Lin Qing He - Craft House (Tianxing Kiln) Introduction
From saplings of camphor trees planted in 1940, a magnificent "Green Tunnel" emerged over sixty years, enchanting visitors. The Nantou area became the birthplace of Taiwanese ceramics, starting from the first pottery in the Jiaqing era. The "Tianxing Kiln," with over fifty years of history, is located beside the "Green Tunnel," dedicated to continuing the legacy of ceramic arts. In the agricultural society era, ceramic products were essential items in daily life, including tiles, roof tiles, water storage jars, pickling jars, and tableware. The 1940s marked the peak of the ceramics industry. Lin Qinghe's grandfather founded a kiln, and his father, Lin Shuangxi, expanded its scale significantly. "The ceramic wares and glazed tiles produced at Tianxing Kiln were known for their high quality, occupying a niche in the market, with prices about 20% higher than those from other kilns, and orders often filled well over six months in advance," reminisced Lin Qinghe, the third-generation leader of Tianxing Kiln. As the only son in his family and a graduate of the Political Warfare Cadres Academy, Lin Qinghe took over the family business after his military service in 1979. However, with the economic changes in Taiwan, glass and plastic products became widely used in daily life, and cement and asbestos tiles replaced glazed tiles, leading to a decline in the prospects for ceramic tiles. In 1988, Lin Qinghe began transforming the kiln to produce ceramic art, actively establishing its unique identity. When Lin Qinghe first took over, every time he asked the master potters for advice on pottery-related questions, they would arrogantly respond, "Oh! You wouldn't understand! You're just the boss!" However, Lin Qinghe did not take offense. A high school student in the A class, he diligently studied the physical and chemical changes in pottery, solidifying his craft skills. "What is that?" This was the question raised by family elders regarding Lin Qinghe's first piece of ceramic art. Yet he was undeterred by their doubts. In his third year of transformation, his work was selected for the 45th National Art Exhibition, followed by selections for the 13th National Fine Arts Exhibition, and later accolades like the Ceramics Biennale and the Golden Clay Award, consistently winning and regularly holding exhibitions. Through diligence and action, Lin Qinghe transformed from a small kiln operator to a renowned ceramic artist. "The official kilns emphasize meticulous techniques, not allowing personal emotions, while folk kilns are the opposite—each piece varies with the mood of the potter," Lin Qinghe believes. He asserts that art does not have a fixed value; its worth depends on the viewer's perspective. Wishing for his works to be touched and interacted with by collectors, and favoring the vitality released by folk kilns, Lin Qinghe's style is both simple and genuine. In "Spring," focused on melting snow, Lin Qinghe uses a reduction firing method to depict ice-cracking patterns at the base of the vase, symbolizing the arrival of spring. This piece conveys the theme "Winter departs, how far can spring be?" The melting snow nourishes the earth, and the black lines at the vase's base represent dying, buried life gradually emerging. This piece is both ancient and full of life, reminiscent of the sentiment in Chinese painting. "Sitting alone in the bamboo grove, playing the zither and singing loudly. The deep forest is unknown to people, as the bright moon shines down." This line is from Wang Wei's poem "Bamboo Lodge." In his work "Moonlight," the full moon and trees of varying heights resonate with the poem's atmosphere. The vase's base rises into a rich round shape, exuding an overall elegance and refinement. Nine is a lucky number in Chinese culture. Lin Qinghe created the work "Source of Light," which connects nine vase openings into a circle, selected for his participation in the provincial art exhibition in 1991. This labor-intensive piece, made through hand-throwing, features a spiral totem at the center extending into black diamonds, radiating symmetry and a gradient relief effect. The central spiral conveys the concept of a power source, endowing the work with a sense of endless energy. Similarly, this force is evident in another of Lin Qinghe's works, "Rising Sun." In "Rising Sun," ancient Chinese motifs transform into swirling waves, echoing the grand rising sun. This piece is part of a triptych where Lin Qinghe aimed to provide viewers with an interactive space, allowing the three pieces to complement each other while maintaining their individual charm, displaying unique craftsmanship and creativity. "New Waves Push Forward" and "Rising Sun" share a similar essence, using glazed relief techniques to create simple and ancient forms, selected for the 14th National Art Exhibition. In the work "Summer Love," Lin Qinghe brings forth the ease of tropical regions through palm trees, with rough carving lines reflecting the simplicity of ancient painted pottery culture. Most of Lin Qinghe's works not only serve an aesthetic purpose but also blend practical functionality. This piece can be used as both decor and a flower vase. (Text and images from the National Taiwan Craft Research and Development Institute)
