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Bizen Sake Bottle & sake Cup
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Shinjiro Aika - Bizen Onioke Guinomi
19,800 YEN
size : W7.0cm×6.8cm×H5.6cmShinshiro Aika creates works of unwavering honesty and strength. This is a newly released Bizen Onioke Guinomi by the artist.
Even among the many artists working in Bizen ware, Aika is distinguished by his particular devotion to firing. This work allows one to appreciate the rich colors of the clay and the expressive kiln effects that emerge only through exceptionally thorough firing.
The Guinomi features a unique design inspired by the celebrated Shigaraki *Onioke Mizusashi*. Its boldly formed rim, characteristic of the Onioke style, merges with natural ash glaze that resembles thickly applied oil paint.
Few works seem to embody the phrase “created without regard for profitability” as perfectly as this one. Aika fired it relentlessly until it achieved the appearance he sought, then subjected it to an uncompromising process of selection. Even from a distance, it is immediately apparent that the vessel bears extraordinary kiln transformations.
Clay slips and repeated firings were used extensively, creating a complex interplay of clay surfaces and kiln effects, each with its own distinctive coloring. Together they form an astonishing texture reminiscent of Ko-Bizen ware—at once moist in appearance and yet distinctly dry.
As Bizen ware is fired more intensely, its surface generally becomes harder and increasingly loses its color. This work, however, retains a subtle, almost wet-looking sheen, together with a profound palette in which reddish purple, dark brown, and other tones blend intricately into one another.
Tosyu Yamamoto - Bizen Guinomi
55,000 YEN
size : W6.6cm×6.6cm×H6.6cmPossessing extraordinary and unrivalled skills often described as almost divine, Tōshū Yamamoto created numerous masterpieces and was designated a Living National Treasure. This is a Bizen Guinomi by the artist.
Yamamoto began his career as a craftsman and lived through a period of great upheaval before being designated a holder of an Important Intangible Cultural Property by Okayama Prefecture. This Guinomi bears the potter’s mark he used during the later years of his career.
Its perfectly symmetrical and exceptionally refined form is deeply pleasing to the eye, reflecting the mastery of an artist who devoted his entire life to working at the potter’s wheel.
The work is distinguished by its delicate Hidasuki, created in an electronically controlled gas kiln jointly developed by Tōshū and his son, Yūichi Yamamoto. Precise adjustments to the temperature throughout the firing made this subtle expression possible.
It possesses a character quite different from Hidasuki produced in an electric kiln. The white tone of the clay is particularly pronounced, creating a clean and translucent appearance.
Although the wheel-thrown form is exceptionally precise, its carefully judged weight allows it to rest comfortably in the hand. Tōshū’s uncompromising character as a craftsman can also be seen in the perfectly straight trimming of the foot, which is so entirely free of playfulness that it might, in a certain sense, even appear almost stubbornly austere.
Makoto Kaneshige - Hidasuki Guinomi Highest quality clay
88,000 YENSold out
size : W6.7cm×6.7cm×H5.9cmMakoto Kaneshige, the eldest son of Sozan Kaneshige and heir to Maruyama-gama, continues to captivate many admirers through the harmony of refined, graceful clay texture and powerful form.
This is a newly fired Bizen Hidasuki Guinomi by Makoto Kaneshige, inscribed on the box as Saijyo Tsuchi Nite (“Made with the Highest quality clay”).
It is his latest work, freshly fired at the end of 2025.
As indicated by the box inscription Saijyo Tsuchi Nite, this piece was made from the finest possible clay, and was high-fired at Maruyama-gama to achieve a softly moist and supple surface.
About forty years ago, Sozan Kaneshige and Makoto Kaneshige discovered an exceptional batch of the highest-quality clay.
After preparing it entirely by hand, without the use of machines, they left it resting in storage for many years.
It was clay so precious that Makoto Kaneshige is said to have remarked that it would be too wasteful to die without ever using it.
In striking contrast to the somewhat coarse clay surface often seen in his Hidasuki works until now, this piece has an extraordinarily fine texture, so refined that one might almost think it had been passed through an extremely fine sieve.
Sozan Kaneshige, the previous generation, generally chose slightly coarser clay for his Hidasuki works, and for that reason as well, this Guinomi can truly be described as luxuriously exceptional beyond compare.
The form is restrained to the essentials of wheel-throwing, avoiding excessive ornament and placing the beauty of the clay itself at the center of expression.
As if to prove the excellence of the clay, the surface displays a vivid yet delicate Hidasuki pattern, as though the straw had only just gently brushed against it, while the foot, revealed when the piece is turned over, asserts an overwhelming presence all on its own.
It is nothing less than masterful.
Mitsuhiro Kaneshige - Ao-Bizen Shuhai
19,800 YEN
size : W7.0cm×6.8cm×H5.8cmThis is an Ao-Bizen Shuhai by Mitsuhiro Kaneshige, who was born into Kaneshige Ritouen, one of the six traditional Bizen kiln families, yet pursues his own path in pottery without being bound by the family name.
This piece aims for an Ao-Bizen style firing through intense reduction flames, while also retaining a beautiful gradation created by natural ash glaze.
The blue-toned firing caused by the reduction flames has produced a refreshing blue surface across the entire piece, giving it a color reminiscent of Sueki ware, the ancestor of Bizen ware.
In addition, natural ash glaze has settled along the rim almost like lipstick, while the blue surface has reacted with the glaze to create black fire effects. The subtle combination of blue and black gives the piece a particularly fascinating character.
The carefully considered wheel marks inside, reminiscent of a pool of tea, are beautifully resolved, and the trimmed foot, with its crepe-like wrinkles, is equally impressive.
Shinjiro Aika - Bizen Guinomi
19,800 YENSold out
size : W6.2cm×6.2cm×H5.6cmShinshiro Aika creates works of unwavering honesty and strength. This is a newly released Bizen Guinomi by the artist.
Even among the many artists working in Bizen ware, Aika is distinguished by his particular devotion to firing. This work allows one to appreciate the rich colors of the clay and the expressive kiln effects that emerge only through exceptionally thorough firing.
Few works seem to embody the phrase “created without regard for profitability” as perfectly as this one. Aika fired it relentlessly until it achieved the appearance he sought, then selected it through an uncompromising process of evaluation. Even from a distance, it is immediately apparent that the vessel bears extraordinary kiln transformations.
Clay slips and repeated firings were used extensively, creating a complex interplay of clay surfaces and kiln effects, each with its own distinctive coloring. Together they form an astonishing texture reminiscent of Ko-Bizen ware—at once moist in appearance and yet distinctly dry to the touch.
As Bizen ware is fired more intensely, its surface generally becomes harder and increasingly loses its color. This work, however, retains a subtle, almost wet-looking sheen, together with a profound palette in which reddish purple, dark brown, and other tones blend intricately into one another.
The form has also been meticulously calculated and constructed, giving the vessel a poised and compelling presence. It is a work that invites one to enjoy sake slowly while appreciating the dynamic movement expressed in every detail.
Shinjiro Aika - Shigaraki Onioke Guinomi
19,800 YENSold out
size : W7.3cm×7.2cm×H5.3cmShinshiro Aika creates works of unwavering honesty and strength. This is a Shigaraki Onioke Guinomi by the artist.
Even among the many artists working in Bizen ware, Aika is distinguished by his particular devotion to firing. This work allows the viewer to appreciate the rich colors of the clay and the powerful kiln effects that emerge only through exceptionally thorough firing.
The Guinomi features a unique design inspired by the celebrated Shigaraki *Onioke Mizusashi*. Its boldly formed rim, characteristic of the Onioke style, harmonizes beautifully with natural ash glaze flowing like a clear mountain stream.
Few works seem to embody the phrase “created without regard for profitability” as perfectly as this one. Aika fired the piece relentlessly until it achieved the appearance he sought, resulting in a truly remarkable surface.
The natural ash glaze cascading dramatically down both the front and reverse is nothing short of breathtaking. Its fresh, translucent green, reminiscent of a clear stream flowing deep in the mountains, complements the Shigaraki clay beautifully.
The rich orange clay surface characteristic of Shigaraki appears to sparkle grain by grain. Combined with the overall sheen of the vessel, it gives the work the impression of emitting a faint glow from within.
Jun Isezaki - Bizen Hikidashi-guro Guinomi
165,000 YENSold out
size : W6.8cm×6.6cm×H6.5cmDrawing a wealth of inspiration from the natural environment of his beloved home of Bizen, Jun Isezaki brought a new spirit to the tradition of Bizen ware. This is a newly released Bizen Hikidashi-guro Guinomi by the artist.
Fired in February 2026, it is a work from the final period of his career.
The Guinomi was created using the hikidashi technique, one of the signature firing methods of the Isezaki family. It was placed near the firebox of the kiln and removed during firing from an interior approaching 1,200°C. As only a very small number of such works can be obtained from a single firing, Hikidashi-guro pieces are exceptionally rare.
As a result of being drawn directly from the kiln, the Goma has developed an amber-like color infused with shades of blue. Its translucent and beautiful kiln transformation is unique to works created through the hikidashi process.
The black surface has also taken on a deep, clear blue tone through the effect of cobalt contained in the applied clay slip. When used, the surface will absorb moisture and is likely to shimmer with even greater beauty.
Most Bizen ware evokes the force of intense flames and searing heat, but Hikidashi-guro alone possesses a very different, exceptionally delicate expression. Its gentle surface scenery brings to mind softly falling rain.
Beyond the Kigoma and blue kiln effects, the smooth black coloring of the exposed clay and the exceptionally large, energetic form also give the work a finish that is unmistakably characteristic of Jun Isezaki.
Togaku Mori - Guinomi
38,500 YENSold out
size : W6.3cm×6.0cm×H5.8cmTogaku Mori achieved one of the great feats in the history of ceramics by successfully firing an enormous kiln measuring 85 meters in length. This is an earlier Guinomi by the artist.
Created around the middle period of Mori’s career, the work is accompanied by an artist biography listing his achievements through 1993.
It was made after Mori had completed his firings in the Aioi Great Kiln and relocated to Samukaze. Beautiful Tobi-Goma markings appear across the clean white clay characteristic of Samukaze.
The distinctive gradation of the Samukaze kiln, shifting from scarlet to deep brown, is also clearly visible. The gradual transformation of the white Samukaze clay resembles fruit slowly taking on color and remains endlessly captivating to observe.
By this period, Mori had begun moving away from wheel throwing and toward forming his works with plaster molds. This piece was also constructed by joining three separate sections to create its hexagonal rim.
Unlike wheel-thrown vessels, it is difficult to perceive the maker’s rhythm or breathing through traces of the potter’s wheel, giving the work a somewhat impersonal and almost inorganic atmosphere.
Yet this very quality harmonizes beautifully with the white Samukaze clay. The result is a refined design that feels both primal and remarkably timeless.
Although this is an earlier work offered on the secondary market, it shows no staining, wear, or signs of use.
Jun Isezaki - Bizen Hikidashi-guro Guinomi
165,000 YENSold out
size : W7.0cm×6.6cm×H7.4cmDrawing a wealth of inspiration from the natural environment of his beloved home of Bizen, Jun Isezaki brought a new spirit to the tradition of Bizen ware. This is a newly released Bizen Hikidashi-guro Guinomi by the artist.
Fired in February 2026, it is a work from the final period of his career.
The Guinomi was created using the hikidashi technique, one of the signature firing methods of the Isezaki family. It was placed near the firebox of the kiln and removed during firing from an interior approaching 1,200°C. As only a very small number of such works can be obtained from a single firing, Hikidashi-guro pieces are exceptionally rare.
As a result of being drawn directly from the kiln, the Goma has developed an amber-like color infused with shades of blue. Its translucent and beautiful kiln transformation is unique to works created through the hikidashi process.
The black surface has also taken on a deep, clear blue tone through the effect of cobalt contained in the applied clay slip. When used, the surface will absorb moisture and is likely to shimmer with even greater beauty.
Most Bizen ware evokes the force of intense flames and searing heat, but Hikidashi-guro alone possesses a very different, exceptionally delicate expression. Its gentle surface scenery brings to mind softly falling rain.
Beyond the Kigoma and blue kiln effects, the smooth black coloring of the exposed clay and the exceptionally large, energetic form also give the work a finish that is unmistakably characteristic of Jun Isezaki.
Tosyu Yamamoto - Bizen Guinomi
88,000 YEN
size : W6.7cm×6.6cm×H5.6cmPossessing extraordinary and unrivalled skills often described as almost divine, Tōshū Yamamoto created numerous masterpieces and was designated a Living National Treasure. This is a Bizen Guinomi by the artist.
Yamamoto began his career as a craftsman and lived through a period of great upheaval before being designated a holder of an Important Intangible Cultural Property by Okayama Prefecture. This Guinomi bears the potter’s mark he used during the later years of his career.
Its perfectly balanced, symmetrical, and exceptionally refined form is deeply pleasing to the eye, reflecting the mastery of an artist who devoted his entire life to working at the potter’s wheel.
Through the Yamamoto family’s distinctive firing method, which combines assorted hardwoods with Japanese red pine, deep green-tinged Goma effects have developed across the surface. The resulting scenery brings together both the power of the flames characteristic of Tōshū Yamamoto and a quiet sense of wabi-sabi.
Alongside the deep green Goma, natural black kiln effects have also appeared without the use of a clay slip. Together with the golden tones emerging from the clay body, these colors make the work immediately recognizable as one by Tōshū Yamamoto.
Judging from the box inscription, the potter’s mark, and the overall style, this work dates from the final years of his career. Nevertheless, the remarkably swift and precise trimming of the foot shows no trace of age. It suggests that his craftsmanship had progressed beyond conscious theory or technique, becoming deeply embedded in the memory of his body.
Jun Isezaki - Bizen Tokkuri
330,000 YEN
size : W9.8cm×9.7cm×H14.5cm 520ccDrawing a wealth of inspiration from the natural environment of his beloved home of Bizen, Jun Isezaki brought a new spirit to the tradition of Bizen ware. This is a newly released Bizen Tokkuri by the artist.
Fired in February 2026, it is a work from the final period of his career.
The Tokkuri was fired for approximately ten days in a semi-underground Anagama kiln. Its dynamic kiln effects include Koge-Goma, flowing Nagare-Goma, bead-like Tamadare, and Shiro-Goma, offering a rich expression unique to Anagama firing.
Natural ash glaze covers approximately ninety percent of the outer surface. Rather than forming a uniform color, however, the appearance changes dramatically from one area to another, making the work exceptionally rewarding to view from every angle.
During firing, the Tokkuri was positioned with its front side facing downward toward the kiln floor. A large volume of natural ash glaze flowed from the back and enveloped the entire vessel, creating a complex veil of Goma effects layered one upon another.
Particularly striking are the streams of Goma that flowed down the sides and formed bead-like deposits in different colors around the rim and body. Those near the rim have a metallic, lead-like tone, while those on the body resemble amber-colored mineral deposits, giving the work a profoundly mysterious appearance.
Despite the powerful kiln transformation covering the vessel, areas of soft caramel-brown clay remain clearly visible along the sides of the body. The work fully conveys the beauty of Anagama firing that Jun Isezaki loved and pursued throughout his life.
Youtaro Isezaki - Hibi Ginsai 2024 Faceted Guinomi
17,600 YEN
size : W7.3cm×6.7cm×H5.5cmBorn into a distinguished Bizen ware family as the eldest son of Shin Isezaki, Yotaro Isezaki continues to create works in a new style unconstrained by conventional ideas. This is his *Hibi Ginsai 2024* Faceted Guinomi.
Incorporating AI-generated imagery and transfer-printing techniques, Isezaki brings a contemporary sensibility to ceramics while pursuing a distinctive form of expression.
As suggested by the title *Hibi 2024*, images taken from the camera roll of his own iPhone are scattered across the entire surface of the vessel using ceramic transfer paper, creating an effect reminiscent of a photographic collage.
As also indicated by the title, silver decoration has been applied to the underlying surface inside the Guinomi. The slightly subdued tone of the silver gives the transferred photographs a distinctly nostalgic atmosphere.
The clay body also affects the clarity of the transferred images through the texture of its particles and the influence of the glaze. This creates a uniquely worn and faded appearance, as though the vessel had been used and aged over many years.
The body is finely faceted with numerous vertical cuts made using a spatula. When held in the hand, one can quietly sense the traditional approach to form passed down through the Isezaki family from Mitsuru Isezaki, adding another intriguing dimension to the work.
Built upon the form of a traditional sake vessel while layering contemporary elements such as AI, image transfer, and smartphone technology, this work presents a new mode of ceramic expression unique to Yotaro Isezaki.
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