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Masao Akiya - Kuro Mug
5,500 YENSold out
size : W11.7cm×8.6cm×H10.3cmThis is a newly kiln-unloaded Kuro mug cup by Masao Akitani, 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 his latest work, just unloaded from the kiln 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 skin.
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, a blue fire effect appears on the front of the cup, giving it a highly striking presence.
Rather than relying on elaborate decoration, the design makes full use of the chic, modern character of black ware, bringing out the beauty of the silhouette and lines to great effect.
It is a large mug cup and can also be enjoyed as a beer mug.
Masao Akiya - Kuro Cup&Saucer
8,800 YENSold out
size : cup：W10.8cm×8.1cm×H6.9cm
saucer：W12.5cm×12.5cm×H1.9cmThis is a newly kiln-unloaded Kuro cup and saucer by Masao Akitani, 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 his latest work, just unloaded from the kiln 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 skin.
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, a blue fire effect appears on the front of the cup, giving it a highly striking presence.
Akitani’s refined sense of design is especially elegant here. Rather than relying on elaborate decoration, the piece is simply designed to bring out the beauty of its silhouette and lines, making full use of the chic and modern character of black ware.
Masao Akiya - Kuro Cup&Saucer
8,800 YENSold out
size : cup：W11.5cm×8.8cm×H6.3cm
saucer：W12.5cm×12.5cm×H1.7cmThis is a newly kiln-unloaded Kuro cup and saucer by Masao Akitani, 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 his latest work, just unloaded from the kiln 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 skin.
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, a blue fire effect appears on the front of the cup, giving it a highly striking presence.
Akitani’s refined sense of design is especially elegant here. Rather than relying on elaborate decoration, the piece is simply designed to bring out the beauty of its silhouette and lines, making full use of the chic and modern character of black ware.
Masao Akiya - Bizen cup and saucer
4,400 YENSold out
size : cup:W11.3cm×8.5cm×H6.8cm
saucer：W12.9cm×12.9cm×H1.7cmThis is a newly kiln-unloaded Bizen cup and saucer by Masao Akitani, 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 his latest work, just unloaded from the kiln in February 2026.
This cup and saucer is especially appealing for its vivid scenery produced through the traditional anagama firing of the Isezaki lineage, making it a beautiful and stylish set that clearly reflects Akitani’s distinctive sense of Yohen.
The cup, fired with abundant heat, is defined by its subdued brown surface, richly infused with smoke, together with scattered Kigoma that becomes the main visual highlight.
The saucer, by contrast, was fired in a stacked arrangement, resulting in a finish where striking Hidasuki appears like flashes of lightning across the pale surface.
The whole piece is designed in a simple and thin-walled manner, and the handle in particular is made remarkably thin, giving it a very distinctive feel in the hand.
Masao Akiya - Bizen cup and saucer
4,400 YENSold out
size : cup:W11.4cm×8.2cm×H6.1cm
saucer：W12.7cm×12.7cm×H1.8cmThis is a newly kiln-unloaded Bizen cup and saucer by Masao Akitani, 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 his latest work, just unloaded from the kiln in February 2026.
This cup and saucer is especially appealing for its vivid scenery produced through the traditional anagama firing of the Isezaki lineage, making it a beautiful and stylish set that clearly reflects Akitani’s distinctive sense of Yohen.
The cup, fired with abundant heat, is defined by its subdued brown surface, richly infused with smoke, together with scattered Kigoma that becomes the main visual highlight.
The saucer, by contrast, was fired in a stacked arrangement, resulting in a finish where striking Hidasuki appears like flashes of lightning across the pale surface.
The whole piece is designed in a simple and thin-walled manner, and the handle in particular is made remarkably thin, giving it a very distinctive feel in the hand.
Makoto Kaneshige - Bizen Yunomi
16,500 YENConsidering purchase
size : W7.6cm×7.5cm×H10.1cmThis is a newly kiln-unloaded Bizen yunomi by Makoto Kaneshige, who inherited the Enzan kiln as the eldest son of Sozan Kaneshige and continues to captivate many people through a harmony of delicate, elegant clay character and powerful form.
It is his latest work, just unloaded from the kiln in late 2025 (Reiwa 7).
It was created in accordance with the essential philosophy of Kaneshige Bizen: avoiding excessive decoration and allowing the clay itself to speak. The beautiful Kigoma and clay character harmonize with the simple design, giving the piece a striking presence.
The exposed clay surface, lightly accented with the spice of tiny sand grains, will become even richer in character after enjoying tea or beer, especially when it is slowly appreciated in the palm, much like a guinomi.
The well-fired surface has developed a rich, chocolate-like tone, and together with the beautifully melted, glass-like Kigoma, it presents a landscape full of the charm of Bizen ware.
Its slightly vertical form is paired with the broad, dignified foot that Makoto Kaneshige is known for, and it is designed to be enjoyed not only as a yunomi or beer mug, but also for wine and other beverages.
Jun Isezaki - Bizen Kuro Rock glass
66,000 YENSold out
size : W9.2cm×9.1cm×H8.7cmThis is a newly kiln-unloaded Bizen Black rock glass by Jun Isezaki, a Living National Treasure whose creativity never runs dry and who continues to lead the world of Bizen ware.
It is his latest work, unloaded from the kiln in February 2026.
Fired for about ten days in a semi-underground anagama, this piece brings together black slip and intense Goma in a dramatic collision, with parts of the surface transforming into blue fire effects derived from the cobalt in the slip.
This work was fired upright rather than laid on its side, and inside the vessel it has developed aurora-like flowing Goma and striking Tamadare.
Around the rim, where Goma tends to gather most heavily, scorched Goma with blue fire effects has formed, creating a landscape that conveys the fierce energy of flame so characteristic of Jun Isezaki’s dynamic firing.
With its smooth black coloration in the exposed clay areas and its exceptionally bold, energetic form, this piece feels like a concentrated expression of the appeal of Jun Isezaki’s black works.
It will take approximately one month to make the wooden box, have him sign it, and prepare the piece for shipment.
Toukoubou Yu - Imbe Hidasuki Beerglass
5,500 YENSold out
size : W6.0cm×6.0cm×H12.7cmThey 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.
On the inside, fine and closely spaced potter’s wheel marks remain,
while the outer surface has been thrown so as to leave as few wheel marks as possible,
creating a strikingly different impression when viewed from both the inside and outside after finishing a drink.
This is a rather slender beer glass, yet it holds a practical volume of approximately 140cc—just the right size for refined enjoyment.
Most striking is the thinly crafted rim, which reflects Toukoubou Yu’s passion for enhancing the taste of beer through craftsmanship.
The delicate Hidasuki , created using an electric kiln—a technique inherited from Yuho Kaneshige—begin at the mouth and gracefully lead the eye into the deep interior of the cup, offering a captivating visual experience.
Koji Nakahara - Bizen Nerikomi Beer cup
19,800 YEN
size : W12.5cm×8.7cm×H12.6cmThis is a new Bizen Nerikomi beer cup by Koji Nakahara, who studied under Fumio Kawabata and strives to create works suited to modern life.
Its defining feature is the marble-like, marbled clay surface, created by blending and high-firing more than a dozen different kinds of field clay.
Clays with different compositions and shrinkage rates are fitted together like puzzle pieces to form the vessel, and the resulting complex patterns and exceptionally smooth texture make it a piece you cannot help but want to pick up and use.
As mentioned above, the piece is built up in much the same way as assembling a puzzle, and for that reason the design itself has a uniquely constructed character, as if it were made from multiple joined parts. It is a wonderful expression of the skill and sensibility Nakahara has refined through both sculptural work and the making of functional vessels.
The vivid Hidasuki placed here and there also brings a fascinating variation to the marble-like surface, making this a superb beer cup in which clay texture, design, tactile quality, and usability are all beautifully balanced.
Yoshiteru Takariki - Bizen Ricebowl
3,850 YENSold out
size : W12.2cm×12.3cm×H6.8cmHe 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 is his latest work, which he fired in June 2023.
This work is a traditional style rice bowl of Bizen.
Bizen rice bowls are convenient because rice grains are less likely to stick to vessels.
Toukoubou Yu - Scrape-off pattern Yunomi
11,000 YEN
size : W6.1cm×6.0cm×H8.3cmThis piece features a Sōgyo (grass carp) motif delicately carved using the kakiotoshi technique—
a hallmark of Toukoubou Yu’s meticulous craftsmanship.
A final layer of ash glaze is applied, creating a subtle two-tone contrast between warm white and soft gray.
Its quiet, understated aesthetic translates directly into excellent usability.
The thinly crafted rim and refined, compact form are both elegant and practical.
Rather than a cold, stark white, the piece exudes a soft and inviting warmth.
It beautifully balances the clean, refined clarity typical of white slipware with a subdued, rustic depth—
a harmony of purity and quiet wabi-sabi.
Tomio Ochi - Imbe bowl
33,000 YEN
size : W20.7cm×20.3cm×H6.9cmThis is an Imbe bowl by Tomio Ochi, who quietly devoted himself to kiln work under Yasuhito Abe, and continues to pour his still-unfulfilled feelings into his clay.
True to Ochi’s preference for firing in the highest temperature range, this piece is intensely and firmly vitrified, with a weighty presence. It conveys a powerful sense, as if the clay has been compressed into an exceptionally dense mass.
As the title “Imbe” suggests, an iron-rich clay slip has been applied to the surface, creating a skin like black iron—an alluring, glossy sheen that glimmers mysteriously in the light.
Mustard-toned Kigoma is scattered across the interior as if it were sprayed on, and together with botan-mochi that reveals the natural clay character rather than bright scarlet, it beautifully recreates the atmosphere of old Bizen.
The rim, shaped with an almost living presence, and the vivid wheel marks on the body are unmistakably Ochi—offering a distinctive expression that goes beyond mere reproduction of old Bizen and makes the piece truly captivating.
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