A Bright Outlook For Khmer Ceramics Culture

by Anthea Haryoko and Fabian Klavert


Pioneered by Serge Rega, the National Center for Khmer Ceramics Revival (NCKCR) located in Siem Reap, aims to preserve and revive the traditional Khmer culture in the form of ceramic artifacts. Funded out of his own pocket, the Belgian director set up the center to "rediscover and reintroduce Khmer ancestral pottery techniques and support the development of contemporary Khmer ceramic art."


As an NGO, their aim is to build a sustainable organization that educates and expands the skills of local artisans and tourists from all over the world interested in learning the ancient arts of ceramic pottery. The 12 artisans that are currently in the workshop are involved in a mutual relationship between teaching and learning amongst one another which gives a forward outlook on the art of Khmer ceramics.

Our very own Max Tan tried his hand at creating a little artwork of his own. Guided by one of the workshops own potters, he attempted to mimic a pot that was previously made during a demonstration session by an artisan. Holding the lump of soft clay delicately, he gradually molded the clay by placing pressure on different parts of the clay. Cautiously, almost fearing that it might break into pieces, a devastating first failed attempt was astoundingly recovered by the demonstrator as the clay was swiftly reshaped. Eventually, another pot was formed and a finishing touch of pressing the pot's opening to create a wavy effect.

In the next booth, we saw another artist flattening a lump of clay and cutting them into the shape of a leaf. This provides the foundation of a carved apsara dancer made of clay to be made as magnet souvenirs. While in an attempt to contribute to tourism in Siem Reap, the expertise required in making magnet pieces like these almost seem to be unappreciated as they are merely sold for USD $ 1.00 per piece at local markets. Needless to say, these art pieces seemed harder to make than it looks.

The skilled artisans, originating from the Kampong Cnnang province in Cambodia individually reproduce historic replicas of antiquities from between the 10th to 12th century. For example, by using red or yellow clay taken from different provinces of Cambodia, they have managed to depict ceramic artifacts such as a pot resembling a bird and an elephant, claimed to respectively originate from these eras.

caption: Replicas of 10th to 12th Century ceramic vases

Although the process of shaping and carving might take a day, the firing process which hardens the clay in the kiln takes another 3 days with 800 degrees celsius. Aside from that, all that painstaking work is still risked by the possibility of crack formations during the firing process. When artworks successfully pass this initial step, an optional glazing process can be undertaken at a higher temperature of 1300 degrees celsius for two additional days.

"We are trying to help local culture," said Serge, as NCKCR helps to create new economic opportunities in an effort to decrease poverty in Cambodia. Furthermore, they are not interested in expanding as an industry, instead simply encouraging the art of ceramics in Siem Reap.

With great prospects down the road, the NCKCR participates in annual Khmer ceramics festivals, showcasing their antique kiln that still exists since the 11th century Angkorean era. Serge is very positive of the outlook on ceramics culture in Cambodia as they have become closely affiliated with the National University of Singapore. Their constant goal is to acquire adequate funding through various sources such as sponsorships, donations, and sales of their very own work.

Overall, Serge is supportive of the artisans and plans to establish catalogues on their own ceramic products. His mission in NCKCR also involved creating self sustaining workshops. With his positive attitude and drive, the Khmer ceramics culture is indeed very promising.