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No. 7819
Bizen Hidasuki Guinomi
¥13,200
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Description
This is a newly fired Bizen Hidasuki Guinomi by Yoshiteru Takariki, who trained under both Sosan Kaneshige and Yuho Kaneshige.
It was taken from the noborigama in September 2025 (Reiwa 7).
The piece was placed inside a saya (a lidded refractory clay box) during the climb-kiln firing so that no natural ash would fall on it, and was instead slowly and thoroughly fired to bring out a quiet, deep Bizen character.
Unlike the familiar combination of mogusa clay and Hidasuki made in an electric kiln, this work uses a brighter, more transparent white clay body, and in some areas the minerals in the clay seem to “show through,” giving the surface a very distinctive, organic texture. As a result, compared with the elegant, decorative feeling of standard mogusa Hidasuki, this cup shows a far more rustic and subdued expression.
The Hidasuki itself is dense in color yet applied in relatively fine lines, functioning as an accent that enhances—rather than hides—the interesting clay surface described above.
The body retains strong throwing rings and swells slightly around the midsection, carrying a relaxed, flowing rhythm that clearly recalls the work of his teacher, Sosan Kaneshige.
He was born in Hyogo Prefecture in 1970.
He became a disciple of Sosan Kaneshige in 1989.
After the death of Sosan Kaneshige, he became a disciple of Yuho Kaneshige.
He became independent as a ceramic artist in 1996.
It was taken from the noborigama in September 2025 (Reiwa 7).
The piece was placed inside a saya (a lidded refractory clay box) during the climb-kiln firing so that no natural ash would fall on it, and was instead slowly and thoroughly fired to bring out a quiet, deep Bizen character.
Unlike the familiar combination of mogusa clay and Hidasuki made in an electric kiln, this work uses a brighter, more transparent white clay body, and in some areas the minerals in the clay seem to “show through,” giving the surface a very distinctive, organic texture. As a result, compared with the elegant, decorative feeling of standard mogusa Hidasuki, this cup shows a far more rustic and subdued expression.
The Hidasuki itself is dense in color yet applied in relatively fine lines, functioning as an accent that enhances—rather than hides—the interesting clay surface described above.
The body retains strong throwing rings and swells slightly around the midsection, carrying a relaxed, flowing rhythm that clearly recalls the work of his teacher, Sosan Kaneshige.
He was born in Hyogo Prefecture in 1970.
He became a disciple of Sosan Kaneshige in 1989.
After the death of Sosan Kaneshige, he became a disciple of Yuho Kaneshige.
He became independent as a ceramic artist in 1996.
Details
- Pottery Type
- guinomi
- Dimensions
- W6.8cm x D6.7cm x H5.9cm
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.