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Tea Ceremony Things
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Hiroshi Goseki - Sohen Kuro Chawan
88,000 YEN
size : W11.9cm×11.8cm×H9.8cmHiroshi Goseki trained under Jun Isezaki, a Living National Treasure, and later established his kiln in Ibaraki. This is a Sohen-Kuro Chawan by Hiroshi Goseki.
This piece uses the black coating that immediately reveals the influence of the Isezaki lineage. Since the areas where natural ash glaze has accumulated turn cobalt blue, it has been given the title “Sohen-Kuro.”
Over the calm Kigoma, which contains a slight greenish nuance, a rich cobalt-blue fire effect appears, truly befitting the name “Sohen.”
The interior presents a different atmosphere from the exterior, showing a matte black tone mixed with silver. Together with the fine wrinkles and small holes formed inside, it gives the impression of charcoal.
For this work, the form was first built up to a certain degree using slab construction, and then carefully adjusted and refined by hand. The resulting shape is excellent, conveying both the quiet dignity and subtle movement reminiscent of a Raku Chawan.
The foot also reflects Goseki’s deep study of tea ceramics and the tea ceremony. Within its energetic and sharp design, a calm sense of maturity is beginning to emerge.
Jun Isezaki - Bizen Kuro Chawan
880,000 YEN
size : W13.5cm×13.2cm×H9.5cmThis is a newly fired Bizen Kuro Chawan by Jun Isezaki, a Living National Treasure who continues to lead the world of Bizen ware with a creative spirit that never runs dry.
This is one of his latest works, newly fired in February 2026.
Fired for about ten days in a semi-underground Anagama kiln, this piece presents a dynamic fire pattern that seems to engulf the entire surface, as the black coating and powerful Goma contend with one another across the clay.
This work is executed in the technique known as kakewake, in which the black coating is poured over the surface, creating a striking contrast between the areas covered in black and those where the underlying orange-toned clay remains visible.
Furthermore, golden Goma carried by the intense flames has settled across the surface, completing a bold and dynamic fire pattern that perfectly suits Jun Isezaki’s powerful style.
The front is especially fascinating, as it condenses the appeal of this kakewake technique. Only where the black coating overlaps with the white Kase-Goma characteristic of Anagama firing does a vivid blue fire effect appear, produced by the cobalt contained in the coating.
Yellow, orange, black, vivid blue, and white — no fewer than five colors enliven the surface. To this unusual brilliance, rarely seen in Bizen ware, the fresh green of matcha is added as the final color when the bowl is in use, completing the work as a Chawan imbued with the spirit of the “new era of Bizen ware” that Jun Isezaki sought to open.
Around the lower body, Jun Isezaki’s characteristic impressed patterns have been carved, and energetic touches such as the powerful foot can be seen throughout. At the same time, the broad, deep, and gently open interior quietly reveals the kindness of a man admired by so many disciples.
Masao Akiya - Kuto Chawan
55,000 YEN
size : W12.2cm×11.9cm×H9.6cmThis is a newly fired Kuro Chawan by Masao Akiya, who studied under Jun Isezaki, the fifth Living National Treasure of Bizen ware, and creates highly original works within a fresh and contemporary spirit.
It is one of his latest works, freshly fired in February 2026.
This piece was made using the Kuro-Bizen technique inherited from his teacher, Jun Isezaki, and its black surface is especially appealing, with a deep luster yet a warm and inviting tone.
A special clay collected from areas near Osafune, close to Bizen City, is applied to the surface after a small amount of cobalt is added, creating a stylish and richly nuanced black texture.
One of the great attractions of black works is the so-called blue fire effect, created by the reaction between cobalt and natural ash glaze. In this piece as well, blue fire effects appear across roughly seventy percent of the surface, giving it a highly striking presence.
The form has a quiet and refined character reminiscent of a Raku chawan, designed to make full use of the vivid black and blue scenery while also allowing the green of tea to stand out beautifully.
The fine wrinkles that emerged naturally in the clay during forming are especially fascinating. These wrinkles create subtle variations in the blue fire effects, resulting in a landscape of remarkable depth.
Yukio Tomori - Bizen Chawan
11,000 YENSold out
size : W12.0cm×11.2cm×H10.2cmThis is a slightly earlier Bizen Chawan by Yukio Tomori, who began his ceramic journey in Okinawa and later studied in Bizen under Taisetsu Sueishi.
When Tomori works at the wheel, he creates while seeking to capture the most beautiful moment—when the clay is transforming and shifting on the wheel.
This Chawan expresses that philosophy directly, with a fresh, lively sense of motion, as if the clay were shaping itself naturally.
In particular, the foot—often considered the “life” of a tea bowl—gives a mysterious impression, as if it were being drawn into a swirling whirlpool of clay. The wide, flat foot ring has an especially rich character, almost as if it were smiling.
The bowl is formed using Tomori’s signature slightly coarse clay, and together with his powerful hera-carved finish, it creates a surface like weathered stone.
Due to the character of the clay, the overall tone becomes a deep, rich Hiiro, and this is combined with contrasting black Kase-Goma on one side. It is a wonderfully striking combination that should make the green of matcha stand out beautifully.
Toukoubou Yu - Huridashi
11,000 YEN
size : W7.9cm×7.9cm×H7.9cmThey 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.
Crafted with a refined gray clay body and accented by white-slip inlay, this Furidashi evokes the elegance of Mishima-de while departing from its traditional floral motifs. Instead, the inlay patterns bear a striking resemblance to African tribal designs, infusing the piece with an exotic charm.
The intricate patterns are brought to life through meticulous glazing, harmonizing beautifully with the Furidashi—a traditional Japanese container originally used for konpeitō sugar candies. The result is a work that feels both fresh and timeless, blending cultural influences into a uniquely captivating form.
Accompanied by a finely woven stopper, this piece serves not only as a traditional confectionery vessel but also as a versatile container, ideal for holding small condiments or seasonings.
Yuho Kaneshige - Karatsutsuchi Haiyu Chawan
385,000 YEN
size : W11.6cm×11.5cm×H8.1cmYuho 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 Chawan was fired in May 2025.
This Chawan 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.
Masao Akiya - Bizen Teapot
16,500 YEN
size : W15.8cm×10.8cm×H9.0cmMasao Akiya is a disciple of Jun Isezaki.
He also uses hole type klin called "Anagama".
This teacup is made of clay with a little sand content.
At the top of the piece, you can see Kigoma, while toward the base, the natural white clay body is visible.
The central area features a refreshing orange-toned clay surface.
The thickly thrown body has been carved with comb patterns, creating a sense of movement reminiscent of the dynamic sculptural works often seen in the Isezaki school.
There is a small chip in the Kase-Goma area near the rim, but it does not affect its use.
Masao Akiya - Kuro Teapot
22,000 YENSold out
size : W15.8cm×11.1cm×H8.1cmMasao Akiya is a disciple of Jun Isezaki.
He uses the same black clay as Jun Isezaki.
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.
Yuho Kaneshige - Kuro Korai Chawan
440,000 YENSold out
size : W11.7cm×11.7cm×H8.8cmYuho Kaneshige is the third son of Sozan Kaneshige.
He inherited his family’s home and kiln in Inbe from his father.
For many years, he produced traditional works in the classic Kaneshige style.
However, around 2018, he embarked on a new artistic journey.
He dismantled the inherited kiln and built a more primitive one of his own.
This Guinomi was fired in May 2025.
Yuhou refers to the color of this piece as “Tengen no Kuro,” a black reminiscent of a black hole or the cosmos itself.
This poetic expression perfectly captures the complex yet captivating glaze, where a deep, inky black—like finely ground sumi ink—is interspersed with shimmering golden flecks.
These are not actually metallic particles, but rather the result of the glaze contracting and becoming semi-transparent during firing.
Inside the Chawan, this contraction is even more dramatic, creating the illusion that real gold has melted beneath the glaze.
Within this majestic landscape of black and gold, the vibrant green of matcha stands out beautifully.
As the tea is finished, a faint trace of green remains on the surface—like life blooming in the vastness of space.
The bowl’s form also reflects the full extent of Yuhou’s technical mastery.
It has a substantial weight, but it does not feel burdensome. Rather, it offers a sense of unity with the user—an experience of harmony between hand and vessel.
Mamoru Taku - Bizen Chawan
16,500 YENSold out
size : W12.0cm×11.8cm×H8.7cmMamoru Taku is a potter and researcher.
Various clays in Okayama prefecture are collected and test fired.
He researches various soil chemical reactions of fire and clay that occur when Bizen ware burns.
This Chawan is made by a method similar to the old Bizen Imbe style.
He made it using clay from different strata in the same area.
He applies iron-rich clay in liquid form before firing it in a kiln.
Kenji Takenaka - Bizen Chawan
11,000 YENSold out
size : W12.0cm×12.0cm×H9.5cmHe 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.
Mamoru Taku - Bizen Chawan
16,500 YENSold out
size : W12.4cm×12.4cm×H8.8cmMamoru Taku is a potter and researcher.
Various clays in Okayama prefecture are collected and test fired.
He researches various soil chemical reactions of fire and clay that occur when Bizen ware burns.
This Chawan is made by a method similar to the old Bizen Imbe style.
He made it using clay from different strata in the same area.
He applies iron-rich clay in liquid form before firing it in a kiln.
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