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Bizen Sake Bottle & sake Cup
1022 Items
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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.
Makoto Kaneshige - Bizen Tokkuri
220,000 YENSold out
size : W9.6cm×9.5cm×H13.5cm 400ccThis is a freshly kiln-unloaded new Bizen 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).
A hallmark of the Enzan kiln tradition inherited from Sozan, and now something of Makoto’s signature, appears here as a vivid blue Kase-Goma.
A bluish Kase-Goma clings tightly to the clay surface, and its distinctive, frost-like atmosphere instantly captures the heart of any true sake lover.
In the open, lighter area near the center, you can also see a beautiful hi-iro, a sign of high-quality field clay, so the charm of Bizen clay remains clearly present—not only the intensity of the firing.
In terms of form, the piece showcases Makoto’s distinctive approach to shaping the neck. The firmly pulled-in neck creates a wonderful sense of rhythm and contrast throughout the tokkuri.
And even after you finish drinking, there is still another pleasure waiting. If you gently rub the droplets that form when pouring, or the last remaining sake, into the surface, you can truly touch the essence of Bizen tokkuri—something that has captivated countless sake lovers, including Makoto himself.
Makoto Kaneshige - Bizen Guinomi
88,000 YENSold out
size : W7.0cm×6.5cm×H6.7cmThis 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).
A hallmark of the Enzan kiln tradition inherited from Sozan, and now something of Makoto’s signature, appears here as a vivid blue Kase-Goma.
A bluish Kase-Goma clings tightly to the clay surface, and its distinctive, frost-like atmosphere instantly captures the heart of any true sake lover.
In the open, lighter area near the center, you can also see a beautiful hi-iro, a sign of high-quality field clay, so the charm of Bizen clay remains clearly present—not only the intensity of the firing.
In terms of form, it is a simple yet expansive cylindrical guinomi, with details such as the boldly undulating rim revealing the maker’s passion and a drinker’s sensibility.
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.
Makoto Kaneshige - Bizen Guinomi
88,000 YENSold out
size : W6.7cm×6.3cm×H6.2cmThis 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.
Yoshiteru Takariki - Bizen Hikidashi Guinomi square type
13,200 YENSold out
size : W6.4cm×6.3cm×H4.7cmThis is a Bizen Hikidashi Guinomi, square type, by Yoshiteru Takariki, who studied under Sozan Kaneshige and Yuho Kaneshige.
This piece was unloaded from the kiln in September 2025 (Reiwa 7).
It was placed at the very front of the kiln, in the hottest zone, and pulled out during the firing. As a result, the entire surface looks as if it has been coated with glass.
However, on the bottom where it was in contact with the kiln shelf, the color changes completely from the outer surface, taking on an almost lead-like tone. It is a guinomi that makes you feel anew the mystery of Hikidashi-guro and the strange nature of light.
The four-sided form is also fascinating, evoking Chojiro’s Muki-guri in some way, and together with the pale green fire pattern, it shows an expression quite different from typical Bizen ware.
Yuho Kaneshige - Imbe Guinomi
25,300 YEN
size : W6.7cm×6.4cm×H5.7cmThis is an earlier Bizen sake cup by Yuho Kaneshige, who continues to work while constantly questioning himself.
Judging from the style and the condition of the kiri-wood box, it is believed to have been made around the middle of the Heisei period.
It was fired at Ushigami-shita in Imbe, a site that has unfortunately since been demolished, and it is a guinomi that carries moss-green Kase-Goma characteristic of noborigama works.
As you can tell from the overall tone of the exposed clay, this piece was fired very strongly, and it has a different kind of appeal from his current Tsuchigama-fired works.
In recent years, Kaneshige has tended to fire in a way that somewhat restrains the natural ash glaze. In this piece, however, the approach feels almost “no guard” in the best sense—more than half of the surface is covered in Kase-Goma, allowing you to fully appreciate the abundant, high-quality Kase-Goma so distinctive to the Kaneshige lineage.
The form itself is also richly infused with the essence of tea ceramics, with a finely refined rim and a gently tightened shoulder—an impressively considered and sophisticated construction.
Although this is an earlier piece, there is no staining or sense of use.
Tomoyuki Oiwa - Beni Guinomi
22,000 YEN
size : W7.3cm×7.3cm×H6.3cmThis is a new Beni guinomi by Tomoyuki Oiwa, who studied ceramic technique under Ryuichi Kakurezaki and continues his research and practice in Kamigori, Hyogo Prefecture.
It is his latest work, unloaded from the kiln in October 2025 (Reiwa 7).
This series is made as a counterpart to one of his representative lines, “Kuro.” A special clay slip is applied and fired to achieve a salmon-pink tone.
The overall color is a calm salmon pink rather than something overly bright, while areas where natural ash glaze landed have developed lighter brownish fire effects.
The gradation—from Shiro-Goma through brown tones and into salmon pink—is especially intriguing, and it evokes an atmosphere reminiscent of Hon’ami Koetsu’s white Raku tea bowl, Fujisan.
Oiwa’s teacher, Kakurezaki, has long explored the potential of various clays, and this work can likewise be seen as one possibility—realized through Oiwa’s own unique methods—for expanding how clay itself can be utilized and expressed.
The form is also compelling: Oiwa has absorbed the design of his teacher’s guinomi and reinterpreted it in his own way. From the foot to the rim, the piece is filled with Oiwa’s meticulous attention to detail.
Tomoyuki Oiwa - Kuro Guinomi
24,200 YEN
size : W7.1cm×7.0cm×H7.8cmThis is a new Kuro guinomi by Tomoyuki Oiwa, who studied ceramic technique under Ryuichi Kakurezaki and continues his research and practice in Kamigori, Hyogo Prefecture.
It is his latest work, unloaded from the kiln in October 2025 (Reiwa 7).
Through Oiwa’s powerful firing, the black slip has developed a vivid tone, resulting in a lustrous, clear black reminiscent of Kakurezaki’s own black works.
Oiwa places particular emphasis on the high-temperature phase toward the end of the firing. By carefully holding near peak temperature for a relatively long time, he brings out a striking blue fire effect.
A beautiful cobalt blue spreads across the outer surface of the piece, except for the front area, the foot, and the interior well. When used, it will take on the moisture of the sake and shine even more beautifully.
On the foot and inside as well, the black slip is thoroughly fired, transforming into a glossy black that looks almost wet.
The form itself is simple—an inverted-triangle, glass-like design—which perfectly sets off the intense blue fire effect.
Tomoyuki Oiwa - Beni Guinomi
22,000 YENSold out
size : W8.1cm×6.8cm×H6.7cmThis is a new Beni guinomi by Tomoyuki Oiwa, who studied ceramic technique under Ryuichi Kakurezaki and continues his research and practice in Kamigori, Hyogo Prefecture.
It is his latest work, freshly unloaded from the kiln in October 2025, Reiwa 7.
This piece forms a counterpart to his representative “Kuro” series. A specially prepared clay slip was applied and fired to achieve a subdued, not overly bright salmon-pink tone.
While the overall color remains a calm salmon pink, areas where natural ash glaze landed have developed brighter brownish fire effects.
The gradation from Shiro-Goma, through warm brown, and into salmon pink is especially captivating, and it evokes an atmosphere reminiscent of Hon’ami Koetsu’s white Raku tea bowl Fujisan.
Oiwa’s teacher, Kakurezaki, has long explored the potential of various clays, and this work can likewise be seen as one possibility, realized through Oiwa’s own unique methods, for expanding how clay itself can be utilized and expressed.
The form is also compelling: Oiwa has absorbed the three-legged design associated with his teacher and reinterpreted it in his own way. From the foot to the rim, the piece is filled with Oiwa’s meticulous attention to detail.
Kazan Matsuda - Bizen Guinomi
11,000 YENSold out
size : W6.7cm×6.6cm×H5.4cmThis is a Bizen guinomi by the fourth-generation Kasan Matsuda, who inherited the techniques of the third-generation Kasan as one of the most orthodox practitioners of tea ceramics.
A career history sheet dated Heisei 10 (1998) is included, and this piece is believed to have been made around that time.
With no gimmicks or affectation, it is a straightforward, all-out shiso-purple guinomi. The deep, rich tone is exactly what you would expect from the solitary mastery of the fourth-generation Kasan.
The form, like the firing, is brought together with remarkable simplicity: a wide, flat foot and the understated carving on the body reveal the refined skill of a true master.
The entire piece is a basic, single shiso tone, and precisely because of that, the Kigoma that falls from the rim into the interior stands out beautifully.
Sadly, the Matsuda Kasan lineage came to an end with this fourth generation, yet it is deeply moving to feel how the techniques passed down through four generations live on in the work and are carried from person to person.
Although this is an earlier piece, there is no staining or sense of use.
Yuho Kaneshige - Imbe Hidasuki Sakazuki
25,300 YEN
size : W9.0cm×8.2cm×H8.5cmThis is an earlier work by Yuho Kaneshige, who continues to create while constantly questioning himself—an Imbe Hidasuki Sakazuki.
A ceramic resume dated 2004 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 be felt in his current works is already clearly present here.
The rim, shaped as if the clay has been gently gathered and rounded inward, is a feature also seen in Sozan’s Guinomi forms. In this piece, however, the throwing is thinner and more supple—showing further evolution while still inheriting that spirit.
The firing is close to what is known as So-Hidasuki, with dense Hidasuki covering the entire surface like a thin film. The clear, refreshing tones suit the softly rising form beautifully.
Another fascinating point is that, in harmony with the overall Hidasuki, the white clay is revealed only in small openings inside the foot and the well—an intriguing “reverse” approach compared to kiln-change effects where ash covers and transforms the whole piece.
Although it is an earlier work, there are no stains or signs of use.
Makoto Kaneshige - Bizen Guinomi
38,500 YENSold out
size : W7.6cm×7.3cm×H5.8cmAs the eldest son of Sozan Kaneshige and heir to the Enzan kiln, Makoto Kaneshige has captivated many collectors through the harmony of delicate, elegant clay tones and powerful form. This is one of his earlier Bizen Guinomi works.
A ceramic résumé up to 1999 is included, so this piece is believed to have been made around that time.
The entire outer surface is covered in Kigoma, while the interior features a soft, airy Hidasuki—a superb balance, as achieving both Hidasuki and Goma together is often considered technically demanding in terms of firing control.
The Hidasuki inside, paired with the bright gray clay tone, has an inviting presence, and the richly nuanced surface—grounded in the quality of the clay—becomes even more beautiful and vivid when filled with sake.
The foot is deeply carved, as if testing the limits of the tatatsuki, and this bold treatment seems to have been one of Makoto’s signature approaches even at the time. Even without excessive decoration, the piece speaks eloquently through its presence alone.
Although it is an earlier work, there are no stains or signs of use.
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