Spanish Lustreware, or Hispano-Moresque ware, represents a pinnacle of ceramic artistry, blending Islamic techniques with Christian influences in a unique fusion of cultures. Originating in the Islamic period of Al-Andalus, this ceramic tradition evolved significantly during the Reconquista, particularly in regions like Valencia, Manises, and Sevilla.
Origins and Technical Innovation
Hispano-Moresque lusterware originated in the 8th century under Islamic rule in Al-Andalus, when Muslim potters introduced advanced ceramic techniques to the Iberian Peninsula. One of the most significant innovations was the development of lusterware, a glazing technique that imparts a metallic sheen to ceramics. This was achieved by applying a metallic overglaze, composed of copper and silver oxides, over a tin-opacified glaze. The pieces were then fired in a controlled, reducing atmosphere, resulting in the characteristic iridescent finish.The tin-opacified glaze provided a white, opaque surface ideal for painting, while the metallic overglaze added depth and richness to the designs. These techniques were not only aesthetically pleasing but also demonstrated a high level of technical proficiency, setting Hispano-Moresque ware apart from other European ceramics of the time.
The Reconquista and Post-Reconquista Production
The Reconquista, culminating in the capture of Granada in 1492, significantly impacted the production of Hispano-Moresque ware. The fall of Granada marked the end of Muslim rule in the Iberian Peninsula, leading to the expulsion of Muslims from Christian territories. Despite these challenges, many skilled Mudéjar potters—Muslims who remained under Christian rule—continued their craft, adapting their techniques to meet the demands of Christian patrons.During the post-Reconquista period, spanning the 15th and 16th centuries, Hispano-Moresque ceramics reached new heights of artistic and technical achievement. Potters in Manises and Valencia produced a wide array of items, including plates, bowls, albarelli jars, and decorative tiles, often incorporating Gothic and early Renaissance motifs. Designs featured intricate patterns, heraldic symbols, and Christian iconography, reflecting the cultural synthesis of Islamic techniques with Christian themes.
The technical quality of these wares remained exceptional, with artisans employing refined glazing methods and detailed hand-painted designs. The use of metallic lustre remained a hallmark of the style, though the complexity of designs began to simplify toward the end of the 16th century, influenced by changing tastes and broader production demands. Despite these changes, new decorative motifs appeared, such as the “pardelot” bird seen here, surrounded by stylized foliate elements.
By around 1800, there were still reportedly thirty working kilns in Manises, though the secrets of the high-quality lustre techniques were largely lost.
Recognizing the cultural and technical importance of the craft, Carlos III of Spain took a personal interest in the industry. In 1785, a report was commissioned to document the methods still in use, preserving knowledge of the fading techniques. By the 1870s, a market had emerged for pieces closely imitating early Hispano-Moresque work. Several new firms were established, some of which still exist today.
