"Hispano-Moresque" ceramics, dating to the Andalusian period, represent one of the most significant technological and artistic achievements of Islamic civilization in the Western Mediterranean. During the 14th and 15th centuries, these ceramics played a pivotal role in the transfer of pottery-making knowledge and technology to Italy—a process facilitated by trade networks, maritime exchange, and cultural interaction—which profoundly influenced the emergence and evolution of "maiolica," a type of Italian glazed earthenware. The circulation of ceramic vessels, raw materials, technical expertise, and decorative styles, alongside the movement of artisans, created a dynamic environment for exchange between the Iberian Peninsula and the Italian city-states. Despite the importance of this process, the mechanisms governing the transmission of manufacturing techniques, glazing technologies, decorative methods, and visual elements from Andalusia to Italian maiolica have rarely been the subject of systematic study. This research aims to elucidate the process by which Hispano-Moresque techniques and motifs were transferred, contributing to the formation of Italian maiolica during the 14th and 15th centuries and beyond, drawing upon the framework of processual archaeology. The study addresses two primary questions: 1. How was the tradition of Italian maiolica shaped by the Hispano-Moresque pottery tradition during the 14th and 15th centuries? 2. Through what channels and mechanisms were these traditions transmitted to Italy? 3. To what extent were majolica wares influenced—technically and in terms of their motifs—by Hispano-Moresque ceramics, and what indigenous modifications can be observed?

This study distinguishes between concepts such as direct technology transfer, artistic imitation, cultural adaptation, and independent local innovation. It examines whether the observed similarities between these two traditions reflect genuine technological and cultural connections, or if they are merely coincidental visual resemblances. The research is grounded in the theoretical framework of "processual archaeology"—an approach that views material culture as the product of technology transfer, cultural diffusion, economic interactions, and systems of production and exchange. Within this framework, technological changes are analyzed in relation to production networks, patterns of commodity circulation, and inter-societal interactions. Here, ceramic artifacts serve as material evidence for the circulation of knowledge, skills, techniques, and cultural practices. This perspective allows for an understanding of technology transfer as a dynamic process, wherein technical knowledge is transmitted, localized, and transformed—shaped by local resources, workshop traditions, consumer demand, and specific cultural contexts.

The research employs a descriptive-analytical methodology with a comparative approach. Data collection involved library and archival research, a review of historical sources and scholarly literature, an examination of museum collections, and an analysis of existing images of ceramic artifacts. The study focuses on Andalusian "Hispano-Moresque" pottery and Italian "Majolica," primarily dating to the 14th and 15th centuries CE. Samples were selected using a purposive sampling method based on criteria such as reliable chronological data, definitive identification, adequate visual documentation, and the possession of comparable technical, morphological, decorative, and visual characteristics. Comparative analysis focused on aspects such as production technology, ceramic body and surface finish, glazing techniques, decorative methods, color composition, vessel forms, and visual motifs—particularly features indicating continuity, adaptation, or transformation.

The results indicate that the transmission of the Andalusian pottery tradition to Italy was not limited merely to decorative motifs but also encompassed production knowledge and technical principles—specifically the use of opaque tin-based glazes and surface decoration techniques. Tin-based glaze provided an effective medium for polychrome decoration and the development of lusterware. These characteristics—alongside approaches to vessel construction, surface finishing, decorative layout, and the use of geometric, floral, epigraphic, and figurative motifs—led to the emergence of new pottery styles in Italy. Consequently, the influence of Hispano-Moresque pottery should be viewed as a multidimensional and multilayered process—albeit one that was gradual and incremental—spanning the realms of technology, aesthetics, production, and cultural exchange, all of which found new life within commercial and trade systems.

The findings indicate that Italian potters did not merely imitate Andalusian models; rather, they integrated selected technical and artistic elements with existing indigenous traditions, adapting them to local raw materials, workshop practices, aesthetic tastes, and consumer demands. In effect, they wove the intrinsic concepts of pottery together with their own narrative elements and ideological perspectives, aligning the meaning of the ceramics with their own society. Consequently, while Hispano-Moresque pottery and Italian *majolica* share certain similarities, they also exhibit distinct differences in stylistic structure, execution techniques, vessel forms, and decorative elements. These differences underscore the active role played by Italian artisans in transforming imported knowledge into the creation of innovative ceramic forms. A comparative analysis reveals that both traditions share common features—such as the use of floral, zoomorphic, and geometric motifs, tin-glazing, pharmaceutical vessels (*albarelli*), and heraldic symbols—yet they differ fundamentally in their pictorial approaches. Hispano-Moresque pottery, influenced by the political and religious climate of late Andalusia, relied heavily on symbolism, inscriptions, abstract patterns, and markers of identity. In contrast, Italian *majolica*—which emerged concurrently with the Renaissance—leaned toward narrative storytelling, Christian iconography, mythological themes, and realistic compositions.