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Bizen Sake Bottle & sake Cup
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Makoto Kaneshige - Hidasuki Beerglass
16,500 YEN
size : W7.2cm×7.2cm×H10.3cmThis Hidasuki beer glass is crafted by Makoto Kaneshige, who has inherited the Maruyama kiln as the eldest son of Sozan Kaneshige. He captivates collectors with his bold and dynamic forms.
Faithful to the fundamental principle of Bizen ware — “bringing out the natural character of the clay” — this piece embraces a minimalistic approach to decoration, resulting in a dignified and well-balanced silhouette.
It is made from a coarse clay with a high sand content, the same type favored by So Kaneshige for his tableware. The clean, pale "Mogusa"-colored clay body is adorned with vivid Hidasuki lines, a technique passed down directly from his father, Sozan Kaneshige.
Upon closer inspection, the surface reveals intricate details — small black iron spots and mineral textures unique to this special clay. These subtle yet refined expressions are beautifully enhanced by firing in the custom-built Maruyama electric kiln.
The mouth of the vessel is uniquely pinched into a rhomboid shape — a signature form also favored by So Kaneshige himself. This distinctive design makes it not only suitable for beer or tea but also ideal for enjoying a variety of Western liquors such as wine.
Tosyu Yamamoto - Bizen Tokkuri
88,000 YENSold out
size : W9.0cm×8.9cm×H13.0cm 440ccThis is a Bizen Tokkuri by Yamamoto Toshu, a Living National Treasure renowned for peerless mastery—often described as miraculous—and for creating numerous celebrated works.
The piece dates from around the time when, after beginning his career as an artisan and living through a turbulent era, Toshu was recognized as an Important Intangible Cultural Property of Okayama Prefecture.
Its impeccably symmetrical, crisply composed form—hallmarks of a master who devoted his life to the wheel—is a pleasure to behold. A rich, shiso-purple tone rises from the clay, overlaid with Toshu’s signature metallic kinsai sheen that lends the surface a platinum-like luster.
At the Yamamoto kiln, in addition to pine split logs, other woods are fed into the firing and the work is fired thoroughly. As a result, an inky black ground forms, from which a subdued, weathered Kigoma (natural ash) freckles the shoulder.
Judging from the box inscription and potter’s seal, as well as the style, this is a late-period work from after Toshu turned seventy. Yet the powerfully raised shoulder and dignified, full body retain youthful vitality, suggesting that beyond logic and formal technique, the craftsman’s body itself still remembered the work.
Seishi Mori - Guinomi
8,800 YENSold out
size : W6.1cm×5.9cm×H6.2cmHe was born into a family with a long tradition of Bizen ware.
Under normal circumstances, he would have played a central role in the Bizen Pottery industry.
However, at the root of his work was his anger toward society at large.
He was good at putting destructive emotions into his works and creating works that were even grotesque.
He named his kiln "Shakuyo" and was particularly particular about the occurrence of red clay color.
The kanji for "Shakuyou" means "the sun that burns everything.
Syuroku Harada - Bizen Guinomi
132,000 YEN
size : W6.5cm×6.3cm×H5.9cmBizen Guinomi by Shuroku Harada (earlier work, circa 1993)
A formidable innovator who studied old Bizen alongside the great contributor Katsura Matasaburo—and was once hailed as “fearsome in potential”—Shuroku Harada created this earlier Bizen guinomi. A career record enclosed up to 1993 (Heisei 5) suggests it was made around that time.
Defying the graceful image often associated with typical Hidasuki pieces, this cup radiates a surging clay energy: the Hidasuki burns across the body with striking intensity. Fired in an anagama at a position shielded from direct flame, it bears a dark azuki-toned clay color worthy of comparison with old Bizen, while the straw markings condense into a dense, crimson Hidasuki that seems almost to drip with vigor.
Harada’s signature attached high foot (tsuke-kodai) is intentionally not used here. Instead, the base is a coarsely formed, pitted foot (abata-kodai), likely produced by setting a lump of clay directly on the wheel—an approach that, together with the body’s silhouette, evokes the distinct presence of an old Bizen “bo-no-saki” mizusashi.
The construction marries Harada’s coil-built strength with genuine usability. Inside, the joins of the coils are boldly left visible, and together with prominent stone pops, they yield a commanding landscape—as if the piece had thrust itself up from the earth.
Pre-owned, with light signs of use, but no soiling.
Tomoyuki Matsui - Bizen Yohen Guinomi
14,300 YENSold out
size : W6.3cm×6.3cm×H6.0cmBizen Guinomi by Tomoyuki Matsui (circa 1999)
A former instructor at a ceramics center who dedicated himself to training the next generation, Tomoyuki Matsui created this earlier Bizen sake cup. A career record enclosed up to 1999 suggests the piece was made around that time.
Across the surface, Kigoma, Sangiri, and koge-goma fuse and cling to the body—an authoritative firing landscape characteristic of Matsui’s robust kiln work.
Inside the well, within the shadow of the botamochi (the circular mark left by a refractory disc), Hidasuki has been applied; under a strong reduction atmosphere, the Hidasuki itself has taken on a golden sheen, lending quiet richness to the interior.
The lightly undulating rim displays a textbook, poised movement—very much in keeping with an educator’s hand—and promises excellent usability.
Though an earlier work, it remains in excellent condition with no noticeable soiling or signs of use.
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 YENSold out
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.
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