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Bizen Sake Bottle & sake Cup
955 Items
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Yuho Kaneshige - Karatsutsuchi Haiyu Sakazuki
49,500 YENSold out
size : W7.2cm×7.1cm×H4.5cmYuho 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.
Kenji Takenaka - Imbe Ressai Guinomi
8,800 YEN
size : W5.8cm×5.6cm×H6.5cmHe was one of Jun Isesaki's early disciples.
He is one of the members who researched and developed black clay, which is the specialty of the Isezaki Group.
He has also made many Bizen ware using black clay.
This piece was fired by him around 2006.
The cylindrical design and low koudai give it the feel of Setoguro work.
Yuho Kaneshige - Karatsutsuchi Haiyu Tokkuri
110,000 YENSold out
size : W8.3cm×8.2cm×H12.7cm 260ccYuho Kaneshige is the third son of Sozan Kaneshige.
He inherited Imbe'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 Tokkuri was fired in May 2025.
This Tokkuri 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 slowly shaped on the potter's wheel, 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.
Yuho Kaneshige - Karatsutsuchi Haiyu Sakazuki
49,500 YENSold out
size : W7.9cm×7.5cm×H4.5cmYuho 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.
Mitsuru Isezaki - Imbe Guinomi
9,900 YENSold out
size : W6.3cm×6.3cm×H5.8cmMitsuru Isezaki is one of the potters who inherited Bizen ware redeveloped by Toyo Kanesige.
His pottery style is simple and undecorated to show off the goodness of the clay.
Hidari-Uma is a mark that indicates that it is the first works that kiln was made and fired.
Hidari-Uma has been loved by people since ancient times as a good mark of acting.
The surface of this Guinomi has a rainbow-colored fire pattern called "Kinsai".
Due to the influence of Kinsai, Hangzhou has also changed to a metallic color.
Kosuke keneshige - Bizen Guinomi
44,000 YENSold out
size : W7.1cm×7.1cm×H5.5cmKousuke Kaneshige is the third son of Toyo Kaneshige.
He lives in Kagato, Bizen City, where potters have lived since the old days.
He creates traditional Bizen ware and innovative sculptures while following the teachings of his father, Toyo Kaneshige.
This Guinomi was fired in 2006.
He keeps the style of Bizen ware of Kaneshige Clan and feels that he uses very good clay.
Beautiful red and orange clay colors appear on the front and inside of this Guinomi.
This Guinomi was a piece we sold in 2007, and we bought it back unused from a customer who had purchased it at the time.
Mitsuru Isezaki - Imbe Guinomi Hidari-Uma
9,900 YENSold out
size : W6.3cm×6.3cm×H5.9cmMitsuru Isezaki is one of the potters who inherited Bizen ware redeveloped by Toyo Kanesige.
His pottery style is simple and undecorated to show off the goodness of the clay.
Hidari-Uma is a mark that indicates that it is the first works that kiln was made and fired.
Hidari-Uma has been loved by people since ancient times as a good mark of acting.
The surface of this Guinomi has a rainbow-colored fire pattern called "Kinsai".
Due to the influence of Kinsai, Hangzhou has also changed to a metallic color.
Takashi Baba - Oni Shino Sakazuki
19,800 YENSold out
size : W8.0cm×8.0cm×H5.3cmTakashi Baba is a ceramic style that combines sculpture and Bizen ware.
He uses a lot of shavings and patterns to create highly artistic works.
This Guinomi was fired by him in Februaly 2025.
Based on Bizen clay, it was glazed with Shino and baked in Noborigam kiln.
Shino glaze changed to more complex shades with Noboligama kiln.
He named this fire pattern "Oni Shino".
Oni has the meaning of "powerful" as well as the meaning of demon.
Rokuro Nakamura - Bizen Guinomi
99,000 YENSold out
size : W7.3cm×7.2cm×H4.5cmThis is Guinomi made by Rokuro Nakamura who is called a master of sake ware.
The red clay color on the front part makes it even more beautiful when you use it by getting wet with sake.
The Nakamura clan's unique body design makes it very easy to hold.
I presume that this Guinomi was fired when he was about 70 years old.
This Guinomi was purchased by a Japanese collector at a gallery in Ibe, Bizen City over 40 years ago and stored unused.
Kazuki Nakamura - Bizen Guinomi
13,200 YENSold out
size : W7.8cm×7.8cm×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.
The strong fire pattern and the pink gold clay color are beautiful.
He fired this Guinomi near a side hole in Noborigama for throwing firewood.
It has a wonderful fire pattern in the traditional Noborigama Youhen style.
Jun Isezaki - Bizen Guinomi
66,000 YENSold out
size : W7.4cm×7.3cm×H6.3cmJun 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.
About 70% of the surface is covered with natural ash glaze created by intense flames,
while the lower portion was protected from the fire during firing, revealing a pure white clay body.
Additionally, a Hidasuki pattern was applied to the unglazed area,
and the vivid red lines beautifully contrast with the white surface.
This Guinomi was fired in October 2024.
Sohei Takashima - Bizen Hidasuki Guinomi
14,300 YENSold out
size : W6.3cm×6.2cm×H6.1cmHe is a disciple of Jun Isezaki.
This is his newest work, published at the end of 2024.
This piece was fired with careful attention to surface texture.
The Hidasuki pattern retains a gentle sheen, while the clay body remains matte and dry, emphasizing its earthy character.
Inside the cup, you can see extremely fine Tobi-Goma—known as Mijin-Goma—appearing like soft rain falling on parched white clay, creating a calming impression.
The overall form is thin and graceful, especially around the rim,
while the Koudai features bold trimming that reveals the grain of the clay.
This contrast of refinement and strength reflects the artist’s high level of skill.
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