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Bizen Sake Bottle & sake Cup
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Kei Ushigaki - Guinomi
13,200 YEN
size : W8.0cm×7.8cm×H4.4cmThis 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 terms of form, the piece clearly reflects the aesthetic inherited from the Isezaki lineage, with a stylish and compact design—such as the flared foot that appears as if the clay is peeling outward.
Koichiro Isezaki - Kuro Guinomi
26,400 YEN
size : W7.6cm×7.4cm×H5.8cmKoichiro Isezaki is Jun Isezaki's eldest son.
He uses kiln in a tunnel-like shape called "anagama".
This new work was fired in August 2025.
He makes works with normal Bizen clay, and paints black clay after drying.
"Kuro" is made of clay with a high iron content in the Osafune district of Okayama prefecture.
Add a small amount of cobalt after dissolving them in water to make it liquid.
The black clay applied to the work changes to beautiful black when fired.
Kei Ushigaki - Guinomi
13,200 YENSold out
size : W6.8cm×6.6cm×H5.3cmKei 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 an anagama he built in Kagoshima with fine clay, it presents a bright gray fire pattern accented by a vivid, ripened-persimmon scarlet break.
Inside the well, the firing advanced further than the front scarlet, yielding the dense shiso-purple tone that is quintessential to Bizen-yaki.
In form, it faithfully carries the Isezaki clan vocabulary: thrown with generous thickness, then pared along the sides into an elegant octagonal profile.
Koichiro Isezaki - Bizen Yohen Guinomi
30,800 YENSold out
size : W8.3cm×7.8cm×H6.2cmKoichiro Isezaki is Jun Isezaki's eldest son.
He uses kiln in a tunnel-like shape called "anagama".
This Guinomi was fired by him in September 2024.
There is a hole in the middle of anagama for small firewood.
The firewood that was put in during firing turned into a black fire pattern for this works.
It is a lively Youhen with a different color from the nobori gama kiln.
The design is like a smaller Chawan.
Very quiet and calm, but very beautiful as a sphere.
Yoshiteru Takariki - Bizen Sakazuki
9,900 YENSold out
size : W11.0cm×10.7cm×H4.1cmThis is an earlier work by Yoshiteru Takariki, a Bizen Sakazuki created around ten years ago. Inspired by the massive drinking vessels once favored by ancient Japanese warriors, this piece is a bold and powerful expression of traditional aesthetics.
With a diameter of approximately 11 cm, the Sakazuki exudes an impressive and commanding presence. However, rather than being ostentatious, the subdued elegance brought by Kase-Goma and Yohen effects softens the intensity, giving the piece a refined and dignified air.
Due to the sheer size of the form, a certain degree of structural rigidity was required from the clay. As a result, a significant proportion of mountain clay (yamatsuchi) was used, producing a deep, rich Hidasuki hue that seems to emerge from within the clay body itself.
The vivid coloration, which enhances the visual appeal of sake, also evokes a profound sense of beauty—like the fleeting brilliance of life—set against a backdrop of robust, flame-hardened textures. It is a poetic and emotionally charged landscape.
The powerful form, reminiscent of armored warriors, is imbued with passionate Hidasuki reds and a tinge of melancholic beauty, like the last light of a setting sun. This piece would pair wonderfully with rich nigori sake.
This work remains in unused condition, carefully preserved in its original state since purchase.
Anjin Abe - Imbe Guinomi
77,000 YENSold out
size : W6.6cm×6.0cm×H6.3cmThis is a Guinomi created around 2008 by Anjin Abe.
Unlike most contemporary Bizen artists who use cobalt-enriched slip, this piece is made using high-iron clay, faithfully reproducing the traditional method of old Bizen.
The most distinctive feature is its deeply lustrous surface, showcasing the essence of Imbe style. Rather than simple black, the color leans toward a richly complex dark brown, where shades of black and burnt umber intertwine into a densely layered surface.
The texture rivals that of early-Edo period Imbe Mizusashi, with a lacquer-like depth that invites endless appreciation.
On the front, a deeply carved plum blossom motif contrasts beautifully with a heavy layer of Kigoma, adding a dramatic visual impact.
In contrast, the back is adorned with a simple circular engraving—perhaps the moon, the sun, or something entirely whimsical—adding a playful accent to the piece.
This work is in unused condition, having been carefully stored since its original purchase without being opened.
Yoshiteru Takariki - Bizen Hidasuki Sakazuki ??Polka Dot??
7,700 YEN
size : W7.5m×7.3cm×H4.6cmThis Guinomi was created around 15 years ago by Yoshiteru Takariki and features his original “Polka dot Hidasuki” design—a unique interpretation of the traditional Hidasuki technique.
While conventional Hidasuki markings are formed by wrapping or placing straw during firing, Takariki developed this dot-pattern effect by applying straw in rounded clusters, creating soft, playful polka dots across the surface.
The piece was fired in a specially customized electric kiln capable of extended firing times comparable to a climbing kiln.
Thanks to this method, the clay body showcases a gently textured surface, and the rich Hidasuki hues deeply infused into the body highlight the sophisticated technique inherited from his master, Sozan Kaneshige.
The minimal use of straw complements the delicate polka dot pattern, and the mogusa-colored clay base gives the piece a gentle, almost floral impression—both refined and inviting.
This Guinomi has only been used a few times and remains in excellent condition, with no visible stains or signs of wear.
Yoshiteru Takariki - Bizen Kuro Guinomi
9,900 YENSold out
size : W6.6cm×6.5cm×H5.9cmHe inherits the skills and spirit of Sozan Kaneshige.
The simple and undecorated design highlights the beauty of Bizen clay.
He believes that the work will be completed in the hands of the user.
This Guinomi was fired in around 2015.
This Guinomi represents a new direction for Yoshiteru Takariki,
featuring a black slip clay surface—a departure from his previous works.
Using high-quality base clay and firing it in a traditional climbing kiln,
he has transformed this piece into a distinctive and evolved expression of his style.
The cup was placed at the front of the kiln, where the flame is most intense.
As a result, the entire surface is generously coated with amber-colored natural ash glaze,
creating a subdued, elegant tone that resembles iron glaze—despite its title, “Black.”
Inside the vessel, the glaze has pooled under high heat,
forming an obsidian-like depth at the bottom.
Together with the delicate crazing around the interior, it offers a mysterious and captivating experience when filled with sake.
The classic, approachable form—typical of Takariki’s work—makes it easy to handle,
despite the fantastical glaze landscape.
It is a sake cup that harmonizes practical usability with striking visual intrigue.
This piece has only been used a few times since purchase,
and remains in excellent condition with no stains or signs of wear.
Kazuki Nakamura - Bizen Guinomi
6,600 YENSold out
size : W9.0cm×8.7cm×H3.3cmThis Guinomi was made by Kazuki Nakamura approximately 15 years ago.
On the front, it features a vibrant scarlet clay color (Hiiro)—a hallmark of the Nakamura family—
while inside, a more subtle scarlet tone lies hidden, gradually revealing itself as it comes into contact with sake.
In terms of usability, the slightly tapered body fits naturally between the thumb and forefinger,
and the sturdy foot offers a secure hold for the middle finger, making it more comfortable to handle than its appearance might suggest.
This piece allows you to enjoy both the expressive form and vivid Hiiro at once.
As you continue to use it, the surface will become increasingly polished by sake, enhancing its character over time.
It has only been used a few times since purchase, and remains in excellent condition with no noticeable stains or signs of wear.
Yoshiteru Takariki - Bizen Yohen Guinomi
9,900 YENSold out
size : W6.5cm×6.5cm×H6.2cmHe inherits the skills and spirit of Sozan Kaneshige.
The simple and undecorated design highlights the beauty of Bizen clay.
He believes that the work will be completed in the hands of the user.
This Guinomi was fired about 15 years ago.
True to the fearless firing style of Yoshiteru Takariki—known for drawing out the full expressive power of the clay through bold risk-taking—
this piece shows a firing that clearly prioritizes yaki (flame effects) over the clay itself, resulting in a stunning and dramatic finish.
The piece beautifully balances ash glaze reminiscent of solidified magma with a sweet, fruit-like scarlet clay color.
It is a delight not only to look at and use, but also to watch as it matures over time.
Inside the vessel, a rich scarlet tone spreads across the surface, enhancing the visual pleasure of sake presentation.
At the same time, small stones within the clay and areas of weathered Kase-Goma kiln effects add a rustic, aged character to the overall impression.
Yoshiteru Takariki - Bizen Yohen Guinomi
9,900 YENSold out
size : W6.7cm×6.6cm×H5.8cmHe inherits the skills and spirit of Sozan Kaneshige.
The simple and undecorated design highlights the beauty of Bizen clay.
He believes that the work will be completed in the hands of the user.
This Guinomi was fired about 15 years ago.
True to the fearless firing style of Yoshiteru Takariki—known for drawing out the full expressive power of the clay through bold risk-taking—
this piece shows a firing that clearly prioritizes yaki (flame effects) over the clay itself, resulting in a stunning and dramatic finish.
A jet-black hai-kaburi (ash-covered kiln effect) reminiscent of solidified magma clashes powerfully with a scatter of golden Kigoma,
like a swirling sandstorm suspended in motion.
At the front, the exposed area reveals a hard, fully vitrified clay color,
while inside the vessel, a soft and gentle clay tone remains intact—
allowing the viewer to enjoy both intensity and subtlety within a single work.
Go Ikenishi - Imbe Rokkaku Shuhai
33,000 YENSold out
size : W7.0cm×6.3cm×H5.2cmGo Ikenishi is studying old ceramics from Japan, China and Korea.
He applies what he has learned from the study of old ceramics to his work production.
This work is colored like an iron works by the "Inbe-te" technique.
The surface of the dried work is coated with iron-rich mud.
The worn-out iron-like color makes you feel Wabi-Sabi.
He is lectured by Anjin Abe on the firing method.
Layers are created in Kigoma by firing multiple times.
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