A fully documented, signed and dated studio chawan representing an early mature period of the artist’s development.

Material & Glaze Behavior

This chawan features a copper-based turquoise glaze developed under high-temperature reduction. The glaze pools toward the interior and lower body, creating tonal variation ranging from luminous blue-green to deeper, iron-influenced saturation.

Iron content within the clay body produces spotting and subtle red blush migration, especially where reduction conditions intensified. These variations create a dynamic surface that responds to changing light conditions and enhances visual depth during tea preparation.

III. Form & Tea Function

The proportions (12.7 cm diameter x 7.3 cm height) place this bowl in an ideal range for both usucha and koicha.

The slightly tightened rim supports controlled whisking, while the moderate weight (262g) provides stability without fatigue. The foot is trimmed for balance, allowing confident handling during rotation and presentation.

IV. Aesthetic & Tea Experience

The turquoise glaze creates a striking contrast with bright green matcha, amplifying the visual clarity of the tea surface.

This bowl performs especially well in late summer and early autumn settings, where its color palette aligns with transitional seasonal aesthetics. The interior pooling draws the eye inward, enhancing the contemplative experience of tea preparation.

V. Cultural & Comparative Context

While not Japanese in origin, this chawan reflects a deep engagement with chanoyu principles. It serves as a strong example of how Japanese tea aesthetics have been interpreted within American studio pottery.

It may be compared conceptually (though not directly stylistically) to Oribe and celadon traditions in its use of color and surface variation.

VI. Collector Positioning

Signed and dated examples from 1992 represent a desirable period in the artist’s career. Early works with clear documentation and strong glaze development are increasingly sought after.

This piece holds dual value as both a functional tea object and a study example in cross-cultural ceramic development.

VII. Suggested Collector Line

A documented 1992 chawan by Ben Owen III, capturing the meeting point of American studio pottery and the aesthetic principles of Japanese tea ceremony.