Azulejo earthenware tiles have blue motifs which remind of the sky and the ocean on which the brave sailors ventured. They are everywhere, on walls, facades, in homes, gardens... and they all tell a piece of Lusitanian history going back 500 years.
Portuguese Tradition
The tradition of colored tiles exist in several countries such as Spain, Holland, Italy, or Morocco and Iran. It is a sort of cross between painting, photography and comics, and it has taken a special place in Portugal.These tiles have become a peculiarity of Portuguese culture in which one finds an attraction to the exotic (resulting from discoveries) that combines European, Arab and Indian features. Forming a material of little intrinsic value, the tiles enhance the places where they are placed.
A journey through the history of the colored tiles which are a part of the Portuguese identity and for which there is a magnificent museum, the Museu Nacional do Azulejo, holds a collection of more than 7,000 pieces.
Arab Origin with Flemish and Italian influences
Azulejo tiles are of Arab origin. From the 16th century the Flemish and Italian influence was felt. The Italians develop the technique of Majolica (a new type of ceramic of the Renaissance) which allowed artists to paint directly on the Azulejo tile while giving the possibility of diversifying the motives.
The Flemish masters (like Willem van der Kloet and Jan van Oort) receive numerous orders from Portugal, which led them to move to Lisbon and initiated the launch of Portuguese production. They influenced painters on Aluzejos like Francisco Marçal de Matos to create major compositions, which are very colorful when both yellow and blue are present.
Use of Blue and White
In the late 16th and early 17th century, the Azulejo tile was democratized. Indeed, it is very expensive to do special orders, so artists began to manufacture the tiles in series. This manufacturing technique promoted a new style. The monochrome design checkerboard appeared for a short time; it takes a long tie to install it on walls. These cheap tiles disappeared quickly and gave way to typical Azulejo tiles measuring one foot square.
In the 17th century, Portuguese designers begin to reproduce monumental engravings from Europe, particularly the "Grotesques" of ancient Rome recovered by the Italian painter Raphael. Portugal remained a colonial power with many ties with the world. The printed Indian clothes used in the altars of churches inspired the artists to use their themes on the tiles, sometimes mixing them with Catholic themes. This was a time of great artistic freedom.
At the end of the 17th century the use of blue color on white background, influenced by Chinese ceramics, allowed more focus on painting. The imported motives from Holland showed the superiority of the technique of the Flemish, which caused Portuguese artists to react.
Figurative Art
The 17th century also saw the flowering of figurative art in civilian and sacred spheres. The workshops record illustrations drawn in response to orders. All themes are figurative: hunting, war, religion, mythology, all the result of the transposition of European traditional oil painting onto Azulejo tiles.
At that time, the nobility of Lisbon fell in love with Azulejo tiles. They used to decorate their new palaces and gardens such as those of the Marquis of Fronteira in Lisbon. Mythological scenes and satirical (the "airs and graces") found great favour at the time.
The art and craft of Azulejo tiles has continued in favour to the present time.
Pascal Marion - Author, independent researcher, responsible of Terres d'Asie.
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