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408 Items
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Takashi Baba - Oribe Yunomi Hidariuma
8,800 YENSold out
size : W8.9cm×8.7cm×H8.4cmBorn in Imbe and a lifelong admirer of Bizen, Takashi Baba finds joy in both making and firing. This newest Oribe Yunomi was fired in June 2025 in a newly designed noborigama, with an auspicious Hidari-uma incised on the front.
Formed on a base of Shigaraki clay and finished with a vivid green Oribe glaze, it is a genuine Oribe work that reflects Baba’s keen pursuit of glaze research. Along the rim are traces of natural ash borne on the flame, and in the mikomi the pooled Oribe has shifted under the ash’s influence toward an amber-like tone.
Though the rim is glazed, it has been finished thin, giving the piece versatile utility—enjoyable not only as a Yunomi but also as a beer mug or a rocks glass.
Takashi Baba - Bizen Kuro Yunomi Hidariuma
8,800 YENSold out
size : W9.0cm×8.9cm×H7.3cmBorn in Imbe and a lifelong lover of Bizen, Takashi Baba finds joy in both making and firing. This is his newest black Bizen Yunomi, fired in June 2025 in a newly designed noborigama, with an auspicious Hidari-uma incised on the front
(the mirror-image “uma” mark traditionally used at a kiln’s inaugural firing).
A black-slip Bizen that pairs a bold, modern design with a stylish surface. Thorough firing has given the black slip a subdued, gun-metallic sheen—an attractively metallic skin that draws the eye.
Along the lip are traces of Kigoma borne on the flame; across the front it partially melts the black slip, forming dark nagare Goma. Although the rim is slip-coated, it has been finished thin, making the piece versatile—equally enjoyable as a Yunomi, a beer mug, or even a rocks glass.
Yoshiteru Takariki - Bizen Hikidashi Katakuchi Sake pourer
9,900 YENSold out
size : W10.8cm×8.0cm×H9.7cmA freshly fired Bizen sake server by Yoshiteru Takariki, who studied under Sozan Kaneshige and Yuho Kaneshige. Kiln-out: September 2025.
This katakuchi belongs to the Hikidashi-guro lineage that Takariki has been pursuing in recent years. What immediately catches the eye is the indigo nagare Goma—streams where natural ash glaze and cobalt intermingle.
Placed at the very front of the kiln and pulled during firing, the piece is veiled in natural ash that lends a wet luster across the surface. Around the foot the skin turns markedly metallic, with subtle shifts in tone that highlight the quiet mysteries of both Hikidashi-guro and light.
Inside, on a clay tone that has shifted to gray, indigo Goma pools just as it does on the front—an image that feels at once alive and mineral, like ore resting on a riverbed.
True to Takariki’s style, the orthodox, well-balanced form makes the piece approachable; for all its enigmatic scenery, it remains a practical, highly usable Sake pourer.
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 large
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.
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