Lin Ching-he Craft House (Tianxing Kiln) Introduction
Planted in 1940, the camphor saplings have grown into the breathtaking "Green Tunnel" over sixty years. From the first pottery of the Jiaqing era, the Nantou area became the birthplace of Taiwanese ceramics. The "Tianxing Kiln," with a history of over fifty years, is located beside the "Green Tunnel" and is dedicated to continuing the legacy of pottery. In the agricultural society, pottery products were essential in daily life, including ceramic tiles for houses, water tanks for storage, earthen jars for pickling, and culinary utensils. The 1950s were considered the heyday of the pottery industry. Lin Qinghe's grandfather established the kiln, and his father, Lin Shuangxi, further expanded its scale. "The ceramics and glazed tiles produced by Tianxing Kiln were of excellent quality, occupying a significant place in the market, priced about 20% higher than those from other kilns, with orders often exceeding six months," recalled Lin Qinghe, the third-generation head of Tianxing Kiln. Lin Qinghe, a graduate of the National Defense Medical Center, is the only son in his family. After retiring from the military in 1979, he took over the family business. However, with the changing Taiwanese economy, glass and plastic products became widely used, and cement and asbestos tiles replaced glazed tiles as the common building materials, causing the prospects for ceramic tiles to dwindle. In 1988, Lin Qinghe began transforming the kiln to produce ceramic art pieces, actively establishing the kiln's unique characteristics. When Lin Qinghe took over Tianxing Kiln, every time he sought advice from masters on ceramic-related issues, they would boast, "Oh! You wouldn't understand even if I told you! You're just the boss!" Nevertheless, Lin Qinghe remained undeterred. A graduate of a prominent high school, he diligently studied the physical and chemical changes involved in pottery making, solidifying his skills. "What is that?" was the question from family elders regarding Lin Qinghe's first ceramic artwork! However, undiscouraged by the skepticism, his works were selected for the 45th National Art Exhibition in his third year of transformation, followed by selections in the 13th National Fine Arts Exhibition, and subsequently numerous awards including Biennale and the Golden Pottery Award, with regular exhibitions. Lin Qinghe transformed from a small kiln owner to a ceramic artist through perseverance and proactive action. "Imperial kilns emphasize precise techniques, not allowing personal emotion to influence them, while folk kilns are just the opposite; each piece of work varies according to the potter's mood," Lin Qinghe believes. He feels that the value of artworks is not fixed; it varies with the viewer. Hoping his works could be touched and interacted with by collectors, Lin Qinghe prefers the vitality released by folk kilns, resulting in a style that is both simple and unadorned. For example, in "Spring," which visually focuses on melting snow, Lin Qinghe adopts a reduction firing method to present ice cracks below the bottle neck, symbolizing the melting snow, declaring that "winter has passed, spring can't be far behind." The melting snow nourishes the earth, while the black lines beneath the bottle signify the revival of buried living beings. This work is both ancient yet vibrant, reminiscent of the scenes found in traditional Chinese painting. "Sitting alone in the quiet bamboo, playing the lute and singing. No one knows in the deep forest, the bright moon comes to shine." This verse from Wang Wei's "Bamboo Lodge" resonates with the full moon depicted in Lin Qinghe's work "Moonlight," alongside the varying heights of trees, matching the poetic essence. The bottle form, rounded from bottom to top, creates a refined and elegant overall impression. Nine is an auspicious number in China. Lin Qinghe's creation "Source of Light" connects nine bottle mouths into a circular piece, selected for the provincial art exhibition in 1991. This labor-intensive piece, formed using the hand-throwing technique, extends black diamonds from the central spiral to radiate symmetry and gradient effects. The central spiral conveys the idea of a point of strength, giving the work an endless cycle of power. The same force is expressed in another piece by Lin Qinghe, "Rising Sun." "Rising Sun" transforms classical Chinese totems into swirling waves that echo the large sun. This piece is part of a triptych. Lin Qinghe attempts to create an interactive space for the viewer, allowing each piece to shine both individually and as a whole, showcasing unique craftsmanship and a distinct style. "The waves push the waves forward" shares a similar essence with "Rising Sun," using a relief underglaze technique to create simple, elegant forms and colors, and was selected for the 14th National Fine Arts Exhibition. In "Summer Love," Lin Qinghe draws on palm trees to evoke the pleasant ambiance of tropical regions, using rugged sculptural lines that carry the simplicity of ancient pottery culture. Many of Lin Qinghe's works not only serve as decorative pieces but also integrate practical usability, with this particular work serving as both ornament and vase. (Text and images from the National Taiwan Craft Research and Development Institute)
