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Bizen Sake Bottle & sake Cup
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Anjin Abe - Bizen Guinomi
77,000 YENSold out
size : W6.7cm×6.2cm×H6.0cmA master with deep insight into古陶 (old ceramics) and a keen aesthetic sense, Anjin Abe created singular works through original research and firing methods. This earlier Bizen piece was made around 2008 and, like old Bizen, was fired multiple times to recreate a beautifully weathered surface.
Its defining feature is the deep, lustrous clay color, a densely layered field where black and dark brown mingle into a complex whole—fully comparable to old Bizen surfaces.
The tonal shifts from applied slip are equally compelling: the foot, the waist, and the two lateral faces each present markedly different hues.
On the front, a rich veil of Kigoma accompanies a carved iris motif, setting a striking contrast between vigorous kiln effects and bold incision.
On the reverse, only a simple moon is engraved; by carving through the slip, the underlying clay color emerges, almost like a wax-resist effect.
Purchased new and carefully stored unused ever since.
Makoto Kaneshige - Bizen Tokkuri
33,000 YENSold out
size : W8.5cm×8.3cm×H13.3cm 320ccAs the eldest son of Sozan Kaneshige, Makoto Kaneshige succeeded to the Maruyama kiln.
A career record enclosed up to 1994 (Heisei 6) suggests this piece was made around that time.
The firing is quintessential Maruyama—and a hallmark of Makoto Kaneshige: a blue-tinged, skin-clinging Kase-Goma spreads across the surface, creating a landscape that sake lovers will find deeply rewarding to “raise” through use. At the central “open” area, a beautiful scarlet clay color appears—evidence of fine tatsuchi—so the appeal of Bizen clay remains fully present alongside the vigorous firing effects.
Around the waist, the piece was fired among embers, yielding amber-like Yohen formed by well-melted, glassy Kigoma. The result is a layered, luminous accent that complements the overall surface.
In form, it is a simple, elongated cylindrical tokkuri with a lean, uncluttered stance enhanced by the relatively thin build. Related to the katatsuki type, the neck is slightly drawn in—characteristic of Makoto Kaneshige—and it contrasts beautifully with the rhythmically swollen body.
Pre-owned, but in excellent condition with no noticeable signs of use or staining.
Toyo Kaneshige - Bizen Guinomi
1,650,000 YEN
size : W6.2cm×6.0cm×H5.5cmA Bizen Guinomi by Kaneshige Toyo—the first Living National Treasure and the great reviver of Bizen.
From the relatively short “ト” seal, it appears to be a late-period work from the Shōwa 30s (1955–64).
Toyo’s practice was less about merely making Bizen and more about redefining it. Judging from later accounts of the time, the road he walked was anything but easy.
Celebrated as a genius of finely crafted ornamental work, he set that path aside and, at thirty, chose the harder course: to redefine Bizen’s true appeal through wheel-thrown forms and to shoulder the kiln community itself.
In his ornamental pieces, the interior trimming is tuned to millimeter precision and every detail is patiently finished—so much so that even a fractured cross-section would be made to look beautiful in flower vases and fresh-water jars.
Amid that almost fierce rigor, his Guinomi often show a gentler expression—packed with the wit and allure that feel very much like Toyo, a man fond of good drink.
For the clay, he used top-grade material that he personally refined after digging. Fired mid-kiln to court both ash-fall Yohen and Kase-Goma at once, the piece achieves Kase-Yohen, the highest tier of Kaneshige-style Bizen.
The Yohen and the scarlet blush need few words—they are superb. Within the sunset-like hi-iro, a charming little ishihaze, like a dimple at the corner of a smile, peeks out—a chic, playful flourish Toyo from Imbe might have indulged in, the kind of touch that a Guinomi, with its welcomed freedom, alone permits.
Kei Ushigaki - Guinomi
11,000 YEN
size : W6.2cm×6.0cm×H4.8cmKei Ushigaki trained under Living National Treasure Jun Isezaki and later established his own kiln in Kagoshima, his grandfather’s homeland.
Seeing Bizen-yaki from the distance of Kagoshima allowed him to rediscover its appeal; this piece embodies that renewed vision.
Fired in the anagama he built in Kagoshima with fine clay, it presents rich Hidasuki and Kigoma characteristic of wood firing.
Inside the well, the sesame ash is especially refined and evocative: a beige layer of Kigoma overlain with lemon-yellow Goma, finished in a non-gloss, matte surface that yields a austerely beautiful effect reminiscent of old Bizen.
In form, it faithfully carries the Isezaki clan vocabulary: thrown with generous thickness, then pared along the sides into an elegant octagonal profile.
The distinctive katakuchi spout completes the design and pours cleanly and decisively.
Michiaki Kaneshige - Imbe Tokkuri
330,000 YENSold out
size : W9.0cm×9.0cm×H13.8cm 400ccWhile creating remarkable works, Michiaki Kaneshige passed away at a relatively young age.
This tokkuri is thought to be from his very last period and was fired in the small climbing kiln he designed shortly before his death.
The piece is quintessential Kaneshige clan work: a dense, shiso-toned clay color forms the base, over which multiple fire patterns bloom—Kase-Goma, ash-covered Yohen, Kigoma, and areas of koge-goma.
Positioned mid-slope in the kiln to court both Kase-Goma and Yohen simultaneously, it presents what might be called a kase-yohen landscape: dynamic traces that recall the kiln’s fierce flames in perfect balance with a quieter vitality that seems to awaken from within the clay itself.
True to Michiaki’s uncompromising clay preparation—pursued alongside his father, Toyo Kaneshige—the mercurial clay color shifts through countless tones with the fire’s touch. Even when dry, it holds oranges and reddish purples within its depths; once it meets sake, those hues take on an ineffable radiance—an accompaniment as exalted as the drink itself.
In form, Michiaki favored an even more restrained and silent presence than Toyo.
This tokkuri stands with assured gravitas, avoiding facile deformation and expressing a calm, enduring dignity.
Mitsuru Isezaki - Bizen Guinomi
11,000 YEN
size : W6.1cm×6.0cm×H5.8cmA master who loved Bizen and contributed greatly to its tradition, Mitsuru Isezaki created this sake cup with a quiet depth that is distinctly his.
A career record enclosed up to 1998 (Heisei 10) suggests the piece was made around that time.
Guided by his belief that the essence of Bizen lies in the clay color, and steadfast in his pursuit of fine tatsuchi (paddy-field clay), this work presents a richly layered surface true to his ideals.
On this piece, Goma has fallen densely on only one side, allowing you to savor the dialogue between the concentrated ash pattern and the beautiful, shiso-toned clay color. Inside the cup, the ash settles like powdered snow—not ostentatious, but all the more suited to a long life at the table.
The form is one of his classics: the shoulder narrows slightly while the rim opens gently—simple, balanced, and a pleasure to use.
Koichiro Isezaki - Bizen Shiro Guinomi
22,000 YENSold out
size : W8.5cm×8.3cm×H5.7cmKoichiro Isezaki is Jun Isezaki's eldest son.
He uses kiln in a tunnel-like shape called "anagama".
This new work was fired in November 2023.
This work is made using special white clay collected in the Inve area.
He fired without glaze, but the white clay component produced a fire pattern with a color different from the original Bizen ware.
The outer surface has a luster as if coated with glass.
Originally yellow or brown Goma, which is close to gold, it changed to muddy white or transparent blue.
Mitsuru Isezaki - Bizen Guinomi
11,000 YEN
size : W6.2cm×6.2cm×H5.7cmA master who loved Bizen and contributed greatly to its tradition, Mitsuru Isezaki created this sake cup with a depth of character that is unmistakably his.
A career record enclosed up to 1998 (Heisei 10) suggests the piece was made around that time.
Guided by his belief that the essence of Bizen lies in the clay color, he was devoted to fine tatsuchi (paddy-field clay). This cup reflects that conviction: the exterior shows his calm, composed Yohen, while the interior displays a striking, nearly platinum-like gold sheen.
Importantly, the gold is not the only highlight. A rich, almost viscous shiso-tinged clay color emerges, joined by weathered accents of Kase-Goma and Sangiri—assuring that the fundamentals of Bizen are firmly in place.
The form is one of his classic silhouettes: the shoulder narrows slightly while the rim opens gently, yielding a simple, highly usable vessel that sits naturally in the hand.
Kei Ushigaki - Guinomi
14,300 YEN
size : W6.7cm×6.5cm×H6.8cmThis Guinomi was created by Kei Ushigaki, who trained under Jun Isezaki, a Living National Treasure.
He later established his own kiln in Kagoshima, the land connected to his grandfather.
By viewing the culture of Bizen ware from a distance—both geographically and conceptually—he has created a work that captures the essence and renewed appeal of Bizen through an external lens.
This piece is reminiscent of the traditional Imbe-te style, with clay sourced from Kagoshima applied to its surface.
Although he is associated with the Isezaki group, he deliberately avoids using cobalt, adhering instead to old-fashioned methods.
The entire piece is covered in Kigoma, which—perhaps due to the influence of Kagoshima’s clay—has developed a dry, weathered appearance, acquiring a matte texture and rough feel reminiscent of Irabo ware.
In form, it faithfully carries the Isezaki clan vocabulary: thrown with generous thickness, then pared along the sides into an elegant octagonal profile.
Michiaki Kaneshige - Imbe Guinomi
49,500 YENSold out
size : W6.5cm×6.3cm×H5.4cmThe eldest son of Toyo Kaneshige, Michiaki created this Ibe Guinomi with no special ornament at all—only clay color and Sangiri.
Yet even from a distance it bears that unmistakable presence that says “Michiaki” at a glance.
Meticulous clay preparation yields a superb surface: a softly scarlet-tinged clay color forms the base, over which a slightly matte Sangiri settles, creating a skin that becomes more lustrous the more it is used.
Inside, inky black Sangiri spreads across the bottom like splashed ink, setting a painterly contrast against the brighter scarlet clay color of the walls.
Taciturn as the artist himself, the cup is nevertheless filled with his quiet, disciplined aesthetics.
Kei Ushigaki - Tokkuri
24,200 YEN
size : W9.1cm×9.0cm×H13.9cm 380ccThis Tokkuri was created by Kei Ushigaki, who trained under Jun Isezaki, a Living National Treasure.
He later established his own kiln in Kagoshima, the land connected to his grandfather.
By viewing the culture of Bizen ware from a distance—both geographically and conceptually—he has created a work that captures the essence and renewed appeal of Bizen through an external lens.
This piece is reminiscent of the traditional Imbe-te style, with clay sourced from Kagoshima applied to its surface.
Although he is associated with the Isezaki group, he deliberately avoids using cobalt, adhering instead to old-fashioned methods.
The entire piece is covered in natural ash glaze, which—perhaps due to the influence of Kagoshima’s clay—has developed a dry, weathered appearance, acquiring a matte texture and rough feel reminiscent of Irabo ware.
The Yohen itself has formed in three distinct layers: scorched Goma in pale yellow and dark brown, rugged rock-like ash deposits, and Kigoma resembling Irabo glaze—all contributing to an exceptionally dynamic visual effect.
In terms of form, the piece clearly reflects the aesthetic inherited from the Isezaki lineage, with a stylish design—such as the flared foot that appears as if the clay is peeling outward.
Gosuke Yashiro - Imbe Guinomi
5,500 YENSold out
size : W7.0cm×7.0cm×H4.2cmThis Guinomi was fired by Gosuke Yashiro around 2023.
It was created in a newly constructed, ultra-small, fully underground Anagama kiln of his own design. In a bold and experimental approach, the firing was carried out without using refractory materials except for the ceiling area.
The surface features a quintessential Bizen aesthetic—a refined harmony of Kigoma and rich Shiso-colored hues. Especially noteworthy is the Shiso tone, which bears a unique smoky nuance, adding a profound sense of character.
Measuring 7 cm in diameter, the piece offers a comfortable, classic grip. Coupled with the soft texture resulting from minimal use of refractory materials, this sake cup delivers a subtle yet deeply satisfying tactile experience.
It is an unused piece, carefully stored in pristine condition since it was purchased new, and has never been opened or handled.
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