Lin Qinghe - Craft Home (Tianxing Kiln) Introduction
Planted in 1940, the camphor trees have grown into a stunning "Green Tunnel" after more than sixty years. Since the first pottery was created during the Jiaqing era, the Nantou area has become the birthplace of Taiwanese pottery. The "Tianxing Kiln," with a history of over fifty years, is located next to the "Green Tunnel," dedicating itself to the continuation of pottery arts. In the agricultural society, ceramic products were essential items in daily life, such as tiles for houses, water jars for storage, clay pots for pickled goods, and utensils for food. The 1940s marked the peak period for the ceramic industry. Lin Qinghe's grandfather founded the kiln, and his father, Lin Shuangxi, expanded its scale. "The pottery and glazed tiles produced by Tianxing Kiln back then were of excellent quality and held a place in the market, selling for about twenty percent more than those made by other kilns, with orders often exceeding six months," Lin Qinghe, the third-generation head of Tianxing Kiln, reminisced. Lin Qinghe, the only son in his family and a graduate of the Political Warfare School, took over the family business after retiring from the military in 1979. However, with the economic changes in Taiwan, glass and plastic products became widely used, cement and asbestos tiles replaced glazed tiles, and the future of ceramic tiles looked bleak. In 1988, Lin Qinghe began transforming his focus to creating ceramic art and actively establishing the kiln's unique characteristics. At the time he took over Tianxing Kiln, whenever Lin Qinghe asked the masters for advice on pottery issues, they would arrogantly respond, "Ah! You won't understand even if I tell you! You're just the boss!" However, Lin Qinghe remained undeterred; he seriously studied the physics and chemical changes in pottery, laying a solid foundation for his craft. "What is that?" was the question from elder family members regarding Lin Qinghe's first ceramic creation! Yet, he did not let the doubts deter him, as just three years after transforming, his work was selected for the 45th National Art Exhibition, and the following year, it was selected for the 13th National Fine Arts Exhibition. Subsequently, he participated in ceramic biennales and won multiple awards, regularly holding exhibitions. Through perseverance and initiative, Lin Qinghe transformed from a small kiln operator to a ceramic artist. "The official kiln emphasizes precise techniques and does not allow personal emotions to seep in, while the folk kiln is exactly the opposite—each piece varies according to the potter's feelings," Lin Qinghe believes. He thinks that the value of artwork is not fixed but varies depending on the viewer. Desiring his works to be touchable and interactive with collectors, paired with a preference for the vitality that folk kilns release, Lin Qinghe's style is both unpretentious and minimalist. In the piece "Spring," which centers on the melting snow, Lin Qinghe employs reduction firing to present the ice-cracked patterns below the vase's mouth, signifying the melting snow and proclaiming the theme, "Winter has passed; how far can Spring be?" The melting snow nourishes the earth, while the black lines at the vase's base represent the slumbering organisms buried underground slowly resurfacing. This work, rustic yet vibrant, exhibits a scene reminiscent of traditional Chinese painting. "Sitting alone in the bamboo grove, I play my lute and sing my song. The deep forest knows not of man, the bright moon shines to accompany me." This line from Wang Wei's poem "Zhuliguan" resonates with Lin Qinghe's work, "Moonlight," where the full moon, along with trees of varying heights, evocates the essence of the poem. The vase's body is a full, rounded shape from bottom to top, crafting an overall subtle elegance. Nine is considered an auspicious number in China. Lin Qinghe connects nine vase openings to create a circular piece titled "Source of Light," selected for the provincial art exhibition in 1991. This labor-intensive work, formed by hand, extends black rhombuses from a central spiral to create symmetrical and gradient relief effects. The central spiral conveys the idea of a starting point of strength, giving the piece a sense of perpetual energy. The same force is also evident in Lin Qinghe's another work, "Rising Sun." "Rising Sun" flips classical Chinese totems into swirling waves, echoing the grand rising sun. This piece is part of a triptych, where Lin Qinghe seeks to leave an interactive space for the viewers, allowing the three pieces to complement each other while maintaining their individuality, showcasing unique craftsmanship. In "Summer Romance," Lin Qinghe introduces the leisurely charm of tropical regions with palm trees. The rough lines of his carvings reflect the simplicity of ancient ceramic culture. Most of Lin Qinghe's works integrate practicality with aesthetics, as this piece not only serves as decoration but can also be used as a flower vase. (Content and images from the National Taiwan Craft Research and Development Institute)
