Lin Ching-ho - Crafts House (Tian Hsing Kiln) Introduction
Since the camphor tree saplings were planted in 1940, over sixty years later, they have become the stunning "Green Tunnel." The Nantou region has become the birthplace of Taiwanese ceramics, originating from the first pottery in the Jiaqing era. The "Tianxing Kiln," which has a history of more than fifty years, is located next to the "Green Tunnel," dedicated to the continuity of ceramic artistry. In the agricultural era, pottery was an indispensable part of life, including ceramic tiles for roofs, water storage jars, pickling jars, and dining utensils. The 1940s marked the peak of the ceramic 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 high quality, occupying a place in the market, and the prices were approximately 20% higher than those of other kilns, often resulting in orders that lined up for more than six months," recalls Lin Qinghe, the third-generation head of Tianxing Kiln. Lin Qinghe, the only son in his family and a graduate of the Political Warfare School, took over the family business after being discharged from the military in 1979. However, with the changing economy in Taiwan, glass and plastic products became widely used in everyday life, and cement and asbestos tiles replaced glazed tiles as common building materials, leading to a bleak future for ceramic tiles. In 1988, Lin Qinghe began transitioning to the production of ceramic art items, actively establishing the kiln’s unique characteristics. When Lin Qinghe took over Tianxing Kiln, every time he sought advice from masters on pottery-related issues, they would haughtily say, "Ah! You wouldn’t understand anyway; you’re just the boss!" However, Lin Qinghe did not take offense. As a student who excelled in science in high school, he diligently studied the physical and chemical changes in pottery making, laying a solid foundation for his crafting skills. "What is that?" was the question posed by older family members regarding Lin Qinghe's first artistic creation! Yet he was undeterred by their doubts and, in just his third year of transitioning, his work was selected for the 45th National Art Exhibition. The following year, he was again selected for the 13th National Art Exhibition, followed by ceramic biennials and the Golden Ceramic Award… accolades continued to accumulate, along with regular exhibitions. Through perseverance and action, Lin Qinghe transformed from a small kiln owner into a ceramic artist. "The imperial kiln emphasizes precise techniques and does not allow personal emotions to interfere, whereas the folk kiln is the exact opposite; each piece varies according to the potter’s mood," Lin Qinghe believes. He sees that art pieces have no definite value; their worth varies depending on the viewer. Hoping his works could be touched and interacted with by collectors, and due to his preference for the life force released by folk kiln pieces, his works feature a style that is both simple and unadorned. In "Spring," where melting snow serves as a visual focal point, Lin Qinghe presents the ice cracks below the bottle’s mouth using a reduction firing method, indicating the melting snow and declaring, "Winter has passed; spring cannot be far behind." The melting snow nourishes the earth, while the black lines at the bottom of the bottle signify the dormant life slowly dancing out from beneath the ground. This piece is quaint yet vibrant, reminiscent of the atmosphere in traditional Chinese painting. "Sitting alone in the bamboo grove, playing the lute and singing long. In the deep woods, no one knows, but the bright moon comes to shine." This line is from Wang Wei's poem "Bamboo Lodge." The full moon and the staggered trees in Lin Qinghe's piece "Moonlit Night" evoke the same ambiance. The bottle's shape forms an elegant curve from bottom to top, creating a unified and understated aesthetic. Nine is an auspicious number in China. Lin Qinghe's work "Light Source," formed by connecting nine bottle mouths into a circle, was selected for the provincial art exhibition in 1991. This labor-intensive piece, created by hand-throwing, features a central spiral totem that extends out into black diamonds, creating a sense of symmetry and gradient in relief. The central spiral conveys the concept of the starting point of power, giving the work a sense of eternal flow. This same energy is reflected in another piece by Lin Qinghe, "Rising Sun." "Rising Sun" features classical Chinese totems transformed into rolling waves, echoing the enormous rising sun. This piece is part of a triptych, where Lin Qinghe attempts to leave the viewer with an interactive space, allowing the three pieces to illuminate each other while they retain their individual beauty, showcasing his unique craftsmanship and creative style. "The New Generation Surpasses the Old" and "Rising Sun" share a similar essence, using relief and glaze layering techniques to create a simple yet elegant shape and color, and were selected works for the 14th National Art Exhibition. In the piece "Summer Love," Lin Qinghe evokes the leisurely atmosphere of tropical regions with a palm tree; the rough carving lines reflect the simplicity of ancient colorful pottery culture. Most of Lin Qinghe's works, aside from being visually pleasing, also integrate practicality, serving not only as decorations but also as vases. (Text and images from the National Taiwan Craft Research Institute)
