Faro's pottery

Faro's pottery

There are two types of pottery: black pottery, obtained by reducing iron-rich clay, which has been documented since the 11th century in various closed forms (puchero, barbón, penada, cider jug...), and glazed and enamelled pottery, which appears from the 13th century (escudilla, plate, jug, botijo...). The latter has the peculiarity of having two firings, the second one to fix the glaze and the paint, with geometric, vegetal and zoomorphic decorations, the most singular being the páxara, the most representative colours being green and yellow. The 18th century was the time of greatest splendour, with more than 70 potters. The arrival of earthenware would gradually lead to a decline in activity, until the only pottery workshop that has survived since the middle of the 20th century, making pieces in the same way as they were made in the Middle Ages.

681

iain

Spanish

Intangible

406

Alfarería de Faro

18/06/2025

18/06/2025

de Aldecoa, E. I. (1985). La cerámica vidriada de Faro: motivos decorativos. Liño: Revista anual de historia del arte, (5), 235-246. Busto, M. (2021). Sistematización arqueológica de las producciones de cerámica esmaltada y vidriada de Faro de Liminas (Astrurias, España) desde el siglo XVI al XVIII. Jaén: UJA Editorial. Menéndez, J. J. A. (1997). Un ejemplo de continuidad en la producción de ceràmica desde la Edad Media al siglo XX: Faro (Asturies-España). Olaria: Estudos Arqueológicos, Históricos e Etnológicos, (2), 93-100. https://www.youtube.com/watch?v=I_FpkQ5c6jM https://www.google.com/search?q=videos+taller+de+faro+ceramica&rlz=1C1RLNS_esES958ES961

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current,43.355833,-5.794167;

University of St Andrews

TEXT

One of the artisans recounts that there are ballads dedicated to the trapadoiro, which is one of the tools used to shape the mouths of the vessels. Vessels are crafted in connection with other traditional cultural practices of Asturias, such as cheese-making or cider culture.

Carmen Pérez Maestro

Those corresponding to the ceramic creation. Knowledge of clay extraction sites. Treatment of clay, modelling and potter's wheel. Surface treatment and firing of pottery.

Nowadays, only one potter's workshop remains in Faro, that of José Manuel Vega ‘Selito’, the last of a potter's lineage that dates back to the Middle Ages. For years "Selito" has had an apprentice, Orlando Moran, who today has the skills to make this ceramic tradition. Since 2022, a potter, Verónica Rodriguez, from another part of Asturias, has moved to Faro. Although her knowledge of pottery comes from the ceramic tradition of Llamas del Mouro, she has learned to make traditional Faro's pottery. The potter who is currently passing on the knowledge about the manufacture of traditional Faro´s pottery is Orlando Moran, who works in an arts and crafts school.

José Manuel Vega 'Selito' was active until the year 2024.Currently the artisans are Fernando Morán and Verónica Rodriguez, Orlando is the heir to the knowledge of the last potter "Selito," who also passes on this legacy at a municipal arts school, while Verónica is a new potter in this tradition who, in addition to creating her own space in Faro, shares her knowledge through workshops.

Faro pottery is a centuries-old artisanal tradition that connects present generations with their historical and cultural roots. Each piece reflects techniques and designs passed down through time, making it a tangible symbol of local history.

Faro is a ceramic production center in Asturias, whose activity has been documented since the Middle Ages. Archaeological evidence confirms pottery production in this village dating back at least to the 11th century. Faro is frequently mentioned in medieval Asturian documents. In the 12th century, the following words are found: iuxta Ovetum, in villa pernominta Faro. The first reference to Faro's pottery industry dates back to the early 16th century (1519). The Marquis of Ensenada's cadastral survey (conducted in the territories of the Crown of Castile to understand, register, and evaluate assets) reports 72 potters, which highlights the significance of Faro in this industry and its productivity in the 18th century. The type of wheel used in Faro until the 20th century was the low or hand wheel, until José Vega "Lito" introduced the foot-operated wheel. This advancement led to an increase in production. The kiln used is the "open kiln." It consists of two parts: the firing chamber, where the pieces are stacked, and a boiler in which the fuel is placed; in this case, "rozu" (a type of fuel). Once the kiln is filled with ceramic pieces, the top is covered with "tapines," pieces of earth with green grass. The earth is placed facing inward, and broken tiles are used to form the chimney. In the past, firewood was the fuel for these kilns, but today propane gas is used.

Xunta pola defensa de la Alfarería Tradicional de Faro and "Asociación de Amigos de la Alfarería de Faro". There is a conflict between both associations, as the Xunta advocates for the faithful maintenance of methods, techniques, forms, and decorations of this ceramic tradition.

In the same village of Faro, there are archaeological sites associated with pottery making, including remnants of kilns, workshops, and clay extraction areas. The house and workshop, which includes a traditional kiln, of the Vega family (Faro de Arriba) is listed in the Inventory of Asturias' Cultural Heritage. Unfortunately, part of this workshop was damaged by a fire in December 2023.

Deterioration of space

The pottery workshop of "Selito" in Faro suffered a fire in 2023.

Intolerance,Disrespect

Lack of understanding between the two associations that defend the traditional pottery of Faro. Changes in political parties have caused ongoing projects related to the creation of a center for the interpretation of Faro's traditional pottery to be delayed or halted. There is also a lack of mediation tools in these conflicts.

Diminishing participation,Diminishing youth interest,Reduced practice

For various historical reasons, such as migration to the city or the emergence of household items made from other materials, ceramic vessels stopped being produced. Today, only two people continue practicing this pottery, and younger generations show no interest in learning. All of this has led to a decline in production over the years.

Rural-urban migration,Population Influx

On one hand, during the 1960s, there was large-scale migration from the countryside to the city, which caused the rural population to decrease significantly. On the other hand, Faro's proximity to the city of Oviedo has turned this area into a commuter town, inhabited by people with no familial ties to the rural area.

Loss of cultural spaces

The pottery workshop of "Selito" in Faro suffered a fire in 2023. Faro's proximity to the city of Oviedo has turned this area into a commuter town, inhabited by people with no familial ties to the rural area.

Faro is a small village of some 200 inhabitants in the Parroquia de Limanes, belonging to the Asturian municipality of Oviedo, a city from which it is only eight kilometres away. It was during the Middle Ages that the place became important due to its strategic location at the crossroads of communication routes and its dependence on the great monastery of San Pelayo. It was also during this period that its pottery activity, for which it is well known, began to emerge. Nowadays, together with a small agricultural and animal husbandry activity, Faro is fundamentally a residential area.

Regarding those related to manufacturing, they are: a foot-operated lathe, a thread cutter, a trapadoiro (leather cloth), tools specific to pottery (small wooden tools, a knife, and an awl). For glazed ceramics, a pisón was used (a stone with a hole in the center serving as a mortar to crush lead with tin and sand, creating the mixture for white glaze or tin-glazed coating), along with a brush to apply pigments. As for the types of vessels, they include: the "barbón" (with three handles), the "penada" (a water pitcher), the jug — "xarra" for cider, the cheese maker, and the casserole dish. In glazed ceramics, there are also plates, bowls, water jugs — "xarru," chamber pots, and two vessels shaped like a rooster and a hen.

Currently, production is in decline. On a positive note, a new female artisan has established a workshop in the area, where she conducts workshops for the community. This represents a boost for the cultural revitalization of this rural region.

This cultural practice does not involve pollution

Not actually.

Zero Hunger,Good Health and Wellbeing,Decent Work and Economic Growth,Responsible Consumption and Production

Faro, Oviedo, Asturias, Spain

declining

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