Introduction

Mr. Lin Rui-hua has studied and worked in the medium of high temperature wood-fired ceramics for a long time. His transcendent original idea: the Introduction

“Mother Glaze” is the warp and the weft is composed of the three series: “Pulse”, “Three-Ridged Pot” and “Taiwan, the Precious Island”, weaving together this exhibition of high temperature wood-fired ceramics at the Hong Kong University of Science and Technology Library.

Traveling this road for 20 years, ceaselessly exploring the world of high temperature, the more Mr. Lin explored, the more he came upon unprecedented beautiful views. But, the pursuit of High Temperatures is not his ultimate goal. Lin Rui-hua realized that by returning to the origins of glaze, the “Mother Glaze”, by studying the earth as the greatest of all kilns; only then we can break through the myth of humanity’s civilized use of fire, to create a new beginning for ceramic art.

Mother Glaze

−−Written before the Exhibition at HKUST

The earliest kilns that humans constructed could glaze materials within their walls. This is the maternal origin of glaze; yet because the outer surface of the clay could be colored brightly, humans directed the development of ceramics to the control of a superficial enamel coat.

From the Han Dynasty’s copper came the “Green Glaze” color; the Tang Dynasty used lead for the “Three Colors”; the Song Dynasty’s iron gave “Celadon” and “Heavenly Eye”, and copper gave “Even Glaze”; while the Yuan, Ming, and Qing dynasties use of cobalt created their characteristic “Blue” color.

Thus, from Han to Qing, up to today, the ultimate benchmark of ceramics has been to break down the natural minerals, and refine, analyze, and re-organize them; and then exert subtle control on firing, to create ceramic bodies clothed in bright enamel. This still affects human development.

In the1980s, I was betting on the plastic arts, using a gas kiln to fire ceramics. In 1994, I resolutely abandoned the pursuit of glazes and appearances, and returned to the old “Snake Kiln” built by my father. But I did not study wood-fired glazes.

In 1997, I built my own wood kiln, with the inner wall of the Snake Kiln’s “Kiln sweat” (or “Kiln milk”) as my teacher. In 2003, after ten years of hard work, I published “Colorful Kiln Sweat”. This began the effort to bring the ever-changing power of “Kiln Sweat” to my works; thus the “Triple-ridged Pot Series”. After ten years of effort, my “Pulse Series” shows bending, turning, and penance; and in recent years I have created the new series “Taiwan, the Precious Island”. During this time, “Mother Glaze” started to develop its prototype. Using “Taiwan, the Precious Island” and the second phase of “Pulse”, I enriched and matured the “Mother Glaze” ideology!

In 2012, I once again pushed the limits of wood-fired ceramics. I successfully reached 1,500 °C with firewood, and organized and published the “Mother Glaze” concept and series. “Mother Glaze” is the qualitative change that brings the embryonic clay to birth. From within a blank body made of melted natural minerals and ash an ever-changing texture arises.

I pursue high temperature ceramics not to achieve ever higher numbers, but because I want to reverse the human use of land and fire — the loss in and by civilization. Instead of mining the land indiscriminately or refining and using heavy metals; I use the world’s natural elements. This is how “Mother Glaze” is presented. I believe this is a new direction for future ceramics! Use natural firewood, kiln design and temperature control techniques from 1400 to 1500 °C, so that ceramic body produces a qualitative change.

Learning from nature, learning from the earth, using the most natural; not in the manner of refined minerals; using mined soil, firing natural rocks and stones; this is what I want to promote with “Mother Glaze”.

Lin Rui-hua

Officiating Guests:

Mr Lin Rui-Hua, Artist
Prof Yuk-Shan Wong, Acting Executive Vice-President and Provost, HKUST
Ms Diana Chan, University Librarian, HKUST

Tea Setting Demonstration

Gallery Tour

Demonstration on Hand Pinching Technique

Mr Lin Rui-hua is renowned for his “Hand Pinching Technique”. He is able to compress strips of clay into different shapes and figures, leaving his fingerprints and the natural texture of the clay. His works are rough and plain, which are greatly enhanced by the high-temperature wood firing, giving them a natural, soft and smooth look reflecting his own personal characteristics. Mr Lin will show his special artistic hand pinching technique during the Demonstration sessions.

Students will get course hours after attending the Demonstration for fulfillment of Healthy Lifestyle (HLTH1010) Course Requirements.

19 Feb 2014

20 Feb 2014

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