Between the ninth and seventeenth centuries, Java was home to leading cosmopolitan cities, including Trowulan (the Majapahit capital) and Banten’s Old City. Although Majapahit was rooted in Hindu-Buddhist tradition and Banten in Islam, both exhibited remarkable clay artistry (terracotta/pottery). Majapahit’s cosmopolitan character is evidenced by inscriptions mentioning foreign traders from across Asia, as well as Arabic-inscribed tombstones. Signature Majapahit artifacts, such as jambangan jars adorned with lotus motifs, illustrate the kingdom’s sophisticated terracotta culture. This paper investigates whether stylistic continuities in clay art connect these two urban centers. By comparing motifs, production techniques, and the broader sociocultural milieu, it detects an enduring “Majapahitan Style” in Banten’s clay artifacts, indicating that Majapahit’s artistic legacy remained vibrant even under Islamic influence. The findings demonstrate how, despite shifting political and religious contexts, clay art persisted as a strong marker of Javanese identity. Ultimately, it underscores the resilience of local artistic traditions amid global interactions in the archipelago.