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Bizen Sake Bottle & sake Cup
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Mitsuhiro Kaneshige - Bizen Shuhai
19,800 YENSold out
size : W6.8cm×6.7cm×H4.7cmThis is a Bizen Shuhai by Mitsuhiro Kaneshige, who was born into Kaneshige Ritouen, one of the six kiln families of Bizen, yet continues to make pottery guided not by his name, but by the direction of his own curiosity.
Created through a combination of electric kiln and wood firing under a variety of firing conditions, this work is an attempt to approach the matière found in the old ceramics he admires.
This Bizen Shuhai is distinguished by the substantial surface texture created through repeated firing, as well as its rich Kigoma and Sangiri, and it beautifully recreates the firmly fired red clay surface that differs from the soft-fired character of old Bizen.
The control of the fire pattern, only possible through repeated firing, is also masterful. The mustard-colored Goma seems to flow from the front toward the right rear, while the Sangiri is skillfully arranged so that it overlaps the lower body.
In addition, the potter’s wheel marks in the interior, reminiscent of a pool of tea, and the foot trimming that leaves traces like crepe wrinkles are both perfectly resolved.
However, when such carefully considered fire patterns come together so beautifully, the result can sometimes feel a little cramped. In this piece, that impression is skillfully balanced by its slightly smaller size compared to many contemporary sake vessels.
Makoto Kaneshige - Bizen Henko Tokkuri
220,000 YEN
size : W10.5cm×9.7cm×H12.0cm 400ccThis is a newly fired Bizen Henko Tokkuri by Makoto Kaneshige, who inherited the Maruyama kiln as the eldest son of Sozan Kaneshige and captivates many with the harmony of delicate, elegant clay texture and powerful form.
It is one of his latest works, newly fired at the end of 2025.
When pursuing dramatic fire pattern, Makoto Kaneshige is known for firing his works to the utmost, and this piece displays the heavy and intense effect that only he can achieve, as though the clay itself had been fired to its very limit.
The reverse seems to capture the very moment when the earth is being overtaken by molten lava, and the softly gleaming mass of ash holds both a beauty that draws the viewer in and a sense of danger.
Alongside these black-silver masses of ash, brilliant golden highlights appear in the shaded areas, and together with the tones of the fire pattern and exposed clay, they create a scene reminiscent of a radiant full moon.
Although this is a powerfully fired work that seems almost to test the limits of the clay, it is surprising how pleasant the surface feels in the hand. This comes from the high quality of the clay itself and the careful, time-consuming finishing that is characteristic of the Kaneshige lineage.
At the neck, one finds a small exposed mark that resembles a necklace, as if left there by the playful hand of the kiln god, forming a fascinating combination with the moon-like exposed area on the body.
This is a commanding Henko Tokkuri that beautifully balances ease of handling with an intriguing presence, and it would not be an exaggeration to say that such a masterful work could only be achieved by Makoto Kaneshige, who has truly devoted himself to the art of sake vessels.
Makoto Kaneshige - Bizen Guinomi Highest quality clay
88,000 YENSold out
size : W6.7cm×6.6cm×H6.4cmMakoto Kaneshige, the eldest son of Sozan Kaneshige and heir to Maruyama-gama, continues to captivate many admirers through the harmony of refined, graceful clay texture and powerful form.
This is a newly fired Bizen Hidasuki Guinomi by Makoto Kaneshige, inscribed on the box as Saijyo Tsuchi Nite (“Made with the Highest quality clay”).
It is his latest work, freshly fired at the end of 2025.
As indicated by the box inscription Saijyo Tsuchi Nite, this piece was made from the finest possible clay, and was high-fired at Maruyama-gama to achieve a softly moist and supple surface.
About forty years ago, Sozan Kaneshige and Makoto Kaneshige discovered an exceptional batch of the highest-quality clay.
After preparing it entirely by hand, without the use of machines, they left it resting in storage for many years.
It was clay so precious that Makoto Kaneshige is said to have remarked that it would be too wasteful to die without ever using it.
In striking contrast to the somewhat coarse clay surface often seen in his Hidasuki works until now, this piece has an extraordinarily fine texture, so refined that one might almost think it had been passed through an extremely fine sieve.
Sozan Kaneshige, the previous generation, generally chose slightly coarser clay for his Hidasuki works, and for that reason as well, this Guinomi can truly be described as luxuriously exceptional beyond compare.
The form is restrained to the essentials of wheel-throwing, avoiding excessive ornament and placing the beauty of the clay itself at the center of expression.
As if to prove the excellence of the clay, the surface displays a vivid yet delicate Hidasuki pattern, as though the straw had only just gently brushed against it, while the foot, revealed when the piece is turned over, asserts an overwhelming presence all on its own.
It is nothing less than masterful.
Hiroshi Goseki - Hakudei Guinomi
11,000 YEN
size : W7.2cm×6.9cm×H7.0cmHiroshi Goseki studied under Jun Isezaki, a Living National Treasure, and later established his kiln in Ibaraki. This is a White Slip Guinomi by Hiroshi Goseki.
While continuing to create works centered on Bizen pottery in Ibaraki, he has also devoted himself to the study of a wide variety of glazes. This piece is one of his glazed works that reflects that pursuit.
For this work, he used Hakudei, his original blended ash glaze. The entire surface shows a beautiful white tone with a faint bluish tint, giving the piece a cool, pure appearance and a quietly dignified atmosphere.
The effect of the straw-ash glaze has also produced flowing glaze patterns reminiscent of Madara-Karatsu, and along the boundary areas, a distinctive fire pattern appears, as if pale bluish-white flames were swirling upward.
The rhythmically cut foot and the gently spreading body come together to create a serene and noble presence, reminiscent of the celebrated tea bowl Fujisan.
Masao Akiya - Bizen Guinomi
6,600 YEN
size : W8.7cm×8.5cm×H4.7cmMasao Akiya studied under Jun Isezaki, the fifth Living National Treasure of Bizen ware, and creates works full of originality within a fresh and contemporary spirit.
This is a newly fired Bizen Guinomi by Masao Akiya, just released from the kiln.
It is one of his latest works, freshly fired in February 2026.
This Guinomi is especially appealing for its brilliant surface effects produced through the anagama firing tradition of the Isezaki lineage.
Set against a clay surface marked by strong hiro, white Yohen appears beautifully across the whole piece.
Because the work was fired with abundant heat, white Goma has emerged over the entire surface, creating a highly distinctive appearance reminiscent of frost.
Inside the vessel, the hiro-toned clay is covered with fine Kigoma, and the overlap of these two elements produces a beautiful orange tone that seems especially well suited to sake.
The entire piece has been carefully faceted with a spatula, resulting in a design that is simple, refined, and stylish.
Hiroshi Goseki - Sohen Kuro Guinomi
13,200 YENSold out
size : W7.0cm×6.7cm×H7.2cmHiroshi Goseki trained under Jun Isezaki, Living National Treasure, and later established his kiln in Ibaraki Prefecture.
This is his Souhen Kuro Guinomi.
At a glance, the use of black slip clearly recalls the Isezaki lineage, and the work bears the title Souhen Kuro because the areas where the natural ash glaze has accumulated turn a vivid cobalt blue.
Upon the calm Kigoma, which carries a slightly greenish tone, there appears a rich cobalt-blue Yohen fully worthy of the name Souhen.
For this piece, the basic form was first built up to a certain extent using slab construction, and was then carefully adjusted by hand in the finishing stage.
The result is an exceptional form that conveys the quiet stillness and subtle fluctuation of a Raku tea bowl.
The black interior differs in mood from the surface, taking on the deep tone of finely prepared black ink, and creating a captivating depth that seems to draw the eye inward, perfectly suited to the serene character of the work.
Masao Akiya - Bizen Guinomi
6,600 YENSold out
size : W6.8cm×6.7cm×H6.8cmMasao Akiya studied under Jun Isezaki, the fifth Living National Treasure of Bizen ware, and creates works full of originality within a fresh and contemporary spirit.
This is a newly fired Bizen Guinomi by Masao Akiya, just released from the kiln.
It is one of his latest works, freshly fired in February 2026.
This Guinomi is especially appealing for its brilliant surface effects produced through the anagama firing tradition of the Isezaki lineage.
Against a base of clay marked by strong hiro, both white Kase-Goma and Kigoma have emerged beautifully.
Because the piece was fired with abundant heat, a wide variety of Goma effects appear across the entire surface, and it is fascinating how dramatically its expression changes depending on the angle from which it is viewed.
The interior is particularly striking, with its vivid hiro clay tones and dynamic Tobi-Goma, and when sake is poured into the vessel and the clay absorbs moisture, the beauty of the clay surface becomes even more pronounced.
Within this area, Akiya has also incised distinctive linear patterns that evoke the atmosphere of ancient ritual vessels, and the way the Yohen appears along the gradation creates a truly remarkable synergistic effect.
Masao Akiya - Kuro Guinomi
9,900 YENSold out
size : W7.5cm×7.4cm×H5.3cmMasao Akiya studied under Jun Isezaki, the fifth Living National Treasure of Bizen ware, and creates works full of originality within a fresh and contemporary spirit.
This is a newly fired black Guinomi by Masao Akiya, just released from the kiln.
It is one of his latest works, freshly fired in February 2026.
Created using the Kuro-Bizen technique inherited from his master, Jun Isezaki, this piece is especially appealing for its black surface, which combines a deep luster with a sense of warmth.
A special clay collected from areas near Osafune, close to Bizen City, is applied to the surface after being mixed with a small amount of cobalt, producing a stylish and richly nuanced black texture.
One of the most attractive features of his black works is the so-called “blue Yohen,” which appears when cobalt reacts with the natural ash glaze during firing.
This piece also displays a vivid blue Yohen on the front, creating a highly striking appearance.
Inside the bowl and on the reverse, the glossy black surface is beautifully accompanied by the Kigoma so characteristic of Bizen ware, allowing the viewer to fully enjoy the contrast of black, blue, and yellow together with the blue Yohen described above.
Its distinctive form, reminiscent of a tea bowl reduced in scale, together with its coloring, calls to mind a Raku tea bowl.
Combined with its charming and endearing presence, it is a piece that becomes more and more captivating the more one uses it.
Jun Isezaki - Bizen Guinomi
66,000 YEN
size : W6.8cm×6.5cm×H7.1cmThis is a newly fired Bizen Guinomi by Jun Isezaki, Living National Treasure and a leading figure in the world of Bizen ware, whose creativity continues to flourish without ever fading.
It is one of his latest works, freshly fired in February 2026.
Fired for about ten days in a semi-underground anagama kiln, this piece displays a dynamic range of kiln effects, including Koge-Goma, Shiro-Goma, Kigoma, and Nagare-Goma, allowing the viewer to fully appreciate the powerful beauty unique to anagama firing.
Nearly ninety percent of the exterior is covered in natural ash glaze, yet rather than forming a uniform surface, the appearance changes dramatically from one area to another, making the piece endlessly enjoyable to contemplate.
In the kiln, the front of the work was fired facing downward toward the kiln floor, and as a result, a veil of Goma emerged from the reverse side and seems to envelop the entire Guinomi.
Although it is clothed in a striking Yohen, the interior still retains a soft caramel-brown clay surface, and when sake is actually poured into the vessel, one is drawn into the rich tonal beauty inherent in Bizen clay itself.
Makoto Kaneshige - Bizen Guinomi Highest quality clay
88,000 YENSold out
size : W6.7cm×6.4cm×H5.8cmMakoto Kaneshige, the eldest son of Sozan Kaneshige and heir to Maruyama-gama, continues to captivate many admirers through the harmony of refined, graceful clay texture and powerful form.
This is a newly fired Bizen Hidasuki Guinomi by Makoto Kaneshige, inscribed on the box as Saijyo Tsuchi Nite (“Made with the Highest quality clay”).
It is his latest work, freshly fired at the end of 2025.
As indicated by the box inscription Saijyo Tsuchi Nite, this piece was made from the finest possible clay, and was high-fired at Maruyama-gama to achieve a softly moist and supple surface.
About forty years ago, Sozan Kaneshige and Makoto Kaneshige discovered an exceptional batch of the highest-quality clay.
After preparing it entirely by hand, without the use of machines, they left it resting in storage for many years.
It was clay so precious that Makoto Kaneshige is said to have remarked that it would be too wasteful to die without ever using it.
In striking contrast to the somewhat coarse clay surface often seen in his Hidasuki works until now, this piece has an extraordinarily fine texture, so refined that one might almost think it had been passed through an extremely fine sieve.
Sozan Kaneshige, the previous generation, generally chose slightly coarser clay for his Hidasuki works, and for that reason as well, this Guinomi can truly be described as luxuriously exceptional beyond compare.
The form is restrained to the essentials of wheel-throwing, avoiding excessive ornament and placing the beauty of the clay itself at the center of expression.
As if to prove the excellence of the clay, the surface displays a vivid yet delicate Hidasuki pattern, as though the straw had only just gently brushed against it, while the foot, revealed when the piece is turned over, asserts an overwhelming presence all on its own.
It is nothing less than masterful.
Masao Akiya - Kuro Guinomi
9,900 YENSold out
size : W5.8cm×5.7cm×H6.3cmMasao Akiya studied under Jun Isezaki, the fifth Living National Treasure of Bizen ware, and creates works full of originality within a fresh and contemporary spirit.
This is a newly fired black Guinomi by Masao Akiya, just released from the kiln.
It is his latest work, freshly fired in February 2026.
Created using the Kuro-Bizen technique inherited from Jun Isezaki, this piece is especially striking for its black surface, which combines a deep luster with a sense of warmth.
A special clay collected from areas near Osafune, close to Bizen City, is applied to the surface after being mixed with a small amount of cobalt, producing a stylish and richly nuanced black texture.
One of the appealing features of his black works is the so-called “blue Yohen,” which appears when cobalt reacts with the natural glaze during firing.
This piece also displays a vivid blue Yohen on the front, creating a highly impactful appearance.
Inside the bowl and on the reverse, the glossy black surface is beautifully accompanied by the Kigoma that is so characteristic of Bizen ware, allowing the viewer to fully enjoy the contrast of black, blue, and yellow together with the blue Yohen described above.
The piece begins as a cylindrical form and is then carefully faceted with a spatula into an octagonal shape, allowing one to appreciate both the vivid blue Yohen and the dynamic modeling at the same time.
Masao Akiya - Hikidashi Guinomi
16,500 YENSold out
size : W8.1cm×7.6cm×H5.5cmThis is a newly fired Hikidashi Guinomi by Masao Akiya, who studied under Jun Isezaki, the fifth Living National Treasure of Bizen ware, and creates highly original works within a fresh and contemporary spirit.
It is one of his latest works, freshly fired in February 2026.
Created using the Hikidashi-guro technique, one of the hallmarks of the Isezaki lineage, this piece preserves the mysterious appearance of the kiln at extreme temperatures beyond human reach, just as it was at the very moment of firing.
Because the piece must be placed near the front of the kiln in order to be pulled out during firing, nearly the entire surface is generously covered in natural ash glaze. It is then withdrawn and rapidly cooled, resulting in a unique landscape in which black, blue, and amber tones intermingle.
Most strikingly, a vivid cobalt blue, known as blue fire effect, emerges from the rim down across the body, and the contrast between the black surface and the deep green of the natural ash glaze is exceptionally beautiful.
Inside, an amber-like accumulation of natural ash glaze overlaps with subtle gradations of fire effect, creating a mysterious appearance that, when sake is poured into the vessel, feels almost like gazing into the depths of space.
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