– Three distinct sake cups: two Bizen-yaki, one Shigaraki-yaki from Japan's ancient kiln traditions – Left: Yamamoto Yūichi (Bizen) | Centre: Ōtani Shirō (Shigaraki) | Right: Bizen, maker unsigned – Compact drinking scale: heights approximately 5.5 cm, diameters 5.3–6.0 cm Summary: This is a curated set of three guinomi (sake cups) representing two of Japan's Six Ancient Kilns: Bizen and Shigaraki. Both traditions share the yakishime ('締め焼き', tightly fired) technique—unglazed high-fired stoneware where all surface effects come from flame, ash, and clay alone—yet produce strikingly different results. The left and right cups are Bizen-yaki, including one by potter Yamamoto Yūichi; the centre is Shigaraki-yaki by Ōtani Shirō. Together they offer a masterclass in how regional clays, kiln atmospheres, and firing philosophies create distinct ceramic identities. This set appeals equally to collectors interested in Japanese pottery traditions and sake enthusiasts who appreciate how different clay bodies affect drinking experience. There are ceramic collections that prioritise visual harmony, and collections that prize instructive contrast. This set belongs firmly to the second category. Arranged side by side, these three cups tell a story about Japanese pottery's regional diversity despite shared techniques. Bizen and Shigaraki are both members of the Rokkoyō (Six Ancient Kilns)—pottery centres with continuous production spanning eight or more centuries—and both specialise in yakishime, where no glaze is applied and all colour, texture, and pattern emerge from direct interaction between clay and flame during multi-day wood-firings. Yet hold a Bizen cup in one hand and a Shigaraki in the other, and the differences are immediately apparent. Bizen clay, sourced from rice paddies in Okayama Prefecture, contains fine iron particles that fire to warm browns, brick reds, and purplish greys. The clay's plasticity allows thin, precise throwing, and its high firing temperature (around 1,230°C over ten to fourteen days in anagama tunnel kilns) produces an almost metallic hardness. Bizen surfaces often show hidasuki ('fire cord marks')—orange flashing where rice straw wrapped around pots created localised reduction—and goma ('sesame seed')—golden-brown speckling from wood ash melting onto shoulders and rims. The cups here display these characteristic effects: one shows dramatic flame-licked patterns cascading down one side, while the other presents a more uniform reddish-brown body with subtle ash deposits. Shigaraki clay, by contrast, comes from Shiga Prefecture's feldspar-rich deposits and fires to lighter, warmer tones—sandy beiges, soft oranges, occasional grey-greens where ash pooled thickly. The clay contains more grog (pre-fired clay particles), giving Shigaraki pots a distinctly grainy texture and greater thermal shock resistance. Shigaraki firings traditionally emphasise bidoro ('玉滴', glassy drips)—natural ash glaze in jewel-like greens and amber—and koge ('焦げ', scorch marks)—carbon deposits from direct flame contact. The centre cup by Ōtani Shirō exemplifies this: its surface shows warm orange tones and what appears to be greenish natural ash accumulation, with visible clay texture throughout. These technical differences translate directly to drinking experience, which is why serious sake enthusiasts often maintain multiple cup styles. Bizen's dense, smooth clay retains heat longer and creates a slightly metallic sensation on the lips—many claim this enhances aromatic sakes like daiginjo. Shigaraki's more porous body insulates less effectively, keeping chilled sake colder, whilst the grainy texture provides tactile interest. The cups' compact scale (5.3–6 cm across, 5.5 cm tall) places them between formal ochoko and larger guinomi—versatile enough for both tasting flights and contemplative solo drinking. The concept of a 'tasting flight' using different clay bodies offers practical pleasure beyond aesthetic appreciation. Pour the same sake into all three cups and taste sequentially: you'll notice how each clay seems to emphasise different aromatic and flavour components. This isn't imagination—clay mineralogy, surface texture, and thermal properties genuinely affect how volatile compounds are released and perceived. Such side-by-side comparison was traditionally how tea masters and sake connoisseurs developed their palates, learning to recognise regional ceramic characteristics through direct sensory engagement. Yamamoto Yūichi and Ōtani Shirō represent contemporary continuation of these ancient traditions—potters working within inherited techniques whilst developing personal styles. The unsigned Bizen piece (right) is equally valid: in Japanese pottery, unsigned works often circulate through regional kilns where collective production and apprenticeship models mean not every piece bears individual attribution. Such cups were made for use rather than collection, though their quality merits both. For display, consider arrangements that allow comparison: three cups on a simple wooden tray, or lined along a shelf where their varying heights and colours create rhythm without requiring explanation. The set's true value reveals itself in use—whether for structured sake tastings exploring how serving vessel affects perception, or simply for daily enjoyment, choosing each evening's cup based on mood and beverage. This is ceramic appreciation through engagement rather than observation, honouring the fundamental Japanese principle that the finest craft objects fulfill their intended function whilst offering aesthetic reward. In a European context, such sets bridge multiple collecting interests: Japanese ceramics, studio pottery, and beverage culture. They require no specialist knowledge to appreciate—the visual differences are immediately striking—yet reward deeper engagement for those interested in how geology, craft tradition, and regional identity intersect in something as modest as a sake cup. Shipping & Handling We ship worldwide via DHL or EMS with full insurance and tracking. Professional packing ensures safe arrival; combined shipping available for multiple wins. Local customs duties are the buyer's responsibility. Seller Guarantee We specialise in authentic Japanese ceramics and guarantee this piece's authenticity. Questions welcome – we reply within 24 hours.