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Bizen Sake Bottle & sake Cup
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Sohei Takashima - Ao-Oribe Guinomi
14,300 YEN
size : W6.8cm×6.7cm×H4.9cmAfter completing his apprenticeship under Jun Isezaki, Sohei Takashima received the Contemporary Ceramic Art Encouragement Award from the Japan Ceramic Society, marking an impressive debut as an independent artist. This is a newly released Ao-Oribe Guinomi by the artist.
Having studied under Jun Isezaki, the fifth Living National Treasure of Bizen ware, Takashima established his own studio in Ushimado, Setouchi City. This Guinomi is one of his works inspired by the Oribe ceramic tradition.
For the clay body, Takashima selected a special blend of white clay, which is rarely used in traditional Bizen ware, and Mitsuishi pyrophyllite. Among the many varieties of Bizen clay, this combination was carefully chosen to emphasize the distinctive qualities of white clay.
Takashima applied an Oribe glaze that he developed through extensive research and experimentation to complement the white clay. The resulting glaze displays remarkable depth and beauty, demonstrating the artist’s exceptional technical skill and dedication to exploring new ceramic expressions.
The white clay itself has a particularly coarse and rustic texture, which adds remarkable depth and delicate variations in color to the Oribe glaze, especially inside the Guinomi. The interplay between the textured clay and the glaze creates a beautifully nuanced surface that is one of the most captivating features of this work.
Makoto Kaneshige - Madara-Karatsu Guinomi
88,000 YEN
size : W7.0cm×6.9cm×H6.0cmMakoto Kaneshige, the eldest son of Sozan Kaneshige, inherited the Maruyama Kiln and has captivated many admirers through the harmony of delicately refined clay surfaces and powerful forms. This is a Madara-Karatsu Guinomi by the artist.
Fresh from the kiln at the end of 2025, it is one of his latest works.
Beyond Bizen ware, Kaneshige explores a wide variety of ceramic traditions, both glazed and unglazed. Every one of his creations possesses a distinctive and alluring character that never fails to captivate sake lovers.
This Madara-Karatsu Guinomi was fired in a climbing kiln rather than an electric kiln. The use of wood firing adds another dimension to the surface, creating a distinctive expression unique to this method.
The entire vessel is covered with a bluish straw-ash glaze, while Bizen clay was chosen for the body. This combination produces beautiful mottled patterns while preserving the rich, almost creamy texture and distinctive character of Bizen clay.
The boldly carved foot, one of Kaneshige’s signature features, remains a highlight of the work. At the same time, the low contact ring and delicate Chirimen-jiwa, or crepe-like wrinkles, reflect the traditional character of Karatsu ware. The result is a refined and charming Guinomi that offers yet another pleasure to appreciate even after the sake has been enjoyed.
Koji Nakahara - Bizen Kinsai Elephant Guinomi
24,200 YENSold out
size : W6.7cm×6.0cm×H7.7cmKoji Nakahara studied under Fumio Kawabata and strives to create works that complement contemporary lifestyles. This is a newly fired Bizen Kinsai Elephant Guinomi by the artist.
Going a step beyond his earlier sake cups, in which various animals were carved into the surface, this piece transforms the vessel itself into the dynamic face of an elephant, giving it an exceptionally powerful presence.
The intricate sculptural work reflects Nakahara’s current passion for detailed ceramic figures. The finely rendered tusks, hair, and trunk are so vivid that the elephant appears almost to have emerged from an ancient painting.
Although the vessel is relatively thickly formed, its overall weight and balance have been carefully adjusted. Despite its large and dynamic form, it never feels excessively heavy and remains fully functional as a Guinomi.
The work is finished with Kinsai decoration in an electric kiln, a technique Nakahara handles particularly well. The upper section displays a copper-like golden tone, while the lower section develops a matte black kiln effect similar to that seen in his Susogoi series.
Sohei Takashima - Ao-Sogi Guinomi
17,600 YEN
size : W6.8cm×6.7cm×H5.0cmAfter completing his apprenticeship under Jun Isezaki, Sohei Takashima received the Contemporary Ceramic Art Encouragement Award from the Japan Ceramic Society, marking an impressive debut as an independent artist. This is a newly fired Ao-Sogi Guinomi by the artist.
Having studied under Jun Isezaki, the fifth Living National Treasure of Bizen ware, Takashima established his own studio in Ushimado, Setouchi City. This Guinomi represents a new blue variation developed from his traditional black-ware techniques.
The work was created using the black clay slip characteristic of the Isezaki family, producing a deep and lustrous black surface that gives the vessel a striking appearance.
Takashima has also subjected the piece to additional firing in a kerosene-fired kiln, a technique he is currently exploring. This has produced a vivid blue coloration reminiscent of salt-glazed ceramics, together with a beautifully balanced sheen.
The Kigoma created through thorough firing is equally impressive, particularly the rich accumulation of natural ash glaze remaining inside the Guinomi.
The form itself is also remarkably intricate, with evenly spaced diagonal cuts carved across the surface. The kiln transformations, clay slip, and sculptural design come together in perfect harmony, creating a vibrant and expressive world of blue that reflects Takashima’s free and imaginative approach to ceramics.
Makoto Kaneshige - Hidasuki Guinomi Highest quality clay
88,000 YENSold out
size : W6.6cm×6.6cm×H6.1cmMakoto 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.
Makoto Kaneshige - Bizen Hisago Tokkuri
220,000 YEN
size : W8.8cm×8.6cm×H15.8cm 270ccMakoto Kaneshige, the eldest son of Sozan Kaneshige, inherited the Maruyama Kiln and has captivated many admirers through the harmony of delicately refined clay surfaces and powerful forms. This is a Bizen Hyotan Tokkuri by the artist.
Fresh from the kiln at the end of 2025, it is one of his latest works.
The blue Kase-Goma seen on the surface is a distinctive characteristic of the Maruyama Kiln inherited from his father, Sozan Kaneshige, and has now become one of Makoto Kaneshige’s signature kiln effects.
The bluish Kase-Goma appears to cling densely to the clay surface, creating a distinctive scene reminiscent of frost settling across the vessel. Its striking appearance is certain to capture the heart of any sake lover at first glance.
In the Nuke area around the body, beautiful scarlet tones also emerge—a sign of high-quality rice-field clay. Even amid the powerful firing effects, the inherent beauty of Bizen clay remains clearly present.
The form resembles a gourd hanging naturally from its vine, transformed directly into a Tokkuri. The trumpet-like opening and the body with its unusual center of gravity are brought together with the exquisitely judged balance of a master potter.
And even after the sake has been enjoyed, another pleasure remains. By gently rubbing the drops that run down while pouring, or a small amount of remaining sake, into the surface of the Tokkuri, the vessel gradually develops through use. In doing so, one can experience the true essence of a Bizen Tokkuri—a pleasure that has captivated Makoto Kaneshige himself and generations of devoted sake drinkers.
Koichiro Isezaki - Bizen Yunomi
13,200 YENSold out
size : W8.6cm×8.6cm×H8.6cmBorn as the eldest son of Living National Treasure Jun Isezaki, Koichiro Isezaki brings a fresh spirit to the world of Bizen ware through his exceptional sense of design and remarkable skill in forming clay. This is a newly fired Bizen Yunomi by the artist.
Fresh from the kiln in July 2026, it is one of his latest works.
While making full use of the distinctive qualities of Bizen clay, Isezaki skillfully incorporates elements drawn from wood carving, one of the roots of his artistic practice, creating a unique work that is immediately recognizable as his own.
This firing took place in the height of summer, and the humidity brought by prolonged rainfall affected the conditions inside the Anagama kiln. As a result, delicate, softly emerging scarlet tones developed across the surface, together with Kase-Goma around the rim.
Although the overall form is a simple cylindrical Yunomi, the design below the waist is particularly distinctive. A subtle step has been formed around the lower body, while the base itself is gently rounded, creating an intriguing silhouette.
The clean and refreshing coloring characteristic of Anagama firing harmonizes beautifully with the simple yet sophisticated design. The result is a work that fits naturally into contemporary living spaces while retaining the distinctive character of Bizen ware.
The Yunomi comes with a Paulownia wood box, making it an excellent choice as a gift or commemorative piece.
Koken Hibata - Kin-Bizen Guinomi
11,000 YENSold out
size : W6.7cm×6.5cm×H5.5cmKoken Hibata was born into a family of Shinto priests in Ibe and was deeply involved in the study of Bizen ware, authoring and compiling books on the subject while also creating ceramics himself and leaving behind numerous accomplished works, particularly Houhin. This is a Kin-Bizen Guinomi by the artist.
Through firing in a strongly reducing atmosphere, Hibata created an intense golden metallic coloration and distinctive luster across the surface. This Guinomi offers a rich expression of the subtle variations characteristic of the Kin-Bizen style he pursued.
In addition to its striking golden surface, another highlight is the natural ash glaze around the lower body, which carries a slightly greenish tone reminiscent of Shigaraki or Iga ware.
The form itself is straightforward and free from unnecessary ornamentation. By keeping the shape simple and leaving a restrained amount of wheel marks visible, Hibata allows the distinctive coloration of Kin-Bizen and the variations in the natural ash glaze to take center stage.
In contrast to the brilliant and decorative golden kiln effects on the exterior, the interior reveals a gray clay surface with a faint bluish cast, reminiscent of Ao-Bizen or even ancient Sue ware. This contrast gives the work another fascinating dimension.
Due to adhesion around the foot during firing, the piece is slightly unstable when empty, but it becomes stable once filled with sake.
Koichiro Isezaki - Bizen Yohen Guinomi
35,200 YENSold out
size : W8.2cm×7.2cm×H6.5cmBorn as the eldest son of Living National Treasure Jun Isezaki, Koichiro Isezaki brings a fresh spirit to the world of Bizen ware through his exceptional sense of design and remarkable skill in forming clay. This is a newly fired Bizen Yohen Guinomi by the artist.
Fresh from the kiln in July 2026, it is one of his latest works.
While making full use of the distinctive qualities of Bizen clay, Isezaki skillfully incorporates elements drawn from wood carving, one of the roots of his artistic practice, creating a unique work that is immediately recognizable as his own.
This piece displays a rare type of Anagama kiln transformation found near the side-stoking openings located around the middle section of the kiln. The Hai-kaburi effect is sharply divided into red and black, creating an appearance reminiscent of Yohen produced in a climbing kiln.
Compared with typical climbing-kiln Yohen, however, the changes across the surface are even more clearly defined. At the center is a distinctive Anagama effect in which Kigoma appears to merge with Hai-kaburi, surrounded by an extraordinary variety of colors and textures, including gray Namako-like surfaces and golden metallic tones.
The areas left relatively untouched by ash display a complex mixture of red, purple, and brown. Combined with their matte, non-glossy texture, these exposed clay surfaces have tremendous potential to develop beautifully through continued use.
The basic form was built entirely by hand without the use of a potter’s wheel. Every detail has been carefully considered, giving this small Guinomi a remarkably concentrated presence, almost reminiscent of a Chawan.
Koji Nakahara - Bizen Dragon Guinomi Kinsai
24,200 YEN
size : W8.2cm×8.5cm×H8.3cmKoji Nakahara studied under Fumio Kawabata and strives to create works that complement contemporary lifestyles. This is a newly fired Bizen Kinsai Dragon Guinomi by the artist.
Going a step beyond his earlier sake cups, in which dragons were carved into the surface, this piece transforms the vessel itself into a coiled dragon, giving it an exceptionally powerful presence.
The intricate sculptural work reflects Nakahara’s current passion for detailed ceramic figures. The finely rendered scales, horns, and other details are so vivid that the dragon appears almost ready to spring into motion.
Although the vessel is relatively thickly formed, its overall weight and balance have been carefully adjusted. Despite its large and dynamic form, it never feels excessively heavy and remains fully functional as a Guinomi.
The work is finished with Kinsai decoration in an electric kiln, a technique Nakahara handles particularly well. The upper section displays a copper-like golden tone, while the lower section develops a matte black kiln effect similar to that seen in his Susogoi series.
There is a small firing adhesion mark on the eyelid, but it does not affect normal use.
Jun Isezaki - Bizen Guinomi
66,000 YEN
size : W7.3cm×7.0cm×H5.7cmDrawing a wealth of inspiration from the natural environment of his beloved home of Bizen, Jun Isezaki brought a new spirit to the tradition of Bizen ware. This is a newly released Bizen Guinomi by the artist.
The piece was formed on the potter’s wheel by Jun Isezaki in January 2026 and later fired by Koichiro Isezaki in July of the same year, making it one of Jun Isezaki’s posthumous works.
It was created during a period in January when Jun Isezaki’s health had temporarily improved. Despite having been made only shortly before his passing, the vessel rises with a remarkably powerful and energetic form.
It is said that his fingernails were slightly long when he threw the piece on the wheel, leaving subtle traces across the body that resemble wheel marks. These lines provide a gentle accent within the relaxed and spacious form.
The humidity brought by prolonged rainfall in July affected the firing conditions in Koichiro Isezaki’s kiln, resulting in Kase-Goma that developed across the surface like a layer of frost covering the vessel.
Vivid Hidasuki markings, characteristic of Anagama firing, also appear across the exposed clay. Against the soft white tone of the clay, the deep scarlet lines resemble flashes of crimson lightning and create an especially striking contrast.
The trimming of the foot also has a distinctive sense of ease and restraint, giving it a deeply expressive character. Looking at it brings to mind Jun Isezaki’s warm smile as he quietly watched over his apprentices in the throwing room.
Masahiro Miyao - Bizen Guinomi
15,400 YEN
size : W6.3cm×6.0cm×H6.0cmMasahiro Miyao was drawn to Bizen ware, an art born from clay and fire, and learned ceramic techniques in the historic pottery district of Ibe. This is a newly fired Kuro-Guinomi by the artist.
Alongside his Bizen works, Miyao has continued to produce black pieces, and in this latest work an exceptionally beautiful indigo tone has emerged, immediately drawing the eye.
With conventional black works created using a clay slip, blue tones may sometimes appear in areas affected by scorching or other kiln transformations. In this piece, however, the indigo seems to seep out across the entire surface, revealing once again the remarkable depth and complexity of black ware.
Not all of the black has been transformed into indigo. Inside the Guinomi, a deep and clear black clay surface remains, creating a particularly mysterious interplay of color.
The generously accumulated natural ash glaze flows toward the front while drawing the black clay slip into its movement. A shell placed beneath the work to prevent adhesion during firing caught this flow and left an exceptionally large shell mark resembling a suction cup.
Because the form was shaped with extensive spatula cuts, variations in both the natural ash glaze and the indigo tones have developed across the surface. These changes in color and depth further enrich the already exceptional appearance of the work.
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