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Bizen Sake Bottle & sake Cup
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Shinjiro Aika - Bizen Guinomi
19,800 YENSold out
size : W7.0cm×6.6cm×H5.7cmHe learned the technique of ceramic art from Anjin Abe.
And he is making works by applying the multiple firing method devised by Anjin Abe.
This Guinomi has a thick Kigoma that looks like a liquid natural glaze.
And the texture of the surface has many small holes like citrus peels.
You can see that he is trying to get closer to his ideal appearance of Old Bizen.
Shinjiro Aika - Shigaraki Guinomi
19,800 YENSold out
size : W6.6cm×6.5cm×H5.6cmThe works of Shinjiro Aika are best described as “beyond profitability.”
He is a ceramic artist who relentlessly fires his pieces until they meet his own high standards, resulting in truly outstanding creations.
This particular Guinomi was fired in his kiln in Ushimado and is made in the Shigaraki style.
The natural ash glaze flowing dramatically from the front and reverse side is nothing short of breathtaking.
Its vivid, clear green hue complements the Shigaraki clay body perfectly, giving the piece a refreshing and translucent quality.
The clay surface itself is exceptional, with a deep, glossy orange tone that appears almost wet to the eye.
Together with the serene green glaze, the piece evokes the image of pure mountain spring water cascading over smooth stones.
Yoshiteru Takariki - Bizen Hidasuki Guinomi
13,200 YENSold out
size : W7.1cm×6.9cm×H5.4cmThis is a new Bizen Hidasuki sake cup by Yoshiteru Takariki, who studied under Sozan Kaneshige and Yukuni Kaneshige.
The piece was taken from the kiln in October 2025 (Reiwa 7).
It was fired in a Noborigama (climbing kiln), placed inside a sealed saggar so that no natural ash glaze would fall on it, and slowly fired to create a deeply expressive Noborigama Hidasuki sake cup.
In contrast to the more conventional combination of mogusa clay and Hidasuki fired in an electric kiln, this work shows a stronger overall redness in tone, giving it a very rustic and subdued Fire pattern.
Despite its wild appearance, the surface has a remarkably smooth and moist texture, offering a soft and pleasant feel to the touch that rivals pieces fired in an electric kiln.
Around the waist and the foot, the Hidasuki seems to seep gently up from the clay surface, allowing you to enjoy a different expression of Hidasuki compared to the linear patterns typical of electric-kiln work.
The powerful, circular form of the dignified foot suits the bold colour of this piece very well, and its somewhat primitive character is so engaging that you will find yourself staring at it again and again.
Takashi Baba - Kuro Guinomi
22,000 YENSold out
size : W6.6cm×6.5cm×H6.3cmThis is a new Bizen Yohen Kuro Guinomi by Takashi Baba,
an artist born in Imbe who has loved Bizen ware since childhood
and finds great joy in both creating works and firing kilns.
Fired in June 2025 in his newly designed noborigama,
this piece represents one of his latest works.
The Guinomi is a fine example of Baba’s signature tsuchi-nuri technique for Kuro Bizen.
The stylish black slip harmonizes beautifully with the innovative form.
As suggested by the title Yohen Kuro,
the thoroughly fired black slip has acquired a glassy, almost vitreous sheen,
resulting in an alluring and distinctive surface texture.
On the front, goma ash appears as if it were scattered in a single dynamic gesture—
reminiscent of action painting—
where Kigoma gold tones and cobalt-derived indigo mingle in a beautiful interplay.
True to Baba’s deep love of Bizen-making,
the piece features lively and spontaneous hera-kezuri marks,
as though the spatula were “dancing with joy,”
giving the entire vessel a sense of freedom and vitality.
The foot is also highly original:
its form resembles a hexagonal bolt being screwed in,
with rotational, continuous spatula cuts and three-dimensional carving
that immediately draw the viewer’s attention.
Zenji Urakami - Bizen Shuhai
44,000 YENSold out
size : W7.9cm×7.6cm×H3.4cmThis is a Bizen sake cup by Zenji Urakami, a Bizen artist who has received numerous honors and is renowned worldwide.
A printed career record up to the year 2000 (Heisei 12) is enclosed, and we believe this piece to be a work from the later period of Zenji Urakami’s career.
It is fired in a strong reduction atmosphere, a firing style that is a trademark of Zenji Urakami and his son Mitsuhiro, giving the piece a blue-tinged grey Bizen surface with an elegant and refined presence.
The Hidasuki has also been transformed by the strong reduction into a deep, almost black band, creating a dramatic fire pattern like rays of light across the blue-grey clay surface.
This work has a unique suribachi-shaped design with a carefully worked lip, and details such as the comb marks on the inside and the powerful foot convey the playful spirit and mastery of the artist throughout.
The piece was purchased new and has been carefully stored; it remains in unused condition.
Jun Isezaki - Bizen Guinomi
66,000 YEN
size : W7.0cm×6.7cm×H6.8cmThis is a new Bizen Guinomi by Jun Isezaki,
the fifth Living National Treasure of Bizen ware.
The piece was taken from the kiln in October 2025, representing his latest work.
Fired for about ten days in a semi-underground anagama kiln,
the Guinomi exhibits a dynamic range of effects unique to this firing style—
including Kase-Goma, Kogegoma, Hidasuki, and warm amber clay tones.
Roughly half of the surface is covered in natural ash glaze created by the intense flame,
while the lower portion was shielded from direct fire,
revealing an unglazed clay surface with a contrasting texture.
Across this exposed clay, Hidasuki has been intentionally applied,
and the vivid scarlet lines stand out beautifully
against the soft, pale color of the clay.
On the front, layers of Kigoma → Kase-Goma → Kogegoma overlap in three distinct strata,
clearly conveying the dynamic transformations that occur
under the extreme heat inside the kiln.
Despite the dramatic exterior, the interior features a gentle dusting of fine goma ash,
creating a striking contrast—an expressive work where the front and back
each display entirely different landscapes.
Ken Fujiwara - Bizen Guinomi
38,500 YENSold out
size : W7.5cm×7.3cm×H5.2cmThis is a Bizen Guinomi by Ken Fujiwara,
a master whose work seamlessly blends bold expressiveness with refined precision—
a timeless artist whose creations never lose their appeal.
The piece was slowly fired in the kiln while absorbing ample smoke,
resulting in a striking, almost wet-looking gloss that covers the entire surface.
In the areas where this rich sheen appears,
extremely fine goma particles have settled onto the surface,
transforming the clay into a warm brown tone with a subtle metallic character—
a fascinating and distinctive effect.
Along the rim and inside the Guinomi,
even more kigoma has accumulated compared to the exterior,
giving these areas a contrasting matte texture that highlights another side of the firing.
Although slightly larger in size,
the pronounced rokuro-me (wheel marks) around the body provide an excellent grip,
and the vessel has been finished with a well-balanced thinness,
making it comfortable and easy to use.
Izuru Yamamoto - Bizen Burgundy Clay ??Nagare-Goma?? Guinomi
11,000 YENSold out
size : W6.8cm×6.8cm×H6.0cmThis is a Bizen Burgundy Clay “Nagare-Goma” Guinomi by Izuru Yamamoto,
an artist who applies his background in sculpture to pursue fresh, contemporary forms
within the long tradition of Bizen aesthetics.
A career record up to 2007 is included with the piece, and the work is believed to have been made around that period.
In 1993, Yamamoto had a fateful encounter with the clay of France’s Burgundy region.
Since then, he has devoted himself to creating the “Burgundy Clay Series,”
of which this Guinomi is a fine example.
As indicated by the title Nagare-Goma,
a generous amount of goma ash has adhered across the entire surface,
producing a smooth, glass-like texture.
The clay itself has a character distinct from standard Bizen clay.
When subjected to intense firing, it responds uniquely,
allowing a natural black tone to seep up from within the clay body—
a fascinating and singular expression of the Burgundy clay.
The silky surface, combined with the balanced and refined form characteristic of Yamamoto Bizen,
creates a piece that one cannot help but want to keep turning in the palm of the hand.
This Guinomi is an unused piece, carefully preserved by the original owner after purchase.
Masahiro Miyao - Bizen Guinomi
15,400 YEN
size : W6.7cm×6.3cm×H6.1cmA 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 Yohen Guinomi
132,000 YENSold out
size : W6.8cm×6.6cm×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.
Tadashi Yoshimoto - Bizen Shuhai
9,900 YENSold out
size : W8.1cm×7.6cm×H5.3cmThis is a Bizen Guinomi by Tadashi Yoshimoto,
a beloved disciple of the Living National Treasure Kei Fujiwara,
faithfully inheriting his philosophy and artistic style.
Based on the box inscription and overall style,
the work is believed to have been created around 1990.
The entire surface is covered in a deep green kase-goma,
giving it the appearance of being softly draped in moss.
From a distance, its presence is so strong that one might momentarily mistake it
for a work by his master, Kei Fujiwara.
Along the front rim, a bold Botamochi fire-mark is placed,
creating a classic firing result that represents the quintessential
“Fujiwara-style” Bizen aesthetic.
Inside the Guinomi, a Botamochi is placed over the bottom,
as if gently covering it like a lid.
Within the rich wine-red tone of the clay,
this firing has successfully produced a subtle touch of scarlet,
creating a quiet yet beautiful accent.
Following the example of his master—who pursued bold, warmhearted,
and powerfully expressive works—Yoshimoto has created a slightly thick-walled
Guinomi that conveys the gentle warmth and strength of the clay.
The piece has been carefully stored since its original purchase
and remains unused and in excellent condition.
Yoshiteru Takariki - Bizen Yohen Guinomi
13,200 YEN
size : W6.9cm×6.8cm×H5.1cmThis is a newly fired Bizen Haikaburi Yohen guinomi by Takariki Yoshiteru,
who trained under Sozan Kaneshige and Yuho Kaneshige.
It is a brand-new work, just unloaded from the kiln in September 2025.
True to Takariki’s style—fearless firing that draws out the expressive potential of the clay—
the piece features a powerful surface that leans strongly toward the aspect of “fire” rather than “earth.”
The entire vessel is covered in a dramatic black Haikaburi Yohen,
resembling cooled and solidified magma, fully showcasing the unique beauty and character of a climbing kiln.
On the front, an area left untouched by ash reveals a sharply fired, dense clay texture,
and at the boundary between this clay surface and the Haikaburi ash deposit,
a striking gold iridescence appears—almost like a rainbow arch.
While the intense kiln effects dominate the piece as a whole,
a small circular area of lighter firing remains inside the cup,
like a tiny light glowing in the darkness, adding a captivating accent to the work.
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