Most people associate Cambodian (Khmer) culture with the temples and ruins of Angkor Wat and the beautiful sculptures to be found there. Rarely do people associate traditional Khmer ceramics with their images of Cambodia.

Khmer ceramics first made its appearance towards the end of the 9th century, and the high point of its brilliance came during the 12-13th centuries when the Angkor Kingdom encompassed most of Indochina. The decline of ceramic artistry coincided with the gradual wane of the kingdom’s influence and power.

Decorated with the face of a bird, a traditional Khmer ceramic (Source: Machida City Museum in Tokyo)

It is believed that many of the Angkor period ceramics were used in various spiritual or religious ceremonies, because they were excavated from temples and tombs. There seem to be few plates or items in these excavations used for everyday purposes. The uniqueness of the ceramic shapes and symbols include elephants, rabbits, frogs and other animals. This indicates that the ceramic makers of that time had developed a very high level of technical artistry.

However, this artistry and technical capacity did not survive the end of the great Angkor Kingdom period. As the dynasty declined many of the traditional ceremonies were no longer practiced, so there was no need to make the pottery and ceramics that were traditionally used in these ceremonies.

Gradually, the people at that time started importing cheap ceramic ware from surrounding countries to use in everyday life, and the Khmer ceramics went into an even deeper decline, especially because it was more expensive to buy the high quality local ceramics than the cheap imports.

Everyday use Khmer pottery

Due to the long period of foreign invasions and internal civil strife, even places formerly known as “ceramic villages” did not survive the many years of chaos.

The pottery that did survive was only a lightly glazed variety of pots that were not heated in a kiln but in a simple process over a fire, and they often leaked water, so a high price could not be asked for them.

The women in some villages make dozens of unglazed pots to make a few dollars for their living, but they also continued to use cheaper imported ceramic goods from neighboring Vietnam for their own daily needs.

If one goes to a market looking for locally made ceramic goods, the ones being sold are only foreign made. “Those are from Vietnam, these are from Thailand, but Cambodian made ones cannot be found,”people say, and add that they only have Angkor Wat to be proud of.

In order to have the Khmer people raise their living standards, create more opportunities and have more pride in their culture, it was thought important to revive the vision of producing the lost tradition of Khmer ceramics, so that these goods can be sold at a higher value added price.

With this in mind, the project for the revival of Cambodian traditional ceramics was put in motion in September 2009 with the support of The Nippon Foundation.

Before applying glaze to the fired pottery Mr Iwami talks with the pottery students

Mr Susumu Iwami, an expert Mashiko ceramics maker from Japan was engaged to teach ceramic techniques to people in Kompong Chunan, an area in Cambodia known for its pottery making.

Women who make a small living from unglazed pottery gathered to learn from Mr Iwami between other work and house chores. Listening very attentively to Mr Iwami as he uses simple vocabulary and body language to teach pottery techniques, they learn everything they can from him.

People were skeptical in the beginning because they were not being paid for the time they were putting into learning all the information. Some were suspicious and thought they were being deceived and forced to work for nothing, so they stopped coming to Iwami’s classes.

Ms Sachie Yamazaki, who lives in Phnom Penh and who is in charge of marketing for the project, patiently explained to the women participants what results they could expect from the success of the project by showing them photographs of the lovely shop in the capital city that is being prepared as the outlet for their finished goods.

The project is a three year plan. The aim in the final phase is to help the participants to reach a level of expertise and marketing know-how so that they can provide beautifully made ceramics to hotel shops, souvenir centers, and restaurants. This will hopefully result in them having a steady income from the sales of these goods which will enable them to have more economic independence in their daily life.

A Cambodian elephant shaped teapot made by one of the students. This unique creation is part of the vision of reviving traditional ceramics.

Mr Iwami handles a unique elephant tea pot made by one student saying, “This is the Khmer spirit at work,” he says. “This unique idea can be easily developed upon.”

“Actually, I do not tell them what to do. I just ask them to make a tea pot as a homework assignment. Then they use their imagination to come up with their own design ideas such as this elephant,” explains Iwami.

“We don’t push the students here. We leave it up to everyone to make their own designs based on the Khmer spirit. I want to nurture them carefully,” he said.As Iwami talks, his face beams with the feelings and dreams of this project. The students understand this and appreciate his teaching and sincerity.

“If one does not understand the techniques, then they cannot make good products. I am helping them with that part. But, simply to revive traditional Khmer pottery and ceramics is not enough. The point is not just to copy, market and sell reproductions of traditional ceramics. Rather, it is to get everyone to develop their Khmer sensitivity to make pottery that creates a new Khmer culture. That is what I expect them to do,” said Iwami.

This Khmer Spirit, which is hidden in the heart of the Cambodian people, is what this project wants to encourage and motivate.Japan’s high art technical know-how linked to the Khmer people’s extraordinary sense of craftsmanship is the trigger for the launch of this ceramic renewal and rebuilding of traditional Khmer culture along with the aim of enriching people’s daily life.

(This article is based on an original Japanese essay written by MakikoTanaka , who heads the project team which supports the renewal of Khmer ceramics in The Nippon Foundation.)