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Bizen Sake Bottle & sake Cup
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Masahiro Miyao - Bizen Guinomi
15,400 YENSold out
size : W6.5cm×6.3cm×H6.0cmA new black Guinomi by Masahiro Miyao, who trained in Imbe (Bizen). While Miyao continues to present Bizen pieces alongside his black works, this example is especially striking for the beautiful indigo that emerges across the surface.
In conventional black-slip pieces, blue may appear only within areas of unique fire pattern such as scorch marks; here, however, the indigo seems to bloom from the entire body, revealing anew the depth of black ware. Not all of the black has shifted to indigo—the mikomi (interior) retains a deep, lucid black clay tone, creating a quietly mysterious palette.
A generous flow of natural ash glaze descends over the front, pulling the black slip along with it. The shell placed to prevent fusion during firing has caught the flow and formed a dramatic, oversized shell mark reminiscent of a suction cup.
Because the form makes extensive use of spatula cuts, the gradations of natural ash and indigo play across the planes of the vessel, adding further dimensionality to its superb coloration.
Jun Isezaki - Bizen Kuro Guinomi
132,000 YENSold out
size : W7.1cm×7.1cm×H6.8cmThis new work 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.
The natural glaze accumulated on the wall of the kiln spilled and adhered to this Guinomi.
They reacted with Kuro's liquid clay and turned into pale blue glass.
Jun Isezaki - Bizen Yohen Guinomi
132,000 YENSold out
size : W6.5cm×6.5cm×H6.9cmJun Isazaki is a human living national treasure in Bizen were. (Fifth person in Bizen ware)
He firing with a straight hole-shaped kiln called "Anagama".
The flame of Anagama kiln blows into the back of kiln at a stretch.
This Guinomi was fired in Octber 2025.
This is Guinomi of "Youhen" that can be fired only in a specific place in Anagama kiln.
This Guinomi has an excellent fire pattern due to its very high heat value.
And it has been changed to a simple design to match the Yohen fire pattern.
The shape of the bottom makes it slightly unstable, but it stabilizes when the contents are poured.
Jun Isezaki - Bizen Hikidashi Kuro Guinomi
165,000 YENSold out
size : W7.0cm×6.9cm×H7.4cmThis Guinomi was fired in October 2025.
He uses kiln in a tunnel-like shape called "anagama".
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.
"Hikidashi" means taking out the work from Kiln during firing.
The works that touched the outside air will be cooled rapidly and will change to a different color from normal Bizen ware.
In this work, the attached ash (pine) becomes transparent and looks like a amber.
The black part is coated with special clay and is indigo by Hikidashi effect.
Yoshiteru Takariki - Bizen Yohen Guinomi
16,500 YENSold out
size : W6.7cm×6.5cm×H5.5cmYoshiteru Takariki’s new Bizen kiln-variation Guinomi, freshly drawn from the kiln in September 2025.
True to his fearless, push-the-heat firing style, the exterior develops a charcoal-black ash accretion (Kigoma) that reads almost like compressed carbon.
While Takariki-san typically centers his blends on field clay with a touch of mountain-soil clay, this piece leans a bit further toward the mountain-soil side, successfully generating a deeper, more saturated scarlet clay color. The hue is distinctly refined—subtly matte, free of any garishness—reflecting his teacher-driven creed of putting clay preparation first and achieving an elevated, dignified palette.
The broad, deeply undercut foot—evocative of Sozan Kaneshige—anchors the form with quiet authority, and at fifty, Takariki-san’s mature technique shows with striking clarity.
Yoshiteru Takariki - Bizen Yohen Sakazuki
22,000 YENSold out
size : W11.3cm×11.2cm×H4.6cmYoshiteru Takariki’s new Bizen kiln-variation Sakazuki, freshly drawn from the kiln in September 2025.
Conceived in the spirit of the oversized cups favored by warriors of old, this piece invites a bold, celebratory pour—letting one drink with the gusto of a victorious general while savoring the vessel’s presence.
Despite its generous diameter of roughly 11 cm, the work does not lapse into brashness: the wabi-tinged interplay of Kase-Goma and kiln-born fire patterns tempers any ostentation and resolves into a poised, singular aura.
Because a form of this scale demands structural rigidity, the piece employs a comparatively high proportion of mountain-soil clay, yielding a dense, from-the-body “bled” scarlet clay color of remarkable intensity.
That luxuriant scarlet “break” delivers superb sake reflection, yet within the surrounding, firmly fired surfaces it also reads as a fleeting, beautiful flare of earthen life—quietly poetic against the tensile, tightened ground.
The overall impression suggests an armored warrior: vigorous and monumental, carrying a passionate scarlet while also holding the dusk-like melancholy of a setting sun—making it especially well-suited to richer, clouded sakes.
Yoshiteru Takariki - Bizen Guinomi
22,000 YENSold out
size : W6.8cm×6.7cm×H6.1cmFresh from the September 2025 firing, this piece embodies Mr. Takariki’s fearless, fire-forward approach that draws out the clay’s character—an exceptional result that leans decisively toward the “firing” side of Bizen’s dialectic of clay and flame.
A black ash-deposit kiln variation blankets the surface like cooled lava; in places the body has carbonized, developing a subtle, dark steel-silver sheen that showcases the intensity of the firing. At the front, a “nuke” window reveals tightly sintered, hard clay color, with a faint whisper of scarlet clay color remaining—allowing you to enjoy both the drama of the surface and a quiet softness beneath.
The vigorous firing also sharpened the boundary between the clay color and the kiln-variation; along this crisp divide a delicate golden iridescence emerges, evoking the feel of a rainbow arch.
Yoshiteru Takariki - Bizen Guinomi
13,200 YENSold out
size : W6.7cm×6.2cm×H5.9cmThis is a newly fired Bizen Guinomi by Yoshiteru Takariki, who studied under Sozan Kaneshige and Yuho Kaneshige.
It is a very recent work, taken from the kiln in September 2025.
This piece was made using a relatively high proportion of mountain clay, and its matte surface—rich with small stones—offers a character that is quite different from pieces made with rice-field clay.
The firing also makes full use of the traits of mountain clay, and the Southeast Asian-style unglazed orange clay color together with the fine Kase-Goma create a wonderfully tasteful surface.
Inside the well, which is the heart of any Guinomi, the dense orange tone unique to mountain clay spreads across the entire surface, and once it absorbs moisture it will shift to an even more vivid and lively color.
As you use it daily, the mountain-clay surface described above will gradually polish and mellow, allowing the cup to acquire a deeply seasoned character over time.
Yoshiteru Takariki - Bizen Hidasuki Guinomi
13,200 YENSold out
size : W6.8cm×6.7cm×H5.9cmThis is a newly fired Bizen Hidasuki Guinomi by Yoshiteru Takariki, who trained under both Sosan Kaneshige and Yuho Kaneshige.
It was taken from the noborigama in September 2025 (Reiwa 7).
The piece was placed inside a saya (a lidded refractory clay box) during the climb-kiln firing so that no natural ash would fall on it, and was instead slowly and thoroughly fired to bring out a quiet, deep Bizen character.
Unlike the familiar combination of mogusa clay and Hidasuki made in an electric kiln, this work uses a brighter, more transparent white clay body, and in some areas the minerals in the clay seem to “show through,” giving the surface a very distinctive, organic texture. As a result, compared with the elegant, decorative feeling of standard mogusa Hidasuki, this cup shows a far more rustic and subdued expression.
The Hidasuki itself is dense in color yet applied in relatively fine lines, functioning as an accent that enhances—rather than hides—the interesting clay surface described above.
The body retains strong throwing rings and swells slightly around the midsection, carrying a relaxed, flowing rhythm that clearly recalls the work of his teacher, Sosan Kaneshige.
Yoshiteru Takariki - Bizen Hikidashi Kurotasuki Guimomi
16,500 YENSold out
size : W6.2cm×6.2cm×H5.6cmYoshiteru Takariki’s latest Bizen Hikidashi Kurotasuki Guinomi, created under the tutelage of Sozan Kaneshige and Yuho Kaneshige, was just unloaded from the kiln in September 2025.
Distinct from the traditional expressions born solely of climbing-kiln firings, this piece employs the post-2000 Hikidashi technique: the cup is set near the stokehole of a noborigama, then pulled mid-firing and rapidly cooled to carbonize the surface.
What sets this work apart from the black “hikidashi” pieces currently popular in Bizen is that it originates from the Hidasuki lineage. On a soft, pale clay body where red straw marks would normally appear,
carbonization has flipped the palette into a black-silver tonality reminiscent of Ao-Bizen, giving the surface a striking, iron-like—almost charcoal-like—texture.
The Hidasuki themselves likewise invert to black, gleaming as Kurotasuki in the truest sense of the name. In spirit, it follows the progression of Takariki’s practice: from the “守 (preserve)” Hidasuki inherited from Sozan’s electric-kiln work, through the “破 (break)” polka-dot Hidasuki born of inventive firing methods, to this entirely new “離 (depart)” interpretation that captivates the viewer with a fresh, radical beauty.
Makoto Kaneshige - Hidasuki Beerglass
16,500 YEN
size : W7.2cm×7.2cm×H10.3cmThis Hidasuki beer glass is crafted by Makoto Kaneshige, who has inherited the Maruyama kiln as the eldest son of Sozan Kaneshige. He captivates collectors with his bold and dynamic forms.
Faithful to the fundamental principle of Bizen ware — “bringing out the natural character of the clay” — this piece embraces a minimalistic approach to decoration, resulting in a dignified and well-balanced silhouette.
It is made from a coarse clay with a high sand content, the same type favored by So Kaneshige for his tableware. The clean, pale "Mogusa"-colored clay body is adorned with vivid Hidasuki lines, a technique passed down directly from his father, Sozan Kaneshige.
Upon closer inspection, the surface reveals intricate details — small black iron spots and mineral textures unique to this special clay. These subtle yet refined expressions are beautifully enhanced by firing in the custom-built Maruyama electric kiln.
The mouth of the vessel is uniquely pinched into a rhomboid shape — a signature form also favored by So Kaneshige himself. This distinctive design makes it not only suitable for beer or tea but also ideal for enjoying a variety of Western liquors such as wine.
Tosyu Yamamoto - Bizen Tokkuri
88,000 YENSold out
size : W9.0cm×8.9cm×H13.0cm 440ccThis is a Bizen Tokkuri by Yamamoto Toshu, a Living National Treasure renowned for peerless mastery—often described as miraculous—and for creating numerous celebrated works.
The piece dates from around the time when, after beginning his career as an artisan and living through a turbulent era, Toshu was recognized as an Important Intangible Cultural Property of Okayama Prefecture.
Its impeccably symmetrical, crisply composed form—hallmarks of a master who devoted his life to the wheel—is a pleasure to behold. A rich, shiso-purple tone rises from the clay, overlaid with Toshu’s signature metallic kinsai sheen that lends the surface a platinum-like luster.
At the Yamamoto kiln, in addition to pine split logs, other woods are fed into the firing and the work is fired thoroughly. As a result, an inky black ground forms, from which a subdued, weathered Kigoma (natural ash) freckles the shoulder.
Judging from the box inscription and potter’s seal, as well as the style, this is a late-period work from after Toshu turned seventy. Yet the powerfully raised shoulder and dignified, full body retain youthful vitality, suggesting that beyond logic and formal technique, the craftsman’s body itself still remembered the work.
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