Living art or souvenir? Perspectives on the interpretation of traditional pottery in Cambodia

Cambodia is a country facing an unprecedented wave of development but also the delicate task of conservation of traditional heritage. Pottery is one of the crafts that the Khmer civilization had been able to produce in various forms, of which mainly two are found in the country today. One style, produced in the province of Kampong Chhnang, is utilitarian and has a fairly solid internal market due to the still predominant agricultural society of Cambodia. It is unglazed, and aesthetically unadorned, but nonetheless “traditional” in its simple features. Another ware, produced mainly in pottery studios related to the Royal University of Fine Arts in the capital Phnom Penh, is, quite bombastically, but not without a certain consciousness, retrieving and repeating in a modern key, the ancient royal pottery once produced at Angkor. The latter ware style is, ironically, mainly produced for the tourist business in present‐day Cambodia, and therefore, arguably superfluous for the country's living cultural heritage. This article investigates the two modes of production and attempts to elucidate why different practical and aesthetical approaches are selected for different purposes and markets by practitioners and retailers, according to certain cultural interpretations of what is supposed to be “traditional.”