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The spiral text circling in the Incantation bowl's is home to an abundance of ethereal beings - demons, spirits, monsters and of course the nocturnal Lilith, which is the prima belladonna of the dance of demons that revolves around the texts of the Incantation bowl.

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No she-demon had ever developed such a fantastic career as Lilith, who began her journey from the lowest origins, was a failure as the intended wife of an ancient Adam, became a wooer of sensual spirits, became the bride of Samael the Demon King,  she also ruled as the Emerald Queen of Sheba and ultimately As God's own consort. This is what Raphael Patai states in his book.

just for the sake of that illustrious career, it is worth mentioning the genealogy of the Jewish Lilith demon from the illustrations where she stands handcuffed on the bottom of an Incantation bowl.

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The roots of the Jewish Lilith lie in three Mesopotamian essences of the night spirits - (Ardat Lili, Lilu, lilitu) to which the nightly Lilith joins with Lamastu and the goddess Ishtar.

The trinity of Lilith essences - Lilith female, Lilith male, and Ardat Lili represents forces that were hungry for victims because they themselves died young, devoid of love and sexual experience. The spirits had to attack and wander until the end of time.

You can learn about the torment caused by the spirits from 'Book of Diagnosis and Prognosis' - the Mesopotamian lexicon of diseases.

The book describes a syndrome caused by spirits and demons called 'Hand of'.

The lexicon reflects a situation where the Lilith triangle is responsible, among other things, for sexual injuries and of the three essences of the Lilith, the male Lilith is the only one that harms babies.

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To the different spirits of Lilith associated with the roots of the Jewish Lilith, we can add the goddess Ishtar.

In Mesopotamian literature, Inanna-Ishtar is revealed as a young woman of the upper class, a restless, frustrated and seductive character, who is constantly in a state of sexual and personal dissatisfaction. From a ritual point of view, Ishtar was the patroness of prostitutes and women. According to the "Diagnosis and Prognosis Book", the "Hand of Ishtar" syndrome afflicts men and babies.

Inanna-Ishtar was personified as the goddess of war, love and fertility.

Ishtar was the goddess associated with worship in the temples of many cities.

Over time, a diverse urban worship of the goddess developed, that is, Ishtar actually became a generic name and she was referred to in the plural, as a goddess of urban cults.

In each city, Ishtar received various and different nicknames such as 'Ishtar of Marbela' or 'The Lady of Nineveh'.

The variety of names was accompanied by the worship that highlighted one particular facet of the goddess that was adapted to the local culture and customs.

The plurality of the goddess Ishtar is also present in the Incantation bowls where she appears in the plural - ''Ishtarata''. Usually Ishtar of the Incantation bowls is part of a chain of essences that harm women and men.

- It is important to emphasize the blurring of the boundaries between the world of the dead and the world of the living which is a recurring element in the tradition of Ishtar.

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Finally, a dominant part of the essence of the Jewish Lilith came by inheritance from the she-demon Lamastu.

The origin of lamastu is heavenly. Due to her evil deeds she was banished from her abode in the sky.

On the surface of the earth the she-demon preferred to live far away in the mountains, swamps, prairie or in the desert. Lamastu had an essence that was all about rage.

Some of her identifying marks are wild hair with a tassel, bare chest, breasts full of venom and torn clothes.

The 'hand of Lamastu' syndrome indicates that the purpose of the she-demon was to harm babies before, during and after birth.

Towards the middle of the first millennium BC, the similarity between the triangle of Lilith, Ishtar and Lamastu, created a union and coalescence of a goddess, she-demon and spirit whose qualities permeated the image of the Jewish Lilith.

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Sources:

Who wrote the Incantation bowl - Dorit Kider

The Art of the Aramaic Incantation Bowls - Naama Viluzhni

Lilith`s Hair and Ashmedai`s Horns: Figure and Image in Magic and Popular Art: Between Babylonia and Palestine in Late Antiquity - Naama Viluzhni

 The Hebrew goddess - Yigal Petai