13http://collection.shangrilahawaii.org/internal/media/dispatcher/62792/fullPolychrome Tile Panel (Fireplace Surround) with Courtly Banquet Scenes19th centuryStonepaste, polychrome pigmentsCeramicshttp://collection.shangrilahawaii.org/objects/4725/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/62792/fullEnamelled "Pialeh Zang" Chandelier Earrings with Bird and Floral Motifs19th centuryEnameled gold, seed pearls, rubies, emeraldsThese cascading chandelier earrings were created in Persia in the 1800s. They are formed of two graduated semi-spheres, each decorated with enamelled birds and flowers, from which threaded seed pearls, rubies, and diamonds fall. Enamel (called mīnā in Persian) is a paste created from heat-fused glass and colored with metal oxides.This brightly colored, shimmering substance was used to decorate an array of luxurious objects, from daggers with richly adorned hilts to brightly colored snuff boxes and bases or waterpipes (qalyan). The gul-u-bul-bul (rose and nightingale) motif is a common pairing in Persian art and poetry, serving as a metaphor for both earthly and divine love. The rose (gul) and the nightingale (bul-bul), represent the beloved and the lover, a theme that has been immortalized in Persian poetry, literature and art for over a thousand years. Gul-u-bul-bul designs appear throughout Qajar art, from ceramics to manuscript illustration.Jewelryhttp://collection.shangrilahawaii.org/objects/5127/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/62792/fullBlue and White Ceramic Dish with Floral Motifs16th centuryStonepaste, pigmentsOttoman ceramic design, known as Iznik ware after the city in which it was produced, was heavily influenced by Chinese blue-and-white porcelain. With delicate, blue peonies swimming in interlacing stems, the design of this Ottoman dish mimics the characteristic of Ming porcelain during the Yongle period of the early 1400s. This type of porcelain is characterized by intricately sculpted flowers with jagged-edged leaves.Ceramicshttp://collection.shangrilahawaii.org/objects/3724/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/62792/fullMy People2018Bahia ShehabAcrylic and Latex on WoodThis two-part mural represents a verse from a work by Palestinian poet, Mahmoud Darwish (1941-2008). A poem originally written in Arabic, Shehab has interpreted the title and content of the text as a challenge to power—The Penultimate Address of the “Red Indian" in Front of the White Man (1992)—and selected this evocative phrase for her piece: “My people will return as air and light and water.” The mural uses an artist-created script that has both pixelated and added figurative roots to 10th-century floriated Kufic calligraphy to make a site-specific commentary about colonization, displacement, and loss – of land, people, and identity. My People speaks to how Shangri La is the intersection of cultural aesthetics and a place to explore political concerns across indigenous contexts. Shehab’s inventive and energetic interpretation of Arabic epigraphy richly illustrates the ways that art can be a space for marginalized voices. A graphic designer as well as an Islamic art historian, Shehab’s study of the development of Arabic scripts has deeply informed the creation of the lettering for this mural. Most commonly, floriated Kufic has leaf-life vegetation erupting from the “stems” of the letters. Here, Shehab has chosen to invert this tradition and create roots for the letters in lieu of leaves or flowers, quite literally embedding the letters - and their associated meanings - into the “soil” of Honolulu. Her pixellation of the letters has a lightening effect on the somber and moving message, respectfully but playfully encouraging the viewer to dwell longer on the artwork and to “assemble” the image visually - she invites us to look, and to keep looking. This bold artwork is site-specific not only for Honolulu, but also for Shangri La: it is a conscious welcome to our visitors, as well as a visual statement of the unique conflation of lands and identities represented within our museum and our landscapes. Paintingshttp://collection.shangrilahawaii.org/objects/9920/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/62792/fullSilver-Inlaid Betel Box with Scroll Motifs19th - 20th centuryCopper alloy, silverThe silver-inlaid scroll designs seen on this betel box are commonly found on both wood and metal in the predominantly Muslim region of Mindanao, in the highlands of the southern Philippines. The motif repeats in the box’s interior that houses the four ingredients of betel chew (a combination of areca nut, fresh pepper leaves, lime powder, and damp tobacco leaves). This piece would be used in special presentations for honored visitors. This box represents the intersection of shared faith with local tradition, emphasizing the importance of secular (non-religious) artworks as key aspects of all Islamic art collections. It is also emblematic of the geographic and cultural diversity of the people of the Islamic world and the significance of the greater Asia-Pacific region to the global community of Muslims. Metalworkhttp://collection.shangrilahawaii.org/objects/4073/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/62792/fullEtched-Glass Hanging Lamp with Quranic Inscriptions19th centuryGlass, black compound, gildingThe religion of Islam was founded in the seventh century when the Prophet Muhammad received revelations from Allah (God). The recording of these revelations in Arabic became the Qur’an, the sacred text for Muslims. With its flowing shapes, the Arabic alphabet lends itself superbly to artistic design. Letters may be shaped in ways to create dynamic compositions that stir the eye, regardless of the viewer’s ability to read the text. Lamps such as this were often placed in mosques, palaces, or shrines as donations from the faithful. The iconic shape remained unchanged for centuries, and the lamp on display echoes earlier artworks and represents the centrality of Islamic faith across the cultures represented in the collection.Glasshttp://collection.shangrilahawaii.org/objects/4457/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/62792/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/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/62792/fullGem-Inset Gold Nagaraja (Snake King) Hair Ornament19th centuryGold, diamonds, emeralds, rubiesThis jewel-encrusted serpent is part of a jadainagam (or “hair-snake”). This type of hair ornament decorates a woman’s braid, or plait, and was worn by brides and Bharatnatyam dancers in the southern Indian state of Tamil Nadu. The now-missing upper portion of the ornament representing the sun and moon would have affixed to the back of the wearer’s head. The serpent ornament (nagar) would have been fastened to the nape of her neck, followed by a long, jeweled ornament (jadai) running down the length of her braid and ending in a tassel (kunjalam).Jewelryhttp://collection.shangrilahawaii.org/objects/4998/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/62792/fullCobalt and Turquoise-Glazed Molded Lusterware Mihrab (Prayer Niche) with Quranic Inscriptions, Floral Decoration, and Hanging Lamp MotifDated Sha'ban AH 663 (May 1265 CE)Stonepaste, polychrome pigments, lusterCeramicshttp://collection.shangrilahawaii.org/objects/4334/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/62792/fullPolychrome Cut-Mosaic Tile Panel (Copy of Masjid-i Shah Panel)1938-1939Ceramic, polychrome pigmentsThis monumental tile mosaic panel is prominently positioned in the Central Courtyard of Shangri La. Swirling, leafy tendrils intertwine across dark blue ground while turquoise cartouches radiate from a large, white medallion. These cartouches are inscribed with verses from the Quran (9:18). On the top center of the panel, a light green square has geometric kufic script reading, مبارك باد — “may it be blessed” in Persian. Teardrop-shaped cartouches in the top right and left read: “bounty is God’s”(نعمة الله) [right] and “might is God’s” (القدرة الله) [left]. This mosaic tile panel was custom-made in 1938–9 by craftsmen in Iran. The panel was based on a pair of panels that flank the entrance portal of Masjid-i Shah (the Shah’s mosque) in Isfahan, Iran. Masjid-i Shah was constructed in 1612 to around 1630 CE by the Safavid ruler and patron of the arts, Shah ‘Abbas I. The interior and exterior of the mosque is completely covered with mosaic tile, the signature style of Safavid architecture. During the twentieth century, Masjid-i Shah and other important buildings of Isfhahan were restored. Creating a tile mosaic is an intricate process. Monochrome-glazed tile slabs are first fired and then cut into small pieces. The pieces are fitted together upside-down, and plaster is poured over them to form a solid, secure backing. The recreated panel is very similar to the original with a few differences; two feet of the lower edge of the panels are missing, and there are slight color variations in the glazes.Ceramicshttp://collection.shangrilahawaii.org/objects/4162/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/62792/fullCusped-Rim Polychrome Ceramic Dish with Floral and Saz Leaf Motifs16th centuryStonepaste, polychrome pigmentsThe lively, floral composition of this dish is composed of red carnations, blue spotted tulips, and a spray of blue hyacinths with a broken stem. Iznik potters incorporated broken stems into their composition as a clever way of including more naturalistic elements within circular design. This naturalistic floral style is associated with Kara Memi (fl. 1545-66 CE), an Ottoman artist who was head of the royal workshop called the nakkaşhane during the reign of Suleyman the Magnificent. The rim of the dish is embellished by a wave-and-rock pattern. This motif, which frequently appears in Iznik wares, was influenced by Chinese porcelain, especially of the Ming dynasty (1368–1644 CE).Ceramicshttp://collection.shangrilahawaii.org/objects/3681/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/62792/fullEnameled Gold Peacock-Shaped Boat19th - 20th centuryEnameled goldThis miniature enamelled-gold boat is a much smaller, 19th-20th century replica of the writing case in the shape of an Indian boat which was presented to Edward VII when he visited India as the Prince of Wales. That "original" writing case, which still remains in the Royal Collection Trust, represents the mastery of Jaipur enamel techniques. The miniature versions of the writing case that circulate in collections and at auction do not serve the same utilitarian function. However, Jaipur enamellers still chose to incorporate a lockable compartment beneath the canopy at this boat’s center.Metalworkhttp://collection.shangrilahawaii.org/objects/4867/rdfhttp://collection.shangrilahawaii.org/internal/media/dispatcher/62792/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/rdf