2http://collection.shangrilahawaii.org/internal/media/dispatcher/62805/fullBlown Glass Jar with Trailed Zigzag Decoration7th - 8th centuryGlassThis transparent green globular jar, characterized by its rounded rim, short concave neck, and tapering bulbous body, features a horizontal zigzag trail forming a ‘collar’ that elegantly connects the rim to the vessel’s shoulder. The jar exemplifies the transitional phase between two pivotal glassmaking traditions, the Roman and the Islamic, within the Mediterranean coastal region. Glassblowing, a revolutionary technique, first emerged in workshops along the Syro-Palestinian coast in the mid-1st century BCE, as evidenced by archaeological findings in Jerusalem. Early glassblowing involved partially inflating softened glass tubes using short clay pipes. These workshops that produced glass vessels for the late Roman and Byzantine communities adapted to serve the evolving tastes of new Muslim patrons. While stylistic nuances and functional demands shifted, early Islamic glass often retained Roman forms, blurring distinctions between these traditions. Trade networks across Western Asia further facilitated the diffusion and integration of styles. This jar bears a striking resemblance to artifacts like the 4th-century CE Roman jar in the Metropolitan Museum of Art (Object Number: 81.10.174). However, without a definitive archaeological context, its provenance and site of manufacture remain speculative. This underscores the challenges of attributing early glass artifacts to specific cultural or geographic origins, reflecting the interconnectedness and fluidity of ancient glassmaking traditions. Glasshttp://collection.shangrilahawaii.org/objects/3929/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/62805/fullTwelve-Sided Bronze Mortar with Animal Finials and Vegetal Motif Panels11th -12th centuryBronzeThe twelve-sided bronze mortar features a flared rim, flat base, and circular interior, optimizing its functionality for efficient pounding. Despite significant wear from practical use, remnants of its inlaid vegetal motifs are still discernible. Two side handles, through which rings were once inserted for transportation, further emphasize its utilitarian purpose. Thick-walled designs ensured durability under intense use and were paired with solid cast bronze pestles. Mortars have been indispensable tools across various domains in the Islamic world since ancient times. Their applications ranged from culinary uses, such as grinding spices and grains, to artistic and scientific purposes. Painters and scribes used mortars to prepare pigments and inks, while pharmacologists and alchemists employed them for compounding medicines, reflecting the advancement of science and medicine. This is exemplified in 13th-century Arabic manuscripts, such as Dioscorides' De Materia Medica, where illustrations depict physicians or their assistants using a mortar and pestle to prepare medicinal concoctions. By the 10th century, metal mortars had become ubiquitous in the Islamic world. Abu Bakr Muhammad ibn Zakariya’ al-Razi (d. 925), a renowned physician, identified mortars by the Arabic term mihras and the Persian havan. In the following century, the polymath al-Biruni (d. 1048) documented that mortars were often crafted from an alloy called batruy, comprising copper and lead. Islamic metal mortars were cast in the manner of a bell, with the pouring point at the top of the mold, which became the mortar's base when inverted. Their structural integrity, crucial for withstanding repeated heavy blows, depended on the composition of the alloy and the thickness of the walls. These functional and robust implements highlight the ingenuity and craftsmanship of Islamic metalworking traditions. Metalworkhttp://collection.shangrilahawaii.org/objects/4347/rdf