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Bizen Sake Bottle & sake Cup
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Masao Akiya - Kuro Guinomi
9,900 YEN
size : W5.8cm×5.7cm×H6.3cmMasahisa Akiya studied under Jun Isezaki, the fifth Living National Treasure of Bizen ware, and creates works full of originality within a fresh and contemporary spirit.
This is a newly fired black Guinomi by Masahisa Akiya, just released from the kiln.
It is his latest work, freshly fired in February 2026.
Created using the Kuro-Bizen technique inherited from Jun Isezaki, this piece is especially striking for its black surface, which combines a deep luster with a sense of warmth.
A special clay collected from areas near Osafune, close to Bizen City, is applied to the surface after being mixed with a small amount of cobalt, producing a stylish and richly nuanced black texture.
One of the appealing features of his black works is the so-called “blue Yohen,” which appears when cobalt reacts with the natural glaze during firing.
This piece also displays a vivid blue Yohen on the front, creating a highly impactful appearance.
Inside the bowl and on the reverse, the glossy black surface is beautifully accompanied by the Kigoma that is so characteristic of Bizen ware, allowing the viewer to fully enjoy the contrast of black, blue, and yellow together with the blue Yohen described above.
The piece begins as a cylindrical form and is then carefully faceted with a spatula into an octagonal shape, allowing one to appreciate both the vivid blue Yohen and the dynamic modeling at the same time.
Masao Akiya - Hikidashi Guinomi
16,500 YENSold out
size : W8.1cm×7.6cm×H5.5cmThis is a newly kiln-unloaded Hikidashi guinomi by Masao Akitani, who studied under Jun Isezaki, the fifth Living National Treasure of Bizen ware, and creates highly original works within a fresh and contemporary spirit.
It is his latest work, just unloaded from the kiln in February 2026.
Created using the Hikidashi-guro technique, one of the trademarks of the Isezaki lineage, this piece preserves the mysterious appearance of the kiln at extreme temperatures beyond human reach, just as it was at the moment of firing.
Because the piece must necessarily be placed near the front of the kiln in order to be pulled out during firing, it is covered generously in natural ash glaze across nearly the entire surface. It is then pulled out and rapidly cooled, resulting in a unique landscape where black, blue, and amber tones intermingle.
Most strikingly, a vivid cobalt blue known as blue fire effect appears from the rim down through the body, and the contrast between the black surface and the dark green of the natural ash glaze is exceptionally beautiful.
Inside, an amber-like mass of natural ash glaze overlaps with subtle gradations of fire effect, creating a mysterious appearance that feels almost like gazing into the depths of space when sake is poured into the piece.
Jun Isezaki - Bizen Kuro Tokkuri
330,000 YEN
size : W9.5cm×9.4cm×H14.7cm 480ccThis is a newly kiln-unloaded Bizen Kuro tokkuri by Jun Isezaki, a Living National Treasure whose creativity never runs dry and who continues to lead the world of Bizen ware.
It is his latest work, unloaded from the kiln in February 2026.
Fired for about ten days in a semi-underground Anagama, this piece presents a powerful surface where black slip and intense Goma contend with one another, creating dramatic fire effects that cover the entire vessel.
This work received a full baptism of flame from the back, and fine Kigoma, like scattered gold dust from high-quality split pine firewood, overflowed toward the front all at once, where they merged into a magnificent Tamadare pattern.
In addition, the piece was fired with the base facing toward the fire, and because of this, the surface shows a mysterious effect, as if the Goma were flowing upward in reverse across the vessel.
The black areas were fired while fully taking in oxygen, giving them a beautiful luster that creates a striking contrast with the lively golden Goma described above.
The surface quality is equally impressive. The well-fired black areas are extremely smooth, while the Kigoma areas have a dry, frosted-glass-like texture, and together they create an exceptionally pleasing tactile surface.
Its bold, substantial form serves as a large canvas for this variety of fire patterns, making it a piece that can be admired endlessly without losing interest, yet it is made surprisingly light and can also be enjoyed comfortably in actual use.
Because of the intense fire effects, the base is slightly unstable when empty, but it becomes stable once sake is poured inside.
We sincerely ask for your understanding that, because Jun Isezaki is advanced in age, it will take about one month for the wooden box to be completed.
Jun Isezaki - Bizen Guinomi
66,000 YENSold out
size : W6.9cm×6.7cm×H7.0cmThis is a newly kiln-unloaded Bizen guinomi by Jun Isezaki, a Living National Treasure whose creativity never runs dry and who continues to lead the world of Bizen ware.
It is his latest work, unloaded from the kiln in February 2026.
The part that becomes the front of the piece was fired facing downward against the ground, allowing the dynamic results of Anagama firing to emerge, including Kigoma, Nagare-Goma, Koge-Goma, and amber-toned clay surface.
Although roughly seventy percent of the piece is covered in natural ash glaze, the color and expression do not become uniform. Instead, each area responds differently in the firing, creating a rich and varied landscape that never grows tiresome.
On the back of the piece, a generous deposit of Kigoma formed during firing, and as it flowed down toward the front, it created amber-colored Tamadare.
On the side, there also appears a distinctive Yohen where Sangiri and Koge-Goma intermingle, and this section has a mysterious quality, as if it had been cut from an ash-covered Yohen piece and attached here.
The powerful rush of natural ash glaze that seems to cover the entire clay surface, together with the bold form so characteristic of Jun Isezaki, gives the work an exceptionally vigorous presence.
Jun Isezaki - Bizen Hikidashi Kuro Guinomi
165,000 YENSold out
size : W7.7cm×7.4cm×H6.4cmThis is a newly kiln-unloaded Bizen Hikidashi-guro Guinomi by Jun Isezaki, a Living National Treasure whose creativity never runs dry and who continues to lead the world of Bizen ware.
It is his latest work, unloaded from the kiln in February 2026.
This piece was fired using the Hikidashi technique, one of the signature methods of the Isezaki lineage. Placed near the mouth of the kiln and pulled out during firing from a kiln approaching 1200°C, it is an exceptionally rare Hikidashi-guro guinomi, with only a very small number produced even from a single firing.
The Goma, having been pulled from the kiln in this way, has taken on an amber tone mixed with blue, creating a transparent and beautiful Yohen that can only be seen in Hikidashi pieces.
The black surface, too, has turned into a deep and limpid blue through the action of the cobalt in the black slip, and when in use it will absorb moisture and shine even more beautifully.
Most Bizen ware calls to mind fierce flames and blasts of hot air, but Hikidashi-guro alone possesses a very different and remarkably delicate expression, evoking instead the gentle atmosphere of falling rain.
The smooth black coloration of the exposed clay areas and the exceptionally bold, energetic form also show Jun Isezaki’s distinctive touch, making the piece compelling not only in its Kigoma and blue Yohen, but throughout.
It is slightly unstable due to the shape of the foot and the fire effects, but once sake is poured in, it becomes stable.
Makoto Kaneshige - Bizen Henko Tokkuri
220,000 YENSold out
size : W11.0cm×9.0cm×H11.0cm 360ccThis is a freshly kiln-unloaded new Bizen Henko 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).
When Makoto aims for Yohen, he commits to the firing without compromise, and this piece shows a heavy, intense Yohen, as if the clay itself had been fired to its very limit.
On the back, it feels as though a fleeting moment of being overtaken by lava has been captured. The dark, softly gleaming mass of ash holds both a mesmerizing beauty and a sense of peril, as if it could pull you in.
Alongside the black-silver mass of ash, even a radiant metallic luster appears in the Yohen Line area, suggesting that the piece was fired deep into a very high temperature range.
The firing is so intense that it seems to test the very limits of the clay itself, and yet, thanks to the high quality of the clay and the careful, time-consuming finishing so characteristic of the Kaneshige lineage, the surface remains surprisingly pleasant to the touch.
The neck is also deeply indented, so much so that Makoto’s finger marks seem to remain there. It achieves both ease of handling and an intriguing presence, while avoiding damage from the heat. It would be no exaggeration to call this the work of a true master, possible only because Makoto has so thoroughly pursued the art of the sake vessel.
Jun Isezaki - Bizen Yohen Guinomi
132,000 YEN
size : W6.8cm×6.7cm×H6.9cmThis is a newly kiln-unloaded Bizen Yohen guinomi by Jun Isezaki, a Living National Treasure whose creativity never runs dry and who continues to lead the world of Bizen ware.
It is his latest work, unloaded from the kiln in February 2026.
Among Jun Isezaki’s works, Anagama Yohen pieces are especially rare, and as can be seen from the fact that even the inside of the foot is densely covered in ash-induced Yohen, this piece was fired under tremendous heat, buried in embers in the middle section of the kiln.
The back has received an intense ash covering, almost like cooled and solidified magma, and the rich gray Yohen, reminiscent of noborigama firing, is particularly beautiful.
The open area on the front has also been thoroughly fired by the force of the flames, creating a distinctive clay surface in which a deep shiso-purple tone is interwoven with a slight metallic luster.
The clay surface in the interior as well has taken on a completely dry, matte texture through the strong firing, yet when sake is poured into it, the clay seems to come back to life with striking vividness, as if revived by a long-awaited gentle rain.
The form is simple, without decorative elements such as impressed patterns, in order to harmonize with the Yohen, but this restraint only serves to highlight the beauty of the Yohen Line all the more.
It is slightly unstable due to the shape of the foot and the fire effects, but once sake is poured in, it becomes stable.
Yuu Fujiwara - Bizen Shuhai
66,000 YEN
size : W6.1cm×6.0cm×H6.0cmThis is a Bizen guinomi by Yu Fujiwara, a Living National Treasure who looked beyond Japan and helped convey the appeal of Bizen ware to the world.
The style is unmistakably that of Yu Fujiwara at a glance, a work that seems to confront the viewer with a naked spirit, stripped of all superficial technique.
This is a work from his later years, after he was designated a Living National Treasure, and it shows the distinctive firing effects that are characteristic of his mature pieces.
Using the large Bota Mochi that are a hallmark of Fujiwara Bizen, the scenery of the piece is beautifully composed. A half-moon-shaped Bota Mochi is placed along the rim, balancing both visual interest and ease of use.
The underlying clay surface shows a complex blend of shiso purple, orange, and brown, over which a metallic luster, like a coating of platinum, has appeared, creating a uniquely expressive surface.
Inside, where this luminous clay character can be fully appreciated, a large Bota Mochi spreads across the entire interior. When the sake is finished, the metallic sheen begins to glow, as if a silver moon were rising from the surface of a lake.
Makoto Kaneshige - Bizen Sakazuki
88,000 YENSold out
size : W9.6cm×8.7cm×H3.9cmThis is a freshly kiln-unloaded new Bizen sakazuki 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).
When Kaneshige aims for fire effects, he commits to the firing without compromise, and this piece shows a heavy, intense fire effect as if the clay itself has been fired to its very limit.
The ash-laden fire-effect area feels as though a fleeting moment of being overtaken by lava has been captured. The dark, softly gleaming mass of ash holds both a mesmerizing beauty and a sense of peril, as if it could pull you in.
Despite the daring firing that seems to test the threshold just before damage, the clay character is not completely burnt out. Miraculously, it retains a fresh, vivid hi-iro, allowing you to enjoy both the powerful fire effects and the finest clay character at the same time.
Also, the botan-mochi used to create the open, lighter area on the front continues into the interior as well, making this a piece that truly reaches completion when held and used—very much in the spirit of Kaneshige, who is himself a devoted sake lover.
And even after you finish your drink, there is still another pleasure waiting. While admiring the bold, wide foot that is so characteristic of Makoto Kaneshige, if you gently rub the last drops of sake into the surface, it will become an incomparable moment of bliss for any true sake enthusiast.
The shape of the base and Yohen make it a little unstable, but it becomes stable once you pour sake into it.
Makoto Kaneshige - Bizen Guinomi
88,000 YENSold out
size : W6.7cm×6.5cm×H6.3cmThis is a freshly kiln-unloaded new Bizen guinomi 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).
When Kaneshige aims for fire effects, he commits to the firing without compromise, and this piece shows a heavy, intense fire effect as if the clay itself has been fired to its very limit.
On the back, it feels as though a fleeting moment of being overtaken by lava has been captured. The dark, softly gleaming mass of ash holds both a mesmerizing beauty and a sense of peril, as if it could pull you in.
Alongside the black-silver ash, even a radiant, gold-like luster appears in the kumadori area, suggesting that the piece was fired deep into a very high-temperature range.
Despite the daring firing that seems to test the threshold just before damage, the clay surface itself retains a moist, supple texture—leaving one simply impressed by the quality of the clay used.
And even after you finish your drink, there is still another pleasure waiting. While admiring the bold, wide foot that is so characteristic of Makoto Kaneshige, if you gently rub the last drops of sake into the surface, it will become an incomparable moment of bliss for any true sake lover.
It is slightly unstable due to the shape of the foot and the fire effects, but once sake is poured in, it becomes stable.
Koji Nakahara - Bizen Dragon Guinomi Kinsai
19,800 YEN
size : W7.8cm×7.8cm×H5.2cmThis is a new Bizen Dragon Guinomi by Koji Nakahara, who studied under Fumio Kawabata and strives to create works suited to modern life.
The entire surface is carved with a dragon motif, and by treating the guinomi itself as a single sky, the viewer can enjoy the majestic figure of a dragon drifting calmly through a sea of clouds.
The dragon has been carefully carved out of a thickly formed vessel, and the intricate details of the scales, claws, and whiskers are nothing short of remarkable.
Although the piece is thickly formed, the balance and feel in the hand have been thoughtfully adjusted throughout. Despite its bold design, it feels light and sits very comfortably in the hand.
This is a work finished with the gold-toned effects that Nakahara is known for achieving in an electric kiln. The upper part shows a metallic sheen reminiscent of copper, while the lower part displays a matte black fire effect, similar to his Susogo series.
Makoto Kaneshige - Bizen Sakazuki
88,000 YENSold out
size : W9.7cm×8.8cm×H4.5cmThis is a freshly kiln-unloaded new Bizen sakazuki 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).
When Kaneshige aims for fire effects, he commits to the firing without compromise, and this piece shows a heavy, intense fire effect as if the clay itself has been fired to its very limit.
The ash-laden fire-effect area feels as though a fleeting moment of being overtaken by lava has been captured. The dark, softly gleaming mass of ash holds both a mesmerizing beauty and a sense of peril, as if it could pull you in.
Despite the daring firing that seems to test the threshold just before damage, the clay character is not completely burnt out. Miraculously, it retains a fresh, vivid hi-iro, allowing you to enjoy both the powerful fire effects and the finest clay character at the same time.
Also, the botan-mochi used to create the open, lighter area on the front continues into the interior as well, making this a piece that truly reaches completion when held and used—very much in the spirit of Kaneshige, who is himself a devoted sake lover.
And even after you finish your drink, there is still another pleasure waiting. While admiring the bold, wide foot that is so characteristic of Makoto Kaneshige, if you gently rub the last drops of sake into the surface, it will become an incomparable moment of bliss for any true sake enthusiast.
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