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Bizen Sake Bottle & sake Cup
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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.
Koichiro Isezaki - Kuro Guinomi
16,500 YENSold out
size : W8.3cm×7.5cm×H6.7cmKoichiro 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 2005.
It is a rare black-fired piece made in a Noborigama, which is no longer in use today.
Unlike the black tones achieved in an Anagama, this piece exhibits a unique coloration that is distinctive to the Noborigama firing process.
Around the shell marks and inside the bowl, the color leans more toward deep purple than black, while the back features a subdued yellow Goma with hints of green—offering many fascinating visual details.
The Guinomi was made using Koichiro Isezaki’s signature kurinuki technique, where a solid block of clay is hollowed out by carving with a spatula. Despite its palm-sized form, the work exudes a bold, sculptural presence.
The exterior surface is finely carved and expanded outward from the inside, giving the impression of clay bursting open—capturing a powerful sense of movement and tension.
It has been carefully stored in mint condition since its original purchase and remains unused.
Shinjiro Aika - Hidasuki Guinomi
19,800 YENSold out
size : W6.2cm×6.2cm×H5.3cmThe works of Shinjiro Aika are best described as “beyond profitability.”
He is a ceramic artist who relentlessly fires his pieces until they meet his own high standards, resulting in truly outstanding creations.
This Guinomi was fired inside a protective clay container called a Saya, which prevents natural ash glaze from settling on the surface.
The result is a dry, matte reddish-brown body, over which a soft crimson Hidasuki flows, with subtle golden highlights.
The texture resembles the parched earth during the dry season—inviting the sake poured into it to feel like a gentle, life-giving rain.
Its low Setoguro-style foot and swelling, wave-like form at the waist create a dynamic, rustic impression—as if the vessel tumbled down from a mountain slope.
The piece clearly reflects the artist’s admiration for classic works and reveals what kind of forms have inspired them.
Its slightly smaller size only adds to the charm, making it both refined and emotionally resonant.
Koichiro Isezaki - Bizen Sakazuki
16,500 YENSold out
size : W10.3cm×9.8cm×H4.7cmKoichiro Isezaki is Jun Isezaki's eldest son.
He uses the same hole type kiln (called anagama in Japan) as his father and father's disciple.
This Guinomi was fired in 2012.
This piece was fired while placed upside-down atop another work, like a hat resting on a head.
Although this is a traditional firing method, Koichiro Isesaki’s unique approach gives it a remarkably fresh and contemporary impression.
Positioned in a high-temperature zone, typically used for firing jars and other large vessels upside-down, the entire surface is richly covered with shizen-yu (natural ash glaze).
Its domed shape evokes the image of a straw hat deflecting heavy rain, creating a striking and playful visual.
The abundant Goma has flowed not only across the outer surface but also into the interior, pooling around the shell used to prevent adhesion during firing.
This has resulted in a fascinating Kaiato and fire-mark effect that resembles the delicate wings of a butterfly.
Koichiro Isezaki - Bizen Guinomi
16,500 YENSold out
size : W8.3cm×8.0cm×H6.5cmKoichiro Isezaki is Jun Isezaki's eldest son.
He uses the same hole type kiln (called anagama in Japan) as his father and father's disciple.
This Guinomi was fired in 2010.
This Guinomi was created using the kurinuki technique that Koichiro Isesaki excels in.
He skillfully carved away a large lump of clay with a spatula, hollowing out the interior to produce a piece of great presence and intensity.
The outer surface is intricately textured with spatula marks, evoking the look of rocks weathered by wind and rain.
This evokes the spirit of his father, Jun Isesaki’s renowned “Fusetsu” (Wind and Snow) series, conveying a profound sense of time and erosion.
Due to the shape of the foot and kiln effects (Yohen), the piece is slightly unstable when placed.
It has been carefully stored and remains in unused condition since its original purchase.
Jun Isezaki - Bizen Guinomi
44,000 YEN
size : W10.3cm×10.0cm×H3.1cmJun 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 is a rare Hirahai-style Guinomi created by Isezaki Jun around 2015, produced in very limited quantities.
The inside of the vessel is adorned with a vivid and dynamic landscape, characteristic of an anagama (hole kiln) firing.
Fired slowly in a semi-underground anagama, this piece showcases signature Bizen elements such as Goma, Hidasuki, and rich red clay tones—hallmarks of Isezaki-style Bizen ware.
The surface is primarily a clean, white clay color typical of anagama works, beautifully contrasted with bold flying Goma and intricate Hidasuki patterns running across the piece.
Though simple in form, the depth of texture and color invites endless appreciation.
The foot of the piece features a wide and boldly carved base with a low profile, deliberately chosen to suit the Hirahai shape and lend it a grounded and powerful presence.
This work has been carefully preserved by a collector since its original purchase and remains in unused, pristine condition.
Shinjiro Aika - Shigaraki Guinomi
19,800 YENSold out
size : W7.1cm×7.0cm×H5.3cmThe works of Shinjiro Aika are best described as “beyond profitability.”
He is a ceramic artist who relentlessly fires his pieces until they meet his own high standards, resulting in truly outstanding creations.
This particular Guinomi was fired in his kiln in Ushimado and is made in the Shigaraki style.
The natural ash glaze flowing dramatically from the front and reverse side is nothing short of breathtaking.
Its vivid, clear green hue complements the Shigaraki clay body perfectly, giving the piece a refreshing and translucent quality.
The clay surface itself is exceptional, with a deep, glossy orange tone that appears almost wet to the eye.
Together with the serene green glaze, the piece evokes the image of pure mountain spring water cascading over smooth stones.
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