Tale of two horses: Father and son carry on the legacy of Tang pottery

Inside a workshop in Luoyang city of central China's Henan Province, the Gao family is racing against time to complete a surge of pre-holiday orders for their exquisite Tang Sancai pottery as the Chinese New Year approaches.

Gao Shuiwang meticulously checks the final glazing of a majestic horse, while his son, Gao Zhe, carefully packs a freshly fired chubby horse, named "Baby horse" – a plump, adorable figurine that is their latest popular creation. The air is thick with the sense of urgency, but also with the quiet pride of a centuries-old craft meeting modern demand.

Traditionally, the famed Tang Sancai, or "Tang Dynasty Three Colors," is a glazed ceramic art form that flourished over a thousand years ago during China's Tang Dynasty. Originally used primarily as burial objects to accompany the deceased into the afterlife, these pieces are celebrated for their vibrant, usually yellow, green or cream-colored lead-based glazes, and their dynamic forms of horses, camels, court ladies and guardians. 

They are vibrant snapshots of the Silk Road's cultural exchange and the Tang era's confidence and prosperity. 

The techniques, involving complex clay preparation, molding, firing and glazing, were lost for centuries until painstakingly revived in Luoyang in the 20th century. 

Gao Shuiwang is a pivotal figure in this modern renaissance, recognized as a national inheritor of the intangible cultural heritage for his dedication to replicating the ancient methods with archaeological precision.

His son's story shows quite a different path. After spending nine years studying international trade in the United States, Gao made his way back to Luoyang, encouraged by a presentation he and his classmates were asked to do for a marketing class. He recalled to CGTN how amazed his classmates and professor were when he presented his family trade – Tang Sancai pottery.

Determined to carry on his father's success story, Gao is seeking new ways to keep his family's pottery relevant in a changing era.

The son still remembers his father's suspicion when he first pitched the idea of his chubby cute horse that resonates with joy and modern whimsy.

"Where are the horse's neck and legs? Are you sure about this?"

For a guardian of tradition, where authenticity and historical fidelity were paramount, this playful fusion seemed to stray too far from the art's solemn root.

However, the market response – especially from younger generations – became a compelling argument. Gao Zhe's horses bridged a gap, turning an artifact from a museum display into a relatable, desirable piece of contemporary life. Seeing this, the elder Gao's resistance gradually turned into acceptance and then support. He recognized that innovation, when rooted in a deep understanding of the core techniques, could be a powerful language to engage new audiences.

Today, the Gao family workshop embodies a harmonious blend of preservation and evolution. Master Gao ensures the ancient soul of the craft remains intact, while Gao Zhe explores its new expressions through modern designs, cultural collaborations and digital engagement. They train apprentices, open their kilns to curious visitors, and constantly discuss how best to carry the legacy forward.