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Bizen Sake Bottle & sake Cup
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Yuho Kaneshige - Imbe hidasuki Guinomi
25,300 YEN
size : W5.5cm×5.5cm×H6.9cmThis is an earlier Imbe Hidasuki Guinomi by Yuho Kaneshige, an artist who continues to create while constantly questioning himself.
A career history sheet up to the year 2000 (Heisei 12) is included, and this piece is believed to have been made around that time.
It was fired in a custom electric kiln in Ushigami-shita, Imbe, and the distinctive sense of rhythm that can still be felt in his current works is clearly present here as well.
The form is especially unique: the rim and the foot seem to pull in opposite directions, as if drawn outward by two different forces. Rather than pressing the clay down to deform it, the shaping feels like calmly allowing the clay to stretch and “grow” in a natural, expansive way.
The foot trimming is also fascinating—almost as if the clay has naturally peeled back by itself, a characteristic detail seen in his more recent works as well. The dynamic sense of form inherited from Sozan Kaneshige appears to be evolving here into something distinctly Yuho’s own.
Hidasuki covers the piece diagonally like a monk’s kesa robe. By skillfully using different parts of the rice straw—tips and stems—the artist creates a clear rhythm and variation in the Hidasuki, matching the movement and tempo of the form itself.
Satoru Masamune - Bizen Guinomi
16,500 YENSold out
size : W7.3cm×7.1cm×H5.2cmThis is a Bizen Guinomi by Moriyasu Masamune, an artist who captivated many collectors by recreating the timeless charm of old Bizen in a modern spirit.
Deeply knowledgeable about old ceramics—including Ko-Bizen and other classical wares—Masamune skillfully translated the essence of antique Bizen into a contemporary work.
The form is a low, tea-bowl-like silhouette often seen in Masamune’s guinomis, combining the expressive strength of wheel work with an excellent grip and ease of use.
A hallmark of his work, the fine and dense Kase-Goma has developed beautifully. The deep green surface with subtle blue tones has a wonderfully mature, aged character.
From the carefully arranged gaps between the Botamochi marks, vivid Hidasuki peeks through, and together with the Kase-Goma, the piece should grow richer and more enjoyable with continued use.
Although this is an earlier work, there are no stains or signs of use.
Go Ikenishi - Kiseto Shuhai
35,200 YENSold out
size : W7.1cm×径7.0cm×H4.1cmThis is an earlier work Kiseto Guinomi by Go Ikenishi, an artist who captivates collectors through creations rooted in an extensive study of classical ceramics.
Its design feels like a miniature version of a Kiseto bowl in the collection of the Tokyo National Museum. Meticulous details—such as the finely formed cord-like bands around the body and the refined wheel marks on the interior—show the artist’s strong commitment to craftsmanship.
Across the entire piece, the floral motif, toasted firing marks, and tanpan accents are composed in excellent balance. It carries a three-dimensional presence reminiscent of ancient masterpieces—treating the vessel itself as a complete “space” to be appreciated from every angle.
The pleasing texture and beautifully glossy, “wet-looking” abura-age surface are comparable to those seen in historical masterpieces, and the sensuous sheen seems likely to enhance the taste of sake all the more.
It is an unused piece, carefully kept in storage after purchase and preserved unopened.
Tosyu Yamamoto - Bizen Guinomi
88,000 YEN
size : W6.7cm×6.6cm×H5.8cmThis is a Bizen Guinomi by Toho Yamamoto, a Living National Treasure renowned for an unmatched, almost “divine” level of craftsmanship and for creating countless masterpieces.
This work bears the late-period seal used after Toho—who began his career as an artisan—lived through a turbulent era and was later recognized as an Important Intangible Cultural Property holder of Okayama Prefecture.
The perfectly balanced and refined form is deeply satisfying to look at, reflecting the mastery of a potter who devoted his entire life to the wheel.
Through the Yamamoto family’s distinctive firing method—using a combination of mixed hardwood and split red pine—deep green Goma has appeared across the surface, creating a scene that conveys both the strength of the flames and a quiet sense of wabi-sabi, so characteristic of Toho’s work.
The exposed clay body is equally distinctive. On the front, the “uncovered” area has developed a strong metallic, gold-like sheen, as if the surface were coated in metal.
Judging from the box inscription, the seal, and the overall style, this is a work from Toho’s very late period. Yet the foot trimming is quick and precise, showing no hint of age—suggesting a craftsman whose body retained its technique beyond logic or theory.
Yu Fujiwara - Bizen Shuhai
66,000 YEN
size : W6.4cm×6.3cm×H5.2cmThis is a Bizen Guinomi by Yu Fujiwara, a Living National Treasure who broadened his vision beyond Japan and helped share the appeal of Bizen ware with the world.
It is a work that can be recognized as Fujiwara’s at a glance—direct and uncompromising, as if it confronts the viewer with an unadorned sincerity, free from superficial technique.
Created in the very late period of his life, it clearly shows the distinctive firing results for which Yu Fujiwara is known.
About half of the surface is covered with dark green Kase-Goma, creating a striking contrast with the clay body, where vivid Hi-iro and rich reddish-purple tones emerge.
The way the piece presents its “scenery” through Botamochi effects—one of the signatures of Fujiwara Bizen—is especially captivating. On the front, a crescent-shaped Botamochi sits near the rim, and inside the Guinomi, another Botamochi appears like the moon reflected on the surface of a lake.
Yu Fujiwara is often associated with a deep reddish-purple tone in the clay, yet this work also shows a strong Hi-iro in the interior—around the rim, within the bowl, and inside the foot. As it becomes wet with sake, the colors deepen further, enchanting the viewer all the more.
Tomio Ochi - Shigaraki Guinomi
11,000 YENSold out
size : W7.3cm×7.1cm×H6.6cmThis is a Shigaraki Guinomi by Tomio Ochi, who has worked quietly and diligently on kiln firing under Yasuhito Abe, pouring his still-unfulfilled aspirations into his ceramics.
Using clay that he once collected in Shigaraki together with Abe-sensei, Ochi fired this piece multiple times—just as he does with his Bizen works.
For this work, he aimed for an even stronger result and fired it an extraordinary seven times. By thoroughly vitrifying the relatively heat-resistant Shigaraki clay, he achieved a brilliant orange surface that almost looks as if it were coated in platinum.
A creamy natural ash glaze has splashed across the front and into the interior, and its unique pale, slightly greenish tone stands out beautifully against the orange body.
This Guinomi is significantly larger than his previous pieces, so it could also be enjoyed not only as a sake cup, but as a small rock glass or a shochu cup.
Please note: the body is slightly absorbent, and if water is left inside for about an hour, the foot area may become wet.
Yuichi Yamamoto - Bizen Guinomi
16,500 YENSold out
size : W6.3cm×6.1cm×H5.2cmThis is a Bizen Guinomi from a slightly earlier period by Yuichi Yamamoto, an Intangible Cultural Property holder and the son of the master potter Tōshū Yamamoto, renowned for his almost miraculous craftsmanship.
A printed career record up to 2004 (Heisei 16) is enclosed, and the piece is believed to have been made around that time.
Across the entire surface, an intense kiln effect appears as if the piece had been showered with scoops of ash. On top of the ash-deposited transformation, Nagare-Goma further overlaps, creating an exceptionally bold and dramatic fire pattern.
True to Yuichi’s firing style—using not only split red pine but also mixed hardwood—the Nagare-Goma takes on a colour reminiscent of weathered rock that has been exposed to wind and rain for tens of thousands of years.
The ash-deposited texture itself seems to have risen powerfully, yet every raised area—including the interior—has been carefully shaved and refined. As a result, the surface feels comfortable in the hand and causes no stress during use.
The form, too, bears the impact of this intense firing. What may originally have been a near-perfect, symmetrical circle—typical of “Yamamoto Bizen”—has gently distorted under the heat. In an intriguing way, it feels as though the theme of “wheel-throwing technique” has been deliberately set aside to confront the overwhelming energy of the kiln.
Although it is a slightly earlier work, it shows no stains or signs of use.
Jun Isezaki - Bizen Kuro Guinomi
132,000 YEN
size : W7.0cm×6.9cm×H6.8cmThis is a newly fired Bizen black Guinomi by Living National Treasure Jun Isezaki, who continues to lead the world of Bizen ware with an inexhaustible creative spirit.
It is one of his latest works, taken from the kiln in October 2025 (Reiwa 7).
The piece was fired for about ten days in a semi-underground Anagama, and the black slip and intense Goma compete across the surface, while natural ash glaze dripping from the kiln wall creates a striking, dramatic Fire pattern.
This work was fired upright rather than laid on its side. A veil-like layer of Kigoma covers the surface, while glossy black appears only in certain areas, creating a strong contrast.
Where the flames hit the piece directly, powerful Koge-Goma has formed, giving the work a vivid sense of the fierce firing that Jun Isezaki is known for.
Because it was fired upright, a “rain” of Goma also fell vertically into the interior. The thick pool of Kigoma at the bottom, set against the jet-black walls of the inside, creates a very bold and compelling contrast.
With its smooth, deep black tones in the exposed clay areas and its large-scale, energetic form, this piece is a concentrated expression of the appeal of Jun Isezaki’s black works.
Seiho Kakumi - Bizen Guinomi
13,200 YENSold out
size : W6.1cm×6.0cm×H6.1cmThis is a Bizen Guinomi from the period when Toshimine Kagami used the name “Seihou”, an artist who was nurtured by the great masters of modern ceramics and went on to open up his own distinctive artistic world.
A printed career record up to 1998 (Heisei 10) is enclosed, and the piece is believed to have been made around that time.
Having received guidance from some of the most renowned potters in the Bizen world—such as Tōyō Kaneshige and Tōshū Yamamoto—Seihou created a work that fully captures the fascination of ash-deposited kiln effects produced in a Noborigama (climbing kiln).
The slowly and thoroughly fired ash deposits appear almost to glow in a mouse-grey tone, creating a beautiful contrast with the soft Hiiro that emerges in the areas where the ash has cleared.
Also noteworthy is Seihou’s signature form: a thick wheel-thrown body that is then carved with a hera to create a bold shinogi texture. The spiral-like shape, as if converging while rotating, evokes the image of a sacred peak towering upward—true to the character “mine” in his name.
Jun Isezaki - Bizen Kuro Guinomi
132,000 YENSold out
size : W7.5cm×7.3cm×H6.9cmThis is a newly fired Bizen black Guinomi by Living National Treasure Jun Isezaki, who continues to lead the world of Bizen ware with an ever-flowing creative spirit.
It is one of his latest works, taken from the kiln in October 2025 (Reiwa 7).
The piece was fired for about ten days in a semi-underground anagama. As the black slip and intense Goma compete across the surface, a powerful, dramatic fire transformation forms and covers the entire work.
This Guinomi received a strong “baptism of flame” from the back. Kigoma—like fine gold dust, created from high-quality split pine—surges toward the front, where the deposits meet and merge to create an impressive Tamadare pattern.
Around the rim and near the front, strong Koge-Goma has also developed, functioning as another kind of black—distinct from the black of the slip.
It is especially fascinating that this Koge-Goma appears right at the rim. When used, the moment it becomes wet with sake, the deep charred black subtly changes in tone, offering enjoyment not only to the palate but also to the eye.
From the smooth, deep black tones in the exposed clay areas to its large, energetic form, the work shows Jun Isezaki’s bold finish even beyond the kiln effects such as Kigoma.
Tomoyuki Matsui - Bizen Guinomi
11,000 YENSold out
size : W6.1cm×6.0cm×H5.6cmThis is an earlier Bizen Guinomi by Yoshiyuki Matsui, who also devoted himself to teaching the next generation as an instructor at the Ceramic Center.
A printed career record from around 2010 is enclosed, and the piece is believed to have been made around that time.
Kigoma, Koge-Goma, and Nagare-Goma have fused together and adhered to the surface, creating a powerful fire pattern that is very characteristic of Matsui’s preference for rich, heavy-fired effects.
The entire piece has a strong gloss, almost as if it were coated in glass, and the orange-tinged clay surface transforms into a distinctive, smoky texture—an especially fascinating contrast.
The rim gently undulates with a light, lively movement, showing the kind of exemplary craftsmanship one would expect from an experienced teacher, and it also looks very comfortable to use.
The piece was purchased new and carefully stored, and it remains in unused condition.
Jun Isezaki - Bizen Kuro Guinomi
132,000 YENSold out
size : W7.1cm×7.1cm×H7.0cmThis is a newly fired Bizen black Guinomi by Living National Treasure Jun Isezaki, who continues to lead the world of Bizen ware with an inexhaustible creative spirit.
It is one of his latest works, taken from the kiln in October 2025 (Reiwa 7).
The piece was fired for about ten days in a semi-underground Anagama, and the black slip and intense Goma compete across the surface, while natural ash glaze dripping from the kiln wall creates a striking, dramatic Fire pattern.
This work was fired upright rather than laid on its side. A veil-like layer of Kigoma covers the surface, while glossy black appears only in certain areas, creating a strong contrast.
Where the flames hit the piece directly, powerful Koge-Goma has formed, giving the work a vivid sense of the fierce firing that Jun Isezaki is known for.
Because it was fired upright, a “rain” of Goma also fell vertically into the interior. The thick pool of Kigoma at the bottom, set against the jet-black walls of the inside, creates a very bold and compelling contrast.
With its smooth, deep black tones in the exposed clay areas and its large-scale, energetic form, this piece is a concentrated expression of the appeal of Jun Isezaki’s black works.
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