Lin Ching-ho Craft House (Tian-hsing Kiln) Introduction
Since the planting of camphor seedlings in 1940, more than sixty years later, it has become the stunning "Green Tunnel"; from the first pottery in the first year of the Jiaqing period, 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," dedicated to continuing the legacy of pottery. In the agricultural society era, pottery products were essential items in daily life, including tiles and bricks for houses, water tanks for storage, ceramic jars for pickled products, and utensils for dining. The 1940s were considered the heyday of the pottery industry. Lin Qinghe's grandfather founded the kiln, and his father, Lin Shuangxi, expanded the kiln's scale significantly. "The pottery and glazed tiles produced by Tianxing Kiln were well-known for their quality, occupying a place in the market at a price about 20% higher than those produced by other kilns, often with orders lined up for more than six months," recalls Lin Qinghe, the third-generation head of Tianxing Kiln. Graduating from the Political Warfare Cadre School, Lin Qinghe is the only son in the family. After returning from military service in 1979, he took over the family business. However, with changes in Taiwan's economy, glass and plastic products began to dominate daily life, while cement tiles and asbestos tiles replaced glazed tiles as common building materials, leading to a decline in the prospects of ceramic tiles. In 1988, Lin Qinghe began to transition to producing ceramic art, actively establishing the kiln's characteristics. When he first took over Tianxing Kiln, whenever Lin Qinghe sought advice from masters on pottery-making issues, they would arrogantly say, "Ah! You won't understand even if I tell you! You're just the boss!" However, Lin Qinghe did not take offense. As a top student in his high school class, he earnestly studied the physical and chemical changes involved in pottery making, building a solid foundation in the craft. "What is that?" was the question posed by the family elders regarding Lin Qinghe's first ceramic art creation! Yet, undeterred by the skepticism, his works were selected for the 45th National Fine Arts Exhibition in the third year of his transition, followed by participation in the 13th National Arts Exhibition, and subsequently the Ceramic Biennale, Golden Ceramic Awards, and more, with numerous awards and regular exhibitions. With perseverance and initiative, Lin Qinghe transformed from a small kiln owner into a ceramic artist. "The official kilns emphasize precision in technique and do not allow personal emotions, while folk kilns, on the contrary, create different works based on the potter's mood," Lin Qinghe believes. He feels that the value of art is not fixed and varies according to the viewer. Hoping that his works can be touched and interacted with by collectors, and because he prefers the vitality released by folk kilns, Lin Qinghe's style is both simple and unembellished. In works like "Spring," where snowmelt is the visual focus, Lin Qinghe employs reduction firing to reveal the crack patterns below the bottle's mouth, symbolizing the melting snow and announcing, "Winter is gone; how far can spring be?" The melting snow nourishes the earth, and the black lines beneath the bottle signify the withering, buried life slowly emerging. This piece is ancient yet vibrant, reminiscent of traditional Chinese painting. "Sitting alone in the bamboo grove, I play the lute and sing again. Deep in the forest, no one knows; the bright moon comes to shine." This line from Wang Wei's "Bamboo Lodge" resonates with the full moon in Lin Qinghe's work "Moonlight," which features trees of varying heights that reflect this poetic atmosphere. The bottle body is designed with a full circle shape from bottom to top, creating an overall sense of restrained elegance. Nine is considered a lucky number in China. Lin Qinghe creates a circular piece titled "Light Source," consisting of nine bottle openings connected together, selected for the provincial art exhibition in 1991. This piece, crafted painstakingly using hand-throwing techniques, features a central spiral totem from which black diamonds extend, creating symmetry and a gradient effect in relief. The central spiral conveys the concept of a starting point of power, endowing the work with a sense of endless cycles. This same power is reflected in Lin Qinghe's other work, "Rising Sun." "Rising Sun" transforms classical Chinese totems into rolling waves, echoing the massive rising sun. This work is part of a triptych, where Lin Qinghe attempts to leave viewers with an interactive space, allowing the three pieces to reflect and complement each other, with each piece standing out on its own as well—showcasing unique craftsmanship and a distinctive style. "New Waves Push the Old" also shares a similar artistic approach, using relief and glazing techniques to create a simple, ancient aesthetic, and was included in the 14th National Arts Exhibition. In the work "Summer Love," Lin Qinghe brings out the relaxed charm of tropical regions through palm trees, with rough carving lines that evoke the simplicity of ancient painted pottery cultures. Most of Lin Qinghe's works, while being aesthetic, also integrate practicality, serving both as decorative pieces and usable vases. (Text and images from the National Taiwan Craft Research and Development Institute)
