Crafts and shopping

Pottery is of Muslim origin and comes in many different styles. This art has always been present in the province and it has continually evolved with the times. Initially, the pieces were linked with the traditional ways of life of rural society and closely linked to work in the fields. Some of the pieces were sold across Andalusia, Murcia and La Mancha and were named after the town in which they were produced. This is how the Anafres (pots) de Alhama, Botijos (jugs) de Gallo de Almuñécar, the Orzas (earthenware jars) de Huéscar were given their names. However, the mid-20^th century rural areas experienced a radical change that influenced the production of these objects. Mechanised farming and the development of the media encouraged migration to the cities. New materials and cheaper earthenware, porcelain and stainless steel replaced the traditional ceramic kitchenware. This led to the production of more decorative pieces that we can see today.

These jars are made near the town of Hoya de Guadix, thought to be one of the most traditional pottery styles of the region. These unglazed Baroque earthenware objects are covered with fantastical ornamental details. On its handles there are two pyramids that extend out and turn into birds. They are decorated with flowers, leaves, roosters and masks. Guadix is where the ‘Zalona’ (a high vessel with a wide mouth used for wine in the north of the province) is made. The production is thriving, with the famous Purullenas, Zambombas, Lebrillos and Candiles complete the range. The Jarra Accitana also has an important symbolic value, into which wedding guests place their monetary gifts. 

Pottery making in Granada, Jun, Cortes de Baza, Monachil and Órgiva follows traditional techniques, patterns and decorations used in the Moorish period. Later the Christians adopted these methods too. Fajalauza pottery is glazed and decorated, and the colours and textures play an important role. A typical type of pottery from Granada is Fajalauza. It takes its name from the medieval city gate that led to the neighbourhood of potters in the 16^th century. Once the object is created, it is then fired for the first time. It is immersed in a bath of tin oxide to set it and to give it its white background. The object is glazed with cobalt oxide and copper to get the characteristic blue and green tones. The process ends with a third firing. The dishes, pots, jars and tiles are decorated with the silhouette of Granada, birds and floral motifs. In the late 19^th century, when the country plunged into a crisis of national identity people such as Angel Ganivet, Manuel de Falla and Federico García Lorca searched for the lost essence in popular culture. One of the aspects they identified was the culture of craftsmanship in Granada, which is steeped in Muslim tradition. Techniques such as the Fajalauza and the ceramic califal were made popular again. Many local artists have spent decades experimenting with shapes, materials and decoration, creating a new and original pieces. 

The Muslims introduced inlaying into Spain. The first workshop was set up in Córdoba in the 12^th century. It was inspired by the ornamental embossing and painting of leather. The technical and decorative elements were developed by the Moors and later adopted by the Christian settlers. Marquetry, which combines different types and tones of wood and metals, was also developed at the same time. Geometric patterns were used to decorate coffers, chests, writing desks, chessboards and tables.  There are some workshops that use machines and that replace wood with cheaper materials such as plastics. However traditional workshops still exist and use traditional methods and precious woods such as ebony, mahogany, cedar, walnut and orange tree wood. The geometric patterns were inspired by the ornamental motifs in the Alhambra. 

Two of the main Luthier schools are located in Granada and Madrid. Most stringed musical instruments for the most famous national and international soloists and professionals are made here. The classical and flamenco guitars are made by hand, requiring skills in carpentry, marquetry and varnishing, as well as a talent for music. These artists work with carefully selected woods, such as German spruce or Honduran cedar. Cypress is the national wood used for some components. Each type of wood is used for a particular part of the instrument. The school in Granada trained the famous instrument maker Eduardo Ferrer who continues to work in the Albaicín. In towns in the province such as Baza, Lanjarón, La Taha and La Zubia, you will find excellent guitars, baroque lutes, mandolins and basses.

The young blacksmiths and tinkers of today have helped to recover this traditional craft dramatically. The forges and workshops of the Albaicín and the Sacromonte districts still work as they did a long time ago. Here you will hear the echoes of the metallic sound of chisels. The copper kettle was built for many years as a symbol of the craft. The pots and other copper objects decorated the walls of the caves of the Sacromonte. Over the years copper was replaced by brass, as it was cheaper and easier to work with. Therefore new items were created including lamps, umbrella stands and magazine racks. Many flamenco songs about history and traditional legends have been created in the blacksmith workshops in the Albaicín.

The typical lamps (Faroles Granadinos) are of Moorish origin. They are highly decorative and add character to any architectural space.  Usually made of tin and glass, they have more recently also been made of brass and glass. The design and colours are created by the individual workshop where they are made. Sometimes they are also decorated with embossing. These lanterns are inspired by Moorish, Renaissance, Byzantine and Baroque windows and come in many colours. 

Traditional gold embroidery, used to make opulent costumes, is a popular craft here. Richard Ford referred to it in 1833 when he wrote of a workshop in Granada when he commissioned an ornate gold outfit to be made. In the late 18^th century, with the invention of the mechanical tulle, embroidery was done on tulle as well. The craft was generally practised in the homes of the embroiderers until in the early 20^th century the first workshops were set up. The oldest embroidered tulle has small, intricate decorative patterns, sometimes depicting the silhouette of Granada. Over time, the decorations became larger, inspired by the motifs found in the Alhambra. This work later became known as Granada lace, widely used for Spanish mantillas or traditional shawls. Linens, veils, scarves and tablecloths in soft colours, inspired by Baroque and Renaissance pieces, are also popular.

Weaving was one of the main economic drivers in the province of Granada, underlined by the existence of 5000 looms in Granada alone at the end of the Arab reign. The introduction of machine-made textiles meant that soon only decorative pieces were produced. The traditional techniques are still used in La Alpujarra, the centre of this craft, a place which in the Arabic period was one of the leading producers of silk. Today this tradition has disappeared but there are still numerous looms that are used to make throws, rugs and tapestries from offcuts.

Historically most craftsmen worked in leather to make saddles and harnesses. With the mechanisation of farming, these workshops gradually disappeared. Leatherwork is now carried out by a group of young artisans who only use hand tools. They make personal items such as bags, cigarette cases, wallets, handbags, belts, pendants and even leather earrings.