Bizen Hiki-dashi Kuro Sake Cup

This is a Bizen "Hikidashi-guro" (drawn-out black) sake cup by Living National Treasure Jun Isezaki, an artist who continues to lead the world of Bizen ware with inexhaustible creativity. Created by pulling the piece from the kiln’s stoking port during firing to rapidly cool it, this sake cup is characterized by its glassy, translucent black surface and "goma" (ash glaze) markings.
The style is truly fantastical, as if stealing a secret moment known only to the flames within the kiln, and its dignified, cool-toned appearance—unexpected for Bizen ware—offers the owner a premium experience. The stylish shape, reminiscent of a miniature jar, is a perfect match for this magical firing technique. This is a Bizen "Hikidashi-guro" (drawn-out black) sake cup by Living National Treasure Jun Isezaki, an artist who continues to lead the world of Bizen ware with inexhaustible creativity. Created by pulling the piece from the kiln’s stoking port during firing to rapidly cool it, this sake cup is characterized by its glassy, translucent black surface and "goma" (ash glaze) markings. The style is truly fantastical, as if stealing a secret moment known only to the flames within the kiln, and its dignified, cool-toned appearance—unexpected for Bizen ware—offers the owner a premium experience. The stylish shape, reminiscent of a miniature jar, is a perfect match for this magical firing technique. Scheduled for publication in the *Honoo Geijutsu* (Flame Art) special issue, "Masterpieces of Ceramics: Enjoying Viewing and Collecting" (tentative title). Signed wooden box (shiho-zan) included
Diameter 6.3cm × Diameter 6.2cm × Height 6.9cm Jun Isezaki was born as the second son of Yozan Isezaki, a master of ceramic craftsmanship. He learned pottery from a young age and began his professional career after graduating from the Special Art Course at Okayama University in 1959. His body of work is wide-ranging, encompassing traditional pieces like vases, plates, and tea ceremony utensils, as well as ceramic wall art and sculptural objects. He places great importance on both shaping and firing, leveraging the unique characteristics of his materials and various kilns (anagama, climbing kilns, and electric kilns) to create works filled with a contemporary sensibility. He is also a leading figure in relief art, having presented numerous works. He became a regular member of the Japan Kōgei Association in 1966. From 1978, he served as a special art lecturer at Okayama University for nine years. In 1998, he and his brother, Mitsuru Isezaki, were both designated as Holders of Okayama Prefecture Important Intangible Cultural Property, and he served as the Secretary-General of the Chugoku Branch of the Japan Kōgei Association that same year. In July 2004, he was designated as a Living National Treasure (Holder of Important Intangible Cultural Property). Awards include the Toyo Kaneshige Prize, the Okayama Prefecture Cultural Encouragement Award, the Sanyo Shimbun Award, and the Excellence Award at the Chanoyu Modeling Exhibition, among many others. He also serves as a judge for prefectural exhibitions.