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Granada’s handcrafts are a culmination of the traditio-nal occupations inherited from the different cultureswhich settled there in the past – from the Iberians and

Phoenicians to the Greco-Roman peoples, and the Muslims,who played a fundamental role in the history of this Anda-

lusian province.

The mixture of techniques and artistic

styles, including those bearing theChristian imprint, give a unique cha-racter to traditional crafts whose qua-lity and beauty are internationallyrecognised, and are one of the mostdistinctive features of the city ofGranada itself, as well as the rest ofthe province.

Granadas handcrafts

Granadas handcrafts

Pottery

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Index

Europa

España

Andalucía

Granada

Baza - Huéscar:El Altiplano

PonienteGranadino

GranadaSierra

Nevada

AlpujarraValle de Lecrín

Costa Tropical

Guadix yMarquesado

G r a

n a d a i n t h

e w o r l d

TURISMO DE GRANADA PATRONATO PROVINCIAL

Plaza Mariana Pineda, 10, 2ª 18009 - GranadaTelephone: 958/ 24 71 46 • Fax: 958/ 24 71 29

e-mail: [email protected] • www.turismodegranada.org • www.turgranada.com

TOURIST INFORMATION OFFICE

Telephone: 958/ 24 71 28 • Fax: 958/ 24 71 27e-mail: [email protected]



The traditional Moorish Pottery, with interna-tionally renowned styles and techniques such asFajalauza, metallic glass lustre, and cuerda seca, hasalways existed alongside a more utilitarian form of po-ttery, which has gradually evolved with the times.

Initially most of the pieces were produced for use in acti-vities related to the traditional form of living of rural socie-

ties whose main livelihood was farming Some of these tra-

If one had to choose just one

craft that exemplifies the deepinfluence left on the province by

the various civilisationswhich have settled the-

re, perhaps the mostrepresentative of allwould be thework of its pot-ters. From thefirst earthenware

vessels made fordomestic use bythe peoples whocame from the Me-

diterranean to thespectacularly beautiful

Nasrid pottery – some ofwhich, like the valuable

Vase of the Gazelles, is on display in

the Alhambra Museum, or the Ar-

chaeological Museum - Granadanpottery has benefited from a richlegacy of working techniques, ma-terials and artists, going back overnumerous centuries. The result ishere before us in the traditionaland unique types of handcraftswith their varying charac-teristics in each dif-ferent town.

Pottery

One of the finest examples oftraditional Spanish pottery is theAccitan Jug, which is made inthe Hoya de Guadix and deser-ves special mention for its greatrelevance and because it is pro-

duced in considerable quantities.Also known as the jarra burla-dera, or jarra de las pajaritasthese unglazed baroque piecesof pottery, with filigree patterns,

are lavishly decorated with fan-tastic shapes and designs. Onthe handles there are pyramidsmoulded from whole stripswhich are crowned with bird fi-gures and the jugs are usually

lavishly decorated with floraldesigns, cocks and figureheads.Also typical of Guadix are the zalonas, shallow vessels with awide mouth which have beenused to store wine in the northof the province since timeimmemorial.

The thriving potteryindustry in the area, and

particularly in Purullena

The accitan jug

Potters and ceramists

However, in the middle of the 20th

century, rural areas experienced a radicalchange which was to influence the pro-duction of these type of artefacts:

farm work became increasinglymechanised, roads and commu-nications improved, and emigra-tion to the cities commenced.New materials and cheaper china, porcelain and stainlesssteel replaced traditional domestic pottery, so productionwas aimed more towards creating pieces for decorative

purposes, a trend which has continued to the present day.



At the end of the 19th century, follo-wing the loss of its last colonies, Spainwas plunged into an identity crisis. In res-ponse to this, authors and thinkers like

Ángel Ganivet, Falla, and García Lorca,promoted the idea of re-finding theessence of Spanish identity by reviving thepurest elements of traditional culture.One of the cultural elements which recei-ved special attention at the time were thetraditional Granadan crafts with theirstrong Muslim roots. Thus, there was re-

newed interest not only in Fajalauza-typepottery, but also other traditional techni-ques such as the lustre effect, and cuer-da seca (by which enamelled pieces aregiven a kaleidoscopic effect, with each ofthe decorative patterns being clearly sepa-

rated by an embossed outline), as well asCaliphal (influenced by the models foundin Medina Azahara), and Andalusí - stylepottery. These are true works of art andthey continue to captivate us.The pottery which is produced

nowadays in the capital city andother towns and villages in the pro-vince, such as Jun, Cortes de Baza,Monachil and Órgiva, has inheritedthe techniques, shapes and decorati-

ve styles used in the Nasrid Periodwhich were rapidly assimilated andfaithfully reproduced by the Chris-tians. The Christians produced lu-xury glazed pieces in which colourand textures played an essential role.

One of the most dis-tinctive types of pottery isknown as Fajalauza,which takes its name from

a medieval gate whichprovided access to the tra-ditional potters’ quarter,

where these pieces of artwere already being madein the 16th century.

The manufacturing pro-cess of this type of polych-

rome pottery has chan-ged little and still follows

Pottery

Useful information

Fajalauza Pottery

GRANADABERNARDO SÁNCHEZ SÁNCHEZ CERÁMICA AL YARRAR Joaquín Costa, 6Y 958 223618Taller en Atarfe

ANTONIO GARCÍA FABRECERÁMICA FABRETaller:Almendros, 3Y 958 288192Tienda: Plaza Pescadería,s/n

CECILIO MORALES MORENOCERÁMICA FAJALAUZAFajalauza,2 Y 958 200615

AGUSTÍN MORALES JIMÉNEZ CERÁMICA SAN ISIDRO

Plaza San Isidro, 5Y 958 201227

CORTES DE BAZARAMÓN SALARICHSALARICH ESCULTURA-CERÁMICAMayor,4. Campo CámaraY 958 734740

GABIAS, LAS

MIGUEL CAÑIZARESCtra.de Híjar, s/n Y 958 581615

GUADIX

JOSÉ BALBOA ALFARERÍA BALBOAFuente Mejías, 5Y 958 665277

JUAN MANUEL GABARRÓN

CERÁMICA GABARRÓNSan Miguel, 48

FÁTIMA QUESADA DELA CUESTA ALIZARESPaseo Marítimo, 19.PitresY 958 766 107

LA ZUBIA

EDUARDO MEDINAGONZÁLEZ Candil, 5Y 958 891591

MONACHIL

HERMANOS CASARES ALFARERÍA BLAS CASARESGranada, 29 BºY 958 500125

MOTRIL

For decades a group of artistshave been experimenting withnew shapes, materials, and tech-niques to produce a form of pot-

tery which has a highly originaland personal style. Examplesinclude lamps made with clay andporcelain, mural works producedusing the cuerda seca technique,and furniture combined with gla-zed pottery pieces.

The new pottery



Traditional woodworking is one of the crafts which have ear-

ned Granada its worldwide renown and fame. All of us, atone time or ano-

ther, must have admiredthe attractive inlay workof a taracea object, heardthe beautiful sound of aguitar - hand-made by aluthier from the provin-ce, or seen a religiouseffigy carved and gilded

by the skilful hands ofan imaginero.

Today, all of these treasures arestill within easy reach of lo-vers of the arts.

of Bargas), chess sets,

and tables.Although so-

me workshopshave simplified

and mechanisedparts of the pro-

duction process, re-placing fine woods

with plastic pieces andusing pre-designed patterns, there are still

craftsmen who follow the traditional wor-king method and use fine materials suchas ebony, mahogany, cedar, walnut, andwood from the orange tree.

Taracea work, whichwas introduced into Spainby the Muslims, was firstproduced in Cordoba inthe 12th century. The tech-nique and its decorativestyles, which were inspired

by the ornamental work

Wood crafts

Taracea

TARACEA

GRANADA

JUAN CHAMBO MÁRMOL ARTESANÍA ÁRABE CHAMBOCuesta Chapiz, 70Y 958 280143

. JOSÉ ÓSCAR BEAS OLIVER ARTESANÍA BEASSanta Rosalía, 20 BajoY 958 120034

EMILIO VALDIVIESO ARTESANÍAS VALDIVIESOCuesta Gomérez, 41Y 958 224873

ENRIQUE LAGUNA GARCÍADEL MORALCuesta de Marañas, 7Y 958 222797

JOSÉ MARTÍNEZ RODRÍGUEZ Cuesta Marañas, 7Y 958 222797

LAGUNA TARACEAEmpresa familiar Real de la Alhambra, 30Y 958 229019

ALPUJARRA DE

LA SIERRAMARÍA RODRÍGUEZ BARBEROTALLER ARTESANAL ABEN ABOOIglesia Vieja.Mecina BombarónY 958 851280

MONACHIL

ISIDRO PIMENTELTARACEA ISIDROCascajares, 44Y 958 300 728

ARTISTIC WOODSCULPTURE

ALBOLOTE

FRANCISCO HINOJOSA LORENZOPlaza García Lorca 5

Useful

information

The geometrical designs used by the tradi-

Reflecting the Alhambra



LUTHIERS

GRANADA ANTONIO MORALESCuesta Gomérez, 9 Y 958 221387

ANTONIO MARÍN MONTERO Y JOSÉ MARÍN PLAZUELOCuesta del Caldero, 1Y 958 228977

ANTONIO RAYA FERRER y ANTONIO RAYA PARDOPaseo del Salón , 9Y 958 228428

BERNARD MARTINPlaza de la Charca, 9Y 958 274193

DANIEL GIL DE AVALLEPlaza del Realejo, 15Y 958 221610

EDUARDO DURÁN FERRERAgua de Cartuja,14, BajoY 958 201524

FRANCISCO HERVÁS HITACtra.de la Zubia, 104.El CobertizoY 958 226752FRANCISCO MANUEL DIAZ FERNÁNDEZ Cuesta Gomérez, 29Y 958 226369

FRANCISCO SANTIAGO MARÍNSantiago,41 - Y 958 225155

GERMÁN PÉREZ BARRANCOReyes Católicos,47 y CuestaGomérez,10 - Y 958 227033

HENNER HAGENLOCHERGuadarrama,1 - Y 958 227966

JOHN RAY Solares,50. Bajo - Y 958 225481

JOSÉ GONZÁLEZ LÓPEZ Cuesta del Caldero, 1Y 958 228977

JOSÉ LÓPEZ BELLIDOCuesta Gomérez, 36Y 958 222741

JUAN MIGUEL CARMONADamasqueros,12Y 958 223596

MANUEL LÓPEZ BELLIDO Y JESÚS BELLIDOPaseo de las Palmas, 1Y 958 228403

MIGUEL ÁNGEL BELLIDONavas, 22Y 958 210176

RAFAEL MORENO RODRÍGUEZ Jesús y María, 10Y 958 224016

ROLF EICHINGERSolares, 50.Bajo - Y 958 221744

VALERIANO BERNALDuende, 7 - Y 958 522317

VICTOR MANUEL DÍAZ Hornillo de Cartuja, 35. Bajo.Y 958 545240

BAZAPEDRO MARTÍNEZ PEÑALVERSUCESOR DE ALFONSO CHECACaños Dorados, 7 -Y958 70 19 20

JESÚS PÉREZ VALLEJOHIJOS DE VICENTE PÉREZ CHECAAgua, 22 - Y 958 700 783

LANJARÓNRENE BAARSLASCortijo Media Luna(Cuatro Caminos)Y 958 770442

LA TAHÁ ANDRÉS MARVIAgua, s/n.FerreirolaY 958 766217

LA ZUBIA JUAN MANUEL GARCÍAFERNÁNDEZ Jorge Guillén, - Y 958 891016

Wood crafts

Useful information

The two main schools inSpain for luthiers are based inGranada and Madrid. Thanks totheir widely recognised presti-ge, they produce most of theinstruments used by world fa-mous musicians, and a conside-

rable percentage of their pro-

in Granada is entirelymanual and requires aperfect command ofvarious skills (car-pentry, marquetryand varnishing)along with a spe-

cial musical ta-lent. Most of thewood used by the-se craftsmen is im-ported from other

countries (fir from Germa-ny, cedar from Honduras)although Spanish cypressis also used to manu-facture some of theparts. Each part ofthe guitar is made

The school created by Eduardo Fe-rrer, who is regarded as one the grea-test guitar makers of all times, conti-nues producing hand-crafted instru-ments in picturesque areas of Granada

such as the Albaicín quarter or theCuesta de Gomérez. In other parts ofthe province such as Baza, Lanjarón, La

Although there were a few examples from thetimes of the Catholic Monarchs, the true Spanishstyle was not adopted until the 16th and 17th cen-

turies, when it can be seen bargueños, arqui-mesas (piece of furniture with various

compartments or drawers and a boardwhich serves as a table), and bedroomfurniture from the period. It combinedsome of the richly decorative elementsof the early Renaissance with othermore austere tones more usually foundin religious altarpieces, and was typifiedby figureheads, grottoes, floral mo-

tifs, niches and small statues.

The Luthiers



A

s in the case of many other traditional crafts, there is a thri-

ving metalwork industry in Granada with strong Mus-lim influences. There are metal forges, manufac-turers of copper and brass objects, and craftsmenwho produce the beautiful granadino wrought ironlamps. They produce handcrafted items following tra-ditional methods which have hardly changed over timeand have been handeddown through the ge-nerations. However, asin the case of pottery,Granada also has a thri-

ving metalwork sectorwhich focuses on theproduction of artisticwrought iron worksusing more innovativematerials and designs.

years, copper was gradually replaced by tin, which was cheaperand easier to use. Chisels and hammers were also relegated to asecondary role and the new forms of artistic copperworking are mostly dedicated to the productionof lamps, umbrella stands, magazine racksand decorative furniture.

The fact that there is a newyoung generation of artisansworking in the various metalscould explain why this traditionalcraft has experienced such aspectacular revival. As in the past,most of the workshops arebased in the traditional quartersof the Albaicín (La Veredilla de

crafts in Granada and this isshown by the numerous cop-per pots and other objectswhich, as in times gone by, stilldecorate the façades of thetouristic caves of the Sacro-monte. With the passing of the

Ironwork and Brass and Copper Objects

Songs from the forge

Metal crafts

The famous Cantes de Fragua, such as themartinete, a traditional type of flamenco songfeaturing legends and stories developed inmetal workshops, were “forged” in those to befound in the Albaicín area.

Granada-style traditional lampsThe sector producing tradi-

tional Granadan wroughtiron lamps is currently thriving.They are strongly influenced byartistic Arabic metalwork, andhave a high ornamental value,which is much in demand in

architectural design.

Although tin isstill the metal mostwidely used to sup-port the glass parts

of the lamps, in recent years brassand other tin alloys have beenintroduced into the production ofthese very delicate hand-crafted

objects The harmonious chro-i ff f h l h i i f ll bl d d ld d



under the name of blonda grana-dina, as it imitated the lace em-broideries of Spanish mantillas.

This type of embroidery isstill used by female embroide-rers from Granada to make bed

linen, veils, shawls and tablecloths, using light colours to crea-

te decorative designs imitating baro-que and renaissance styles.

Nasrid Granada saw a flourishing textile industry whichwas to lay the foundations, techniques and styles of someof the most distinctive hand-crafted items produced in the

province: tulle embroidery, embroideredsilk mantillas, tapestries, carpetsand the famous jarapas, orrugs, which are produced inthe Alpujarras.

At the end of the 18th cen-

tury, with the introduction of themechanised production of tulle,embroidery on tulle started toappear. The hand-made finisheditems were produced in privatehouses by female embroiderersand were later collected and dis-tributed by the recogedoras, orcollectors, who had also placedthe orders. The first embroideryworkshops were not set up until

the beginning of

Textile crafts

Embroideries and mantillas

EMBROIDERIES

GRANADA

CRISTINA GUTIÉRREZ DURÁNGrupo Maluquez, 3Ctra.Murcia.Y 958 271328

CANILES

MARÍA MORENO GARCÍAFiñana, 54 Y 958 710415

OTURA

FRANCISCA SÁNCHEZ GÓMEZ Granada, 14 Y 958 555146

CARPETS,TAPESTRIESAND JARAPAS

GRANADA

MANUEL ÁLVAREZ ARTESANÍA ÁLVAREZ, S.L.Doctor Fermín Garrido, s/nY 958 160722

ATARFE

MANUEL ÁLVAREZ ARTESANÍA ÁLVAREZ, S.L.Ctra.Córdoba,Km. 427,5Y 958 438505BEAS DE GRANADA

JOSÉ MEDINA GARCÍA ARTESANÍAS MEDINABarrio,16Y 958 546202 – 958 224900

BUBIÓN

NADE FAVREAUTALLER DE TELARSantísima Trinidad, s/nY 958 763171

ANA MARTÍNEZ MARTÍNEZ TALLER TEXTIL HILACARCarretera, s/n Y 958 763226

CANILES

MANUEL DÍAZ DÍAZ

Useful

information

Jarapas from the Alpujarras

Weaving was one of the maindriving forces of the economy of Andalusí Granada. Such was theimportance of this activity, that atthe end of Arab rule, there were asmany as 5,000 weaving looms inthe capital alone. With the gradualintroduction of mechanised weaving, hand-operatedlooms fell into disuse and were relegated to being artefactsused only for work produced following the purest traditio-

nal methods and designs This purity in terms of productiond d i i ill li i h il d d i h di



craft required excellent manual skillswhich involved the designing and dra-wing of the decorative motifs – usu-ally intricate figurative, geometrical, orornamental patterns – which werelater embossed onto the leather. Therange of polychrome embossed lea-ther products, which were mostly

designed in a classic or renaissance style, included chess boards, chests,triptychs, and inkstands, amongst other items.

U

p until the beginning of the 20th century, the manufacturing of lea-

ther goods was one of the main economic activities in Granada. Thanksto the water from the River Darro, a leather industry was created in thecity because animal hides and vegetable tanning materials were easy to obtain.This type of industry, which commercialised its products not only in Spain but also

abroad, developed in the 18th cen-tury, a period during which tanne-ries employed large numbers of lea-ther craftsmen, furriers, embos-sers, and other workers specialising inleather goods.

The manufacturing of leather products was among

the activities which employed the largestnumber of craftsmen. However, asfarm work started to change, lea-ther workshops, whichtraded mainly withthe agriculturalsector, graduallydisappeared.

Leather crafts

CANDLE MAKING

GRANADA

FRANCISCO JAVIER RIVERORODRÍGUEZ Libreros,4 - Y 958 225072

ESPARTO,WICKERAND BASKETWORK

LANJARÓN

JUAN BERMÚDEZ HEREDIA

Villa deAlacua, 3 -Y

958 772006

JOSÉ MANUEL SALAMANCA ZAFRA JOYERÍA SALAMANCANavas,15 Bajo - Y 958 225068MIGUEL SALAMANCA SEDANONavas,15 –1ª Planta - Y 958 229 323

ENRIQUE NAVARRO MARTÍNEZ JOYERÍA RELOJERÍA NAVARRORecogidas, 24 Y 958 261664

RAFAEL MORENO ROMERATALLER DE ARTE MORENO, S.L.Cuesta Gomérez, 19 (Taller)Y 958 226204R.M.ORFEBRE (Tienda)

SALOBREÑA

CÉSAR SÁNCHEZ “BREZO” Plaza del Antiguo MercadY 660 955007

FIREWORK MANUFACTURING

GUADIX

ANGUSTIAS PÉREZ Camino de Lugros, 1Y 958 661916Useful

information

Other traditional crafts

Nowadays, handcrafted leather productsare produced by a group of young crafts-men who, using exclusively manual tools,produce a broad range of accessories forpersonal use such as bags, cigarette cases,wallets, briefcases, belts, pendants andeven leather earrings.

Leather work and Guadameciles

A Young Leather Sector

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