days in a semi-underground anagama. As the black slip and intense Goma compete across the surface, a powerful, dramatic fire transformation forms and covers the entire work.
This Guinomi received a strong “baptism of flame” from the back. Kigoma—like fine gold dust, created from high-quality split pine—surges toward the front, where the deposits meet and merge to create an impressive Tamadare pattern.
Around the rim and near the front, strong Koge-Goma has also developed, functioning as another kind of black—distinct from the black of the slip.
It is especially fascinating that this Koge-Goma appears right at the rim. When used, the moment it becomes wet with sake, the deep charred black subtly changes in tone, offering enjoyment not only to the palate but also to the eye.
From the smooth, deep black tones in the exposed clay areas to its large, energetic form, the work shows Jun Isezaki’s bold finish even beyond the kiln effects such as Kigoma.
Tomoyuki Matsui - Bizen Guinomi
11,000 YENSold out
size : W6.1cm×6.0cm×H5.6cmThis is an earlier Bizen Guinomi by Yoshiyuki Matsui, who also devoted himself to teaching the next generation as an instructor at the Ceramic Center.
A printed career record from around 2010 is enclosed, and the piece is believed to have been made around that time.
Kigoma, Koge-Goma, and Nagare-Goma have fused together and adhered to the surface, creating a powerful fire pattern that is very characteristic of Matsui’s preference for rich, heavy-fired effects.
The entire piece has a strong gloss, almost as if it were coated in glass, and the orange-tinged clay surface transforms into a distinctive, smoky texture—an especially fascinating contrast.
The rim gently undulates with a light, lively movement, showing the kind of exemplary craftsmanship one would expect from an experienced teacher, and it also looks very comfortable to use.
The piece was purchased new and carefully stored, and it remains in unused condition.
Jun Isezaki - Bizen Kuro Guinomi
132,000 YENSold out
size : W7.1cm×7.1cm×H7.0cmThis is a newly fired Bizen black Guinomi by Living National Treasure Jun Isezaki, who continues to lead the world of Bizen ware with an inexhaustible creative spirit.
It is one of his latest works, taken from the kiln in October 2025 (Reiwa 7).
The piece was fired for about ten days in a semi-underground Anagama, and the black slip and intense Goma compete across the surface, while natural ash glaze dripping from the kiln wall creates a striking, dramatic Fire pattern.
This work was fired upright rather than laid on its side. A veil-like layer of Kigoma covers the surface, while glossy black appears only in certain areas, creating a strong contrast.
Where the flames hit the piece directly, powerful Koge-Goma has formed, giving the work a vivid sense of the fierce firing that Jun Isezaki is known for.
Because it was fired upright, a “rain” of Goma also fell vertically into the interior. The thick pool of Kigoma at the bottom, set against the jet-black walls of the inside, creates a very bold and compelling contrast.
With its smooth, deep black tones in the exposed clay areas and its large-scale, energetic form, this piece is a concentrated expression of the appeal of Jun Isezaki’s black works.
Kazan Matsuda - Bizen Guinomi
11,000 YENSold out
size : W6.9cm×6.9cm×H5.4cmThis is a Bizen Guinomi by the 4th generation Matsuda Kazan,
who inherited the authentic tea-ceremony style and techniques of the 3rd generation Kazan.
A printed career record up to 2002 (Heisei 14) is enclosed,
so the piece is thought to have been made around that time.
It is a very straightforward, unpretentious work whose honest, “no tricks” style feels refreshing,
with a gentle Hidasuki pattern that is truly characteristic of the solitary master, 4th generation Kazan.
The form follows a pure “simple is best” approach, relying entirely on wheel work with no added decoration.
Only around the foot the clay is slightly tightened on the wheel,
so that the profile harmonizes with the detached Goke-zoko style foot.
The whole piece is finished in a soft Hidasuki tone achieved in an electric kiln.
Before firing, softly rounded straw was placed inside the cup,
allowing the Hidasuki to spread in a gentle, cloud-like way across the entire interior.
Although the Matsuda Kazan name ended with this 4th generation,
it is deeply moving to feel how the skills passed down through four generations
now live on in the work itself and are transmitted from person to person.
There are no noticeable signs of use or staining,
and the cup appears to be in almost unused condition.
Yoshiteru Takariki - Bizen Hidasuki Big Guinomi
13,200 YEN
size : W8.3cm×8.0cm×H4.3cmThis Guinomi was Fired in September 2025.
He usually works in a very classical style.
But he never forgets to take on new challenges.
But this is no longer a new challenge, but a completely different level of work.
Using a special firing method with mountain clay, this Guinomi is huge but very lightweight.
The design, which looks like it is about to be crushed, is also very strange.
Shinjiro Aika - Bizen Guinomi
19,800 YEN
size : W7.3cm×6.6cm×H4.9cmThis is a newly fired Bizen guinomi (sake cup) by Shinjiro Aika, fresh from the kiln.
Among the many Bizen artists, Aika is known for his singular focus on firing—and this piece is a perfect example of what only he can achieve: the natural clay tones and firing-driven expression that emerge only through an uncompromising, fully matured firing.
It’s rare to find a work that so perfectly embodies the phrase “made without regard for profitability.” Fired relentlessly until it reaches the exact character he seeks, then selected—and selected again—this guinomi carries an extraordinary presence. Even from a distance, you can tell it is wrapped in an unmistakable and dramatic fire pattern.
The surface shows an intense, rock-like Sangiri that immediately marks it as Aika’s work. While the body is tightly fired and thoroughly vitrified, it also retains a subtly moist, refined texture—creating a distinctive and commanding presence.
The foot feels as if a massive rock, once buried deep in the earth, has risen and emerged. It has the strength and grounding needed to support and balance the bold fire patterns that surge across the body of the cup.
Yoshiteru Takariki - Bizen Hikidashi Kurotasuki Guimomi
16,500 YENSold out
size : W7.0cm×6.9cm×H4.7cmYoshiteru Takariki’s latest Bizen Hikidashi Kurotasuki Guinomi, created under the tutelage of Sozan Kaneshige and Yuho Kaneshige, was just unloaded from the kiln in September 2025.
Distinct from the traditional expressions born solely of climbing-kiln firings, this piece employs the post-2000 Hikidashi technique: the cup is set near the stokehole of a noborigama, then pulled mid-firing and rapidly cooled to carbonize the surface.
What sets this work apart from the black “hikidashi” pieces currently popular in Bizen is that it originates from the Hidasuki lineage. On a soft, pale clay body where red straw marks would normally appear,
carbonization has flipped the palette into a black-silver tonality reminiscent of Ao-Bizen, giving the surface a striking, iron-like—almost charcoal-like—texture.
The Hidasuki themselves likewise invert to black, gleaming as Kurotasuki in the truest sense of the name. In spirit, it follows the progression of Takariki’s practice: from the “守 (preserve)” Hidasuki inherited from Sozan’s electric-kiln work, through the “破 (break)” polka-dot Hidasuki born of inventive firing methods, to this entirely new “離 (depart)” interpretation that captivates the viewer with a fresh, radical beauty.
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