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Bizen Sake Bottle & sake Cup
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Jun Isezaki - Bizen Guinomi
66,000 YEN
size : W6.9cm×6.6cm×H6.3cmThis is a newly fired Bizen Guinomi (sake cup) by Living National Treasure Jun Isezaki, an artist whose boundless creativity continues to lead the world of Bizen ware.
This piece was taken from the kiln in October 2025 and represents the latest work by the master.
The front of the piece was placed face-down on the kiln floor during firing, allowing dynamic effects typical of an Anagama kiln to emerge—such as Kigoma, Nagaregoma, Kogegoma, and warm amber-colored clay tones.
Although natural ash glaze covers roughly 70% of the surface, it does not produce a uniform tone.
Instead, the colors and textures shift from area to area, offering a variety of captivating landscapes that never grow monotonous.
On the back side of the piece, a thick layer of Kigoma accumulated during firing.
This melted and flowed toward the front, forming beautiful amber droplets as it cooled.
The intensity of heat required to create such dramatic effects must have been extraordinary.
In the center of the interior, the clay has risen up significantly, forming a large, knot-like swelling reminiscent of an “ogre’s lump.”
The overwhelming torrents of natural ash glaze, combined with the clay swelling upward as if resisting the heat, create a sense of powerful tension.
Though small in size as a sake cup, the piece conveys a grand, almost epic presence.
Jun Isezaki - Bizen Hikidashi kuro Guinomi
165,000 YENSold out
size : W7.2cm×6.8cm×H7.0cmThis Guinomi was fired in October 2025.
He uses kiln in a tunnel-like shape called "anagama".
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.
"Hikidashi" means taking out the work from Kiln during firing.
The works that touched the outside air will be cooled rapidly and will change to a different color from normal Bizen ware.
In this work, the attached ash (pine) becomes transparent and looks like a amber.
The black part is coated with special clay and is indigo by Hikidashi effect.
Yoshiteru Takariki - Bizen Yohen Guinomi
16,500 YEN
size : W7.1cm×7.0cm×H5.7cmA freshly fired Bizen Yohen Guinomi by Yoshiteru Takariki, who studied under Sozan Kaneshige and Yuho Kaneshige. Kiln-out: September 2025.
True to Takariki’s bold, risk-embracing firing that draws out the clay’s expression, the exterior shows an ash-covered Yohen as dark as wet charcoal, with areas that gleam faintly silver. In the Kaneshige lineage, Hiiro generally pales toward white the harder it is fired; here, however, a few zones reached the perfect moment—achieving strong firing while retaining a saturated Hiiro.
Inside, the ink-black of the ash-covered fire pattern and the clay’s Hiiro vie with one another, joined by a small round open area like a full moon reflected on water—an exquisite scene. The piece combines a powerful double foot with paired Higaki-mon; the richness of the clay character gently subsumes the assertive design, resulting in a well-balanced work.
Mitsuru Isezaki - Imbe Guinomi
38,500 YENSold out
size : W6.2cm×6.2cm×H6.2cmA Guinomi by Mitsuru Isezaki, a revered master who loved Bizen and made great contributions to its tradition. An artist résumé through Heisei 19 (2007) is enclosed; this work was produced in his late years.
Fired in a prime position within the kiln, the cup presents a light gray ash-covered Yohen paired with vivid Hiiro—quietly profound and full of character. Rich Shiso-iro emerges on the foot and mikomi, immediately conveying the excellence of the clay that Isezaki prized.
Around the waist, a subtly incised Higaki-mon—almost like a hidden cut—speaks to his meticulous craftsmanship. With continued use, the Hiiro clay tone will be gently polished by sake, maturing toward the superb surface Isezaki pursued throughout his career.
Unused, carefully stored unopened since purchase.
Makoto Nakamura - Bizen Guinomi
20,000 YENSold out
size : W7.2cm×7.1cm×H5.0cmThe newest Bizen Guinomi by Makoto Nakamura, eldest son of the renowned sakeware master Rokuro Nakamura and celebrated for his sakeware and tableware. Fresh from the kiln in October 2025.
True to Makoto’s kiln-firing mastery—nurtured under the guidance of Domyo—the cup captivates with exquisite fire control that brings out both unique fire pattern and softly glowing Hiiro. Fired deep in the kiln and buried in embers, it bears a faint, lustrous ash-covered surface together with the Nakamura family’s hallmark Kase-Goma.
The open frontal area has tightened at the perfect moment; the gently airy Hiiro seems to invite the first touch of sake. Distinct kumadori, nuanced Hiiro from precise firing, and a subdued metallic sheen of ash—whichever angle you view it from, the noborigama’s ash-covered fire pattern can be fully enjoyed.
Though the form is large and powerful, the walls are not overly thick; despite its bold presence, it offers the just-right in-hand balance one expects from a master of sakeware.
As Makoto has reached Kiju (77), the tomobako inscription includes “Kiju.”
Takashi Baba - Bizen Yohen Ao Guinomi
29,700 YEN
size : W6.8cm×6.6cm×H5.2cmBorn in Imbe and a lifelong devotee of Bizen, Takashi Baba creates for the sheer joy of making. This is his latest Bizen Yohen Ao Guinomi, fired in June 2025 in his newly built noborigama.
Evolving his signature slip-coated black Bizen, Baba introduces the Yohen Ao series, in which sections of the black surface transform into a vivid cobalt blue. The electrifying “Ao” immediately catches the eye, while the remaining black areas, tightened by intense firing, develop a distinctive gun-metal sheen.
A generous veil of Kigoma on the reverse is especially engaging—dense, golden Kigoma that powerfully sets off the interplay of black and blue. True to his background in sculpture, Baba’s modern spatula cuts articulate the planes and lend further chiaroscuro to the piece.
Vivid blue, cool black, and a modern form come together as one—an unforgettable work at first sight.
Masahiro Miyao - Kuro Guinomi
15,400 YENSold out
size : W6.5cm×6.3cm×H6.0cmA new black Guinomi by Masahiro Miyao, who trained in Imbe (Bizen). While Miyao continues to present Bizen pieces alongside his black works, this example is especially striking for the beautiful indigo that emerges across the surface.
In conventional black-slip pieces, blue may appear only within areas of unique fire pattern such as scorch marks; here, however, the indigo seems to bloom from the entire body, revealing anew the depth of black ware. Not all of the black has shifted to indigo—the mikomi (interior) retains a deep, lucid black clay tone, creating a quietly mysterious palette.
A generous flow of natural ash glaze descends over the front, pulling the black slip along with it. The shell placed to prevent fusion during firing has caught the flow and formed a dramatic, oversized shell mark reminiscent of a suction cup.
Because the form makes extensive use of spatula cuts, the gradations of natural ash and indigo play across the planes of the vessel, adding further dimensionality to its superb coloration.
Jun Isezaki - Bizen Kuro Guinomi
123,000 YEN
size : W7.1cm×7.1cm×H6.8cmThis new work 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.
The natural glaze accumulated on the wall of the kiln spilled and adhered to this Guinomi.
They reacted with Kuro's liquid clay and turned into pale blue glass.
Jun Isezaki - Bizen Yohen Guinomi
132,000 YENSold out
size : W6.5cm×6.5cm×H6.9cmJun Isazaki is a human living national treasure in Bizen were. (Fifth person in Bizen ware)
He firing with a straight hole-shaped kiln called "Anagama".
The flame of Anagama kiln blows into the back of kiln at a stretch.
This Guinomi was fired in Octber 2025.
This is Guinomi of "Youhen" that can be fired only in a specific place in Anagama kiln.
This Guinomi has an excellent fire pattern due to its very high heat value.
And it has been changed to a simple design to match the Yohen fire pattern.
The shape of the bottom makes it slightly unstable, but it stabilizes when the contents are poured.
Jun Isezaki - Bizen Hikidashi Kuro Guinomi
165,000 YENSold out
size : W7.0cm×6.9cm×H7.4cmThis Guinomi was fired in October 2025.
He uses kiln in a tunnel-like shape called "anagama".
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.
"Hikidashi" means taking out the work from Kiln during firing.
The works that touched the outside air will be cooled rapidly and will change to a different color from normal Bizen ware.
In this work, the attached ash (pine) becomes transparent and looks like a amber.
The black part is coated with special clay and is indigo by Hikidashi effect.
Yoshiteru Takariki - Bizen Yohen Guinomi
16,500 YENSold out
size : W6.7cm×6.5cm×H5.5cmYoshiteru Takariki’s new Bizen kiln-variation Guinomi, freshly drawn from the kiln in September 2025.
True to his fearless, push-the-heat firing style, the exterior develops a charcoal-black ash accretion (Kigoma) that reads almost like compressed carbon.
While Takariki-san typically centers his blends on field clay with a touch of mountain-soil clay, this piece leans a bit further toward the mountain-soil side, successfully generating a deeper, more saturated scarlet clay color. The hue is distinctly refined—subtly matte, free of any garishness—reflecting his teacher-driven creed of putting clay preparation first and achieving an elevated, dignified palette.
The broad, deeply undercut foot—evocative of Sozan Kaneshige—anchors the form with quiet authority, and at fifty, Takariki-san’s mature technique shows with striking clarity.
Yoshiteru Takariki - Bizen Yohen Sakazuki
22,000 YENSold out
size : W11.3cm×11.2cm×H4.6cmYoshiteru Takariki’s new Bizen kiln-variation Sakazuki, freshly drawn from the kiln in September 2025.
Conceived in the spirit of the oversized cups favored by warriors of old, this piece invites a bold, celebratory pour—letting one drink with the gusto of a victorious general while savoring the vessel’s presence.
Despite its generous diameter of roughly 11 cm, the work does not lapse into brashness: the wabi-tinged interplay of Kase-Goma and kiln-born fire patterns tempers any ostentation and resolves into a poised, singular aura.
Because a form of this scale demands structural rigidity, the piece employs a comparatively high proportion of mountain-soil clay, yielding a dense, from-the-body “bled” scarlet clay color of remarkable intensity.
That luxuriant scarlet “break” delivers superb sake reflection, yet within the surrounding, firmly fired surfaces it also reads as a fleeting, beautiful flare of earthen life—quietly poetic against the tensile, tightened ground.
The overall impression suggests an armored warrior: vigorous and monumental, carrying a passionate scarlet while also holding the dusk-like melancholy of a setting sun—making it especially well-suited to richer, clouded sakes.
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