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Bizen Sake Bottle & sake Cup
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Mitsuhiro Kaneshige - Bizen Iro-Goma Shuhai
19,800 YEN
size : W8.5cm×8.4cm×H4.7cmThis is a Bizen Iro-Goma Shuhai by Mitsuhiro Kaneshige, who was born into Kaneshige Ritouen, one of the six traditional Bizen kiln families. Rather than relying on the prestige of his family name, he continues to create works guided by his own curiosity and spirit of exploration.
This piece was made through a combination of electric kiln and wood-fired kiln firings under various firing conditions, as Kaneshige sought to approach the rich matière found in antique ceramics that he admires.
The Shuhai is characterized by its heavy, richly fired surface created through multiple firings, together with deep yellow Goma-Sangiri effects. It beautifully recreates the firmly fired clay texture and rich dark brown tones reminiscent of Ko-Bizen.
As indicated by the title “Iro-Goma,” this piece also incorporates a coloring technique. A pale blue glaze has been applied over the Goma in a way that blends naturally with the surface, serving as an accent color that connects the yellow Goma with the dark brown clay tones.
The carefully considered wheel marks in the interior, reminiscent of a tea pool, and the delicately shaped go-ishi style foot are also superbly executed.
This is a distinctive Shuhai by Mitsuhiro Kaneshige, in which a modern sense of playfulness is beautifully matched with powerful, richly layered firing effects.
Kei Fujiwara - Bizen Shuhai
55,000 YEN
size : W7.0cm×6.3cm×H5.2cmThis is a Bizen Shuhai, or Guinomi, by Kei Fujiwara, a beloved artist whose warm style was admired by many for its generous, broad-minded character and the gentle kindness that seemed to emanate from his works.
Judging from its style, this piece appears to have been made around the middle period of Fujiwara’s career. It is a rare Shuhai featuring a beautiful golden-toned Hidasuki effect.
The piece was likely fired together with a different type of work, such as a jar or large flower vase, or placed inside a saggar during firing. Due to the wide range of effects produced in the climbing kiln, the Hidasuki has transformed into a golden, metallic-looking tone.
In terms of firing technique, this golden Hidasuki effect is closely related to Ao-Bizen, or blue Bizen, produced through strong reduction firing. This work also shows distinctive kiln changes reminiscent of Ao-Bizen in various areas.
The clay surface around the Hidasuki areas is especially unique in color. The coppery, Ao-Bizen-like texture, combined with whitish feldspar-like particles emerging from the clay, creates a landscape that resembles granite or another kind of volcanic rock. It is a highly fascinating feature.
Although slightly thickly potted, the rim has been shaped outward with the fingers, giving the piece a bold character that feels very much in keeping with Fujiwara’s own love of sake.
This is an ideal companion for the sake table, a piece that will continue to grow richer in character the more it is used.
Ken Fujiwara - Bizen Guinomi
38,500 YENSold out
size : W6.0cm×5.6cm×H4.7cmThis is a Bizen Guinomi by Ken Fujiwara, a timeless master whose works possess both bold strength and meticulous refinement.
This piece was fired in the kiln while placed inside another type of work. Its slightly sandy clay surface is covered with rich Hidasuki markings.
The clean, refreshing white clay tone and the lustrous caramel-brown highlights give the piece a clay character reminiscent of the relatively low-iron Tando clay used by Toyo Kaneshige in his later years.
The straight Hidasuki pattern, like a stalk of bamboo reaching upward, runs vertically around the entire piece. Rather than relying on superficial technique, this work offers the direct and powerful appeal of clay and firing alone.
The thick and elevated Kodai foot, characteristic of Ken Fujiwara’s work, harmonizes beautifully with the graceful Hidasuki scenery. Although modest and refined in size, this Guinomi has been completed with an exceptional presence.
Michiaki Kaneshige - Imbe guinomi
44,000 YENSold out
size : W6.6cm×6.5cm×H5.0cmThis is an Imbe Guinomi by Michiaki Kaneshige, who was born as the eldest son of Toyo Kaneshige, a Living National Treasure of Bizen ware, and captivated many with a style that incorporated his own unique sensibility within tradition.
This Guinomi has a style that could be described as a pure contest of clay texture. Although no special decoration has been applied, it possesses a distinctive dignity that somehow makes it immediately recognizable as a work by Michiaki Kaneshige, even from a distance.
Born as the eldest son of Toyo Kaneshige, Michiaki Kaneshige carried a pressure that would have been difficult for ordinary people to endure. Even so, he steadily refined his technique step by step, and this style can only be achieved by an artist who followed such a path.
The piece has a beautiful fire pattern that could only be reached through meticulous clay preparation, with soft and gentle Hidasuki spreading throughout the interior.
The Sangiri covering the exterior also has a distinctive surface quality, and its moist, gentle texture makes one want to keep touching it.
This is a work by a potter who never sought anything special or took any shortcuts, but simply continued to face the clay with sincerity.
Youtaro Isezaki - Hibi 2024 Herame Guinomi
16,500 YENSold out
size : W7.7cm×7.4cm×H4.2cmBorn as the eldest son of Shin Isezaki into a prestigious family of Bizen ware, Youtarou Isezaki continues to create works in a new style that is not bound by conventional ideas. This is his **Hibi 2022 Hera-me Guinomi**.
By incorporating AI-generated imagery and decal transfer techniques, he pursues a distinctive form of expression that brings contemporary sensibilities into ceramics.
As suggested by the title Hibi 2022 — with “Hibi” carrying the sense of everyday life and the repeated passing of days — he applies images from his own iPhone camera roll across the entire surface of the vessel with transfer paper, creating an effect reminiscent of a photo collage.
Based on an original clay body made by blending porcelain clay and Mogusa clay, the surface is adjusted with coated clay and glaze, allowing the vessel itself to function like a canvas.
Furthermore, this clay canvas affects the outlines of the transferred images through the texture of the clay particles and the glaze, creating a uniquely faded surface impression, as if the piece had been used over a long period of time.
As the name Hera-me suggests, the body is decorated with a large Higaki pattern created through spatula carving. When held in the hand, it is interesting to quietly feel the traditional sense of form that has been passed down through the Isezaki lineage from Mitsuru Isezaki.
While based on the traditional form of a drinking vessel, this work brings together contemporary elements such as AI, decal transfer, and smartphone functions, creating a new ceramic expression unique to Youtarou Isezaki.
Makoto Nakamura - Bizen Guinomi
20,000 YENSold out
size : W8.3cm×8.3cm×H4.0cmThis is a newly fired Bizen Guinomi by Makoto Nakamura, the eldest son of Rokuro Nakamura, one of Bizen’s great masters of sake vessels, and himself highly regarded for his sake vessels and tableware.
This is one of his latest works, newly fired in June 2026.
Reflecting Makoto Nakamura’s skillful firing, refined under the guidance of Domyo, this Guinomi is especially appealing for its beautifully balanced Yohen and hiro color, created through exquisite control of the fire.
Fired deep inside the climbing kiln, where it was thoroughly surrounded by embers, the piece is covered overall with an ash-covered Yohen that glows faintly like lead.
The exposed area on the front has been fired at precisely the perfect moment, and its soft, gentle hiro color seems almost to be asking to be moistened with sake as soon as possible.
Of course, the hiro color inside the piece, which forms the heart of its beauty when filled with sake, is also outstanding. When sake is poured in, it creates a fascinating scene reminiscent of glowing red embers.
With clearly defined Kumadori, perfectly balanced hiro color, and a dull gleam of ash-covered Yohen, this is a highly accomplished Guinomi that allows one to enjoy the full charm of climbing-kiln Yohen from every angle.
In recent years, Makoto Nakamura’s Guinomi have seemed to gradually become smaller, but this piece has a bold badarai-style form reminiscent of Rokuro Nakamura, giving it a powerful and impressive presence.
Mitsuhiro Kaneshige - Hidasuki Shuhai
19,800 YEN
size : W7.0cm×6.7cm×H5.2cmThis is a Hidasuki Shuhai by Mitsuhiro Kaneshige, who was born into Kaneshige Ritouen, one of the six traditional Bizen kiln families, yet pursues his own path in pottery without being bound by the family name.
This work was created through a combination of electric kiln and wood-firing under a variety of firing conditions, as he sought to approach the texture and presence of the old ceramics he admires.
It is a Shuhai with a soft reddish-brown surface over which rich vermilion Hidasuki has appeared, resulting in a finish that strongly conveys the artist’s deep commitment to firing.
Made by hand-building, this piece has countless crack-like marks across the surface. The clay texture, reminiscent of cracked earth, harmonizes perfectly with the rich Hidasuki.
Inside the piece, Hidasuki appears across the surface while the bottom alone is left free of it, creating an interesting fire pattern that perfectly suits the design, which resembles an eggshell split in half.
This is a Hidasuki work in which the bare clay surface can be fully appreciated, unadorned by any natural ash glaze. Precisely for that reason, it has been made with a strong sense of tension that extends all the way to the rim.
A wooden box will be made after the order is placed, so please allow 2 to 3 weeks before shipping.
Kazuki Nakamura - Bizen Warikoudai Guinomi
16,500 YENSold out
size : W8.8cm×8.5cm×H4.7cmThis is a newly fired Bizen Wari-Kodai Guinomi by Kazuki Nakamura, who carries on the lineage of the master sake-vessel makers Rokuro Nakamura and Makoto Nakamura, and creates works full of depth and character.
While inheriting the tradition of masterful sake-vessel making, this Guinomi also shows the distinctive color and sensibility that are uniquely Kazuki Nakamura’s, different from both his father and grandfather.
It is one of his latest works, newly fired in June 2026. The gently rising form, shaped with the relaxed rhythm of wheel work inherited from his grandfather, gives the piece an exceptional sense of elegance.
This Guinomi was fired in a part of the climbing kiln where rich ash-covered Yohen can be obtained, and the powerful fire effect, partly carbonized into a silvery tone, has an exceptionally strong presence.
In harmony with the rich ash-covered Yohen, the clay tone also shows a superb hiro color, creating an exceptional contrast of red and black that immediately identifies the piece as a work of the Nakamura family.
The powerful carving of the Wari-Kodai foot is especially impressive. The sharply cut, thick foot ring gives the piece a striking presence that stands up fully to the intense Yohen and vivid hiro color.
Kazuki Nakamura - Bizen Guinomi
16,500 YENSold out
size : W7.6cm×7.3cm×H4.7cmThis is a newly fired Bizen Guinomi by Kazuki Nakamura, who carries on the lineage of the master sake-vessel makers Rokuro Nakamura and Makoto Nakamura, and creates works full of depth and character.
While inheriting the tradition of masterful sake-vessel making, this Guinomi also shows the distinctive color and sensibility that are uniquely Kazuki Nakamura’s, different from both his father and grandfather.
It is one of his latest works, newly fired in June 2026. The gently rising form, shaped with the relaxed rhythm of wheel work inherited from his grandfather, gives the piece an exceptional sense of elegance.
This Guinomi was fired in a part of the climbing kiln where rich ash-covered Yohen can be obtained, and the dense gray fire effect rises on the surface, pleasantly stimulating the palm when held.
In harmony with this Yohen, the clay tone also shows a slightly different expression from his usual works. The hiro color characteristic of the Nakamura family has disappeared, and in its place, a softly orange-tinged clay tone has emerged.
In terms of use, the slightly constricted body fits naturally between the thumb and index finger, giving the piece the comfortable handling that one would expect from Kazuki Nakamura, who carries on the lineage of master sake-vessel makers.
Youtaro Isezaki - HAL Faceted Guinomi
18,700 YENSold out
size : W6.0cm×5.8cm×H6.3cmBorn as the eldest son of Shin Isezaki into a prestigious family of Bizen ware, Youtarou Isezaki continues to create works in a new style that is not bound by conventional ideas. This is his **HAL Faceted Guinomi**.
By incorporating AI-generated imagery and decal transfer techniques, he pursues a distinctive form of expression that brings contemporary sensibilities into ceramics.
Inspired by Japanese anime, which is one of his own creative backgrounds, he generates original characters using AI and applies them across the entire surface of the vessel with transfer paper, creating an effect reminiscent of a photo collage.
Based on an original clay body made by blending porcelain clay and Mogusa clay, the surface is adjusted with coated clay and glaze, allowing the vessel itself to function like a canvas.
Furthermore, this clay canvas affects the outlines of the transferred images through the texture of the clay particles and the glaze, creating a uniquely faded surface impression, as if the piece had been used over a long period of time.
The body is finely faceted with vertical marks made by a spatula, and when held in the hand, it is interesting to quietly feel the traditional sense of form that has been passed down through the Isezaki lineage from Mitsuru Isezaki.
While based on the traditional form of a drinking vessel, this work brings together contemporary elements such as AI, decal transfer, and animation, creating a new ceramic expression unique to Youtarou Isezaki.
Makoto Kaneshige - Bizen Tokkuri
220,000 YENSold out
size : W8.4cm×8.0cm×H15.5cm 350ccThis is a freshly kiln-unloaded new Bizen tokkuri by Makoto Kaneshige, who inherited the Enzan kiln as the eldest son of Sozan Kaneshige and continues to captivate many people through a harmony of delicate, elegant clay character and powerful form.
It is his latest work, just unloaded from the kiln in late 2025 (Reiwa 7).
A hallmark of the Enzan kiln tradition inherited from Sozan, and now something of Makoto’s signature, appears here as a vivid blue Kase-Goma.
A bluish Kase-Goma clings tightly to the clay surface, and its distinctive, frost-like atmosphere instantly captures the heart of any true sake lover.
In the open, lighter area near the center, you can also see a beautiful hi-iro, a sign of high-quality field clay, so the charm of Bizen clay remains clearly present—not only the intensity of the firing.
In terms of form, the piece showcases Makoto’s distinctive approach to shaping the neck. The firmly pulled-in neck creates a wonderful sense of rhythm and contrast throughout the tokkuri.
And even after you finish drinking, there is still another pleasure waiting. If you gently rub the droplets that form when pouring, or the last remaining sake, into the surface, you can truly touch the essence of Bizen tokkuri—something that has captivated countless sake lovers, including Makoto himself.
Youtaro Isezaki - Hibi 2024 Faceted Guinomi
18,700 YENSold out
size : W7.8cm×7.1cm×H4.3cmBorn as the eldest son of Shin Isezaki into a prestigious family of Bizen ware, Youtarou Isezaki continues to create works in a new style that is not bound by conventional ideas. This is his **Hibi 2024 Faceted Guinomi**.
By incorporating AI-generated imagery and decal transfer techniques, he pursues a distinctive form of expression that brings contemporary sensibilities into ceramics.
As suggested by the title Hibi 2024 — with “Hibi” carrying the sense of everyday life and the repeated passing of days — he applies images from his own iPhone camera roll across the entire surface of the vessel with transfer paper, creating an effect reminiscent of a photo collage.
Based on an original clay body made by blending porcelain clay and Mogusa clay, the surface is adjusted with coated clay and glaze, allowing the vessel itself to function like a canvas.
Furthermore, this clay canvas affects the outlines of the transferred images through the texture of the clay particles and the glaze, creating a uniquely faded surface impression, as if the piece had been used over a long period of time.
The body is finely faceted with vertical marks made by a spatula, and when held in the hand, it is interesting to quietly feel the traditional sense of form that has been passed down through the Isezaki lineage from Mitsuru Isezaki.
While based on the traditional form of a drinking vessel, this work brings together contemporary elements such as AI, decal transfer, and smartphone functions, creating a new ceramic expression unique to Youtarou Isezaki.
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