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Bizen Sake Bottle & sake Cup
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Kazuki Nakamura - Bizen Guinomi
11,000 YEN
size : W7.6cm×7.6cm×H5.1cmKazuki Nakamura is the grandson of Rokuro Nakamura.
He faithfully reproduces the style of Rokuro Nakamura.
He is also good at making sake wares, just like Rokuro Nakamura.
This work was fired in April 2025.
By allowing the piece to slowly absorb smoke during firing, it becomes cloaked in Kase-Goma patterns that resemble the bark of a tree.
At the front, however, it boldly reveals a striking scarlet hue—as if opening the front of a kimono.
The deep, vivid Hiiro (scarlet clay tone) passed down through the Nakamura family tradition is truly beautiful.
This piece can be both appreciated visually and enjoyed in use, and as it ages with repeated handling, its surface will mature into a smoother, more refined texture—
demonstrating exceptional potential as a sake vessel.
The rhythmically undulating rim and the strongly carved interior of the foot show clear traces of inherited technique—
methods cultivated by his grandfather, Rokuro Nakamura, who famously developed them while enjoying generous amounts of sake himself.
Toukoubou Yu - Imbe Guinomi
24,200 YENSold out
size : W7.1cm×6.6cm×H4.7cmThis sake cup by Shusaku Kaneshige of Toko-bo Yu is crafted using exceptionally high-quality Bizen clay—so fine that the artists themselves once confessed they “couldn't bear to use it” in the studio’s early days.
It is a truly luxurious piece.
The work was fired in a Tsuchigama, a primitive, unlined earth kiln that does not use refractory bricks.
As a result, the surface has a naturally worn, rounded character, giving the impression of an object that has been lovingly used for many years, despite being brand new.
Fired in the midsection of the Tsuchigama, the piece resembles the ash-covered finishes typically seen in traditional Noborigama (climbing kilns).
However, it boasts a distinctive expression that can only be achieved by firing fine-quality Tsuchi (clay) in such a kiln:
a glossy, wet-like ash glaze, intense scarlet hues that penetrate to the core, and a depth of character unique to this method.
Masahiko kondo - Bizen Guinomi
8,800 YENSold out
size : W6.3cm×6.2cm×H6.3cmThis Guinomi is an earlier work by Masahiko Kondo, created around 2010, as indicated by the enclosed career record.
It is crafted using the Shinogi technique—scraping the surface with a spatula-like tool—a method also favored by his mentor, Ryuichi Kakurezaki. The result is a uniquely layered design that gives the impression of overlapping strata of clay.
The trimming of the foot is also striking, with a dynamic design that echoes the rhythm of the body’s ridges, showcasing Masahiko Kondo’s meticulous attention to detail.
Despite its sculptural appeal, the piece does not suffer from excessive weight, a common issue in works with bold forms. It maintains a functional balance, providing a natural feel when used as a typical Bizen Guinomi.
The natural ash effects from anagama (hole kiln) firing further enhance the piece, with Tobi-Goma and Ito-Goma patterns beautifully complementing the movement of the form.
This is an unused piece that was carefully preserved after being purchased new.
Toukoubou Yu - Haiyu Guinomi
19,800 YENSold out
size : W5.8cm×5.6cm×H5.9cmThey inherit the careful and quiet style of Yuho Kaneshige.
They were too afraid to use Bizen clay when the studio was first formed.
You can tell they take very good care of their clay.
Their roots, Sozan Kaneshige, were also good at glazed work.
This simple Karatsu-style sake cup, adorned with iron painting over an ash glaze, possesses a perfectly balanced, weathered elegance.
The wheel-thrown form, with its slight asymmetry that imparts a sense of deliberate awkwardness, could easily be mistaken for the work of a master potter.
The quiet aesthetic directly translates into an exceptional usability.
The slightly thin rim and the refined form—small yet elegant—are truly remarkable.
As one would expect from a disciple of Yuho Kaneshige, the piece does not end with mere beauty.
The distinctive, softly swelling glaze texture features pronounced Kairagi patterns in places, offering not only visual appeal but also a tactile delight.
Furthermore, this work is made using fine-quality clay sourced by Yuho Kaneshige himself.
Its soil flavor, rich with the elegance reminiscent of Nanban Yakishime or Tanegashima-style pottery, invites the viewer to gaze upon it endlessly.
Toukoubou Yu - Kohiki Guinomi
19,800 YENSold out
size : W6.0cm×5.9cm×H5.7cmThey inherit the careful and quiet style of Yuho Kaneshige.
They were too afraid to use Bizen clay when the studio was first formed.
You can tell they take very good care of their clay.
Their roots, Sozan Kaneshige, were also good at glazed work.
This is Guinomi inspired by the works of the Yi Dynasty, which all Japanese admire.
The more it is used, the more it will change to a withered, austere shade.
This quiet aesthetic directly translates into exceptional usability.
The slightly thinly crafted rim and refined proportions are truly remarkable.
As one would expect from a disciple of Yuho Kaneshige, the work does not end with mere beauty.
By using slightly coarse clay, the artist has allowed for the occurrence of extremely fine stone bursts throughout the surface—tiny accents that, like life sprouting from beneath the snow, enrich the piece with depth and character.
Fired with wood, the work also exhibits areas of natural Yohen, endowing it with the presence and dignity of a time-honored heirloom despite being newly made.
Yuho Kaneshige - Karatsutsuchi haiyu Guinomi
49,500 YEN
size : W7.5cm×7.3cm×H5.0cmYuho Kaneshige is the third son of Sozan Kaneshige.
He inherited Inbe's house and kiln from his father.
He was presenting traditional Kaneshige style works.
But around 2018 he started a new challenge.
He demolished the kiln that he inherited from his father and made a more primitive kiln.
This Guinomi was fired in May 2025.
This Guinomi was made using clay that the artist personally unearthed in the Karatsu region around the mid-Heisei era. It represents the culmination of his work with glazed pottery.
The surface shows the true charm of Karatsu ware—rustic and powerful. The slightly sandy clay was quickly trimmed, creating a rough texture that stands in contrast to the more refined feel of Bizen ware.
Though the piece is simply glazed with ash glaze and no iron painting, it has a quiet elegance cultivated through the artist’s experience in making tea ceramics. The title "Karatsu Clay with Ash Glaze" reflects his free-spirited approach, unconstrained by tradition.
Jun Isezaki - Bizen Guinomi
44,000 YENSold out
size : W7.5cm×7.3cm×H4.6cmJun 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.
It comes with a career summary dated 2006, indicating that the piece was likely created around that time.
Fired for approximately 10 days in a semi-underground anagama (hole kiln), this work beautifully showcases signature features of Isezaki-style Bizen ware, including Goma, Hidasuki, Kase-Goma, Koge-Goma, and rich reddish gradients.
The surface is primarily a warm amber hue, typical of anagama firing, while natural ash glaze creates subtle variations across different areas—resulting in a rich and captivating landscape that invites prolonged viewing despite its simplicity.
Especially on the front, a stunning contrast of red and white is accented by dark Koge-Goma flowing over Kase-Goma patterns, evoking the look of frost and charcoal.
Inside the cup, reddish clay tones and yellow Goma dominate, and when filled with sake, the earthy textures bloom in vibrant color.
The form is minimalist, resembling a tea bowl stripped of decoration, which in turn enhances the visual impact of the various kiln effects.
This piece was purchased new and has been carefully preserved in unused condition.
Masahiko Kondo - Bizen Guinomi
8,800 YENSold out
size : W7.1cm×6.9cm×H5.4cmThis Guinomi is an earlier work by Masahiko Kondo, created around 2010, as indicated by the enclosed career record.
It is crafted using the Shinogi technique—scraping the surface with a spatula-like tool—a method also favored by his mentor, Ryuichi Kakurezaki. The result is a uniquely layered design that gives the impression of overlapping strata of clay.
The trimming of the foot is also striking, with a dynamic design that echoes the rhythm of the body’s ridges, showcasing Masahiko Kondo’s meticulous attention to detail.
Despite its sculptural appeal, the piece does not suffer from excessive weight, a common issue in works with bold forms. It maintains a functional balance, providing a natural feel when used as a typical Bizen Guinomi.
The natural ash effects from anagama (hole kiln) firing further enhance the piece, with delicate Kase-Goma and elegant Koge-Goma patterns beautifully complementing the movement of the form.
This is an unused piece that was carefully preserved after being purchased new.
Masahiko kondo - Hikidashi Guinomi
11,000 YENSold out
size : W7.2cm×7.3m×H5.4cmThis Guinomi is an earlier work by Masahiko Kondo, created around 2017, as indicated by the enclosed career record.
It features Kondo’s original ripple design, inspired by patterns on the surface of water, combined with a boldly formed, gently squared silhouette—evoking the abstract beauty of a Japanese dry landscape garden.
The base is particularly striking, with sculptural ripples and three contact points that create elegant curves, reflecting Kondo’s meticulous attention to detail.
Despite its dynamic form, it does not feel overly heavy and offers a handling experience similar to that of a standard Bizen Guinomi.
The piece was fired using the hikidashi (pull-out) technique, in which it is removed from the kiln during firing to achieve unique surface effects.
Inside the cup, a mass of Goma resembles glossy obsidian, adding further visual interest.
This piece was purchased new and has been carefully stored by the original owner; it remains in unused condition.
Koichiro Isezaki - Kuro Guinomi
16,500 YENSold out
size : W6.9cm×6.7cm×H7.6cmKoichiro Isezaki is Jun Isezaki's eldest son.
He uses kiln in a tunnel-like shape called "anagama".
This work was created around the time indicated in the included artist’s résumé, which dates up to 2014.
This earlier work by Koichiro Isezaki is coated with black slip yet placed in a position within the kiln where Yohen effects could develop, resulting in a surface that combines the qualities of both black ware and Yohen-fired pieces.
Around the shell marks and inside the cup, the tones lean more toward purple or brown rather than pure black. On the front near the shell marks, Kinsai appears, showing a strong Yohen character.
In contrast, the natural ash glaze that adhered to the mouth has transformed into a cobalt blue due to the black slip, and when in use, it will deepen to an even richer blue as it absorbs moisture.
Toru Ichikawa - R432 Guinomi "Hagakure"
22,000 YENSold out
size : W6.1cm×6.1cm×H9.2cmToru Ichikawa is a disciple of Ryuichi Kakurezaki.
He is keen to research glaze for ceramics.
He is constantly challenging new expressions with original and philosophical themes.
This is an early work by Toru Ichikawa, featuring a deep black surface created through carbonized firing of his uniquely developed glaze called R432, evoking the profound depths of the universe.
A striking accent of Hagakure Beni glaze slashes across the surface like a diagonal sword cut, instantly drawing the viewer into the bold and dramatic world of Ichikawa’s expression.
While the form itself is a simple cylindrical shape, the piece carries a dynamic presence—like a flower bud about to bloom—reflecting the sculptural sensibilities Ichikawa developed through close study under master artist Kinzaki.
The piece has been carefully stored and remains in unused condition since its original purchase.
Toru Ichikawa - Guinomi ??Kagutsuchi Ra??
22,000 YENSold out
size : W8.3cm×8.5m×H7.2cmToru Ichikawa is a disciple of Ryuichi Kakurezaki.
He is keen to research glaze for ceramics.
He is constantly challenging new expressions with original and philosophical themes.
This work is named after Hinokagutsuchi, the god of fire in Japanese mythology, and represents a further evolution of the powerful glaze expressions seen in the Kagutsuchi series.
Two dominant currents—deep indigo and shimmering silver glazes—seem to clash upon the surface, creating a dynamic tension that is unmistakably characteristic of Toru Ichikawa's work.
The indigo glaze, reminiscent of the colors of the cosmos, is adorned with golden dots that sparkle like distant stars, forming a scene that combines the opulence and mystery achievable only through ceramic art.
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