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FIRST PREV 9 / 31 page NEXT LAST

Reiji Omori - Bizen Suribachi

14,000 YEN
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size : W17.0cm×16.6cm×H6.8cm

He loves old Bizen ware and wants to study them.
And when he creates his work, he uses the knowledge and techniques he has learned about old Bizen ware.
However, his work does not end with the reproduction of old Bizen ware.
He also thinks about the thoughts, religions and philosophies of those who lived at that time.
Those spiritual considerations appear throughout the work and give it originality.
Speaking of this work, you can feel them in the pattern drawn with the inner by comb.
The pattern of the comb is functional and picturesque.


Toyo Kaneshige - Bizen Yunomi

143,000 YEN
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size : W7.8cm×7.8cm×H7.9cm

I think this Yunomi was made around 1960, guessing from the shape of the Toyo mark.
This Yunomi is made from fine clay with low iron content.
This Yunomi is based on a white clay color and has changed to amber or scarlet due to the effect of fire.
When I got it, this Yunomi didn't have a set wooden box.
The price of Yunomi includes the appraisal fee of Kosuke, the third son of Toyo, and the cost of making a wooden box.


Mamoru Taku - Bizen Hidasuki Tsutsuwan

11,000 YEN
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size : W9.3cm×9.3cm×H10.5cm

Mamoru 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.
He told me that Hidasuki was his basic theme.
Hidasuki works of various colors were placed in his workshop.
A large amount of iron and other substances are gushing on the Beige clay skin.
The wonderful hidasuki is comparable to old Bizen ware.


Shuroku Harada - Bizen Suribachi

132,000 YEN
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size : W14.7cm×12.2cm×H7.0cm

Shuroku Harada was studying old Bizen ware.
He was a student of ceramics researcher Katsura Matasaburo.
The knowledge gained is the basis of his pottery style.
He hasn't fired kiln in recent years.
This Suribachi fired in his kiln around 2010.
The surface is baked over a strong fire until it becomes like glass.
Various types of fire patterns occur in various parts of the work.
It can be used as both tableware and Sake pourer.
When pouring Sake, a little Sake drips, but it is good to apply it to the clay skin.


Mamoru Taku - Bizen Hidasuki Oyunomi

11,000 YEN
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size : W9.6cm×9.0cm×H10.6cm

Mamoru 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.
He told me that Hidasuki was his basic theme.
Hidasuki works of various colors were placed in his workshop.
Reddish purple colored skin is combined with vermilion hidasuki.
The wonderful hidasuki is comparable to old Bizen ware.


Koji Nakahara - Bizen Manekineko Hohin

44,000 YEN
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size : W12.4cm×10.3cm×H8.9cm

Koji Nakahara is a potter who works in two places, Osaka and Bizen.
He is commissioned to make bespoke tableware by a famous restaurant in Osaka.
And in Bizen, he is learning about Bizen ware from his teacher, Fumio Kawabata.
His unique design is a modern take on the Houhin, which was popular in the Showa era.
He fired this piece in Fumio Kawabata's kiln, which is now in Bizen City.


Rokuro Nakamura - Bizen Yunomi

55,000 YEN
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size : W9.1cm×9.0cm×H7.4cm

This is Yunomi made by Rokuro Nakamura who is called a master of sake ware.
I would guess that this Yunomi is from his later years.
The clay color of the entire work is not his characteristic red, but a subdued brown clay color, like that of the Toyo kaneshige.
The Nakamura clan's unique body design makes it very easy to hold.


Mamoru Taku - Bizen Hidasuki Tsutsuwan

11,000 YEN
Sold out

size : W8.8cm×8.7cm×H9.8cm

Mamoru 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.
He told me that Hidasuki was his basic theme.
Hidasuki works of various colors were placed in his workshop.
A large amount of iron and other substances are gushing on the Beige clay skin.
The wonderful hidasuki is comparable to old Bizen ware.


Masao Akiya - Bizen Cofeeset

4,400 YEN
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size : cup:W10.7cm×8.1cm×H6.9cm
saucer：W14.6cm×14.5cm×H1.5cm

Masao Akiya is a disciple of Jun Isezaki.
He also uses hole type klin called "Anagama".
In front of this cup, a golden fire pattern called "Kigoma" is generated by direct exposure to flame.
And dark brown on the back of the cup and red on the bottom of the cup.
This cup's handle is made very thin.
This saucer was fired on top of each other along with the other saucers, so Hidasuki is the main fire pattern.


Masao Akiya - Bizen cup and saucer

4,400 YEN
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size : cup:W11.0cm×7.7cm×H6.5cm
saucer：W14.6cm×14.5cm×H1.5cm

Masao Akiya is a disciple of Jun Isezaki.
He also uses hole type klin called "Anagama".
In front of this cup, a golden fire pattern called "Kigoma" is generated by direct exposure to flame.
And dark brown on the back of the cup and red on the bottom of the cup.
This cup's handle is made very thin.
This saucer was fired on top of each other along with the other saucers, so Hidasuki is the main fire pattern.


Naoe Koide - Bizen Saketsugi

88,000 YEN
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size : W13.8cm×10.7cm×H8.0cm

Naoe Koide loves old Bizen ware.
The great power and originality of old Bizen ware give him creative energy.
He inherited Shuroku Harada's skills and passion, but passed away in 2020 due to an unforeseen accident.
The greenish natural glaze is the result of firing the kiln with various types of wood, as is the case with Shuroku Harada.
The clay color, which appears to be coated with platinum, is also excellent.
It is a very bold shape, but he designed it to be easy to hold and pour.


Seishi Mori - Yunomi

11,000 YEN
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size : W8.0cm×8.0cm×H10.5cm

He 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.


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