In the fabulous melting pot of cultures that is Morocco, history and geography come together to produce a range of earthenware that is arresting in its beauty.
From the 8th-9th century, the 4,000-year-old indigenous Berber population knew the art of making glazed and enameled earthenware. Pottery was made entirely by women, for home use. In the 15th century, the Moors began arriving from Spain, bringing with them, advanced techniques. They settled in the cities of Fez, Safi and Marrakech, where they rebuilt their kilns. For the next 400 years, these centers produced some of the Islamic world’s finest pottery.
In the early 20th century, industrialization and the craze for mass-produced products nearly spelt the end of Moroccan pottery. It was revived under the French Protectorate, when Moroccan potters were sent to France to learn improved techniques. Ever since, guilds have been established in various centers where master craftsmen train apprentices in their craft.
While the distinctive Fakhari or Bleu de Fez pottery, with abstract, repetitive, geometric designs or Arabic calligraphy is virtually synonymous with Moroccan pottery, Safi and Marrakech also have made unique contributions to this art.
Safi has the oldest kilns in Morocco and is known for its use of camel bone in pottery design. Potters mix local red clay by walking on it. Pots are molded on foot-operated potters’ wheels and baked in the kilns, which as of old, continue to be fired with dried hardwood. After being painted with bright colors, plain or henna-stained camel bone designs are adhered to the earthenware, especially plates and vases.
Marrakech is famed for the skills of its metal workers. Soft metal is soldered on to ceramic ware, giving a filigreed effect; the metal outlines the finely painted abstract shapes and foliage of Islamic art or the stylized birds and animals of Berber origin.
Interestingly, basic techniques have changed little over the years. Painted brushes are made of bamboo and horsehair. A unique feature of Moroccan ceramics lies in the firing technique used, where one cannot predict the behavior of the glaze. Two pots coated with the same glaze therefore, can turn out in different shades.
Pottery here is intrinsically connected with local beliefs. A couscous steamer placed on a pole and pushed off to break into pieces, foretells the immediate future – a few large pieces signify a prosperous year, while several, small fragments are ominous signs of a hard winter and tough times!