Ceramist Carles Llarch and one of his amphorae
The amphora, with its characteristic shape and pointed bottom, was historically designed to transport wine, oil, and other foodstuffs. Its shape allowed it to be stacked in a staggered manner in the holds of ships, preventing it from moving during voyages. When it comes to containers used for aging wine, with a flat bottom, we speak of jars. That said, some winemakers do indeed age their wines in genuine amphorae, adopting specific shapes suited to this practice, showcasing the diversity of clay containers. One of the unique features of amphorae and jars used for aging is their ovoid shape. This shape promotes natural circulation of the wine, enabling a constant and homogeneous movement that contributes to better integration of the wine's components.
Clay jars first appeared over 6,000 years ago, notably in Georgia, the cradle of viticulture, where these containers are known as "kvevris." Fully buried, sometimes in the middle of vineyards, to maintain a constant temperature, kvevris play a crucial role in the fermentation and aging of traditional Georgian wines, often produced with skin maceration to create unique amber-colored wines. Their use spread throughout the Mediterranean basin before gradually being replaced by wooden barrels and metal tanks. During Roman times, the jars used for aging were called "dolias." Today, their use has returned to the forefront, embraced by winemakers seeking to reconnect with natural methods and highlight their terroir.
The uniqueness of these containers lies in their composition: clay. This porous material allows for micro-oxygenation of the wine, similar to wood, but without imparting any flavor. This neutrality is a major advantage for natural wines, as it preserves the pure expression of the grape variety. The size of the amphora also influences the effect of micro-oxygenation: the larger it is, the smaller the surface-to-volume ratio, which limits exposure to oxygen. Vitrification can help reduce or eliminate the micro-oxygenation of amphorae. This can be done in various ways: glazing, high-temperature firing, applying wax or resin, or manually polishing with ash or metallic oxides.
Another advantage is that clay offers excellent thermal inertia, ideal for maintaining a stable temperature during fermentation. Finally, the ovoid shape also promotes natural clarification, reducing the need for external interventions. Each piece is unique, handcrafted with carefully selected clays. The manufacturing process is long and demanding: shaping, drying, firing... But it is this artisanal precision that ensures their quality and durability. They are made in all shapes, more or less ovoid, which also influences the taste of the wine. The quality of the clay and its preparation before firing, as well as the firing temperature, precisely determine the level of micro-oxygenation. For instance, amphorae from the Valencian region are known to be denser, and therefore less porous, than their Italian or Georgian counterparts.
Many natural winemakers have embraced clay, convinced that it enhances their wines. Wines aged in amphorae often stand out for their aromatic purity and silky texture. These wines reflect a philosophy of respect for the grape, the terroir, and time. The return of amphorae is more than just a trend: it’s a desire to reconnect with ancient practices while innovating through ever more precise mastery of the manufacturing process. They represent a balance between tradition and modernity, perfectly aligned with the values of natural wine.
From Pego, in the Marina Alta region, a place rich in ancestral wine history, I’d like to end by mentioning the Museu de la Mar in Dénia. This ancient Roman port houses a magnificent collection of amphorae, a testament to their essential role in ancient trade, whether for wine, olive oil, or garum, a fish sauce emblematic of Roman cuisine. A visit to this museum is a must for history and Mediterranean culture enthusiasts.