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382 Items
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Yoshiteru Takariki - Hidasuki cup
3,850 YENSold out
size : W11.3cm×8.4cm×H6.3cmHe 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 Hidasuki Mugcup was fired in an electric kiln.
His electric kiln has ducts and can burn firewood.
And the firing time is about one week, which is a long time.
The flame of a firewood creates a beautiful surface that cannot be achieved by electricity alone.
Jun Isezaki - Bizen Yunomi
44,000 YENSold out
size : W7.2cm×7.0cm×H9.0cmJun 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.
The fired works will have a brown or white gradation based on the bright red.
He wrapped rice straw in his work and fired it.
The color and shape of rice straw changes from part to part due to the influence of natural glaze.
This Yunomi was fired in October 2025.
Yoshiteru Takariki - Bizen Beerglass
6,600 YENSold out
size : W12.5cm×9.0cm×H12.6cmA new work by Yoshiteru Takariki, who trained under Sozan Kaneshige and Yuho Kaneshige, this is a freshly kiln-opened piece from September 2025.
Created with the ambition of surpassing a glass stein while preserving the full appeal of Bizen clay, it’s an unusually large format for Bizen and holds approximately 400 ml.
Fired slowly in the mid-chamber of a noborigama, it develops a textbook, intensely saturated shiso-purple clay color—an archetype of noborigama-fired Bizen.
That shiso-purple pairs beautifully with beer: it will both quench a dry throat and, as condensation blooms, quickly awaken the stein’s rich scarlet-leaning clay tones.
For best results, chill the vessel before use; the slight moisture on the surface helps reduce staining and makes the already characterful clay color look even more beautiful.
Well-priced and wonderfully giftable, it’s a standout everyday piece with presence.
Yoshiteru Takariki - Bizen Kurotasuki Yunomi
8,800 YEN
size : W7.9cm×7.8cm×H8.9cmHe 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 Yunomi was fired in September 2025.
He had been following his teacher's method of firing hidasuki until now.
He then developed a polka-dot patterned scarlet tasuki using blocks with holes in them.
He continued his research and completed this black Hidasuki.
Other areas show a red clay color similar to the Yohen style.
The Tasuki area has a very strange fire pattern that, if you look closely, shows Kase Goma or glassy crystals.
Yoshiteru Takariki - Bizen Mug
4,400 YEN
size : W10.6cm×8.3cm×H10.0cmA freshly kiln-opened work from September 2025 by Yoshiteru Takariki, who trained under Sozan Kaneshige and Yuho Kaneshige.
Made with a relatively high proportion of mountain soil, the surface is matte with many small stones, offering a character distinct from tatsuchi (paddy-field clay). The firing fully leverages the soil’s nature, yielding an orange, nanban yakishime–like clay color enriched with Kase-Goma—quietly yet deeply expressive.
Unusually for Takariki, this mug features a bold, heavily tooled “yamamichi” band around the waist, and together with the aforementioned clay character it conveys an exotic, non-tatsuchi mood compared with his usual works.
Though sold as a mug, the piece is tall and vertically stretched, making it suitable not only for coffee but also for beer and other drinks. With daily use, the mountain-soil surface will naturally polish, developing a deeper, gracefully weathered patina over time.
Yoshiteru Takariki - Bizen Mug
4,400 YENSold out
size : W11.0cm×8.5cm×H9.6cmA freshly kiln-opened work from September 2025 by Yoshiteru Takariki, who trained under Sozan Kaneshige and Yuho Kaneshige.
Made with a relatively high proportion of mountain soil, the surface is matte with many small stones, offering a character distinct from tatsuchi (paddy-field clay). The firing fully leverages the soil’s nature, yielding an orange, nanban yakishime–like clay color enriched with Kase-Goma—quietly yet deeply expressive.
Unusually for Takariki, this mug features a bold, heavily tooled “yamamichi” band around the waist, and together with the aforementioned clay character it conveys an exotic, non-tatsuchi mood compared with his usual works.
Though sold as a mug, the piece is tall and vertically stretched, making it suitable not only for coffee but also for beer and other drinks. With daily use, the mountain-soil surface will naturally polish, developing a deeper, gracefully weathered patina over time.
Yoshiteru Takariki - Bizen cup
5,500 YENSold out
size : W9.5cm×9.3cm×H8.7cmA fresh kiln opening from September 2025, this new piece by Yoshiteru Takariki—who trained under Sozan Kaneshige and Yuho Kaneshige—was made with a relatively high proportion of mountain soil. The result is a matte surface with many small stones, offering a character distinct from tatsuchi (paddy-field clay).
The firing makes full use of the mountain soil’s qualities:
on the exterior, a nanban yakishime–like orange clay color interplays with Kase-Goma, while the interior shows a brighter scarlet clay color that delights the eye.
Pebbles contained in the mountain soil have emerged through firing, adding a quietly weathered nuance to the unpretentious nanban-style skin.
Though sold as a multi-purpose cup, the size is close to a small tea bowl. It works beautifully as a large yunomi, a shochu/rocks glass with ice, or even a small matcha bowl for casual use—versatile and enjoyable across settings.
With daily use, the mountain soil surface will polish naturally, developing a deeper, gracefully weathered feel over time.
Yoshiteru Takariki - Bizen Beerglass
6,600 YENSold out
size : W12.9cm×9.1cm×H12.7cmA new work by Yoshiteru Takariki, who trained under Sozan Kaneshige and Yuho Kaneshige, this is a freshly kiln-opened piece from September 2025.
Created to preserve the appeal of Bizen clay while surpassing the feel of glass steins, it features an unusually large format—approximately 650 ml—rare even in Bizen. Fired slowly on the mid-slope of a climbing kiln, the piece exhibits an exceptionally dense scarlet clay color, as if the flame itself had settled into the surface.
That scarlet tone pairs naturally with beer: it slakes a dry throat while instantly “opening up” the character of the clay on contact. For best results, chill the stein before use. The slight moisture that forms on the surface both enhances the tactile feel and helps reduce soiling, letting the clay’s nuanced character appear even more beautifully.
An affordably priced work that also makes an excellent gift.
Toukoubou Yu - Imbe Hidasuki Yunomi
5,500 YEN
size : W7.4cm×7.3cm×H7.4cmRun by two potters who trained under Yuho Kaneshige, Toukoubou Yu presents an Imbe Hidasuki yunomi that embodies restraint: within the rigorously unadorned form, subtle undulations in the clay quietly convey the maker’s hand.
This is a luxurious cup made from exceptionally fine Bizen clay—the very material the two once felt was “too precious to use” when the studio began.
Although they often produce very thin, glass-like profiles, here they deliberately return to a classic yunomi silhouette and even adopt a traditional straw wrapping for the Hidasuki, pursuing a fully classic style.
While the wrapping method is traditional, the quality of the Hidasuki remains at a very high standard, with bold, linear Hidasuki running across the exterior and a full, even Hidasuki spread over the interior well, yielding a finish that embodies the beauty of utility.
Toukoubou Yu - Imbe Hidasuki Yunomi
5,500 YENSold out
size : W7.5cm×7.3cm×H7.4cmRun by two potters who trained under Yuho Kaneshige, Toukoubou Yu presents an Imbe Hidasuki yunomi that embodies restraint: within the rigorously unadorned form, subtle undulations in the clay quietly convey the maker’s hand.
This is a luxurious cup made from exceptionally fine Bizen clay—the very material the two once felt was “too precious to use” when the studio began.
Although they often produce very thin, glass-like profiles, here they deliberately return to a classic yunomi silhouette and even adopt a traditional straw wrapping for the Hidasuki, pursuing a fully classic style.
While the wrapping method is traditional, the quality of the Hidasuki remains at a very high standard, with bold, linear Hidasuki running across the exterior and a full, even Hidasuki spread over the interior well, yielding a finish that embodies the beauty of utility.
Seishi Mori - Yunomi
11,000 YENSold out
size : W8.2cm×8.0cm×H9.4cmHe was born into a family with a long tradition of Bizen ware.
Under normal circumstances, he would have played a central role in the Bizen Pottery industry.
However, at the root of his work was his anger toward society at large.
He was good at putting destructive emotions into his works and creating works that were even grotesque.
He named his kiln "Shakuyo" and was particularly particular about the occurrence of red clay color.
The kanji for "Shakuyou" means "the sun that burns everything.
Kei Ushigaki - Yunomi
5,500 YEN
size : W8.7cm×8.7cm×H7.3cmKei 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 the anagama he built in Kagoshima with fine clay, it presents rich Hidasuki together with delicate tobi-goma, both characteristic of wood firing.
In form, it faithfully carries the Isezaki clan vocabulary: thrown with generous thickness, then pared along the sides into a clean, stylish profile.
Although made as a yunomi, the mouth is notably wide, so it can also be enjoyed as a rocks glass with ice.
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