The history of Tao Hong Tai has been both interesting and eventful, taking several twists and turns along the way.
 Having immigrated to Thailand from China, Tia Song Hong and Er Jer Ming discovered that the clay found in Ratchaburi province was ideal for the production of ceramics, and so after persuading some other associates to join them, the two partners established a ceramics production center called Tao Seng Lee.
By 1943, the two partners decided to break away from Tao Seng Lee and established Tao Sae Tai. This was when the company’s first trademark earthenware jars, known as Ong Mangkorn, were produced. These jars depict an elaborate Chinese-style dragon, and have become synonymous with the province.
By 1954, Song Hong had decided to “go it alone”, forming the modern-day Tao Hong Tai plant still being used today.
 A new generation
Wasinburee Supanichvoraparch, a grandson of Song Hong, is now responsible for ensuring the company continues to maintain its position as the province’s leading ceramics plant amid intense domestic competition.
“My grandfather was a very skilled potter. He had an abundance of know-how, but such know-how is now widespread, worldwide, so it’s no longer our strong point,” he said.
The company’s stability faces several challenges. The emergence of plastic, physical constraints regarding irrigation and water supply, and mass production all posed threats to the operation’s well being. Tao Hong Tai also had to adjust in line with consumer trends.
“We need to offer unique styles. More importantly, our diversity should be based upon the best traditions that our ancestors created,” he said.
Wasinburee, who graduated from a German art school, saw the opportunity of mixing traditional Oriental terracotta with more modern designs. This provided added value for collectors, as well as ensuring that the output had more practical uses relevant with modern lifestyles.
 
On taking charge of the business in 1999, Wasinburee immediately created some controversy when he chose to color local terracotta in brighter colors reminiscent of the retro styles of the 1960s and 1970s. This was a bold and brave move at that particular time.
“The most common colors used on earthen jar had been brown, reddish-brown, and dark orange, which are similar to the natural color of heated clay.”
While Wasinburee looked to keep up with the times while maintaining the company’s traditions, it wasn’t the first time members of the family had experimented with new ideas.
Wasinburee’s father, Chanchai Supanichvoraparch, had experimented years earlier by using copper. By applying cadmium to the copper, the metal begins to rust, giving it a beautiful rich green color. Soon the company’s rivals followed suit.
However, Wasinburee was lucky that nobody stole his new ideas and designs. Fortunately, the design industry did sit up and take notice since people were looking for unique designs at that time.
In just a few years, Tao Hong Tai designs gained significant attention not only within the country’s borders, but also among international customers, including major hotel groups. His designs also caught the attention of the design media, featuring in numerous magazines about home decoration.
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Wasinburee feels the company’s design strategy has managed to find a delicate balance between tradition and modernity.
“We don’t try to compete on price, but rather in value. We don’t do mass production, since each piece is a hand-made work of art. So even if we produce a new design, each completed piece is unique, and can give you a different feeling,” he said.
Although Tao Hong Tai is located 80 kilometers west of Bangkok, international customers are prepared to make the trip to select products from the company’s showroom, Wasinburee said.
Adventure and experimentation
Wasinburee is now free to experiment even more with his design work. Asian and modern design characteristics are blended not only in terms of the colors used, but also the shapes and details. You may find Asian flora, dragons, or animals depicted on more modern-shaped pieces, or vice-versa.
“Our designs suit many room styles and formats. They’re not too modern for Asian homes nor are they too Oriental for Western-style homes,” he says.
While Tao Hong Tai is flying high from a business perspective, Wasinburee is dedicated to promoting the whole of Ratchaburi’s community involved in ceramics.
Youth leader
Late last year, Wasinburee organized an exhibition called, “Chaper 75: Clay Overture” in Bangkok to introduce young designers in Bangkok to the work of Tao Hong Tai.
“While we have excellent potters in Ratchaburi, we still need fresh young designers,” he said, explaining that by recruiting such talent, the industry would become more diverse and stable over the longer run. “Hopefully everyone will then learn to respect each other’s work,” he said. “And I’m not able to copyright all my own work when it can sometimes take up to two years to reach the production stage.”
Wasinburee says potters should still learn about technological advances, but continue to use traditional methods that continue to be better than modern ones. This is the case with the paint finishing process, he says, pointing out that modern factories are prone to using low-quality materials.
“At the end of the day, I don’t wish to grow in isolation. Rather, I’d like everyone to grow together in the international market.”
Wasinburee is proving that a combination of initiative, diversity, and a love of traditional pottery styles can still drum up business as effectively as any more mainstream sales and marketing strategies.
“After all, clay means ‘endless possibilities’.”
Endless Possibilities of Asian Terracotta
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