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  • The particular shape of the large oval plate shows the stylized lapwing pattern with the tree of life, centered with elegant symmetry and decorated with more shades of blue on a white field. The handcrafted plate can match other items for tableware and table decoration.

  • This object is a reintepretation of sa pintadera nuragica, the decorative stamp used to prepare sacred loafs of bread.

  • The fine sinuous sculptural silhouettes of women in glazed ceramic revive the traditional Sardinian costumes for women by means of decorations and elegant motifs, which also recall the Umbrian majolica as a dedication to the origins of the ceramist’s father.

  • This large drop-shaped bowl gathers the vivid story of the seabed, illuminated by golden shades recalling the refraction of the sun-rays through the seawater on opaline rocks. Crafted as a unique piece, this artefact varies depending on the raku technique used by the craftsman.

  • The figure of the warrior on horseback, distinctive of Franco Scassellati’s artistic production, is inspired by the archaic Nuragic culture, expressed with dynamic style and refined sculptural technique.

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.