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Ceramics

  • The two precious examples of the Bride’s jug, the main element of the local ceramist tradition, both festive and dowry-related, richly decorated with ears of corn, roses and doves, evoke the precious ceremonial bread.

  • This prized necklace realised by combining sculptural elements of different shapes rendered in refractory clay is part of the jewellery line Bagliori d'Ambra (Amber reflections). Handcrafted as a unique piece, it is produced with ever-changing details.

  • The original lines of the vasi galletto (cockerel vases) revisit, with essential style and distinctive artistic trait, the form of one of the most popular and represented animals in the local decorative iconography.

  • Inspired by tradition and freely reinterpreted, the bride’s jug is richly decorated with plastic additions depicting an intimate Sacred Family. Made entirely by hand as a unique sought-after piece, it has a slip matte finish, or white or multicoloured glazing.

  • The collection of small monochromatic woman-shaped artifacts is part of the Bixinau project, launched in 2012 as a 3D tribute to all the women, aunts, granmas and girls who livened up the streets of the village throughout the day, to share advice and opinions.

Il settore

Local pottery production started during the Neolithic age, featuring peculiar characteristics that evolved during the Nuragic age. Neolithic pottery productions explored the female body, rounded also in pottery production, being a representation of the Mother goddess. Nuragic pottery featured simple and stylized designs, a tribute to the strength of war.

 

In the following ages, the regular exchange of imported pottery, linked to the interaction of different cultures with Sardinia, made it difficult to define what local production really was, since production became a self-sufficient expression of modern age, only when stylistic features and technical procedures were define and kept unchanged until recent times.

 

For instance, terracotta was slipped and glazed. Few and functional models were lathe-crafted: pitchers, marigas, containers, sciveddas, pans, pingiadas, flasks, frascus, bowls, discus, and other types of pots and pouring receptacles.

 

The setting is rural and pastoral. They are objects of daily use, for the transportation and and storage of water, baking, the preparation of desserts and food products. Yet, embellishments and expressive characterizations are also used. The festive versions are used during solemn occasions, anniversaries, rituals, and are part of the set of votive tools. They are made by the most skilled figuli, using graphite and decorated with plastic additions, plant motifs and the figures of saints and other religious and good-luck symbols.

 

 

These productions that belong to the local material culture, together with the productions of other sectors such as hand-made weaving, jewelry, carving and basket weaving, share a secret language, and intimate and evocative jargon.