Granada was the cradle of an absolute and all-encompassing art. It was an architectural and artistic haven which ambitiously attempted to re-create heavenly places and transcendental dwellings including all the arts and crafts of the period.

The city inherited an extensive heritage (Greek-Roman, Oriental and indigenous influences) and was able to create an intimate and abstract mood by constructing interiors and geometric shapes of unique beauty.

This ambitious, mystical and aesthetic path was abruptly interrupted by the narrow-mindedness and intolerance of the new military class which was protected by a religious fervour unable to accept any other doctrines.

From the 17th century, Granada's history experienced a decline, completely lacking any leading cultural or aesthetic roles slowly becoming a place of enchanted ruins and touristic voyeurism. Granada's ancient craftsmanship progressively transformed itself into mere imitation, an insipid relic of a dormant city.

It is at this point when one "Granadino" silently begins to work, determined to salvage this ancient and glorious craftsmanship from oblivion. Miguel Ruíz Jiménez chose the most representative example of the technical and aesthetic glory which brought fame to "Nazrid Granada": Golden Pottery (also known as lusterware).

He has progressed in silence, firing and drawing. He has created an enchanted environment as if emerging timeless from the hands of a potter who has unveiled the mysterious transformation of clay into precious artefacts.

From a simple idea, a collection capable of filling a palace has been created and once more Golden Pottery has risen to its former glory.