The Evolution of Fajalauza Ceramics
Granadian ceramics evolved from the Arab forms of Nasrid ceramics into ceramics with a distinct personality. This was a slow process that mainly developed during the 16th century and culminated in the mid 18th century.
The Enduring Arab Influence
The production of Granadian ceramics, specifically Fajalauza ceramics, began during the 16th century. The fall of the Nasrid kingdom of Granada to the Catholic throne in 1492 led to important and widespread changes in all aspects of the city's life, including ceramics.
The 16th century ushered in a process of mass conversion to Christiniaty. Gradually, ceramicists, too, moved away from Arab motifs as the whole of society adapted Christian customs.
This transformation was slow and Fajalauza designs still bear the influence of their Caliphate era today. The fact that pieces like the cuscusera, a stout little pout used to steam couscous, were still being made during the 16th century, reflects the enduring hold Moorish cuisine had in Granada. And so it remained until about the 20th century when artisans began to include new forms to respond to international interest.
Besides the now abandoned cuscusera, other classical forms have persisted because society has given them new purpose. For example, the alcarraza, this jug with a globular body, cylindrical neck topped with two handles and a spout, may be used as a flower vase for short stems. And the ancient wine or vinegar jug makes for a fine decorative detail.
Other forms were so useful that they have retained their original function.
The round bowl featuring a small foot has remained unchanged. Below we can compare a recent production with a counterpart made at the turn of the 19th century.
Large Bowl made circa 1801. Image: Universidad de Granada.
The large serving bowl now known as “fuente semillana” seems to be a direct descendant of the Arab ataifor, examples of which date back to the 13th century. Both have a flat base, a short foot and nearly straight walls. Both are meant to be of communal use at the table, sitting in the center, ready to serve.
Carving out a New Style
With increased international interest, artisans began to create new forms to meet demand. Now, Fajalauza ceramicists may make a full tea set service or a mug.
Given that most artisan workshops remained in the hands of moriscos – newly converted Christians — the end of the Nasrid dynasty forced them to distance themselves from the more emblematic Arab motifs.
Naturalistic motifs
Intricate patterns based on stylized vegetal forms, used to decorate walls, ceilings, and other architectural elements.
The reference to blue tones composing more naturalistic vegetal motifs could indicate an evolution in the decoration style towards a greater representation of nature rather than purely geometric stylization.
The use of small birds, butterflies, and pomegranates in the decoration highlights elements of natural life and local fauna.
The pomegranate motif is especially significant as it is associated with the city of Granada and its Nasrid history.
While Granada artisans remained faithful to the Caliphate love of ornate decoration, they gradually moved away from strict geometric motifs. The intricate overlapping patterns gave away to interwoven chains.
Though Fajalauza maintains the use of plant motifs, artisans hardly ever paint calligraphy now.
Nasrid artists often decorated luxurious pieces in gold paint while everyday jugs and plates held little adornment. Nowadays, gold paint is a rarity and even everyday items like small appetizer plates may bear significant decoration.
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