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Message:: [QUOTE="User 67, post: 3460, member: 67"]<a href="http://www.qantara-med.org/qantara4/public/show_document.php?do_id=398&lang=en" target="_blank" class="externalLink ProxyLink" data-proxy-href="http://www.qantara-med.org/qantara4/public/show_document.php?do_id=398&lang=en" rel="nofollow">Qamtara</a> describes the Alhambra vases(1238-1492) as being 'like' tinajas, wine jars made in Andalusia (Spain) and North Africa. The parts that resembles a tinajas are the teardrop body with a foot and ears, however the narrow, tall, flared neck is completely different. It is the significant distinction that differentiates a vase. This is undoubtedly why the Alhambra vessels are called a 'vase', since this is more like a Chinese vase form (except for the ears). In fact the neck in the example on the linked page is jarringly Chinese looking. Qamtara also suggests the Alhambra vases were most probably intended for decoration. I postulated that the vase form originated in China and would have first migrated west through the Middle East trade routes, these (transitional) vases seem to confirm that. What the users of this form actually did with it is unimportant for it's title of 'vase'. In this case the vase is fragile and impotent, if you will, and the owners may never have intended to use it to hold flowers, but just because the vase is unable to perform it's vasely duties, doesn't make it any less of a vase (just as an impotent man, who can't perform his manly duties is still a 'man'). Most pottery is created for use, or at least with a nod to a utilitarian form. The vase is unique in that, even to the Chinese, I would argue, it is not utilitarian in the strictest sense. The antonyms to the word 'utilitarian', impractical and unnecessary, define the Alhambra vases perfectly, and the Chinese considered flower arranging as an 'art', also an antonym to 'utility' (without arguing the merits and need for art.) However, since these vases have ears, the term 'vase' is problematic, which is why I might call it transitional. YTTloveit, That is a tricky question. There were some fresh herbs (plant and flower material) that were concocted and consumed or applied to the person, just like medications today, and they had great healing benefits. However some plants held a more shamanic or superstitious place in the healing practices. For instance, the Roman Goddess, Cardea, hung Hawthorn in his window to protect the grandfather of Romulus and Remus (legendary founders of Rome) from vampires when he was a baby. The roman tradition was to hang a sprig of hawthorn over a nursery window or the baby's cradle. The sprig or bundle would be suspended by string. These types of charms where also strewn on the floor at certain times, or when the flower was in bloom. There were some flowers used as 'offerings', but my understanding is that they were in the form of a garland, or sticks burnt as an aromatic offering to the gods (incense). Later, there are many European peasant superstitions like this that continued into the 19th century, in the spring, Hawthorn flowers were hung in barns to protect cows and hung in kitchens to protect the household. Hung on the rooftop, it repelled lightning. (that blossom's protection was intended like a magic blessing that would last the year). Birch (a favorite of Thor) was planted near the house because it was believed to deflect lightening, and during a storm, mother might snip off a birch branch and bring it indoors for the same reason. For the most part, flowers and herbs (pine was a popular aromatic then as today) were made into garlands or hung in bundles (usually from the rafters). The only contact with water was when they were added to a healing bath or steeped in a tea. I have never read a reference of plants in Europe being kept fresh in a bowl of water (even for healing) before the Renaissance. Any nontraditional use of herbs would have been suspect, as some traditional herbalist practices only narrowly avoided charges of witchcraft and others, (ie mandrake amulets) could be banned by The Church.[/QUOTE]

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