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Bizen Sake Bottle & sake Cup
995 Items
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Yoshiteru Takariki - Bizen Yohen Guinomi
9,900 YENSold out
size : W6.5cm×6.5cm×H6.2cmHe inherits the skills and spirit of Sozan Kaneshige.
The simple and undecorated design highlights the beauty of Bizen clay.
He believes that the work will be completed in the hands of the user.
This Guinomi was fired about 15 years ago.
True to the fearless firing style of Yoshiteru Takariki—known for drawing out the full expressive power of the clay through bold risk-taking—
this piece shows a firing that clearly prioritizes yaki (flame effects) over the clay itself, resulting in a stunning and dramatic finish.
The piece beautifully balances ash glaze reminiscent of solidified magma with a sweet, fruit-like scarlet clay color.
It is a delight not only to look at and use, but also to watch as it matures over time.
Inside the vessel, a rich scarlet tone spreads across the surface, enhancing the visual pleasure of sake presentation.
At the same time, small stones within the clay and areas of weathered Kase-Goma kiln effects add a rustic, aged character to the overall impression.
Yoshiteru Takariki - Bizen Yohen Guinomi
9,900 YENSold out
size : W6.7cm×6.6cm×H5.8cmHe inherits the skills and spirit of Sozan Kaneshige.
The simple and undecorated design highlights the beauty of Bizen clay.
He believes that the work will be completed in the hands of the user.
This Guinomi was fired about 15 years ago.
True to the fearless firing style of Yoshiteru Takariki—known for drawing out the full expressive power of the clay through bold risk-taking—
this piece shows a firing that clearly prioritizes yaki (flame effects) over the clay itself, resulting in a stunning and dramatic finish.
A jet-black hai-kaburi (ash-covered kiln effect) reminiscent of solidified magma clashes powerfully with a scatter of golden Kigoma,
like a swirling sandstorm suspended in motion.
At the front, the exposed area reveals a hard, fully vitrified clay color,
while inside the vessel, a soft and gentle clay tone remains intact—
allowing the viewer to enjoy both intensity and subtlety within a single work.
Go Ikenishi - Imbe Rokkaku Shuhai
33,000 YENSold out
size : W7.0cm×6.3cm×H5.2cmGo Ikenishi is studying old ceramics from Japan, China and Korea.
He applies what he has learned from the study of old ceramics to his work production.
This work is colored like an iron works by the "Inbe-te" technique.
The surface of the dried work is coated with iron-rich mud.
The worn-out iron-like color makes you feel Wabi-Sabi.
He is lectured by Anjin Abe on the firing method.
Layers are created in Kigoma by firing multiple times.
Shuroku Harada - Bizen Guinomi
88,000 YENSold out
size : W8.1cm×7.2cm×H6.2cmThis Bizen Guinomi by Harada Shuroku comes with a career history document dated up to 1997,
suggesting that it was created around that time.
The piece is believed to have been fired in the mid-period of Shuroku’s own kiln operation—
a time when he brought together his deep knowledge of Old Bizen and unmatched technical command.
The resulting work bears a landscape of remarkable depth and power.
At first glance, it resembles a rugged boulder that has tumbled down a mountain path—
a presence that refuses to flatter or compromise, fully immersing the viewer in the overwhelming world of Shuroku.
This piece features his signature shinogi technique, where thickly thrown clay is carved down with a wooden spatula.
However, the gouges are less like controlled cuts and more like bold, slashing strikes—aggressive and visceral.
Traces of contact marks from other pieces remain across the surface,
giving the impression of a hardened warrior from the Warring States era.
As you gaze at its scarred, wild exterior, you can almost hear the artist's declaration:
“Let it break if it must—the kiln is a battlefield.”
The boldly attached foot—another Shuroku hallmark—is striking in both form and presence.
Towering like high wooden clogs, the foot gives the Guinomi an almost unshakeable dignity,
transcending the scale of a mere sake cup.
Takashi Soga - Bizen Guinomi
13,200 YENSold out
size : W6.7cm×6.3cm×H5.4cmThis Guinomi by Takashi Soga was fired in a kiln made entirely of earth, with no use of refractory bricks—
a deliberate choice to recreate the firing style of the old-Bizen era.
Such a kiln defies modern conventions and functions as a single, massive ceramic structure in itself.
As a result, the piece reveals an extraordinary clay color that transcends contemporary aesthetics,
evoking a striking presence reminiscent of ancient Bizen ware.
The work displays a richly fired, dense clay color with a deep scarlet tone,
layered with Soga’s signature ultra-fine Kase-Goma, forming a uniquely expressive surface.
Over 90% of the surface is covered with a delicate Kase-Goma texture so soft to the touch
that it hardly resembles traditional Bizen ware—
a kiln effect so compelling it invites the viewer to hold and admire it again and again.
This piece was fired in 2021 and has been carefully preserved in unused condition
by a private collector since its original purchase.
Toukoubou Yu - Imbe Guinomi
19,800 YENSold out
size : W6.0cm×5.9cm×H5.7cmThey inherit the careful and quiet style of Yuho Kaneshige.
In fact, when the studio was first founded, they were too afraid to use Bizen clay—it was simply too precious.
You can clearly tell how much care and respect they have for their materials.
This piece was fired in a Tsuchigama, a primitive kiln that does not use refractory bricks.
As a result, the surface has a soft, rounded texture that gives the impression of having been gently worn over years of use, despite being newly made.
Furthermore, it is crafted using clay rich in mountain soil, and the firing method—especially the covered-firing of the body—
evokes the subtle austerity and vibrant vitality of Yuho Kaneshige’s mid-period works.
Its quiet aesthetic translates directly into excellent usability,
with a thinly crafted rim and a softly contoured body that fits comfortably in the hand.
Kazuki Nakamura - Bizen Guinomi
11,000 YENSold out
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.
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