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Bizen Sake Bottle & sake Cup
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Jun Isezaki - Bizen Kuro Guinomi
132,000 YEN
size : W7.0cm×6.7cm×H6.8cmThis is a new Bizen Kuro Guinomi by Jun Isezaki, a Living National Treasure who continues to lead the world of Bizen ware with a creative spirit that never runs dry.
This is one of his latest works, newly fired in February 2026.
Fired for about ten days in a semi-underground Anagama kiln, this piece shows a powerful clash between the black coating and intense Goma, with some areas transforming into a blue fire effect derived from the cobalt contained in the coating.
The piece was fired lying on its side, and natural ash glaze has adhered from the back as if covering the entire work, creating a bold and highly dynamic fire pattern.
Around the rim and nearby areas, the natural ash glaze has hardened to form intense scorched Goma, which combines with the black coating to create a rich cobalt-blue fire effect.
The fact that this blue fire effect appears right around the rim makes the piece especially fascinating as a Guinomi. When used and moistened by sake, the colors become even more vivid, delighting not only the palate but also the eye.
The smooth black tone of the clay surface, together with its generously sized and energetic form, gives the piece a finish unmistakably characteristic of Jun Isezaki, even beyond the beauty of the Kigoma and blue fire effect.
Kei Ushigaki - Tokkuri
24,200 YEN
size : W9.7cm×9.7cm×H13.0cm 400ccKei Ushigaki trained under Jun Isezaki, a Living National Treasure, and later established his own kiln in Kagoshima, a place connected to his grandfather. This is a Tokkuri by Kei Ushigaki.
Created far from Bizen, in the land of Kagoshima, this piece reflects the appeal of Bizen ware that he came to recognize anew by viewing the tradition from an outside perspective.
It was made by firing high-quality clay in the Anagama kiln he built in Kagoshima. The natural ash glaze produced through strong firing has accumulated on the surface, forming complex layers across the vessel.
The base clay surface has a dry, beige tone, which beautifully enhances the lemon-yellow natural ash glaze that has fallen over the entire piece.
In terms of form, the work firmly carries forward the style of the Isezaki lineage, while the clay left around the base appears to curl and lift, creating a stylish and distinctive design.
Jun Isezaki - Bizen Yohen Tokkuri
330,000 YEN
size : W9.0cm×8.8cm×H13.4cm 400ccThis is a new Bizen Yohen Tokkuri by Jun Isezaki, Living National Treasure, who continues to lead the world of Bizen ware with a creativity that never fades.
This is one of his latest works, newly fired in February 2026.
Among Jun Isezaki’s works, anagama Yohen is especially rare, and this piece stands out even within that group for its exceptional firing. Within an ash covering strong enough to rival that of a noborigama firing, it reveals the distinctive fire pattern unique to the anagama, creating a truly beautiful appearance.
The front shows a rich hiro that is characteristic of anagama Yohen, and this lightness in the Yohen, different again from that of noborigama-fired works, is especially appealing.
The back is covered with a complex ash effect where yellow, gray, and black intermingle, and when the piece is moistened, the various tones contained within the ash covering emerge even more vividly.
In keeping with the Yohen, the form is simple, without decorative elements such as impressed patterns, and this simplicity only serves to highlight the beauty of the kumadori-like arch even more.
Although Jun Isezaki often favors somewhat larger forms, this work has a classical size with a body diameter of 9 cm, and it expresses the classic Bizen form of the Yohen Tokkuri beautifully while still clearly showing his own distinctive character.
Mitsuhiro Kaneshige - Bizen Shuhai
19,800 YEN
size : W8.9cm×8.7cm×H4.4cmThis is a 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 work was created through a combination of electric kiln and wood-firing under a variety of firing conditions, as he sought to approach the texture and presence of the old ceramics he admires.
By reinterpreting the balance between ash coverage and Goma seen in contemporary Bizen, this piece presents a smooth, namako-like Yohen surface inside, while Tobi-Goma appears around the exterior.
The well-fired reddish-brown clay tone beautifully enhances the mustard-colored Tobi-Goma, creating an intriguing impression, almost as if two different ceramic surfaces had been joined together inside and out.
The form, inspired by Ido Chawan, fits very comfortably in the hand, enhanced by the supple quality of Bizen clay. Despite its powerful firing, it offers a remarkably natural and straightforward feel in use.
Hiroshi Goseki - Sohen Kuro Guinomi
13,200 YENSold out
size : W7.3cm×7.2cm×H7.1cmHiroshi Goseki trained under Jun Isezaki, Living National Treasure, and later established his kiln in Ibaraki Prefecture.
This is his Souhen Kuro Guinomi.
At a glance, the use of black slip clearly recalls the Isezaki lineage, and the work bears the title Souhen Kuro because the areas where the natural ash glaze has accumulated turn a vivid cobalt blue.
Upon the calm Kigoma, which carries a slightly greenish tone, there appears a rich cobalt-blue Yohen fully worthy of the name Souhen.
For this piece, the basic form was first built up to a certain extent using slab construction, and was then carefully adjusted by hand in the finishing stage.
The result is an exceptional form that conveys the quiet stillness and subtle fluctuation of a Raku tea bowl.
The black interior differs in mood from the surface, taking on the deep tone of finely prepared black ink, and creating a captivating depth that seems to draw the eye inward, perfectly suited to the serene character of the work.
Mitsuhiro Kaneshige - Bizen Shuhai
19,800 YEN
size : W7.6cm×7.5cm×H4.5cmThis is a 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 work was created through a combination of electric kiln and wood-firing under a variety of firing conditions, as he sought to approach the texture and presence of the old ceramics he admires.
It is a Shuhai characterized by a rich, substantial surface created through multiple firings, together with deep Kigoma. The clay tone beautifully recreates the distinctive chocolate-like color found in old Bizen ware.
The control of the fire pattern, made possible through multiple firings, is also excellent. Slightly greenish Kigoma and subdued Ito-Goma appear across the surface, creating a highly engaging fire pattern.
The gently triangular body fits very comfortably in the hand, making this Shuhai easy to use despite its powerful appearance.
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.
Mitsuhiro Kaneshige - Ao-Bizen Iro-Goma Tokkuri
33,000 YEN
size : W9.4cm×9.3cm×H16.2cm 450ccThis is an Ao-Bizen Iro-Goma Tokkuri 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 is a highly distinctive work that aims for an Ao-Bizen style firing through intense reduction flames, while also creating a matiere reminiscent of Ibe-te through multiple firings.
From a distance, it almost appears to be an Ibe-te work finished with applied slip, but when held in the hand, one realizes with surprise that its coloration comes not from slip, but from the firing method itself.
Over the blue-toned surface created by the reduction flames, rich flowing Goma has settled, causing the Goma itself to appear white. In this way, it recalls the white Goma seen on old Bizen works from the Muromachi period and the early Edo period.
Furthermore, as suggested by the title Iro-Goma, this work also incorporates colored decoration. Green and pale blue glazes have been applied so that they blend naturally over the Goma, functioning as accent colors that connect the blue-black clay surface and the white Goma.
In spite of its powerful firing, the surface feels remarkably smooth, and the neck is shaped for a very comfortable grip. It is a thoughtfully designed Tokkuri that reflects Mitsuhiro Kaneshige’s wide-ranging study and collection of many different kinds of ceramics.
Mitsuhiro Kaneshige - Ao-Bizen Shuhai
19,800 YENSold out
size : W6.8cm×6.5cm×H5.4cmThis 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.
Mitsuhiro Kaneshige - Ao-Bizen Sangiri Shuhai
19,800 YENSold out
size : W6.8cm×6.7cm×H5.2cmThis is an Ao-Bizen Sangiri 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 is a highly distinctive work that aims for an Ao-Bizen style firing through intense reduction flames, while also enveloping the entire piece in powerful Sangiri.
From a distance, it almost resembles charcoal or coal, and only when held in the hand does one fully realize that it is in fact a ceramic piece. This gives it a mysterious and fascinating fire pattern.
The surface, where the blue-toned firing from the reduction flames overlaps with the intense Sangiri effect, shows a complex mixture of blue, black, and silver, creating a profound fire pattern that changes its expression depending on the viewing angle.
Furthermore, when sake is poured into the piece and moisture soaks into the clay, Bizen-like yellow and green natural ash glaze, hidden beneath the fire pattern, gradually emerges, adding another layer of fascination.
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.
Jun Isezaki - Bizen Guinomi
66,000 YEN
size : W7.0cm×6.7cm×H6.8cmThis is a newly fired Bizen Guinomi by Jun Isezaki, a Living National Treasure who continues to lead the world of Bizen ware with a creative spirit that never runs dry.
This is one of his latest works, newly fired in February 2026.
Fired for about ten days in a semi-underground Anagama kiln, this piece allows you to enjoy the dynamic results unique to Anagama firing, including Kase-Goma, Kigoma, Ito-Goma, and Hidasuki.
The surface is centered on the clean white clay tones characteristic of Anagama firing, while natural ash carried on the hot air has transformed in various ways across the piece, creating a simple yet endlessly fascinating fire pattern.
The front is especially attractive, beginning with a beautiful contrast of red and white, and further enriched by amber-toned fire effect and lightning-like Ito-Goma.
Inside the piece as well, the white clay tones and yellow Goma form the main fire pattern, and when filled with sake, the grains of the clay seem almost to bloom into vivid color.
The form of this work has been intentionally kept simple, with decoration reduced to a minimum, and this in turn brings out the beauty of the various fire patterns all the more strongly.
Mitsuhiro Kaneshige - Hidasuki Shuhai
19,800 YENSold out
size : W8.4cm×8.3cm×H4.6cmThis is a Hidasuki 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 work was created through a combination of electric kiln and wood-firing under a variety of firing conditions, as he sought to approach the texture and presence of the old ceramics he admires.
It is a Shuhai with a matte black surface over which rich crimson Hidasuki has appeared, resulting in a finish that strongly conveys the artist’s deep commitment to firing.
The Hidasuki is especially striking, seeming almost to be sinking into the clay surface itself. Its strong luster and golden highlights create a beautiful contrast with the matte clay skin, making the piece highly captivating.
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.
This is a Hidasuki work in which the bare clay surface can be fully appreciated, unadorned by any natural ash glaze. Precisely for that reason, the form has been thrown with a sense of tension that extends all the way to the rim.
Mitsuhiro Kaneshige - Bizen Shuhai
19,800 YENSold out
size : W6.8cm×6.7cm×H4.7cmThis is a Bizen Shuhai by Mitsuhiro Kaneshige, who was born into Kaneshige Ritouen, one of the six kiln families of Bizen, yet continues to make pottery guided not by his name, but by the direction of his own curiosity.
Created through a combination of electric kiln and wood firing under a variety of firing conditions, this work is an attempt to approach the matière found in the old ceramics he admires.
This Bizen Shuhai is distinguished by the substantial surface texture created through repeated firing, as well as its rich Kigoma and Sangiri, and it beautifully recreates the firmly fired red clay surface that differs from the soft-fired character of old Bizen.
The control of the fire pattern, only possible through repeated firing, is also masterful. The mustard-colored Goma seems to flow from the front toward the right rear, while the Sangiri is skillfully arranged so that it overlaps the lower body.
In addition, the potter’s wheel marks in the interior, reminiscent of a pool of tea, and the foot trimming that leaves traces like crepe wrinkles are both perfectly resolved.
However, when such carefully considered fire patterns come together so beautifully, the result can sometimes feel a little cramped. In this piece, that impression is skillfully balanced by its slightly smaller size compared to many contemporary sake vessels.
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