Pilar Lafuente Ibáñez is an archaeologist and one of the leading specialists in medieval, Andalusian, and Mudéjar ceramics within the current research landscape, particularly concerning the province of Seville and its surroundings. She holds a degree in Geography and History from the University of Seville and has extensive experience studying materials from various archaeological interventions and projects, including emergency excavations at the San Laureano Complex, restoration projects for the Convent of San Clemente and the Carmen Barracks, as well as digs at the Hospital de las Cinco Llagas or even in the Real Alcázar. Abroad, she has played a role in studying Islamic kitchen ceramics from the Mértola Archaeological Site (Portugal).
She boasts an extensive teaching career in various courses and training activities, aiming to bring her knowledge of medieval ceramic materials to all kinds of audiences, as well as participating in the research group HUM 712: The Almohads, their Historical Heritage in Western Andalusia, from the University of Seville. Lastly, it is worth noting that she is also a member of the Cultural Association "Niculoso Pisano," an entity founded in Seville with the aim of promoting the dissemination of artistic ceramics from the city.
- Among all the complementary disciplines to Archaeology, how did your interest in ceramics arise? Why specifically medieval?
I have always been interested in material culture and ceramics in particular. My interest in the Middle Ages goes back a long way, and I chose subjects related to this period during my university studies. However, my start in studying medieval ceramics has an anecdotal aspect: as a student on placement at an archaeological excavation, I was surprised by the lack of attention given to medieval ceramics while any fragment of Roman pottery received all considerations. Then I thought that needed to change and decided to be part of that change. It's also important to understand that in those early 1980s, Medieval Archaeology in Spain was just beginning its first steps.
- As we mentioned earlier, you have worked on many projects and interventions. Is there one that stands out among the rest? Why?
I have very fond memories of the intervention at the Patio de San Laureano; it was three campaigns between 2002 and 2007, documenting important findings, including Hernando Colón's palace or the Mercedarian college of San Laureano. We also excavated a large muladar (rubbish dump) near Goles Gate, resulting in an extensive volume of materials, mostly ceramics, that provided an interesting and broad repertoire of Mudéjar ceramics made and/or consumed in Seville between the 14th century and the beginning of the 16th century.
- Several of those interventions for which you conducted material studies took place during Spain's real estate bubble from the 90s until 2007. What were the main challenges and issues that you faced? Do you think these still persist today, or are we facing a completely different scenario?
The problems and challenges vary depending on the time period. In the early 90s, those of us studying medieval ceramics were dealing with something new; there was little literature available, only publications by some pioneers who became our mentors –Claudio Torres, Juan Zozaya, Guillermo Rosselló, Manuel Acién…- and no consensus methodology existed either, so we learned from experience, the publications that came out, and discussions with colleagues. As time went on, knowledge of medieval ceramics grew, as did interest within Archaeology itself. The number of publications increased, doctoral theses were written, and research began to be presented at Medieval Ceramics in the Mediterranean Congresses –the last one was held in Ravenna in November 2034.
Certainly, there has been significant progress, and today's landscape is different. With current knowledge, lines of investigation tend to go beyond purely archaeological or ceramicological studies and focus on the functionality of ceramic objects, production, trade networks, technological exchanges, etc. Additionally, in recent years, archaeometric studies have provided valuable information.
- Seville is a city with a rich medieval past, especially when it comes to the Almohad period. However, today there seems to be a shortage of archaeologists specialized in this Islamic world in this area. What do you think might account for this?
I believe that Medieval Archaeology has a certain vocational character; it must appeal to someone. Additionally, I think the professional who wants to specialize in medieval archaeology should have some knowledge of the history and culture of this period as part of their background.
On the other hand, I've noticed in Seville, unlike other areas of Andalusia and Spain, a certain loss of interest among archaeologists regarding the study of medieval and modern centuries, particularly concerning the material culture of these periods. I can't pinpoint a specific cause, but I believe it could be due to a certain lack of initiative from the University of Seville, which does not support Medieval Archaeology.
- Regarding your connection with the Mértola Archaeological Site, we have seen that in recent years it has become a major meeting point for Islamic medievalists. What makes this site so special for researchers?
On one hand, Mértola itself is an archaeological site. Due to its geographical location, it was the last navigable point of the Guadiana River towards the interior and became a strategically important place and a first-rate commercial center throughout history. Numerous material testimonies from this past have survived until today, with the Islamic period being particularly significant.
And also, without a doubt, the personality of Claudio Torres. From the beginning, he recognized the archaeological and monumental potential of the town, creating a project –the Mértola Archaeological Site– from which has come an international dynamic of study and research.
- Every archaeologist has encountered someone who asked about the fate of materials recovered during archaeological interventions. Could you explain to our readers what steps are followed, in this case with ceramics, once they are extracted from the field? Where do they go?
The cultural material elements recovered during an archaeological intervention are placed in bags properly referenced. The work on these materials must begin almost immediately after their recovery, involving a series of preliminary tasks necessary to prepare the artifacts for study and subsequent storage.
In the case of ceramics, they undergo cleaning and a preliminary examination along with an approximate dating and evaluation of the finds; then each element is marked according to the guidelines of the receiving institution –in Seville, with the D J (Depósito Junta) indicator followed by the year and number of the intervention– and given its own unique number. Subsequently, they are stored in units of storage –bags, boxes– properly referenced with data that will be recorded.
Later on, the materials undergo a phase of study to obtain as much information as possible, contributing to better understanding of the archaeological intervention and being documented in the Scientific Report or published elsewhere.
Finally, the materials are deposited at the corresponding institution; in our case, this is the Archaeological Museum of Seville, with an act of delivery and deposit raised according to the current Regulation on Archaeological Activities.
- In recent years, we have seen significant advances in the use of artificial intelligence applied to archaeological analysis. Do you think these tools can bring new perspectives to the study of medieval ceramics and how could they be integrated into laboratory work?
I am unaware of the use that artificial intelligence might have in ceramic analysis, regardless of the period. I believe there are more practical tools where the control and knowledge of the researcher take precedence.
- What advice would you give to someone who wants to dedicate themselves to Archaeology, specifically laboratory work?
In general, Archaeology, like research, has a vocational component; then practice indicates affinities and preferences. As advice, I would say it is advisable to have a solid foundation, which the literature is fundamental for, and when dealing with materials, having sensitivity to see and extract information that artifacts provide.
Interviewed by:
María José Minuesa Grau
Director of ArqueoTimes
Mª Dolores Rodas Romero
Communication Department
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