Lin Qinghe - Craft House (Tianxing Kiln) Introduction
The camphor tree seedlings planted in 1940 have turned into a stunning "green tunnel" over the span of sixty years; since the first pottery made in the first year of the Jiaqing era, Nantou has become the birthplace of Taiwanese pottery. The "Tianxing Kiln," with a history of over fifty years, stands beside the "green tunnel," dedicated to continuing the legacy of pottery. In the agricultural society, pottery was an essential item in daily life, including tiles for houses, water tanks for storage, jars for pickling, and utensils for food. The 1940s marked the heyday of the pottery industry. Lin Qinghe's grandfather founded the kiln, and his father, Lin Shuangxi, further expanded its scale. "The pottery and glazed tiles produced by Tianxing Kiln were of such high quality that they secured a place in the market, priced about twenty percent higher than those from other kilns, and orders often lined up for over half a year," reminisced Lin Qinghe, the third-generation head of Tianxing Kiln. Lin Qinghe, the only son in his family, graduated from a political work school and took over the family business in 1979 after completing his military service. However, with the changes in Taiwan's economy, glass and plastic products became widely used in everyday life, and concrete tiles and asbestos shingles replaced glazed tiles as common building materials, leading to a decline in the future of ceramic tiles. In 1988, Lin Qinghe began to pivot towards making ceramic art and actively established the kiln's unique identity. When he first took over Tianxing Kiln, Lin Qinghe often sought advice from masters regarding ceramic production, only to be met with condescension: "Oh! You won’t understand even if I tell you! You’re just the boss!" However, Lin Qinghe was undeterred. A graduate of a science-focused high school, he earnestly studied the physical and chemical changes involved in pottery-making, laying a solid foundation for his craft. "What is that?" was the question raised by elders in the family about Lin Qinghe's first ceramic artwork. Yet he was not disheartened by their doubts. In his third year of transformation, his work was selected for the 45th National Fine Arts Exhibition, followed by entries in the 13th National Arts Exhibition, subsequent Ceramic Biennale, Gold Ceramic Award, and many more accolades, regularly holding exhibitions. Through perseverance and initiative, Lin Qinghe transformed from a small kiln owner into a pottery artist. "Official kilns emphasize precision techniques and do not allow personal emotions to be expressed, whereas folk kilns are quite the opposite; each piece reflects the potter's mood," Lin Qinghe believes. He thinks that the value of art is not fixed and depends on the viewer. Desiring his works to be touched and interacted with by collectors, and favoring the vitality expressed by folk kilns, Lin Qinghe’s style is both simple and unpretentious. In his piece "Spring," where melting snow is the visual focal point, Lin Qinghe uses reduction firing to present crackle patterns below the bottle neck, symbolizing the melting snow and proclaiming, "Winter has passed; Spring can't be far behind!" The melting snow nourishes the earth, while the black lines at the bottom of the bottle signify the revival of dormant life from beneath the soil. This piece is both ancient and lively, reminiscent of traditional Chinese painting. "Sitting alone in the bamboo grove, playing the lute and letting out a long whistle. Deep in the forest where no one knows, the bright moon comes to shine." This line from Wang Wei’s poem "Bamboo Lodge" aligns well with the scene depicted in Lin Qinghe's work "Moonlit Night," featuring a full moon and varied trees. The bottle’s body shows a fullness that creates a refined and elegant composition. Nine is a lucky number in Chinese culture. Lin Qinghe created the piece "Source of Light," which consists of nine bottle openings connected in a circle, selected for the provincial art exhibition in 1991. This labor-intensive piece, crafted through hand-throwing, features a spiral motif at its center that extends into black diamonds, creating symmetry and a gradient effect in relief. The central spiral conveys the concept of a starting point of power, endowing the piece with a perpetual vitality. The same sense of power is reflected in another of Lin Qinghe’s works, "Rising Sun." This piece transforms ancient Chinese motifs into curling waves that echo the gigantic rising sun. Comprising a triptych, Lin Qinghe aims to create an interactive space for viewers, making the three pieces mutually illuminating while each stands alone without losing its significance, showcasing his unique craftsmanship and distinct style. "The Back Waves Push Forward" shares a similar essence with "Rising Sun," employing a layered glazing technique to create a simple and ancient aesthetic, selected for the 14th National Arts Exhibition. In his piece "Summer Love," Lin Qinghe uses palm trees to evoke the laid-back charm of tropical regions, with robust sculptural lines harking back to the simplicity of ancient ceramic cultures. Most of Lin Qinghe's works, aside from their decorative purpose, integrate functionality, serving as vases while also being aesthetically pleasing. (Text and images sourced from the National Taiwan Craft Research and Development Institute)
