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No. 7818
Bizen Hikidashi Kurotasuki Guimomi
¥16,500
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Description
Yoshiteru Takariki’s latest Bizen Hikidashi Kurotasuki Guinomi, created under the tutelage of Sozan Kaneshige and Yuho Kaneshige, was just unloaded from the kiln in September 2025.
Distinct from the traditional expressions born solely of climbing-kiln firings, this piece employs the post-2000 Hikidashi technique: the cup is set near the stokehole of a noborigama, then pulled mid-firing and rapidly cooled to carbonize the surface.
What sets this work apart from the black “hikidashi” pieces currently popular in Bizen is that it originates from the Hidasuki lineage. On a soft, pale clay body where red straw marks would normally appear,
carbonization has flipped the palette into a black-silver tonality reminiscent of Ao-Bizen, giving the surface a striking, iron-like—almost charcoal-like—texture.
The Hidasuki themselves likewise invert to black, gleaming as Kurotasuki in the truest sense of the name. In spirit, it follows the progression of Takariki’s practice: from the “守 (preserve)” Hidasuki inherited from Sozan’s electric-kiln work, through the “破 (break)” polka-dot Hidasuki born of inventive firing methods, to this entirely new “離 (depart)” interpretation that captivates the viewer with a fresh, radical beauty.
He was born in Hyogo Prefecture in 1970.
He became a disciple of Sozan Kaneshige in 1989.
After the death of Sozan Kaneshige, he became a disciple of Yuhou Kaneshige.
He became independent as a ceramic artist in 1996.
Distinct from the traditional expressions born solely of climbing-kiln firings, this piece employs the post-2000 Hikidashi technique: the cup is set near the stokehole of a noborigama, then pulled mid-firing and rapidly cooled to carbonize the surface.
What sets this work apart from the black “hikidashi” pieces currently popular in Bizen is that it originates from the Hidasuki lineage. On a soft, pale clay body where red straw marks would normally appear,
carbonization has flipped the palette into a black-silver tonality reminiscent of Ao-Bizen, giving the surface a striking, iron-like—almost charcoal-like—texture.
The Hidasuki themselves likewise invert to black, gleaming as Kurotasuki in the truest sense of the name. In spirit, it follows the progression of Takariki’s practice: from the “守 (preserve)” Hidasuki inherited from Sozan’s electric-kiln work, through the “破 (break)” polka-dot Hidasuki born of inventive firing methods, to this entirely new “離 (depart)” interpretation that captivates the viewer with a fresh, radical beauty.
He was born in Hyogo Prefecture in 1970.
He became a disciple of Sozan Kaneshige in 1989.
After the death of Sozan Kaneshige, he became a disciple of Yuhou Kaneshige.
He became independent as a ceramic artist in 1996.
Details
- Pottery Type
- guinomi
- Dimensions
- W6.2cm × D6.2cm × H5.6cm
About the Artist
He was born in Hyogo Prefecture in 1970.
He became a disciple of Sozan Kaneshige since 1989.
After the death of Sozan Kaneshige, he became a disciple of Yuhou Kaneshige.
He became independent as a ceramic artist in 1996.
He became a disciple of Sozan Kaneshige since 1989.
After the death of Sozan Kaneshige, he became a disciple of Yuhou Kaneshige.
He became independent as a ceramic artist in 1996.