Products
| Bizen Sake Bottle & sake Cup | Tea Ceremony Things | Bizen Flower Vase | Bizen Dish & Bowl | Others |
Bizen Sake Bottle & sake Cup
1022 Items
FIRST PREV 8 / 86 page NEXT LAST
Koichiro Isezaki - Bizen Shiro Guinomi
22,000 YENSold out
size : W8.5cm×8.3cm×H5.7cmKoichiro Isezaki is Jun Isezaki's eldest son.
He uses kiln in a tunnel-like shape called "anagama".
This new work was fired in November 2023.
This work is made using special white clay collected in the Inve area.
He fired without glaze, but the white clay component produced a fire pattern with a color different from the original Bizen ware.
The outer surface has a luster as if coated with glass.
Originally yellow or brown Goma, which is close to gold, it changed to muddy white or transparent blue.
Mitsuru Isezaki - Bizen Guinomi
11,000 YENSold out
size : W6.2cm×6.2cm×H5.7cmA master who loved Bizen and contributed greatly to its tradition, Mitsuru Isezaki created this sake cup with a depth of character that is unmistakably his.
A career record enclosed up to 1998 (Heisei 10) suggests the piece was made around that time.
Guided by his belief that the essence of Bizen lies in the clay color, he was devoted to fine tatsuchi (paddy-field clay). This cup reflects that conviction: the exterior shows his calm, composed Yohen, while the interior displays a striking, nearly platinum-like gold sheen.
Importantly, the gold is not the only highlight. A rich, almost viscous shiso-tinged clay color emerges, joined by weathered accents of Kase-Goma and Sangiri—assuring that the fundamentals of Bizen are firmly in place.
The form is one of his classic silhouettes: the shoulder narrows slightly while the rim opens gently, yielding a simple, highly usable vessel that sits naturally in the hand.
Kei Ushigaki - Guinomi
14,300 YEN
size : W6.7cm×6.5cm×H6.8cmThis Guinomi was created by Kei Ushigaki, who trained under Jun Isezaki, a Living National Treasure.
He later established his own kiln in Kagoshima, the land connected to his grandfather.
By viewing the culture of Bizen ware from a distance—both geographically and conceptually—he has created a work that captures the essence and renewed appeal of Bizen through an external lens.
This piece is reminiscent of the traditional Imbe-te style, with clay sourced from Kagoshima applied to its surface.
Although he is associated with the Isezaki group, he deliberately avoids using cobalt, adhering instead to old-fashioned methods.
The entire piece is covered in Kigoma, which—perhaps due to the influence of Kagoshima’s clay—has developed a dry, weathered appearance, acquiring a matte texture and rough feel reminiscent of Irabo ware.
In form, it faithfully carries the Isezaki clan vocabulary: thrown with generous thickness, then pared along the sides into an elegant octagonal profile.
Michiaki Kaneshige - Imbe Guinomi
49,500 YENSold out
size : W6.5cm×6.3cm×H5.4cmThe eldest son of Toyo Kaneshige, Michiaki created this Ibe Guinomi with no special ornament at all—only clay color and Sangiri.
Yet even from a distance it bears that unmistakable presence that says “Michiaki” at a glance.
Meticulous clay preparation yields a superb surface: a softly scarlet-tinged clay color forms the base, over which a slightly matte Sangiri settles, creating a skin that becomes more lustrous the more it is used.
Inside, inky black Sangiri spreads across the bottom like splashed ink, setting a painterly contrast against the brighter scarlet clay color of the walls.
Taciturn as the artist himself, the cup is nevertheless filled with his quiet, disciplined aesthetics.
Kei Ushigaki - Tokkuri
24,200 YEN
size : W9.1cm×9.0cm×H13.9cm 380ccThis Tokkuri was created by Kei Ushigaki, who trained under Jun Isezaki, a Living National Treasure.
He later established his own kiln in Kagoshima, the land connected to his grandfather.
By viewing the culture of Bizen ware from a distance—both geographically and conceptually—he has created a work that captures the essence and renewed appeal of Bizen through an external lens.
This piece is reminiscent of the traditional Imbe-te style, with clay sourced from Kagoshima applied to its surface.
Although he is associated with the Isezaki group, he deliberately avoids using cobalt, adhering instead to old-fashioned methods.
The entire piece is covered in natural ash glaze, which—perhaps due to the influence of Kagoshima’s clay—has developed a dry, weathered appearance, acquiring a matte texture and rough feel reminiscent of Irabo ware.
The Yohen itself has formed in three distinct layers: scorched Goma in pale yellow and dark brown, rugged rock-like ash deposits, and Kigoma resembling Irabo glaze—all contributing to an exceptionally dynamic visual effect.
In terms of form, the piece clearly reflects the aesthetic inherited from the Isezaki lineage, with a stylish design—such as the flared foot that appears as if the clay is peeling outward.
Gosuke Yashiro - Imbe Guinomi
5,500 YENSold out
size : W7.0cm×7.0cm×H4.2cmThis Guinomi was fired by Gosuke Yashiro around 2023.
It was created in a newly constructed, ultra-small, fully underground Anagama kiln of his own design. In a bold and experimental approach, the firing was carried out without using refractory materials except for the ceiling area.
The surface features a quintessential Bizen aesthetic—a refined harmony of Kigoma and rich Shiso-colored hues. Especially noteworthy is the Shiso tone, which bears a unique smoky nuance, adding a profound sense of character.
Measuring 7 cm in diameter, the piece offers a comfortable, classic grip. Coupled with the soft texture resulting from minimal use of refractory materials, this sake cup delivers a subtle yet deeply satisfying tactile experience.
It is an unused piece, carefully stored in pristine condition since it was purchased new, and has never been opened or handled.
Michiaki Kaneshige - Imbe Sakazuki square type
44,000 YENSold out
size : W8.2cm×7.9cm×H3.2cmMichiaki Kaneshige is the eldest son of Toyo Kanesige.
He creates traditional Bizen ware and innovative sculptures while following the teachings of his father, Toyo Kaneshige.
This elegant Guinomi was first shaped on the potter’s wheel and then gently refined by hand into a squared form.
A powerful, carved circular pattern appears in the interior base, offering a subtle yet sophisticated expression.
The piece showcases a remarkable clay texture that can only be achieved through meticulous clay preparation.
The earthy tone is dominated by a rich shiso-like purple hue, giving it a vibrant and aromatic presence.
A Hidasuki mark—modestly applied near the foot—adds a beautiful accent to the piece.
Though functionally a result of the kiln-stacking process, this detail contributes significantly to the work’s aesthetic impact.
Kei Ushigaki - Guinomi
14,300 YEN
size : W8.0cm×7.8cm×H4.4cmThis Guinomi was created by Kei Ushigaki, who trained under Jun Isezaki, a Living National Treasure.
He later established his own kiln in Kagoshima, the land connected to his grandfather.
By viewing the culture of Bizen ware from a distance—both geographically and conceptually—he has created a work that captures the essence and renewed appeal of Bizen through an external lens.
This piece is reminiscent of the traditional Imbe-te style, with clay sourced from Kagoshima applied to its surface.
Although he is associated with the Isezaki group, he deliberately avoids using cobalt, adhering instead to old-fashioned methods.
The entire piece is covered in Kigoma, which—perhaps due to the influence of Kagoshima’s clay—has developed a dry, weathered appearance, acquiring a matte texture and rough feel reminiscent of Irabo ware.
In terms of form, the piece clearly reflects the aesthetic inherited from the Isezaki lineage, with a stylish and compact design—such as the flared foot that appears as if the clay is peeling outward.
Koichiro Isezaki - Kuro Guinomi
26,400 YENSold out
size : W7.6cm×7.4cm×H5.8cmKoichiro Isezaki is Jun Isezaki's eldest son.
He uses kiln in a tunnel-like shape called "anagama".
This new work was fired in August 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.
Kei Ushigaki - Guinomi
13,200 YENSold out
size : W6.8cm×6.6cm×H5.3cmKei Ushigaki trained under Living National Treasure Jun Isezaki and later established his own kiln in Kagoshima, his grandfather’s homeland.
Seeing Bizen-yaki from the distance of Kagoshima allowed him to rediscover its appeal; this piece embodies that renewed vision.
Fired in an anagama he built in Kagoshima with fine clay, it presents a bright gray fire pattern accented by a vivid, ripened-persimmon scarlet break.
Inside the well, the firing advanced further than the front scarlet, yielding the dense shiso-purple tone that is quintessential to Bizen-yaki.
In form, it faithfully carries the Isezaki clan vocabulary: thrown with generous thickness, then pared along the sides into an elegant octagonal profile.
Koichiro Isezaki - Bizen Yohen Guinomi
30,800 YENSold out
size : W8.3cm×7.8cm×H6.2cmKoichiro Isezaki is Jun Isezaki's eldest son.
He uses kiln in a tunnel-like shape called "anagama".
This Guinomi was fired by him in September 2024.
There is a hole in the middle of anagama for small firewood.
The firewood that was put in during firing turned into a black fire pattern for this works.
It is a lively Youhen with a different color from the nobori gama kiln.
The design is like a smaller Chawan.
Very quiet and calm, but very beautiful as a sphere.
Yoshiteru Takariki - Bizen Sakazuki
9,900 YENSold out
size : W11.0cm×10.7cm×H4.1cmThis is an earlier work by Yoshiteru Takariki, a Bizen Sakazuki created around ten years ago. Inspired by the massive drinking vessels once favored by ancient Japanese warriors, this piece is a bold and powerful expression of traditional aesthetics.
With a diameter of approximately 11 cm, the Sakazuki exudes an impressive and commanding presence. However, rather than being ostentatious, the subdued elegance brought by Kase-Goma and Yohen effects softens the intensity, giving the piece a refined and dignified air.
Due to the sheer size of the form, a certain degree of structural rigidity was required from the clay. As a result, a significant proportion of mountain clay (yamatsuchi) was used, producing a deep, rich Hidasuki hue that seems to emerge from within the clay body itself.
The vivid coloration, which enhances the visual appeal of sake, also evokes a profound sense of beauty—like the fleeting brilliance of life—set against a backdrop of robust, flame-hardened textures. It is a poetic and emotionally charged landscape.
The powerful form, reminiscent of armored warriors, is imbued with passionate Hidasuki reds and a tinge of melancholic beauty, like the last light of a setting sun. This piece would pair wonderfully with rich nigori sake.
This work remains in unused condition, carefully preserved in its original state since purchase.
FIRST PREV 8 / 86 page NEXT LAST
