History of Ceramics in the Malay Region: Ancient Pottery, Cultural Heritage, and Trade in Southeast Asia

Early Ceramics in the Malay Region

Pottery has been part of life in the Malay Peninsula and Sumatra since the Neolithic period. These early pots followed a cord-marked style, which means the surface was pressed with cords to leave patterns. This same style shows up across mainland Southeast Asia, pointing to shared practices across regions.

About 2,000 years ago, a different kind of pottery began showing up along the coastal stretch of the Straits of Melaka. It appeared in places like southern Thailand, the Malay Peninsula, Sumatra, Riau, Borneo’s coastline, and West Java. This new type had carved designs made with wooden paddles. The technique was a clear break from the older style and spread widely.

Interestingly, the pattern of this pottery’s distribution matches the spread of the Malay language today. That doesn’t prove every potter spoke Malay, but it shows a strong link between this pottery tradition and Malay cultural areas. The pottery marked out a shared cultural zone that still lines up with modern Malay-speaking communities.

The Mistake of Starting History at Melaka

Many historians argue that Malay history starts with the founding of Melaka around 1400 CE. They often claim there's no hard evidence for earlier settlements. This belief pushes aside older materials that help us understand the past. One major piece they overlook is ceramic remains.

Ceramics found in Peninsular Malaysia date back as early as the seventh century. These pieces offer solid proof of life and activity in the area long before Melaka was ever established. But early written records don’t say much about this region, and when they do, they’re vague and open to doubt.

Why Ceramics Matter in Southeast Asian Archaeology

Ceramics survive better than most materials in tropical weather and acidic soil. That’s why they’re so important. While wood, cloth, and even metal can rot or rust away, ceramic shards last for centuries. By studying their shapes, styles, and where they’re found, we can date old sites, track how people lived, and see how trade moved between regions.

Pottery tells us about daily life, how villages grew, and how cultures connected. The ceramics found across Peninsular Malaysia give real clues about old trade routes and cultural exchanges between maritime societies along the East-West trade path.

The Challenge of Fully Studying Malaysian Ceramics

The real issue is that archaeological research in Peninsular Malaysia is still lacking. Without a strong base of documented findings, it's hard to do deep studies on the ceramics found here. Experts know the potential is there. Ceramic analysis could unlock valuable stories about the region’s past. But for now, full-scale research into Malaysia’s ceramic history hasn’t been possible.

Until more digs are done and findings properly recorded, much of this history will remain buried. But even with the little we know, it's clear that ceramics have a key role in telling the real story of the Malay world before Melaka.

Peninsular Malaysia’s Role in Ancient Trade Routes

Past excavation data shows that Peninsular Malaysia mostly acted as a middleman in East-West maritime trade. It wasn’t a major trade center like others in the region, but served as a link between bigger ports. Goods passed through its inland river routes, but only in small volumes.

The rivers here didn’t have the same scale or influence as the Mekong or Menam. Still, they carried a fair amount of trade items. Most of these goods didn’t stay in Malaysia. They were just passing through, headed for other countries across Asia.

One place where this role is clear is Pengkalan Bujang. During the Sung and Yuan periods, this port managed cargo from both the Middle East and the Far East. Over time, especially during the T’ang, Sung, and Yuan dynasties, more goods started coming in from the Far East. Pengkalan Bujang was key in moving these items further down the trade line.

Early Archaeological Work in Malaysia

The first known archaeological efforts in Peninsular Malaysia started with Col. James Low. He worked in Province Wellesley and Kedah in the late 1800s. His work was followed by I.H.N. Evans, who researched and published findings in 1925 and again in 1932. Later, in 1940, H.G.Q. Wales continued the effort.

After World War II, there was a long pause in major archaeological work. Some exceptions came from P.D.R. Williams-Hunt, who carried out fieldwork between 1949 and 1951.

Gua Cha and the Rise of Malaysian Archaeology

Things changed in 1954 when G. de G. Sieveking excavated Gua Cha in Ulu Kelantan. That site put Malaysia on the map for prehistoric studies. Gua Cha gave rare insight into early life in the region and remains one of the most valuable archaeological finds to this day.

After that, other digs followed, though more scattered. Researchers like Sullivan and archaeology students from the University of Malaya switched their focus to the Bujang Valley in Kedah. They studied Hindu-Buddhist ruins like temples and shrines that once stood there.

In 1954, A. Lamb took part in research that led to the reconstruction of a Shivaite temple at Chandi Bukit Batu Pahat. This helped deepen the understanding of religious practices in early Malaysian history.

Ceramics Found in Southern Malaysian Sites

By 1960, the Museums Department of the Federation of Malaya supported digs at Melaka and Johore Lama in the south. These two sites turned up a massive amount of ceramic pieces. Researchers found fragments of earthenware, porcelain, and stoneware. These finds helped confirm that southern Peninsular Malaysia played a clear role in trade, culture, and everyday life during earlier periods.

Ceramics from Melaka and Johore Lama: Tracing Trade Through Pottery

In Melaka, the ceramic pieces found are older than the ones unearthed in Johore Lama, which makes sense based on their historical timelines. Most of the fragments from Melaka date back to the mid-15th century. That was the height of the Melaka Sultanate, a time when the port was thriving and heavily involved in regional trade. Many of these fragments are Chinese blue and white porcelain, a popular export at the time.

The ceramics found at Johore Lama are mostly from the 16th and 17th centuries. These include a large number of Chinese export wares, again mostly in the blue and white style. Altogether, excavations at both Melaka and Johore Lama have turned up over 8,000 pieces of Chinese ceramics. Alongside these were items from Annam and other Southeast Asian places, showing just how global the trade network was.

Rare Chinese Porcelain at Kota Tinggi

At a site in Kota Tinggi, Johore, one fragment stood out. It had a six-character mark from the Ch’eng-hua reign, which ran from 1465 to 1487. This detail was reported by Colin Jack-Hinton. According to him, John Pope had previously noted that there are only around thirty known pieces of blue and white porcelain from the Ch’eng-hua period that carry this specific nien-hao mark.

Other similar fragments have been found in Ceylon. Pope also documented two pieces from Kota Batu in Brunei that bear the same mark. So while the Kota Tinggi shard may not be the best example from that time, Jack-Hinton still believed it to be real. He pointed to the texture of the clay, the light tone of the underglazed blue, and the brushwork of the characters as signs of authenticity.

Findings at Pengkalan Bujang in Kedah

In 1959, A. Lamb began a study that led to a second excavation in April 1961 at Pengkalan Bujang, Kedah. This dig uncovered several thousand pieces of Chinese porcelain. Most were green-glazed celadon wares from the Song and Yuan periods. These were found mixed in with ceramics made in Thailand and Indo-China, showing a blend of trade and local use.

Another major find was pieces of Islamic glass bottles. These came from the Middle East, mainly Egypt and Syria, and were once widely traded in Southeast Asia. Lamb also found many beads, suggesting that Pengkalan Bujang used to be a busy and diverse trading center. He believed it was a hub where people from many parts of the world met and traded goods.

Unexpected Ceramic Finds at Pulau Tioman

In 1962, a team from the Department of Zoology at the University of Malaya visited Pulau Tioman. The trip was meant to study wildlife, not archaeology. But during their research, they stumbled on ceramic fragments. These included both Chinese and non-Chinese pieces. Even though the main goal was zoological, their discovery added another layer to what we know about trade and cultural exchange in the region.

All these finds prove that long before official records or colonial accounts, this part of Southeast Asia had deep connections through trade. Ceramics are one of the clearest markers of those links, helping map out how goods, styles, and cultures moved across seas and borders.

Ceramic Finds at Pengkalan Bujang: What the Shards Reveal

Excavations at Pengkalan Bujang have uncovered a wide mix of ceramic types. These include gritty micaceous and non-micaceous earthenware, smooth earthenware without grit, brown-buff stoneware, green-glazed wares, and celadon. Most of the fragments are too small or incomplete to rebuild the original vessels. Still, the majority seem to come from small, rounded bowls.

Tom Harrison was able to identify several key types among the fragments. One was a green Yueh ware bowl with a folded rim. He also found a white Ch’ing pai export porcelain piece and a high-quality Lung Ch’uan celadon shard. He even spotted a piece of Sawankhalok ware, which he dated to the 15th century.

Trade or Ritual? The Role of Ceramics in Kedah

This raises a question: during the time Pengkalan Bujang was active, was Kedah just a port for trade, or did it also serve the interior? Sites in Calatagan, Philippines, and in parts of Sarawak suggest that refined ceramics like these were often used in graves. That could mean some of the ceramics found in Pengkalan Bujang were used for burial, not just for trade or daily use.

Even today, some Orang Asli communities like the Senoi still use imported ceramic vessels in their burial customs. This ritual seems to go back a long way and is still part of local tradition. It’s an area that deserves more focused research.

The Interior Is Still a Mystery

Compared to the coastal areas, what we know about the interior of Peninsular Malaysia is limited. The inland regions have been slower to open up to detailed archaeological work. Earlier digs were small and narrow in scope, though they still brought meaningful finds. But there’s clearly more waiting to be discovered, especially in the less developed, culturally traditional inland zones.

Many ceramic pieces have been brought in by coastal fishermen or found by villagers during routine work. These accidental discoveries help fill in the gaps.

Celadon Discoveries in Kedah

Back in the late 1930s, two Malay fishermen found celadon dishes in a river near Serokam, in the Sidam District of Kedah. These dishes were clearly Chinese. They were thick, heavy, and well-fired. Their grey-green color was typical of celadon, and their glaze was hard, glossy, and smooth. There were no cracks or wear, even after all those years.

One of the dishes had a floral design carved into the center and vertical grooves along the rim that gave it a ribbed look. The other featured a dragon in the middle with a leaf pattern around the sides. Based on these designs, B.A.V. Peacock believed they were made at the start of the Ming Dynasty.

In 1982, another celadon dish was pulled up in a fishing net off Tanjung Dawai, also in Kedah. These random finds keep proving that Chinese ceramics reached deep into this region, either through trade, ritual, or both. And they remind us how much more there is to learn from what lies buried or resting just offshore.

Kerubong Ceramic Hoard and Its Significance

In October 1960, a major discovery happened by accident. A group of Malay workers were digging a drainage ditch at the edge of a rice field near Kerubong, about seven miles north of Melaka. What they uncovered was a hidden stash of ceramics buried underground. These included both stoneware and porcelain.

The porcelain pieces were sorted into three main types based on their glaze and color: monochrome, blue and white, and multicolored. Alongside these, they also found both glazed and plain stoneware.

Many of the items from this Kerubong find fall into a well-known category of Southeast Asian export ceramics. This group is now identified as Annamese or Vietnamese blue and white porcelain. These wares were produced in Vietnam and traded widely. They stayed in circulation from the Ming Dynasty all the way through to the end of the 1600s. The Kerubong hoard adds to the growing evidence of how much Vietnamese ceramics moved through the region.

Ceramic Finds in Kemaman and the Spread of Trade

Another important discovery took place in 1974, this time in Kemaman, Trengganu. A local farmer was digging a post hole for his cattle shed when he hit something unusual about one and a half meters deep. He pulled out five ceramic items. Three were small celadon jars from China. The other two were brown-glazed bottles from Sawankhalok, an ancient kiln site in Thailand.

This find was reported in early 1976 to Muzium Negara. Oswald A. Theseira, who was then the museum’s Curator of Pre-history, went out to inspect the site. His study of the discovery was later published in the Federation Museums Journal.

These objects raise a basic question. How did ceramics from far-off places like China, India, and Vietnam end up buried in rice fields and cattle plots in Malaysia? The answer is trade. These goods came through networks of merchants and trade routes that linked Peninsular Malaysia to a larger web of exchange. Along with goods came cultural ideas and political ties.

Trade Influence and the Demand for Fine Ceramics

For centuries, high-quality ceramics were in heavy demand across Southeast Asia. During the Song Dynasty, Chinese kilns were producing refined wares that were prized far beyond Asia. Their ceramics were shipped as far west as the African coast and the Middle East. Traders from India and China were drawn to the unique goods found in Southeast Asia and brought with them fine ceramics to exchange.

These traders, like the early Persian and Arab seafarers before them, helped push trade forward in Peninsular Malaysia. Both sea and land routes grew as a result. Any study of ancient ceramics in Malaysia needs to be seen in the larger context of this trade history.

Lack of Focus on Ceramics in Early Excavations

Most early excavations in Peninsular Malaysia didn’t go looking for ceramics. What archaeologists found was usually a side effect of digging for other things. The only site where ceramics were even close to a main focus was Pengkalan Bujang.

At Pengkalan Bujang, ceramics played a more visible role, but even then, they weren’t the main point. The site had been visited by H.G.Q. Wales in 1936 and by A. Lamb in 1953. But it wasn’t until 1961 that serious digging began. Lamb started this work after finishing an earlier excavation in 1959, where he reconstructed Chandi Bukit Batu Pahat.

The finds at these sites, often uncovered by chance, keep pointing to the same thing: Peninsular Malaysia was part of a much bigger trading system. And ceramics are one of the clearest traces left behind.

Local Scholars and the Study of Lembah Bujang Ceramics

By the 1970s, more Malaysian researchers began studying ancient ceramics from Lembah Bujang. One of the key figures was Leong Sau Heng from the University of Malaya’s History Department. For her master’s thesis, she studied pottery types found at Lembah Bujang. She also worked on excavations with B.A.V. Peacock.

Later, in the late 1970s and early 1980s, Nik Hassan Shuhaimi from Universiti Kebangsaan Malaysia led his own digs in the same area. His students joined the fieldwork, and once again, ceramics were among the key items uncovered. Around the same time, another M.A. thesis (submitted to the University of Durham in 1978) also focused on pottery from Lembah Bujang and other sites across Peninsular Malaysia.

Regional Collaboration and Ceramics at Sungai Mas

In the 1980s, museums from ASEAN countries worked together on several archaeological projects. One of those efforts took place at Sungai Mas in Kedah. Museum experts from Malaysia, Indonesia, Brunei, Thailand, Singapore, and the Philippines joined the project. They uncovered a mix of Chinese and Middle Eastern pottery. According to Nik Hassan Shuhaimi, some of the Chinese shards from Sungai Mas date back to the Tang and Song dynasties.

New discoveries, whether found through digs or stumbled upon by chance, still show up in academic journals. But the bigger picture is missing. There has never been a serious, wide-ranging study connecting ceramic finds in Malaysia with those from other parts of Southeast Asia or the Far East.

Lack of Depth in Malaysian Ceramic Research

Michael Sullivan wrote a short survey on ceramic finds in Peninsular Malaysia back in 1962. But his report didn’t go deep. It didn’t focus on ceramic types or how they changed over time. That kind of analysis, called typological study, was left out.

When you look at the current publications on ceramics in Peninsular Malaysia, they paint an incomplete picture. They make it seem like local people didn’t use porcelain much in daily life. That’s not necessarily true. It’s more likely that we just haven’t done enough serious excavation to prove otherwise.

This also explains why Malaysia doesn’t get the same attention as the Philippines or Indonesia when it comes to export ceramics. Those countries have famous dig sites like Calatagan and Kota Cina. In contrast, most digs in Malaysia have been small, and none match the scale or significance of the big ones elsewhere.

Unexplored Sites and Missed Opportunities

Most of the land in Peninsular Malaysia has never been properly excavated. Especially in the interior regions, we know almost nothing. That gap needs to be filled. More archaeological work across the peninsula could show where Malaysia really fits into the bigger story of ceramic trade and cultural exchange in Southeast Asia.

We also can’t ignore the role of underwater archaeology. Thailand’s Fine Arts Department has already salvaged several shipwrecks in the Gulf of Siam. That kind of work is crucial. Shipwrecks can hold large quantities of traded ceramics, and those finds could help explain the missing links in the region’s trading history. Malaysia would benefit from similar efforts in its own coastal waters.

Underwater Archaeology in the Straits of Melaka

A similar underwater archaeology project has started in Peninsular Malaysia, but it’s still in the early stages. In the coming years, a full survey of the Straits of Melaka should be made a priority. Thailand’s Fine Arts Department, working through SPAFA, recently offered to train museum staff from across Southeast Asia in underwater archaeology. That’s a major step forward and should be supported.

The same department estimated that around 40 shipwrecks are still sitting on the seabed in the Gulf of Siam. That number gives a sense of what might also be lying under the Straits of Melaka and the South China Sea. The potential is huge.

For now, ceramic research in Peninsular Malaysia still needs a lot more work. That includes digging more archaeological sites and also organizing and studying ceramics that already exist in public and private collections. We haven’t even scratched the surface. Much more has to be done before we can fully understand the role of export ceramics in Malaysian history.

W.G. Solheim II and Southeast Asian Pottery

W.G. Solheim II was the first researcher to focus closely on earthenware in island Southeast Asia. He began his work in the southern Philippines back in the 1950s. One of his key publications was “Pottery and the Malayo-Polynesians,” which came out in 1964. He kept working for decades. In 2003, he updated his findings in a detailed article included in the book Earthenware in Southeast Asia by John Miksic. Then in 2006, he published a major book titled Archaeology and Culture in Southeast Asia: Unraveling the Nusantao.

In that 2006 book, Solheim explored the Malayo-Polynesian peoples across Southeast Asia, Madagascar, and the Pacific. Malays are part of this group, along with the Javanese, Balinese, Batak, Minangkabau, Iban, and others. Solheim wanted to understand how pottery styles could reflect shared identity. He tried to prove that pottery is a key marker of cultural and linguistic connections.

He made a strong case, and the link between pottery and cultural identity is now seen as statistically likely, though not always foolproof. Pottery can travel far through trade. It can also be copied or adapted by different groups. So, while pottery tells us a lot, it doesn’t always give a perfect picture of who lived at a site.

Still, if we’re careful, pottery remains one of the best ways to trace how Malay identity developed, how trade worked, and how society was organized across the last 2,000 years in this part of the world. It’s not a perfect method, but it’s one of the most useful tools we’ve got.

 

Ceramics as Historical Evidence in Peninsular Malaysia

Old ceramics hold up well in Malaysia's tropical climate, making them one of the best tools for dating ancient sites and tracing the movement of early trade. Pottery doesn’t rot or break down the way other materials do, which makes it reliable for studying past cultures and how they connected.

Peninsular Malaysia sat right along the maritime Silk Road. Traders passed through here on their way between East Asia and the Middle East, and they didn’t just sail. They also moved goods through rivers deep inland. At ancient port sites across Malaysia, archaeologists have dug up porcelain from China, India, the Middle East, and nearby Southeast Asian areas. Some of it dates as far back as the Tang and Song dynasties. These finds prove there was serious trade activity here long before the Malacca Sultanate came into the picture.

Tracing Pottery Styles Across Southeast Asia

A researcher named Solheim broke down pottery into three main styles based on findings in the Philippines. He called them Sahuynh-Kalanay, Novaliches, and Bau Malay. His work was based on a survey by Karl Guthe from the University of Michigan, though Guthe didn’t actually do excavations. That means it’s tough to place the pottery in a clear timeline or layer, which weakens the accuracy.

Even with that limitation, Solheim sorted them by age. He said the Sahuynh-Kalanay type was oldest, followed by Bau Malay, then Novaliches. The Sahuynh-Kalanay style got its name from two dig sites: Sahuynh in southern Vietnam and Kalanay in the Philippines. These areas share the same kind of pottery. Sahuynh was once home to the Cham people, who spoke a Malayo-Polynesian language. That connection helps explain the matching styles between Vietnam and the Philippines.

The Spread of Bau Malay Pottery

Bau Malay pottery showed up more often in places like Borneo, western Indonesia, and the Malay Peninsula. You don’t see it as much in the Philippines. Some of the oldest pieces turned up in southern Sumatra, along the Musi River. This style had clear marks made by carving and paddle stamping, and it’s been found all over. Indian archaeologists have even uncovered it in the south of India. They believe early Malay sailors carried it there.

Places like Sumatra and Singapore have provided rich findings of this pottery style. Researchers continue to uncover new pieces, which help fine-tune what we know about how this pottery changed over time. There were local variations, too, shaped by region and purpose, but the core style spread widely and lasted for centuries.

Kendi Pottery from Southern Thailand

Another important kind of pottery in the Malay region came from the Satingphra area, in what’s now southern Thailand. That area was, and still is, home to many Malays. Potters there became known for making ceremonial water containers called kendi. They used high-quality clay and developed great skill in shaping and decorating the pieces.

The usual kendi from that area was white, but they also made red versions that were popular in Java. These vessels were traded far, reaching places like Singapore and the Philippines. Their design and finish made them stand out, and they’re a clear sign of how skilled local craftsmen were.

Islamic Influence on Malay Pottery

When Islam reached Southeast Asia, pottery styles changed again. In the northern parts of the Straits of Melaka, including areas like Aceh, Kedah, Perak, and Patani, a new kind of kendi started to appear. These ones looked different. They were mostly black, not white, and their spouts were shorter and rounder. Some were polished smooth with pebbles to give them a shine.

This black pottery is still made in northern Perak today, showing the long tradition behind it. The older paddle-marked and Bau Malay styles started to fade out during the 1500s. Even so, a few nice examples from that period have turned up during digs at Johor Lama. Some of these pieces are now kept at Singapore’s Heritage Conservation Centre.

These ceramic finds help fill in the gaps of early Malay history, offering solid proof of trade, culture, and everyday life across centuries. They give voice to the people who lived here long before written records took hold.

Pottery as a Native Malay Craft

Pottery wasn’t something borrowed. It started with the Malays themselves and grew into a full expression of early culture. According to Wray, pottery has been made in Perak for thousands of years. It wasn’t the work of the indigenous groups like the Sakai or Semang. It came from the Malays who lived along the Perak River, who already had more advanced cultural skills.

Wray questioned the old theory that Malays migrated from outside the region. He pointed out that the materials used, the way pottery was made, and its decoration were all clearly local. These weren’t copied or imported ideas. The designs and methods were original and rooted in the land. Up until the 20th century, the pottery stayed uniquely Malay, without foreign influences shaping it.

He argued that even though the Malays were influenced in other areas by outside cultures, pottery wasn’t one of them. Pottery techniques in Malaysia held onto their original forms for generations. According to Chia, by the late 20th century, the methods used in traditional Malay pottery were still much the same as they had always been.

The Pottery of Perak: Old and Untouched by Outside Influence

Wray explained that Perak’s pottery stands out because of its age and the way it has stayed untouched by more advanced foreign cultures. Over the years, other nations introduced art, technology, and ideas to the Malays. But when it came to pottery, none of these outside influences seemed to change how it was made in Perak.

The clearest proof of this is found in the tools. While the Chinese had been using the potter’s wheel for centuries, the Malays in Perak never adopted it. Even with regular Chinese contact from as early as the 11th or 12th century, Malay pottery continued to be made entirely by hand. No wheels. No imported techniques.

Wray believed this showed how deep the roots of local pottery-making were. Once a potter learns how to use a wheel, it’s hard to imagine they’d ever go back to working by hand. If foreign potters had introduced new methods, the wheel would have come with them. But it didn’t. That’s why Wray believed early pottery in Perak developed independently, without outside help.

Local Designs That Never Left the Land

If foreign styles ever did influence Malay pottery, it came much later. The early craft stayed true to itself. The designs were fully homegrown. In Perak, you can still see pottery with local patterns passed down for generations. These decorations reflect the natural world in the region and include plants and flowers unique to the Malay landscape.

Some of the most common decorative motifs were based on trees and blooms like bunga tanjung, bunga padi, bunga keduduk, bunga pecah empat, susur kelapa, bunga lawang, bunga cengkih, bunga cakar ayam, pucuk rebung, and siku keluang. These forms tied the craft closely to the land and to everyday life in the Malay world.

Simple Tools, Deep Culture

The original Malay approach to pottery was basic. Designs were modest. Most of the patterns were either cord-marked or made with simple lines carved into the clay. The pots were usually dark, made with a mix of sand and charcoal. Surfaces were often polished using soot to give a smooth finish. This shows a consistent, grounded style that didn't try to copy more elaborate ceramic traditions elsewhere.

All of this supports the idea that pottery was part of Malay life from early on. The variety of styles and decorations grew from within the community. The labu sayong, for example, is a good example of a local invention that grew out of this older craft tradition. The way it was shaped and decorated reflects Malay heritage in a clear, direct way.

Wray stressed that Malay pottery offers a rare look at how early ceramic culture survived inside a society that had already developed other complex traditions. Unlike other cultures that quickly dropped old ways when new ones arrived, the Malays kept their pottery methods alive. For that reason, he believed the study of Malay ceramics deserved more attention. It shows how deeply rooted, unique, and self-sustaining their culture has always been.

 

Pottery Traditions Across Malaysia

Each Malay state has its own pottery style. Some are better known, like Labu Sayong and Labu Pulau Tiga from Perak, Terenang from Pahang, Mambong from Kelantan, Nuan and Kudin from Sarawak, Kecor from Perlis, and Kuron and Lapohan from Sabah. These crafts reflect local customs, beliefs, and materials. The way each piece is made also varies by region.

Out of all the states, Perak stands out. It’s widely seen as the only state that has kept its pottery tradition mostly unchanged. The tools, designs, and methods passed down through generations are still used today. This is what makes Labu Sayong different from the rest.

How Labu Sayong Began in Sayong

Labu Sayong has a few origin stories, but most agree it started as a practical household item. Long ago, people in Sayong used dried gourds to store water. These gourds, known as labu, were light and had the right shape to hold liquids.

Over time, the gourd shape was copied in clay. Potters began making earthenware that looked like the original gourd but lasted longer and worked better. This became the Labu Sayong we know today.

Passed Down Through Families

The craft didn’t come from formal schools. It came through family lines. Pottery makers in Sayong today often learned the skill from their parents or grandparents. One well-known story involves Hasnah Adnan and her two female relatives in Kampung Kepala Bendang. They say they inherited the craft from their great-grandmother, Nila Hitam. Some of her pots are still around today, kept at the Taiping Museum. She died in 1903, but her work lives on through her descendants.

Another Story: Tuk Kaluk from Sumatra

There’s another version of how Labu Sayong began. This one comes from Othman Satar, another traditional potter in the same village. He says the craft was brought by his ancestor, Tuk Kaluk, who came from Minangkabau in Sumatra around 1810. This was during the time of Sultan Abdul Malik Mansur Syah, though some say Sultan Iskandar Zulkarnain Syah.

According to the story, Tuk Kaluk had a close link to the Perak royal family. The Sultan gave him land in Kampung Kepala Bendang as thanks for his skill in making weapons and pottery. Tuk Kaluk began teaching locals how to make Labu Sayong. That knowledge stayed in the village and has been handed down since.

The Gaps in Pottery History

There’s not much written about the early days of Labu Sayong. Most of what we know comes from family stories and a few later writings. Scholars like Sheppard pointed out that no Malay pottery older than 250 years has been found. That leaves a big gap between prehistoric pottery and the types used in the last two centuries. Until more research is done, we won’t know much about that missing period.

Sumatran Roots but Shared Identity

Some say Labu Sayong pottery came from migrants from Sumatra. That’s likely true. But it's not quite right to call them outsiders. Back then, people from Sumatra and the Malay Peninsula shared the same roots. They had the same culture and spoke the same language. So while the potters may have come from Sumatra, they were still part of the larger Malay world.

The Roots of the Malay Community and Pottery in Perak

Wray, writing in the early 1900s, believed that the arrival of Malays from Sumatra was not a case of outsiders entering a foreign land. Instead, it was more like one group of Malays settling among others who were already there. The ones already living in the Malay Peninsula may have been at a simpler stage of development, but they shared the same ethnic background.

Historically, the peninsula has been home to three main groups. The Malays lived along the coasts and rivers. The Sakai and Semang, who lived in the interior, were called "Orang Darat" by the Malays. This means "people of the land" and points to their identity as the region’s earliest known inhabitants.

Later studies by Nik Hassan Shuhaimi supported this view. He argued that the Orang Asli, including the Semang and Sakai, are not separate from the Malays. Instead, they are part of the same group. Their cultural differences didn’t come from being unrelated people. They came from how much contact each group had with the outside world.

Those living along rivers and near the coast were exposed to trade and foreign ideas. This made them more dynamic and open to change. The ones deeper inland had little contact with outsiders and kept to older ways of life. But both groups shared the same roots.

Nik Hassan explained that these changes came from inside the community, shaped by trade and outside influence. This formed two related groups: one modernized by trade, the other more traditional. The Orang Darat did not make pottery. They used what they could find in nature - things like bamboo, tree bark, or animal bones - to make tools and containers.

Pottery in Royal Life and the Role of Misa Melayu

Another clue about pottery in Perak comes from a historical text called Misa Melayu. This 18th-century Malay manuscript gives small details about how pottery was used by the Perak royal family. It mentions that Sultan Iskandar Zulkarnain would travel by boat between his palaces at Pulau Cempaka Sari and Pulau Tiga. On these trips, he brought along ceramic vessels for drinking and bathing. This shows that pottery wasn’t just for common use, for it was also part of royal life.

Where Pottery Was Made in Perak

Despite pottery's deep roots, only a few areas in Perak were known for producing it. Wray recorded in 1903 that traditional pottery-making took place in just four main locations. Three of them were along the Perak River: Lenggong in the north, Sayong in Kuala Kangsar, and Pulau Tiga farther south. The fourth location is not detailed, but these three river settlements were the main hubs.

Among them, the pottery from Pulau Tiga was seen as the highest in quality. Sayong’s work was next, and Lenggong’s pottery was considered the lowest in quality. Wray believed that the farther you moved from the Perak River’s mouth, the weaker the pottery became.

But that’s not how everyone sees it. Potters from Kampung Kepala Bendang, like Maznah Sulaiman and her husband Saparudin Mohd Noh, say the labu sayong made in Sayong is the best. They believe the clay in that area is richer and more suitable for pottery. Because of that, they argue Sayong’s labu is the finest in all of Perak.

A Tradition Tied to Place and People

Even with different opinions and gaps in the record, it’s clear that pottery-making in Perak has strong local roots. It wasn’t something brought in from far away and forced on people. It developed naturally, shaped by the land, the river, and the people who lived there. From coast to inland, from royalty to villagers, pottery in Perak has always been tied to the everyday life and shared history of the Malay community.

How Clay Shapes the Pottery Craft in Perak

Pottery depends heavily on one thing above all else: good clay. Without high-quality clay, no potter can make proper ware. The texture, plasticity, and how much the clay shrinks when dried or fired all play a role in whether the final product turns out well. A skilled potter knows how to pick the right clay for the technique they plan to use. This isn't guesswork. It’s essential knowledge.

Not every place can support pottery-making. Only areas with rich clay deposits can. Most of these are close to rivers, which explains why pottery villages in Perak are mostly found near the Perak River. The clay near riverbanks tends to be cleaner, softer, and easier to work with.

Potters don’t travel far for their clay. Studies show that, across the world, traditional pottery-makers rarely go beyond seven kilometers to collect it. In Malaysia, the story is the same. Potters have always used clay from nearby. This is why the Perak pottery scene grew where it did and why it has stayed rooted in local soil.

Where Labu Sayong Clay Comes From

In Kampung Kepala Bendang, traditional Labu Sayong potters still collect clay from nearby land. They gather it from the edges of rivers, from paddies, and from small hills not far from the village. Most of these spots sit within two to three kilometers of their homes. This makes the whole process local, natural, and grounded in the environment around them.

Some modern producers, though, now buy clay from outside sources. But this isn't always ideal. The quality is often lower, and it doesn’t match the clay that comes from their native soil. For those sticking to traditional methods, good clay still needs to come from the land they know.

The Decline of Traditional Pottery Households

In 1903, a study by Wray found that just ten households in Sayong were making pottery the traditional way. That number has fallen even more. According to field research and updates from the Malaysian Handicrafts Development Corporation, only two or three households continue to produce Labu Sayong using fully traditional methods.

Today, most others mix old techniques with modern tools. Still, the original method survives, mostly in the hands of older women in the village. Back in Wray’s time, pottery was also mostly handled by older or middle-aged women. Men helped, but the craft itself was passed down through the women.

Wray noted that young women weren’t showing interest in learning pottery even back then. Not much has changed. Younger generations today are turning away from the family trade. They don’t want to take on the hard work and long hours when the income is unstable and often low.

A Risk of Disappearing Traditions

This lack of interest is a real threat. Traditional pottery takes time, skill, and patience. It can’t be rushed. Without new learners, the craft might not survive. The knowledge and the techniques passed down for generations could disappear if no one is willing to carry them forward.

The survival of handmade Labu Sayong pottery depends on whether the next generation sees value in the craft. If they don't, it risks becoming a relic of the past, kept alive only in museums or memory.

 

The Pottery Industry in Kuala Kangsar Today

There’s growing concern about what lies ahead for pottery-making in Kuala Kangsar. Many worry that the craft might end up like it did in Perlis, Kedah, and Penang, where traditional pottery has nearly disappeared. The problem started when daily-use pottery began losing its purpose. People used to rely on clay jars and other earthenware for storage and cooking. But modern appliances like fridges and rice cookers have taken over. That change pushed old pottery styles aside.

Another issue is the lack of public appreciation for the artistic side of traditional pottery. Most people don’t see its aesthetic or cultural value, which means less demand and uncertain future sales. Early studies assumed the pottery business in Kuala Kangsar was shrinking. But when you talk to local sellers, potters, and the local branch of PKKM, you hear something different.

Labu Sayong: From Household Item to Export Product

Labu sayong used to be just a practical water container. Now, it’s become a money-maker. It's no longer just a village item for home use. Labu sayong is now sold as a heritage piece and even shipped to other countries. This change shows the industry hasn’t collapsed. It’s growing because of increasing interest in Kuala Kangsar pottery. What was once just part of everyday life has turned into a meaningful source of income.

A lot of people now understand the need to rebrand the craft as something with tourism and cultural value. Labu sayong has started to stand as a symbol of Kuala Kangsar itself. Several cultural and craft-based groups are working to keep the tradition alive. They help potters grow their skills, improve their products, and reach more customers. Their efforts are pushing the product into new markets and keeping the demand steady.

Support from State and Federal Agencies

Both the Perak state government and the federal government see value in keeping traditional pottery alive. Agencies like the Ministry of Rural Development and the Ministry of Culture, Arts and Heritage (now under the Ministry of Information, Communication and Culture) are directly involved. They’ve supported programs to promote labu sayong and other pottery forms both inside Malaysia and overseas. These programs aim to reach people who love traditional crafts and collectors who see value in handmade pieces.

Promotion began back in the 1970s and hasn’t slowed down since. Multiple government agencies have been set up to support the pottery industry in Perak. One key agency is the Perak branch of PKKM, first known as the Malaysian Handicrafts Board’s state branch. This branch is based in Enggor, close to Kuala Kangsar, and it’s been central to keeping the industry going.

Preserving Skills, Training Youth, and Expanding Reach

PKKM’s job is to protect the traditional skills tied to pottery while also teaching new methods that meet modern standards. They work with current potters to improve techniques, upgrade production, and handle marketing in smarter ways. PKKM also trains young people interested in pottery. These programs cover both old techniques and modern ceramic-making methods. The goal is to pass the skills on and keep the trade alive for the next generation.

To do this, PKKM receives government funding, which helps keep their training programs running. The agency also supports other traditional crafts like gold thread embroidery, kris forging, and mat weaving. But when it comes to pottery, their main focus is making sure Kuala Kangsar remains the heart of Malaysia’s clayware tradition.

Modern Methods and the Rise of Labu Sayong Production

Since 1975, the PKKM has pushed for modernization in labu sayong production. They introduced machines and moulds to replace some of the older, slower techniques. They also built factories with modern equipment that helped potters produce more pieces in less time. These machines made it easier to cast and shape clay, which sped up the whole process and increased output.

This change didn’t just help meet growing demand. It also opened the door to new designs. Potters began making more than just water jars. Now they produce decorative items like lamps and vases. These new products gave labu sayong a fresh look, and helped boost Kuala Kangsar’s reputation as the top source of high-quality labu sayong in Malaysia.

But growth brought problems too. Some producers said they couldn’t keep up with the rising demand, especially when it came to large orders for trade fairs or exhibitions. Still, with support from the Perak PKKM in training, tools, and business advice, many potters improved their craft and started earning real income from it. This drew in small traders and larger producers alike. The result was more competition and more variety in pottery products, with labu sayong leading the charge.

Today, customers across Malaysia know Kuala Kangsar for its labu sayong. Even though most sales are still within the country, demand is strong. Some potters have to turn customers away because they can’t make enough to meet the demand. The industry has grown far beyond what it used to be. What once was a small, rural craft has become a thriving business.

According to the PKKM director, around 100 households are involved in both modern and traditional pottery-making. Key villages include Kampung Kepala Bendang, Bukit Lada, Sayong Masjid, Sayong Ulu, and Kuala Sayong Ulu. The community now sees labu sayong as part of its identity.

The Struggle to Keep Traditional Pottery Alive

Even though the overall industry is doing well, traditional pottery-making is fading. Fewer potters are sticking with the original hand-making methods. In 1903, Wray recorded ten households still making labu sayong by hand. And in the 1960s, most potters still used traditional methods. But once machines were introduced in the 1970s, most makers switched to the faster, more profitable route.

There’s no denying that modern production has hurt traditional pottery. Many buyers prefer modern shapes, consistent quality, and quicker delivery. Traditional pottery just couldn’t keep up. It’s slower, harder, and doesn’t fit today’s market as easily.

Now, only a small handful of families still use the old ways. They shape the clay by pressing, squeezing, and pinching it by hand. One of these families is in Kampung Kepala Bendang. Saparudin and his wife Maznah run a small operation using methods passed down from their elders. Maznah refers to her craft as main tanah, which means “playing with earth.” Together, they manage to make around 80 to 90 pieces of labu sayong a month. They receive no funding or help from the government and rely only on their own tools and skills.

Their story highlights the fragile state of traditional labu sayong. While the industry grows on one side, its roots are slowly slipping away. The challenge now is how to keep the old ways alive while still meeting modern demand. Without support, this part of Kuala Kangsar’s history could vanish.

Keeping the Traditional Labu Sayong Alive

Zulkafly Pandak Beden runs another long-standing labu sayong workshop in the same village. In 2013, the Malaysian Handicraft Development Corporation recognized him as an Adiguru, or master artisan, for his dedication to preserving traditional pottery-making. Zulkafly sees labu sayong as more than just containers. To him, they hold artistic and cultural value. But even he admits it’s not easy to keep the traditional way going. The challenges are both financial and practical. Competing with large-scale modern producers puts added pressure on small, craft-based workshops like his.

Why Traditional Pottery Struggles Today

Traditional pottery-makers face real problems. There's little support in terms of funding, training, or promotion. Most official programs favor businesses that use faster, more modern techniques. The traditional method is often seen as old-fashioned and unprofitable. Many believe it’s slow, hard to scale, and not worth the effort. Because of this, agencies like PKKM give most of their attention to producers willing to modernize.

Crafting pottery the traditional way takes time. It depends on many factors that are hard to control, like the weather, the season, and even the health of the artisan. Because of this, traditional pottery is labeled unproductive and inefficient. PKKM argues that it can only be done on a small scale and can’t compete in today’s economy.

Comparing Traditional and Modern Methods

Research shows the traditional process is much slower than modern production. Making one piece the old way takes about four to five days. With machines, the same work gets done in a few hours. Still, some makers, like Puan Maznah, say they can produce up to 90 pieces a month using traditional techniques. That proves the method isn't as limiting as many believe.

Another big difference is the design. Traditional pottery tends to stick to one style. Modern pottery, on the other hand, offers variety. It's made to appeal to different tastes and can take the form of lamps, vases, or decorative pieces. The transformation in design and purpose has made water storage, the original use for labu sayong, less relevant. This change in demand has made it harder for traditional makers to stay in business.

Losing Ground to Modern Pottery

Modern pottery meets the expectations of today’s buyers. People now want variety in color, shape, and purpose. Decorative pieces have taken the spotlight, pushing the original form of labu sayong to the sidelines. As a result, the traditional way has lost appeal. Its shapes haven’t changed. Its function hasn’t evolved. And its customer base has shrunk.

Even though some people still buy traditional labu sayong, most do so because they value its cultural meaning, not because they plan to use it daily. That limits the market. While the tradition is respected, it no longer fits with the current pace and preference of modern life. Without strong demand, and with little institutional backing, the traditional craft continues to lose ground to mass-produced alternatives.

Public Perception of Traditional Pottery

Most buyers don’t really see the value in traditional Malay pottery. They often overlook its history and don’t pay much attention to the details that make it unique. Many people can’t even tell the difference between traditional and modern pieces. That’s partly because some look alike in color, shape, and design.

Modern pottery tends to catch more attention. It comes in many colors, has more uses, and feels more creative. It’s also cheaper, which makes it a more attractive option for most shoppers. Traditional pottery, on the other hand, costs more because it’s made by hand. But that doesn’t mean buyers care. As Shamsu put it, people don’t really think about how the item was made as long as they can get it at a lower price.

Challenges Facing Traditional Pottery in Kuala Kangsar

The pottery scene in Kuala Kangsar is struggling. Traditional makers need help. Without proper support from the state or national government, the craft might disappear. Policies that promote modern commercial pottery are taking the spotlight. But if this keeps happening without equal focus on traditional pottery, then a big part of Malaysia’s cultural heritage is at risk.

The government needs to find balance. It should back modern techniques to meet demand, but also invest in preserving older methods. If not, the skills passed down for generations could be lost. That’s the core of the problem. Groups like PKKM are caught in the middle. They want to support traditional potters, but those artisans often refuse to change how they work.

Some traditional potters believe labu sayong is better. They say it’s chemical-free, helps with health, and is stronger when used with hot liquids. They argue that modern pots break more easily and don’t last as long. PKKM, however, says there isn’t much difference in quality between old and new methods. But that belief created tension when they first tried to help traditional makers switch over.

Modern Pottery Gaining Ground

At first, many didn’t trust the modern production techniques. They doubted that machines and faster methods could produce good pottery. But over time, those doubts faded. Now, most producers have switched to modern ways. The newer methods cost less, save time, and help meet rising demand. Buyers like the variety and price, and producers can make more money.

Even with this change, PKKM hasn’t turned its back on traditional pottery. It still offers support. It gives training, honors traditional masters like the Tokoh Adiguru, and creates programs to keep old techniques alive. Through its Technical, Marketing, Preservation, and Entrepreneur Development units, PKKM works to protect this cultural skillset.

Keeping Traditional Pottery Alive for the Future

PKKM is trying to push both sides forward. They want to grow modern pottery to help meet demand and raise incomes. But they also want to make sure traditional pottery doesn’t vanish. They run regular training for young people in Kuala Kangsar, teaching them how to make traditional pottery and showing why it still matters.

Through all these efforts, PKKM hopes to build a pottery industry that respects the past while embracing the future. By helping both types of makers, they aim to keep the art form alive and relevant.

How to Keep Traditional Pottery Alive and Thriving

Traditional pottery in Malaysia can grow and stay profitable if it gets the right kind of support. With enough push from the government, this craft can be expanded without losing its identity. Even as techniques evolve, the core style and feel of traditional pottery can be kept intact. But that takes real backing from different government agencies.

Support shouldn’t stop at just ideas. It needs to come through money, marketing, training, and clear guidance. If traditional pottery makers are going to stay in the game with modern producers, they need financial help to keep up. They need better tools, more exposure, and strong promotion at both local and international levels.

One practical way to help is for the government or agencies like PKKM to buy directly from traditional potters. These products can then be sold in domestic shops or exported. This gives potters a reliable income and a wider reach.

PKKM’s Current Support and What’s Still Missing

PKKM has already made some effort. They’ve handed out recognition and small monthly allowances to traditional potters. But right now, that support is too limited. It often goes to just one family or individual instead of reaching the broader community. To make a real difference, more producers need to be included.

PKKM also has the means to run skills programs and workshops, and they should use those tools more often. Training should be available in both traditional and modern methods so that young people can choose what they want to pursue. It’s also time for PKKM to start working more closely with universities, companies, and heritage groups. This would open up more courses and hands-on sessions for students, civil servants, and anyone interested in preserving the craft.

Why Traditional Skills Matter More Than Ever

Learning traditional pottery isn’t easy. It takes real skill, and it’s not something you can pick up overnight. That’s the difference between modern and traditional production. Modern pottery may be quicker and easier, but it doesn’t carry the same meaning or artistry. Traditional pottery is deeper. It reflects history, culture, and careful craftsmanship.

That’s why it matters. The younger generation needs to be shown the value behind these old techniques. Without awareness, interest fades. And if interest fades, the skills die out.

Even if labu sayong and other handmade pottery are only made in small amounts, the point is to keep them going. Their value isn’t just in how many you can sell, but in what they represent. The shape, the finish, the connection to the past - all of it is worth holding on to.

The future of traditional pottery depends on the choices made now. With real support, steady promotion, and a focus on training the next generation, this art form can survive. Not just as something rare or nostalgic, but as a living, working part of Malaysia’s culture.

 

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