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Bizen Sake Bottle & sake Cup
1022 Items
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Tomoyuki Oiwa - Kuro Guinomi
24,200 YENSold out
size : W7.9cm×7.3cm×H6.3cmHe is a disciple of Ryuichi Kakurezaki.
He learned about Kakurezaki's innovative design and firing methods of Anagama.
This Guinomi was fired in October 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.
And this Guinomi has a very special fire pattern.
The bright, transparent light blue fire pattern is a unique color.
As moisture seeps into the blue fire pattern, it changes to a more beautiful hue.
Makoto Kaneshige - Hidasuki guinomi
38,500 YENSold out
size : W6.6cm×6.6cm×H6.5cmThis is an earlier Bizen Hidasuki Guinomi by Makoto Kaneshige, who inherited Maruyama-gama as the eldest son of Sozan Kaneshige and captivates many collectors through the harmony of refined clay character and powerful form.
A career history sheet up to 1999 (Heisei 11) is included, and this piece is believed to have been made around that time.
Unlike Hidasuki fired in an electric kiln, this is a Hidasuki guinomi fired in a noborigama (climbing kiln). Over an adzuki-brown surface, Hidasuki with subtle orange tones has been applied.
It is said that when Sozan developed electric-kiln firing in Bizen, he chose a slightly coarser clay for Hidasuki works. This piece also features an appealingly strong texture with small stone inclusions.
Its most distinctive feature—the orange-tinged Hidasuki—appears as if it is gently seeping out from within the clay surface, and the rich gradations created by the climbing kiln’s flames are deeply atmospheric.
The foot is boldly trimmed almost to the very edge of the Tatamitsuki (the flat ring where the vessel rests), a signature approach that seems to have been one of Makoto’s trademarks even then. Even without excessive decoration, the piece speaks eloquently through its presence alone.
Although this is an earlier work, there are no stains or signs of use.
Yuho Kaneshige - Imbe Yamahai
25,300 YENSold out
size : W9.3cm×9.0cm×H4.1cmKaneshige Yuho is known for creating his works while continually questioning himself. This is one of his earlier Imbe Yamahai.
A career profile up to 2003 is included, and this Yamahai is believed to have been made around that time.
It dates from the mid-Heisei period, when he was presenting many works primarily using mountain clay, and it beautifully combines an aged, matte Goma surface with the quiet, subdued character of mountain clay.
Inspired by rustic mountain tea bowls—everyday wares appreciated for their honest charm—this Yamahai has an especially interesting balance on the wheel: the clay feels as if it is allowed to “stop short” of fully stretching. That subtle restraint creates a pleasant awkwardness, giving the form a unique and endearing character.
The entire surface, including the lightly scattered Tobi-Goma, is matte and without gloss. However, once sake is poured in and the surface takes on moisture, the seemingly weathered clay tones suddenly come alive—like an ordinary rock in the mountains that becomes irresistibly captivating the moment rain begins to fall.
Yuho has said that hiyose clay is highly plastic and reflects one’s thoughts and emotions like a mirror, while rough, less elastic mountain clay makes everything a one-moment, do-or-die challenge. In this piece, that philosophy is palpable: although the form is very simple, it carries a quiet magnetism that makes you want to pick it up again and again.
Although it is an earlier work, it shows no stains or signs of use.
Tadashi Yoshimoto - Bizen Shuhai
9,900 YENSold out
size : W7.3cm×6.9cm×H5.5cmA former work by Tadashi Yoshimoto, a devoted disciple of Kei Fujiwara, who carried on his philosophy and distinctive style.
A career profile (up to around 1996) is included, and this piece is believed to have been made around that time.
A botamochi (clay cover) is placed prominently on the front, resulting in a firing effect that truly reflects the hallmark character of Fujiwara-style Bizen.
Following his master’s pursuit of bold yet warm and inviting forms, this guinomi is slightly thick-walled, allowing you to fully appreciate the comforting feel of the clay in the hand.
The combination of a slightly dark, chocolate-toned body and refined yellow goma creates a classic Bizen atmosphere—an enduring piece you can enjoy for years without tiring of it.
Although it is an earlier work, it remains in excellent condition, with no noticeable signs of use or staining.
Mitsuru Isezaki - Bizen Guinomi
14,300 YEN
size : W6.6cm×6.3cm×H5.9cmThis is a Bizen Guinomi by Mitsuru Isezaki, a master potter who loved Bizen ware and made significant contributions to the Bizen community.
A career history sheet up to 1999 (Heisei 11) is included, and this piece is believed to have been made around that time.
Believing that the true beauty of Bizen lies in the character of the clay itself, Mitsuru Isezaki consistently worked with a deep commitment to high-quality Hiyose clay. This Guinomi carries that quiet depth and richness.
Natural ash has fallen over the entire outer surface, allowing you to enjoy a well-balanced scenery where Kigoma, Kase-Goma, and Sangiri blend together.
Inside the guinomi as well, fine Goma has settled like powdery snow. It is not showy at first glance, but precisely for that reason it feels like a piece you can enjoy for many years to come.
The form is one of Mitsuru Isezaki’s classic shapes: the shoulder gently narrows while the rim opens outward, making it simple, comfortable in the hand, and very easy to use.
Makoto Kaneshige - Hidasuki Guinomi
38,500 YENSold out
size : W6.8cm×6.7cm×H6.6cmThis is an earlier Bizen Hidasuki Guinomi by Makoto Kaneshige, who inherited Maruyama-gama as the eldest son of Sozan Kaneshige and captivates many collectors through the harmony of refined clay character and powerful form.
A career history sheet up to 1999 (Heisei 11) is included, and this piece is believed to have been made around that time.
Unlike Hidasuki fired in an electric kiln, this is a Hidasuki guinomi fired in a noborigama (climbing kiln). Over an adzuki-brown surface, Hidasuki with subtle orange tones has been applied.
It is said that when Sozan developed electric-kiln firing in Bizen, he chose a slightly coarser clay for Hidasuki works. This piece also features an appealingly strong texture with small stone inclusions.
Its most distinctive feature—the orange-tinged Hidasuki—appears as if it is gently seeping out from within the clay surface, and the rich gradations created by the climbing kiln’s flames are deeply atmospheric.
The foot is boldly trimmed almost to the very edge of the Tatamitsuki (the flat ring where the vessel rests), a signature approach that seems to have been one of Makoto’s trademarks even then. Even without excessive decoration, the piece speaks eloquently through its presence alone.
Although this is an earlier work, there are no stains or signs of use.
Yuho Kaneshige - Imbe hidasuki Guinomi
25,300 YENSold out
size : W5.5cm×5.5cm×H6.9cmThis is an earlier Imbe Hidasuki Guinomi by Yuho Kaneshige, an artist who continues to create while constantly questioning himself.
A career history sheet up to the year 2000 (Heisei 12) 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 still be felt in his current works is clearly present here as well.
The form is especially unique: the rim and the foot seem to pull in opposite directions, as if drawn outward by two different forces. Rather than pressing the clay down to deform it, the shaping feels like calmly allowing the clay to stretch and “grow” in a natural, expansive way.
The foot trimming is also fascinating—almost as if the clay has naturally peeled back by itself, a characteristic detail seen in his more recent works as well. The dynamic sense of form inherited from Sozan Kaneshige appears to be evolving here into something distinctly Yuho’s own.
Hidasuki covers the piece diagonally like a monk’s kesa robe. By skillfully using different parts of the rice straw—tips and stems—the artist creates a clear rhythm and variation in the Hidasuki, matching the movement and tempo of the form itself.
Although this is an earlier work, there are no stains or signs of use.
Satoru Masamune - Bizen Guinomi
16,500 YENSold out
size : W7.3cm×7.1cm×H5.2cmThis is a Bizen Guinomi by Moriyasu Masamune, an artist who captivated many collectors by recreating the timeless charm of old Bizen in a modern spirit.
Deeply knowledgeable about old ceramics—including Ko-Bizen and other classical wares—Masamune skillfully translated the essence of antique Bizen into a contemporary work.
The form is a low, tea-bowl-like silhouette often seen in Masamune’s guinomis, combining the expressive strength of wheel work with an excellent grip and ease of use.
A hallmark of his work, the fine and dense Kase-Goma has developed beautifully. The deep green surface with subtle blue tones has a wonderfully mature, aged character.
From the carefully arranged gaps between the Botamochi marks, vivid Hidasuki peeks through, and together with the Kase-Goma, the piece should grow richer and more enjoyable with continued use.
Although this is an earlier work, there are no stains or signs of use.
Go Ikenishi - Kiseto Shuhai
35,200 YENSold out
size : W7.1cm×径7.0cm×H4.1cmThis is an earlier work Kiseto Guinomi by Go Ikenishi, an artist who captivates collectors through creations rooted in an extensive study of classical ceramics.
Its design feels like a miniature version of a Kiseto bowl in the collection of the Tokyo National Museum. Meticulous details—such as the finely formed cord-like bands around the body and the refined wheel marks on the interior—show the artist’s strong commitment to craftsmanship.
Across the entire piece, the floral motif, toasted firing marks, and tanpan accents are composed in excellent balance. It carries a three-dimensional presence reminiscent of ancient masterpieces—treating the vessel itself as a complete “space” to be appreciated from every angle.
The pleasing texture and beautifully glossy, “wet-looking” abura-age surface are comparable to those seen in historical masterpieces, and the sensuous sheen seems likely to enhance the taste of sake all the more.
It is an unused piece, carefully kept in storage after purchase and preserved unopened.
Tosyu Yamamoto - Bizen Guinomi
88,000 YENSold out
size : W6.7cm×6.6cm×H5.8cmThis is a Bizen Guinomi by Toho Yamamoto, a Living National Treasure renowned for an unmatched, almost “divine” level of craftsmanship and for creating countless masterpieces.
This work bears the late-period seal used after Toho—who began his career as an artisan—lived through a turbulent era and was later recognized as an Important Intangible Cultural Property holder of Okayama Prefecture.
The perfectly balanced and refined form is deeply satisfying to look at, reflecting the mastery of a potter who devoted his entire life to the wheel.
Through the Yamamoto family’s distinctive firing method—using a combination of mixed hardwood and split red pine—deep green Goma has appeared across the surface, creating a scene that conveys both the strength of the flames and a quiet sense of wabi-sabi, so characteristic of Toho’s work.
The exposed clay body is equally distinctive. On the front, the “uncovered” area has developed a strong metallic, gold-like sheen, as if the surface were coated in metal.
Judging from the box inscription, the seal, and the overall style, this is a work from Toho’s very late period. Yet the foot trimming is quick and precise, showing no hint of age—suggesting a craftsman whose body retained its technique beyond logic or theory.
Yu Fujiwara - Bizen Shuhai
66,000 YEN
size : W6.4cm×6.3cm×H5.2cmThis is a Bizen Guinomi by Yu Fujiwara, a Living National Treasure who broadened his vision beyond Japan and helped share the appeal of Bizen ware with the world.
It is a work that can be recognized as Fujiwara’s at a glance—direct and uncompromising, as if it confronts the viewer with an unadorned sincerity, free from superficial technique.
Created in the very late period of his life, it clearly shows the distinctive firing results for which Yu Fujiwara is known.
About half of the surface is covered with dark green Kase-Goma, creating a striking contrast with the clay body, where vivid Hi-iro and rich reddish-purple tones emerge.
The way the piece presents its “scenery” through Botamochi effects—one of the signatures of Fujiwara Bizen—is especially captivating. On the front, a crescent-shaped Botamochi sits near the rim, and inside the Guinomi, another Botamochi appears like the moon reflected on the surface of a lake.
Yu Fujiwara is often associated with a deep reddish-purple tone in the clay, yet this work also shows a strong Hi-iro in the interior—around the rim, within the bowl, and inside the foot. As it becomes wet with sake, the colors deepen further, enchanting the viewer all the more.
Tomio Ochi - Shigaraki Guinomi
11,000 YENSold out
size : W7.3cm×7.1cm×H6.6cmThis is a Shigaraki Guinomi by Tomio Ochi, who has worked quietly and diligently on kiln firing under Yasuhito Abe, pouring his still-unfulfilled aspirations into his ceramics.
Using clay that he once collected in Shigaraki together with Abe-sensei, Ochi fired this piece multiple times—just as he does with his Bizen works.
For this work, he aimed for an even stronger result and fired it an extraordinary seven times. By thoroughly vitrifying the relatively heat-resistant Shigaraki clay, he achieved a brilliant orange surface that almost looks as if it were coated in platinum.
A creamy natural ash glaze has splashed across the front and into the interior, and its unique pale, slightly greenish tone stands out beautifully against the orange body.
This Guinomi is significantly larger than his previous pieces, so it could also be enjoyed not only as a sake cup, but as a small rock glass or a shochu cup.
Please note: the body is slightly absorbent, and if water is left inside for about an hour, the foot area may become wet.
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