Crafts and Territories:
A Symbiotic Relationship
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In this edition of the Craeft newsletter, we go beyond merely showcasing the last carefully selected Craeft crafts. Instead, we delve into the profound connection that exists between these crafts and the territories they are bound to.
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From Yecla's woodcarving workshops echoing with the sounds of tradition to the looms of Aubusson preserving centuries-old techniques, and the kilns of Limoges firing up the legacy of porcelain-making – these crafts are more than artistic endeavours; they are the heartbeat of their communities and the territorial legacy.
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Talking about the connection between crafts and territories we have exciting news to share! Europe is taking a significant step forward in protecting the intellectual property associated with its diverse range of craft and industrial products.
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As of November 16, 2023, the Regulation on Geographical Indications for Craft and Industrial Products has officially come into effect, and it is set to be applicable starting from December 1, 2025. Geographical Indications (GIs) are markers that indicate a product's specific geographical origin, connected with distinct qualities or a reputation attributed to that locale.
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While the EU has protected GIs for agricultural products, foodstuffs, wines, and spirit drinks since 1992, this regulation extends the protection to non-agricultural products, filling an important and crucial gap.
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Aubusson Tapestry: Threads of Tradition
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Aubusson Tapestry, originated from the Aubusson’s surroundings, in the nearby town of Felletinin, the Creuse region of central France, boasts a rich history deeply intertwined with its local territory. Its roots can be traced back to the 15th century when Flemish weavers settled in Aubusson, bringing with them the art of tapestry-making. However, it was in the 17th century that Aubusson Tapestry truly flourished, finding royal patronage and gaining international acclaim.
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The proximity of Aubusson to the River Creuse and the abundant pastures surrounding the town provided an ideal environment for sheep farming. This local resource became pivotal in the development of Aubusson's tapestry, as wool from these sheep became the primary material for the intricate woven masterpieces. The town's artisans, often inspired by the natural beauty of their surroundings, crafted exquisite tapestries that reflected both the cultural heritage of the region and the artistic trends of the time.
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Today, Aubusson Tapestry stands as a testament to the enduring fusion of modern artistic expression and the geographical context from which it emerged. The establishment of the National School of Decorative Arts in 1884 played a pivotal role in preserving and transmitting the techniques to new generations. Consequently, Aubusson artists continue to weave, but according to a narrative that reflects the spirit of contemporary times.
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Limoges Porcelain: Crafting Elegance
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Limoges Porcelain is intricately woven into the cultural heritage of its region, as a symbol of its territorial identity. Renowned for its exceptional quality and exquisite craftsmanship, this porcelain artistry reflects an artisanal tradition that dates back to the 18th century.
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In 1768, a chemist’s wife in Saint-Yrieix, a commune just outside of Limoges in southwest-central France, made a thrilling discovery: A soft white substance in the soil. At first, the story goes, the woman thought the substance could be used to wash and bleach linen, but it turned out she had stumbled upon “white gold.” The substance was kaolin, a rare and precious white clay that is a key ingredient in crafting fine porcelain. That discovery set Limoges on a path towards becoming a centre for some of the most beautiful and coveted porcelain in the world.
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The first porcelain with the Limoges mark was produced in 1771. Limoges had all the essential natural ingredients needed to create world-class porcelain—kaolin, feldspar and quartz—but, just as importantly, the region had a vibrant history of craftsmanship that dated back nearly a millennium. In the 12th century, Limoges was the most famous European centre of vitreous enamel production, known as "Opus de Limogia" or "Labor Limogiae". Limoges also produced faience earthenware or fine in-glazed pottery. The heritage of ceramics and decoration was deeply woven into the fabric of the city and it has been carefully practised and safeguarded until today.
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Yecla's Woodcarving Legacy
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The tradition of wood carving in Yecla, Spain, has deep roots in the Murcia Región´s historical context. Historically, Murcia Region had a strong tradition of wood carving, especially in religious art. In this context, Yecla has enjoyed a great reputation in wood craftsmanship, and has been influenced by the regional wood carving tradition.
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The 18th century saw furniture gradually entering homes, leading to the emergence of more artisans. During the post-Spanish Civil War era the Furniture Workers' Cooperative "Esteban Díaz" played a vital role in revitalising the sector, where several wood carving artisans learnt the different techniques. By 1950, Yecla witnessed the proliferation of woodcarvers due to the growing demand for carving work on furniture. It was precisely these woodcarvers who led the creation of new industries and the first Furniture Fair in Spain.
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Nowadays, woodcraft in Yecla has shifted towards simpler, contemporary styles, losing traditional skills in wood carving. Despite this, it remains an important cultural and artistic heritage that should be preserved for future generations to appreciate and value.
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If you happened to miss our earlier newsletter and the initial rollout of the on-developing Craeft research protocol—an innovative framework designed to explore all Craeft crafts—you can catch up here:
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