+44 (0)7866 424 803 [email protected] runjeetsingh.com

ACKNOWLEDGEMENTS

It is fitting at the start of this work that I thank my mother, my late father, and my wife and children who have given me endless love, patience and support.

I would also like to offer a heartfelt message of gratitude to numerous colleagues and friends who contributed to the research and production of this publication.

CONTENTS

Daggers 08

Swords 42

Polearms 58

Firearms 62

Objects 66

Armour 78

Shields 90

Helmets 96

Written by Runjeet Singh Winter 2016

All prices on request

9

1

SHIVA The wootz damascus or watered This exquisite chiselled image has steel has large chiselled close similarities to Mewari painting

Rajasthan, India depictions of Lord on each in the first half of the nineteenth side. He stands in a playful yogic century and to the Kangra-Pahari Circa 1850 AD stance with a small dog licking his leg school of painting of the same in reverence. His long curling hair is period. A related depiction can Overall 440 mm adorned with flowers, and his third be seen in a painting of Shiva and Blade 225 mm eye open - capable of imploding the Parvati in the Freer Gallery of Art, cosmos, or paradoxically spreading Washington D.C.1 light and wisdom into the world. The Bundi style is covered in Each of his four hands carries sheet gold decorated with stippled an object: on the right, a trident flowers, showing some wear. or trisula, the three prongs Nordlunde (2009) discusses this representing his three aspects as particular style of katar as belonging creator, protector and destroyer, to the larger of two groups that the long shaft representing the axis were made in Bundi around 1850 of the universe; also on the right A.D. A characteristic of these Bundi he holds a wheel or , the katars is the pierced floral design symbol of life and death, a throwing linking the distinctive grip bars. weapon. On the left, Shiva holds a double edged or , A similar was in the collection a symbol of wisdom in the battle of the late Dr. Leo Figiel.2 against ignorance and the forces of destruction. The last object he holds may be a shield, dhal, but is References more likely to be a mirror, darpana, 1. Accession number Acc.no.F2001.11. representing the aspect of Shiva See the Freer and Sackler website that is not manifest. Shiva in his http://www.asia.si.edu/ androgynous aspect carries a mirror 2. For the sale of his collection see in one of his left hands (the female Butterfield and Butterfield, San Francisco, sale catalogue number side) as a symbol of wisdom and, 6824A, 1998, lot no.2117. at the same time, of the emptiness of all worldly matters. 10

2

BUNDI KATAR ‘....the tongue of death’ is how an The Hermitage katar is catalogued identical katar in the Metropolitan as late eighteenth century and

Rajasthan, India Museum is described in a was originally collected by Count inscription on the forte of the blade. A. Saltykov.4 It transferred from Circa 1850 AD The dagger shown here has no such the Tsarskoselskkiy Arsenal to the inscription, but the design belongs to Hermitage in 1885. Overall 415 mm the same small group commissioned Blade 215 mm circa 1850 AD by the Maharaja of Prince Saltykov made two voyages Bundi, Rao Ram Singh (1811AD to India, in 1841-43 and in 1844-46. -1889AD) whose name appears on In 1848, in , he published his a number of these katars. letters and drawings recording these journeys in Lettres sur L’Inde and the The dagger would serve as an book became a best seller, delighting adornment in the cummerbund of its the Russian public. He made an owner at court, but could be quickly important collection of arms and drawn and was easily capable of was extremely influential as an early piercing armour, or inflicting a fatal collector of Oriental arms. wound on a tiger in the hunting field. A similar katar is in the Royal The heavily gilt round side bars have Armouries, Leeds, purchased at a spiral twist, a distinctive feature of ’s Great Exhibition of 1851.5 this group, as is the bridge of flowers linking the grips. The blade ricasso is bordered with a garland of flowers References and an elephants’ head. A work of 3. See Anatoly A. Ivanov, Masterpieces of art in steel, the craftsman has skillfully Islamic Art in The Hermitage Museum, an exhibition held at the Dar al-Athar created a complex, highly efficient al-Islamiyyah, Kuwait 1990, no.111. and decorative arrangement of fullers 4. in the watered steel blade. A very Number 1180 in the Salyukov Collection. similar arrangement of fullers on a 5. Royal Armouries, Leeds, no.XXVID.84. pattern welded blade can be seen on a katar in the Hermitage Museum, St Petersburg.3

12

3

GAJA-LAKSHMI This katar has a blade with a The Sanskrit text Hastayurveda9 We cannot currently attribute this KATAR chiselled depiction of Gaja-Lakshmi describes the importance of the katar to either of the princely states at the forte, one of the most elephant to the prosperity of of Rajasthan, but we can say, it was significant ‘Ashtalakshmi’ aspects of the state: made for royal or noble use and is Rajasthan, India the Hindu goddess Lakshmi. Both as a unique object which should be 19th Century a weapon and as a devotional icon “If they did not pay worship to the preserved and treasured by its the katar is fascinating. ‘Ashtalakshmi’ elephant, the king and the kingdom, new guardian. Overall 410 mm (eight Lakshmis) are a group of the army and the elephants, would Blade 224 mm eight Hindu goddesses, secondary be doomed to perish, because manifestations of Shri Lakshmi, who a divinity would have been References preside over eight sources of wealth. disregarded. Contrarywise, if due 9. Zimmer, Myths and Symbols in Indian Art In this context, wealth would be worship is paid to the elephant, they and Civilisation, 1974, IV.22, p.108. strength, power and prosperity. The will thrive and prosper together with 10. Elgood writes in Arms and goddess sits beneath two elephants their wives and sons, the country, the Armour. The Rathores and their Armoury at Jodhpur Fort, who stand on the open-book army, and the elephants”. (in publication) that: ‘The only complete example known shaped lower hilt, lustrating her to the author is from Kota and is in with water from their trunks which The side bars are chiselled on the bad condition. The implements include: silver opium container; two very small extend and touch in the centre. In outer surfaces with a border and steel churi missing handles; ivory ear a typical gesture the four-armed floral panels top and bottom while cleaner with spoon end; solid silver goddess holds lotus flowers in her the swollen grip bars are separated tubular strip with knop finial, serving no obvious purpose. Two pairs of scissors. upper two hands, and her lower by ruby set ‘C’ scrolls. The entire Nail cleaner with slanted chisel end hands subtly suggest abhaya- hilt and forte are thickly decorated and carved ivory grip; two bartana or (fingers pointing up, a gesture of with repeating symmetrical floral ivory turban easers, one with finely carved end; sundry needles in corroded peace) and varada-mudra (fingers patterns in gold. condition; and a flat, tapering, blued steel pointing down, a gesture of wish implement with a pierced and shaped head decorated with gold koft work, granting and generosity). She sits The wooden scabbard is covered purpose unknown’. in two scrolling leaves which join by with red silk velvet, pleasingly faded 11. See Elgood, Arms and Armour at the means of a fleur-de-lis to a cypress and worn. It has a pocket containing Jaipur Court, 2015, p.92, no.67. tree leaf which extends down a small watered steel bladed the centre of the blade, forming with a cracked agate hilt, a pair of a decorative spine on the sunken steel tweezers decorated in gold, central panel of dark wootz steel. and lastly, a small, bone ear spoon. The cutting edges are polished bright Very few katar scabbards retain their and extend to the armour piercing pockets which were once common, reinforced point. and it is exceedingly rare for them to retain the pocket’s contents.10 The elephants are particularly well formed and although the goddess A similar privately owned katar takes centre stage here, the exquisite known to the author belonged three-dimensional modelling and to a thakur (Lord) from Bikaner contrasting steel and gold decoration state, albeit the decoration is not provide an important focus which elephants, but leogryph. The ‘C’ should not be overlooked. The scrolls that separate the grip bars elephant is considered one of the are usually attributable to Bundi four Indian royal animals (the others where royal patronage encouraged being lion/tiger, the horse and the the production of beautiful katars. bull), and in the the symbol of However, we have evidence that a royal splendour and the mount of katar with “C” scrolls was made in gods and kings. Jaipur for Maharaja Sawai Pratap Singh (1778-1803).11 Object number two in this catalogue shows a katar attributed to royal patronage from Bundi which also uses elephant though not in such a prominent way.

17

4

BEJEWELLED KATAR Sold to a private collector June 2016.

Gujarat, India A beautiful and extremely rare variant of a nineteenth century katar 19th Century from Kutch.

Overall 470 mm The form is described as a ‘Garsoee Blade 260 mm Katar’ by Egerton in his 1880 book, which has for many years left academics and researchers puzzled. It has been suggested by Nidar Singh who heard it from his master Baba Mohinder Singh that this is actually ‘ghar-sue-e’ meaning ‘fort needle’. This translation from the Sanskrit word origins is supported by the sharp needle tip that these exhibit.

Of iconic form, the copper gilt hilt has sweeping side bars and a central rhomboidal grip, giving the hilt an attractive sculptural quality which make this a favourite of arms and art collectors alike. This example is distinct from the classical Kutch katar,6 the setting of numerous backed crystals on the hilt being highly unusual.

The scabbard is equally magnificent, with a large brooch of gilt copper base, surrounded with a row of pearls, and set with green and red stones in the kundan manner. The scabbard is covered with pleasingly worn maroon silk velvet. The scabbard chape of gilt copper is chased with flowers in the classic Kutch style.

The only other bejewelled example from Kutch known to the author can be found at Powis Castle, Wales.7

My thanks to Nihang Nidar Singh for his translation of the term Garsoee Katar.

References

6. Singh, Arms & Armour from the East, 2015, p.11, cat.no.3. 7. Archer/Rowell/Skelton, Treasures from India, the Clive Collection at Powis Castle, 1987, p.51, cat. no.23.

19

5

GOLD CHILLANUM Sold to a private collector June 2016. The re-curving blade in excellent condition is cut with eight finely

Deccan An elegant, high quality seventeenth worked fullers. The blade displays the century dagger or chilanum from the ‘watered steel’ surface pattern which 17th Century Deccan plateau, south-west India. indicates that this blade is forged from wootz . Overall 405 mm The sculptural iron hilt is decorated Blade 280 mm with koftgari gold flowers and I have previously likened the re- bunches of grapes on scrolling vines. curved blade on such daggers to a It has sweeping pommel arms and Hindu goddess in her tribangha pose, a curving knuckle guard terminating but Elgood8 writes that the shape in a drooping lotus bud shrouded probably derived from an animal by a leaf. The oval hand guard has horn knife, being double-curved and two bands of delicately pierced double-edged. He further states decoration and lotus bud finials at the direct antecedent is the Mughal either end. khapwah, a dagger listed in the A’in-i-Akbari and in the Jahangirnama. Mentioned frequently as a jewelled Mughal presentation weapon, the decoration on this example points to Mughal influence with the use of bunches of grapes with floral sprays.

Published

Frederick Wilkinson, and Daggers, 1967, plate 177.

References

8. Elgood, Hindu Arms and Ritual, 2004, p.242, 250. 20

6

KUKRI A remarkable from Nepal with The horn hilt has a profile that Sino-Tibetan influence. follows the curve of the blade, the

Nepal blade being perfectly balanced, The silver scabbard, throat piece and and marked with three ‘eyelash’ 17-18th Century chape are beautifully pierced and marks, a widely imitated quality chased in a distinctive Himalayan mark originating from made Overall 270 mm style, with a design of gilt in Genoa. The ‘cho’ notch at the Blade 170 mm surrounded by stylized scrolls. The base of the blade is said to signify on the throat piece clutches the female sexual organs, and as a the elusive pearl in his front claw, practical solution, a blood drip. The sometimes referred to as the sacred shallow cho as we see here is usually pearl of wisdom, and in , found on these earlier and as the jewel in the lotus, a jewel that later develops into much deeper grants all wishes. cho with a more pronounced central spike. A similar configuration of a dragon entwined in curling scrollwork can Both the Metropolitan Museum14 be seen on a Nepalese pen case in and the Wallace Collection15 the Victoria and Albert Museum.12 have kukris with similar scabbard The Metropolitan Museum also has a fittings, silver and gold respectively. Bhutanese sword which has a dragon However, neither have dragons with similar characteristics chased on incorporated into the design as in the centre of the scabbard.13 this example.

The scholars Slusser and Fuller comment that the vegetal motifs and References the dragon, within the context of 12. Illustrated by Slusser and Fuller, Sino-, did not enter Nepal The Nepalese Ink-Well – Arts of Asia, much before the mid seventeenth July-August 1987, p.78-87. century, so we can deduce that 13. Metropolitan Museum 2014.281a, b. this kukri is no earlier, but from the See http://www.metmuseum.org/art/ collection/search/649101 prominent curved blade shape that 14. denotes this as a 'sirupute kukri' Metropolitan Museum 36.25.825a, b. See http://www.metmuseum.org/art/ (a kukri of pronounced curvature), collection/search/31624 we can say that this is a relatively 15. Wallace Collection OA 2186. early item, and a date of seventeenth to eighteenth century should be applied until further evidence comes to light.

22

7

VAISHNAVITE KNIFE An extremely unusual eighteenth It would be foolish to believe that Ganesh holds a scroll and conch in century Nepalese knife or kukri the choice of characters carved on his lower two hands, his upper left is

Nepal with a carved ivory hilt. The leaf this hilt was by chance at the whim empty (object missing) and his upper shaped kukri blade is polished bright of the person carving the ivory. It right could be his noose, or a ring of 18th Century exhibiting a complex pattern of was done deliberately and with good fire. Vyasa holds a pen and a box of pattern welded open swirls, one side reason. We should establish the calligraphic tools. Overall 270 mm with a forging flaw. There is a silver relationships between the characters. Blade 170 mm collar at the base of the hilt and the The common theme appears to contemporary wooden scabbard has The man presumed to be Vyasa has be and the Mahabharata, a silver bands. strong links with Ganesh. In book text embedded within Vaishnava one of the Mahabharata, Vyasa philosophy. A closely related The top of the hilt is delicately asked Ganesha to aid him in writing Nepalese dagger in the Metropolitan carved with three Hindu figures. the text, but Ganesha imposed a Museum could also be classified The most prominent is Ganesh, half condition that he would do so only as Vaishnavite, the central carved man, half elephant; the second is a if Vyasa narrated the story without figure on this object is Garuda.16 man thought to be Vyasa, author of pause, to which Vyasa then made The distinctly Nepalese knife the Mahabharata; and on top with a counter-condition, that Ganesha shown here gives further support spread winged, half eagle, half man, must understand the verse before to the Nepalese attribution of the is Garuda, the mount (vahana) he transcribed it. On this hilt Metropolitan Museum knife. of Lord Vishnu.

References

16. Acc.no. 2006.441a,b, see Hales, Islamic and Oriental Arms and Armour, a Lifetimes Passion, 2013, p.13, cat.no.31.

25

8

ROCK CRYSTAL A large and impressive Indian The cup (jam) of Jamshid (from DAGGER ‘pesh-kabz’ dagger with rock crystal Persian mythology) was said to be hilt and blade of wootz steel. filled with an elixir of immortality and the whole world was said to be India For those who are fortunate to reflected in it. Divinations within the 18-19th Century handle it, there is no denying the cup revealed deep truths. The cup power and beauty of this dagger, has been visualized as a crystal ball, Overall 500 mm a massive piece of rock crystal, Zimmern's English translation of the Blade 355 mm with some naturally occurring Shahnameh uses the term "crystal crystallisation. It is carved with a globe". The Mughals took inspiration chevron border at the top and an from Jamshid and I am sure the integral pommel tag for a tassel. The drinking of wine helped with any steel bolster is decorated with fine divinations or visions they saw. gold koftgari with large Mughal style flowers surrounded by foliage. A similar dagger is in the Royal Jaipur collection, illustrated by Elgood The T-section blade is of exceptional (2015), p.37, cat.no.10. quality and shows a high contrast watered pattern. The spine is decorated with thick gold koftgari References for its entire length. The point is 17. Ball and Crooke, Travels in India by sharp and the edge polished brightly. Jean-Baptiste Tavernier, Baron of Aubonne ,1925, vol.1, p.114, p.309. The wooden scabbard is covered with renewed black velvet and is fitted with the original copper gilt chape and throat piece, both fittings chased with floral scenes and butterflies.

Articles made of rock crystal, both for use and decoration, were in great favour at the Mughal court, and we should not overlook the use of rock-crystal for purposes of divination. Mughal emperors were fond of drinking wine from crystal cups. Seventeenth century French merchant and traveller, Tavernier, once presented Aurungzeb with a battle mace of rock-crystal, and states he saw the emperor drink from a crystal cup upon three different occasions. 17

27

9

MUHAMMAD’S- A beautiful Persian dagger (pesh- In cartouches up the inside edge of LADDER PESH-KABZ kabz) with walrus ivory (jauhar-dar) the tang occur attributes and names grips, and elegant sweeping blade of God (Asma al-Husna'): of wootz with ‘kirk-narduban’ or Persia ‘Muhammad's ladder’ patterned steel. 18th Century ya hannan / ya mannan / ya dayyan The walrus ivory grips are coarsely Overall 395 mm veined and spotted, a quality that “O Clement! O Generous! O Judge!” Blade 280 mm Mughal Emperor Jahangir (1569 - On either side of the bolster, further 1627 A.D.) admired greatly, having appellations to attributes and names first being exposed to this material of God: when Shah Abbas, King of Persia, through Khan ‘Alam (the ambassador to Persia) bestowed upon him a ya ridwan / ya burhan dagger, the hilt of which was made “O Satisfaction! O Proof!” of walrus-tooth with black spots and veins. Of a subsequent jauhar-dar The watered pattern is even and hilt that had been given to Jahangir in high contrast, the ‘rungs’ of the by his son Shah Jahan, Jahangir said: ladder, formed by a deliberate and ‘it was so delicate that I never wish it decisive trauma to the hot steel to be apart from me for a moment. in production. The rungs are very Of all the gems of great price that close together, an indication that the are in the treasury I consider it talented blacksmith had a steady the most precious. On Thursday I hand and an eye for detail. These girdled it auspiciously and with joy laddered blades were important, around my waist’.18 revered in the belief that the blade / ladder would lead the owner to The grip straps, also forged from paradise. Complete with a later wootz steel, are precisely chiselled scabbard covered in red velvet. with eleven panels of Islamic calligraphy and panels of animals on the spine of the blade; a hare in one, References and two birds fighting in another. 18. Rogers (trans), The Tuzuk-i-Jahangiri, 2006, p.96-99. In cartouches along the grip-strap and up the outside edge of the tang:

Qur'an 112 (al-Ikhlas):

“In the name of Allah, Most Gracious, Most Merciful. Say: He is Allah, the One and Only; Allah, the Eternal, Absolute; He begetteth not, nor is He begotten; And there is none like unto Him.” (Trans. Abdullah Yusuf Ali, The Holy Qur'an, Lahore,1938).

29

31

10

BRONZE HILTED An intriguing Indian dagger, probably CHILLANUM made in the Deccan or slightly further south, unique in design, influenced by the traditional South India chillanum dagger. The bronze 18th Century hilt has a shapelier form than the classical chillanum, well-formed and Overall 410 mm well proportioned, the grip more Blade 270 mm satisfying to hold. There are jade in this form dating from the early eighteenth century. The boat shaped hilt top comprises of a pommel cap and phallic shaped spike. The lower skirt discreetly covers the socket blade fitting. The bronze has a wonderfully deep glossy patina.

The blade is a re-used sword blade, like other daggers from the armoury at Junagarh Fort, Bikaner which adapted blades captured in Adoni in 1689. It is forged from wootz steel with twin fullers and re-curved profile, and has a dot-punched armoury number 532 in Devanagari on the spine.

See Elgood (2004) for further commentary and examples of chillanum daggers. 32

11

EARLY SOUTH An important and extremely rare This dagger is constructed from a INDIAN DAGGER early South Indian dagger of a little single piece of iron, with only the known type, possibly unique in its large quillon buds at the base of the metal grip as known examples are hilt being applied. The sculptural Tamil Nadu invariably ivory. Elgood provides shape is quite feminine, with a profile 16th Century some invaluable research, including like a goddess in her ‘tribhanga’ photographs of stone warrior or triply flexed pose. In contrast, Overall 365 mm statues at Srirangam, wearing the proportions and weight are Blade 235 mm very similar shaped daggers on masculine which could be construed their waists, the carvings dating as a metaphor of Ardhanarishvara, from the second half of the the composite androgynous form sixteenth century.19 of Shiva and his consort Parvati.

Previous authors have failed to give a The hilt would have been covered traditional name to this small group in silver gilt, but now only traces of daggers, with Elgood calling it a remain. The resulting lack of surface bulbous-hilted dagger. We can note decoration, the patinated surface, the similarities it shares with both and the form, result in this object the khanjarli and chillanum and can having huge visual drama with also infer that these were a more striking presence. exclusive dagger, due to the fact that they are found in less numbers than the other daggers mentioned. References 19. Elgood, Hindu Arms and Ritual, 2004, p.169-170.

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12

KHMER DAGGER A small and very rare dagger from An analogous example of Indian Cambodia, Khmer empire. origin, published by Hales21 is a

Cambodia somewhat similarly shaped (though Of Indian form, the bronze hilt is larger), dagger attributed to the 10th–11th Century AD wonderfully cast with an unusual Deccan, prior to 1600 AD. It is a triple-bulbous grip, with concentric reminder of so called Greater India, Overall 220 mm ridges the entire length. A lateral and the Indic influences that the Blade 110 mm guard and pommel of adorned region adopted prior to the Khymer crescentic shapes are at either end Empire (802-1431). The leaf-shaped of the grip. The pitted - blade appears in numerous ancient section iron blade is leaf-shaped, Indian examples,22 but there is a Chola design. also sculptural evidence in South East Asia, specifically a tenth century The dagger should be compared to stone carving at Candi Shiva a bronze example in the Museum temple complex, Central Java, of Fine Arts, Boston, which bears an of a Vanara warrior wielding a inscription with the date equivalent comparable dagger. to 1040 or 1041 A.D.20 Of similar form and size, the significant difference is that the Boston Provenance dagger has a bronze blade, and the Private American Collection example here is of iron. That is not necessarily an indication of a differing References age of the two daggers (at this point 20. Museum of Fine Arts, Boston, the region had been producing iron accession acc.no.68.289. See for a significant time), but more likely http://www.mfa.org/collections/object/ the respective materials were chosen ceremonial-dagger-22443 for the physical or ritual properties 21. Hales, Islamic and Oriental Arms and Armour, a Lifetimes Passion that the materials were believed , 2013, p.67, no.143. to possess. 22. Rawson, The Indian Sword, 1968, p.2.

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SILVER KANDYAN Ceylonese have always been The hilt shape further separates this KNIFE available on the antiques market and knife from most other designs. The from Deraniyagala (1942)23 we learn dog-leg shape, unlike the term, is they have generally been inaccurately quite beautiful. Other hilts will have Ceylon (Sri Lanka) called Piha-Kaetta, when this term a gentle taper but this example has 18th Century only applies to the heavy versions a bend and abrupt straightening with chopper like blades. of the pommel giving the knife a Overall 275 mm wonderful aesthetic. Blade 105 mm* Although Deraniyagala is a little *Edged portion only. general with his classifications, the The distinctive Ceylonese curling example shown here is classified scrollwork all over this knife is as an ‘Ul Pihiya’, a type reserved termed liya- and liya-vela, and for high ranking individuals and as in this instance is especially intricate a royal knife. It has a wonderful and brings the object to life. form quite different to those more commonly seen. See Hales (2013) no.131, p.63 for an example with the same shaped hilt. Unusually, the grip scales are solid silver as is the applied ricasso. The usual material would be of an References organic material like ivory or horn. 23. Deraniyagala, Sinhala Weapons This makes it surprisingly heavy for and Armor, 2009 reprint, p.110-111. a small knife. A further application of thinner repoussé sheet silver is applied to the central portion of the blade including the spine. On the central area and spine we see floral patterns, with the last third of the blade inlaid with silver vines. 38

14

BEJWELLED DAGGER A wonderful or dagger of almost identical form to a

India / well-known example in the Dresden Armoury which was captured as 17th–18th Century booty at Varna by the Russians in 1828 and presented to Prince Carl Overall 445 mm of Prussia by Tsar Nicholas I.24 Blade 320 mm This example with a similar pale nephrite jade hilt and scabbard mounts has more complex and abundant decoration with large Provenance flower heads and fruits in groupings of cabochon rubies, and leaves of Purchased by an American gentleman on cabochon emeralds. The base of the the American market in the 1950’s, sold to the London trade in 2015. hilt has a row of small rubies and larger emeralds of ascending size, References and the apex of the pommel with 24. Rustkammer, Staaliche Kunstsammlungen a double row of rubies terminating Dresden, Inv. No. Y143. See Schuckelt, with green emerald tendrils on The Turkish Chamber: Oriental Splendour each side. The stones are all set in in the Dresden Armoury, 2010, p. 124-5. the Ottoman style, secured within silver gilt shaped collets and straps in imitation of Indian kundan work.

The wavy snake-like blade of watered steel has traces of gold decoration at the forte and a gold border. The re-covered wooden scabbard retains its original throat piece and chape of matching jade.

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15

JADE KHANJAR An elegant khanjar dagger from seventeenth century India, probably

Deccan, India Deccan. Such daggers had become status symbols for courtiers as they Mid 17th Century were often given as gifts by the ruler.

Overall 360 mm The nephrite jade hilt in typical Blade 235 mm ‘pistol-grip’ form, has the light green colour that collectors yearn, and is wonderfully executed in relief carving of unusual flowering blossoms with long central petals. The raised flower design is very similar to rock crystal khanjar hilts, the best rock crystal mines being found in the Deccan.

The wootz blade is unusually heavy for this type of dagger, chiselled at the forte with deep and wide central fullers (some pitting in the fullers). A punch dot armoury marking suggests that the dagger was once part of the Bikaner armoury, Rajasthan. Later wooden scabbard covered with green silk velvet.

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16

CHINESE SWORD A magnificent Chinese sword The two chasing dragons are The leaf shaped blade is unusually from the late nineteenth or early shown with four claws, which on an made of crucible steel with a subtle

Beijing, China twentieth century, probably Beijing imperial object would have been an and complex pattern of ‘watering’. jewellers’ work. indication that this sword was made Crucible steel was often imported Late Qing Dynasty for a minister of the emperor. A into China and Japan as a raw This is a particularly fine example five-clawed dragon was reserved material where the high-temperature Overall 750 mm from a wide variety of similarly for the Imperial Palace or celestial forges in those countries would melt Blade 590 mm decorated objects (including vessels, dragon. The bodies chased with the carbide particles and reverse musical instruments, swords and swirls, each circling in opposite the ‘watering’ affect. However, in daggers). This richly decorated directions. In European chivalric this case the smith has managed to example mixes semi-precious stones mythology this is the one vulnerable preserve the pattern and, with an with deep and fine silver repoussé point on a dragon’s body where a arrangement of carefully ground and chased silver work in the form knight must thrust his weapon to fullers, has achieved a high quality of clouds, and fire-breathing dragons. slay the dragon. and attractive blade. The shape is also an unusual pattern in China, The large, heavy silver scabbard is The upper and lower panel seem to probably inspired by Buddhist not only a highly decorative object, frame the central scenes of writhing iconography and the revival of but a carefully considered work dragons chasing pearls, not with themes in earlier still of art. The two large jade discs clouds, but -tail aureoles extant in China and during the are set in the central panel of the depicting ‘rosaries of light’; complex Ming and Qing periods. A model scabbard, representing the elusive arrangements of naturalistic swirls which was common on archaic pearl being chased by two beautifully and highlighted makara-tails. The and early medieval swords in India, formed silver dragons, riding amidst vegetal theme continues with three Rawson25 shows a very similar blade storm clouds and breathing fire multi-petalled lotus flowers on shape, from the Gupta period (5th representing bolts of lightning. Such each side, all set in turquoise. The A.D.) and the Pala period (tenth- cloud formations often appear in scabbard has two suspension rings thirteenth century). Tibetan . The craftsman of for a belt or chain, set between two this scabbard has achieved a similar pairs of gaping dragon heads. The Exhibition catalogue Mongolia: effect within a wonderfully complex The Legacy of Chinggis Khan, 1995,26 landscape, with many layers of depth The sword has a large round pale features ethnographic objects and varying tones and shades of green jade hilt, with silver fittings set (mostly jewellery and adornment) silver enhanced by age and patina. with turquoise and coral to match in this style.27 the scabbard. An oval hand guard, Each carved jade disk is set with a has the upper surface decorated central red coral, representing the with beautifully detailed chased References mystical flaming pearl, or flowers and scrollwork. 25. Rawson, The Indian Sword, 1968, p.3. night-shining pearl, usually 26. Berger, Bartholomew and others, depicted as a small red or white Mongolia: The Legacy of Chinggis sphere, an indication that the Khan, Asian Art Museum of San craftsman was very aware of Francisco,1995, p.106-116. traditional iconography. 27. See Hales, Islamic and Oriental Arms and Armour, a Lifetimes Passion , 2013, p.194, no.468, for analogous example.

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GOLD TULWAR A classic tulwar sword from In return he blesses the barren There are also deeply struck eighteenth or nineteenth century with children, and protects the concentric circle markings in a cross

North India north India. The hilt of elegant worshippers from snakebites. At the arrangement, probably inspired by form with a flat pommel disc with end of the festival, all of the slithering European blade markings which 18th–19th Century pierced and applied pommel cup guests are released unharmed. were often copied by Indian and matching pommel tag. The swordsmiths. If we believe the ‘old Overall 900 mm elongated quillon buds sit at the end Snakes are associated with both wives’, or ‘old dealer’ story, each dot Blade 790 mm of thin quillon stalks. A sweeping Vishnu and Shiva and several other signifies a ‘kill’, and therefore this knuckle guard with a drooping divinities including , who rides blade has despatched eight foe. acorn shaped finial. The entire an elephant called Nagendra, the surface is profusely decorated with lord of the snakes, probably in gold koftgari in an unusually dense reference to Indra’s control over References arrangement of five petalled flowers the snake world. In the context 28. In 2011 the American Society of surrounded by four leaves and shown here, they represent a Tropical Medicine claimed 46,000 foliage in a geometric formation. destructive and deadly force, the people died every year from snakebites. The official Indian Government figure The gold, in high contrast against same energy represented by Shiva is 2000. a dark metal background, precisely the destroyer, who is often shown 29. Loureiro, Rites of Power: Oriental chased to add further detail. with snakes wrapped in his hair, Weapons - Collection of Jorge Caravana, around his neck, or arm. The naga 2010, p.114, no.39. The wide pattern-welded, or is also the symbol of the eternal 30. Singh, Arms & Armour from the East, mechanical-damascus steel blade cycle of time and immortality, in a 2015, p.22-23, cat.no.8. is light, wonderfully balanced and protective context the snake is often 31. Egerton, An Illustrated Handbook of ideally suited for use on horseback. found on nineteenth century steel Indian Arms, 1880, plate IX, no.365. The sword bears a number of dhal shields from the Punjab, see interesting marks on the forte. Loureiro (2010). Often shown as Scholars have had limited success a protective canopy behind a god’s interpreting such marks. Some head, see bichawa dagger illustrated - serve an apotropaic purpose; others Runjeet Singh catalogue (2015), and are a form of signature used by interestingly as a hood on a shield blade polishers to indicate that they shown as a line drawing by Egerton have cleaned the blade while other (1968). Egerton identifies it as marks indicate that the sword is the ‘Nag-p’hani dhal’ from Nepal. possession of a particular armoury. The latter was particularly important because each weapon was valuable, and the ruler often had to loan the contents of his armoury to his troops and retainers, and take it back after the campaign was ended.

On this example. the physical representation of two snakes (naga) in dark silhouette with fork tongues protruding, gives us an insight into the thoughts and beliefs of the maker or owner.

Snakes in India are both worshipped and feared, home to several deadly and poisonous snakes, until recent times, death by snakebite was one of the most common causes of death. Hindus worship snakes in temples, on the day of ‘Naga-Panchami’ in the months of July or August, peasants fast and catch thousands of cobras, which are taken as guests of honour to the Shiva temple where they are treated with milk and showered with flowers. Shiva, who loves these cold blooded creatures, is very pleased.

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DECCANI An important Indian sword As Lieutenant-Colonel Sir Edward incorporating styling from sword Fitzgerald Campbell Bart he was

Possible Bidar, hilts from across the Islamic world, the Viceroy Lord Canning’s Military a rare object, the only other Secretary after the Mutiny. It is likely Deccan Plateau, India published example known to the that Campbell obtained this sword 17th Century author is in the Furusiyya Art during his service in India, and the Foundation Collection.32 cartouche was added to the sword Overall 970 mm at that time. Blade 810 mm The iron hilt of uncommon form is strongly influenced by the North Kept in a wooden scabbard with African in the pommel later blue velvet covering and later section, with long Turkish inspired silver chape with floral patterns. quillons and arrow-shaped Indian langets. The pommel is pierced for a wrist strap, and the hilt is References decorated in a style resembling 32. Mohamed, The Arts of the Muslim Knight: local Bidar work (bidri), with silver The Furusiyya Art Foundation, 2007, flowers and scrolling foliage on a p.96, cat.no.60. dark background.

The heavy Persian blade of dark grey wootz steel, has a high contrast and uniform ‘watered’ pattern. The blade is marked with a gold cartouche in a style that is comparable with the Furusiyya sword. It reads:

ادورد فتجرلد کمبل صاحب بهادر

“Edward Fit[z]gerald Campbell Sahib Bahadur”

Edward Campbell (25th Oct. 1822- 23rd Nov. 1882) was commissioned into the 60th Rifles in 1841. He took part in the second Anglo-Sikh War in 1848-9, the Afridi Campaign of 1850, was ADC to Charles Napier and served in the siege of Delhi in 1858. 50

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MAMLUK A wonderfully preserved example Earlier of Central Asian type These groups were selected from BLADE of a Mamluk sabre blade of high tended to be much narrower than amongst the larger body of Mamluk quality wootz steel, with a tight and this example. Often longer, almost sabres by virtue of their un-fullered complex ‘watered’ pattern, dating straight, and quite thick in relation blades, it being apparent that the Egypt / Syria from the fourteenth to fifteenth to width. A well-preserved fifteenth century marked the 14th–15th Century century. It is preserved in a custom thirteenth century blade in the beginning of a fashion for channeled made timber storage scabbard. Muzeum Wojska Polskiego has the blades which remained throughout Overall 865 mm well-defined ridgeline and a long much of the Ottoman period. There are two blade inscriptions; on sharp back-edge.33 Ridgelines as on this example and on one side a rectangular cartouche analogous specimens one and two with fine dot-punched markings Analogous published above, began a phase-out during the filled with gold letters, the other, examples include: same century. also dot-punched, but within a more 1. stylistic diamond shape cartouche. A mature form of this type of sabre attributed to the fourteenth-fifteenth century is in the Furusiyya Foundation References collection, inv.R-992.34 The ridges Currently only the rectangular 33. Muzeum Wojska Polskiego, inv. no. MWP are obscured by corrosion but still cartouche can be deciphered: 165x. See Gutowski, Bron i Uzbrojenie noticeable. Tatarów, 1997, p.83, no.16. 2. A well-preserved example35, probably 34. Mohamed, The Arts of the Muslim dates from the early sixteenth century نصر من اهلل و فتح قريب Knight: The Furusiyya Art Foundation, (with later Ottoman mounts circa 2007, p.50-51, no.16. “Help from God and near victory.” 1575). There is no reason to believe that the blade could not be from 35. Splendeur des (Qur'an 61 (al-Saff), part of vs. 13). Ricketts and Missillier, the previous century or even earlier. Armes Orientales, 1988, p.26, no.19. The blade offered here has a close 36. Yücel, Islamic Swords and Swordsmiths, The blade is slightly curved, of thick resemblance to this in terms of overall proportions. 2001, p.57, pl 55. cross section with a ridgeline on 3. 37. Yücel, Islamic Swords and Swordsmiths, each side following the contour of Two Mamluk sabres in original hilts (Topkapi Sarayi 1/212 and 1/189).36 2001, pl.58 and 75, nos.11598 and 257. the spine. It is without grooves or 4. fullers, the back-edge behind the Two further examples are in the Military Museum. 37 tip defined by a simple bevel. The contour of the back-edge drops slightly to meet the tip in what Examples in three and four above cutlers call a ‘ point’. There are assigned a fifteenth century is comparatively little distal taper date, commensurate with the from the forte to the beginning Furusiyya blade, except for Yücel, of the back-edge, resulting in a pl. 75 which is dated by inscription, heavy blade weighted towards which, if it truly reflects the date of the middle, providing an ideal manufacture, puts it at the beginning point of percussion for powerful of the sixteenth century. sweeping cuts.

These characteristics can be seen on sabre blades attributed to various steppe-nomad groups originating in Central Asia during the early Middle Ages. Tribes such as the Avars moved westward to southeastern Europe (the north Caucasus steppe, the Ukraine, and the Danube basin), and are credited with bringing the concept of sabre (long-bladed hilt weapon with curved single edged blade) to the areas they conquered and settled. The Mamluks were of Turkic stock from Central Asia, and made their entry into the Near East as slave-soldiers serving the succession of dynasties which ruled the Levant, Mesopotamia, and Egypt. In time, their military prowess gave them the throne.

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KLEWANG An interesting blade based upon a SABRE BLADE Royal Netherlands East Indian Army (KNIL) sword. The KNIL or, Koninklijk Nederlands Indisch Leger, was formed by royal decree on Circa 1900 AD 10th March 1830. It was not part of the , but Blade 945 mm a separate military unit specifically formed for service in the . The military Klewang sword was developed for use in the Dutch tropical colonies as a reply to the resistance from the fierce native warriors, usually made in Hemburg - Netherlands, or Solingen - Germany, this blade is made in Indonesia, and displays an attractive surface pamor or damascus pattern achieved by a native empu (smith) using the same technology used to produce the famous patterned Keris blades.

Never a military issue, or used by the natives, this blade was either a special commission or a presentation to a Dutch officer.

The blade, was probably never mounted, and has been preserved by the original case which is lined with red velvet. An attached old paper label with a hand written note in Dutch reads:

Echt gedamasceerde sabel “real Damascus sabre”.

It takes a refined form of the military sabre it is based upon, ground and highly polished. A deep spine fuller with a wide ground central panel; the tip shaped in what is termed as a ‘clip-point’. The pamor pattern is achieved by forge-welding metal pieces of differing composition together, twisting and manipulating them, and etching the polished blade to reveal the desired pattern. In this case, revealed, is a wonderful dark background with silvery white lines.

This type of steel is usually found on shorter local swords, and in knives and daggers, such as the Keris, so to find an example in this length and form is highly unusual.

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SALAPA A beautiful Indian sword known as a This ‘high quality Khyber-knife’ blade (ZAFAR TAKIYA) salapa, or zafar takiya (literally cushion is a form used widely in Pakistan and of victory), circa eighteenth century. Afghanistan. It is made of mechanical damascus or pattern welded steel Deccan, India The sculpted parrot is a very unusual with a tight ‘birds-eye’ pattern of 18th Century subject matter for a sword, likely to subtle contrast. The spine with its be inspired by zoomorphic vessels strong T-section suggests that the Overall 860 mm of Sultanate and Mughal India, which maker of this sword was not only Blade 700 mm were in turn inspired by comparable concerned with dramatic aesthetics, objects from the Middle East but also functionality too. centuries earlier. Hanging lamps of similar form are still placed in Indian The previous collector shrines, used in the worship of deities. commissioned the manufacture of a scabbard to conserve the blade. The restrained clean lines and lack It is made of wood covered in black of curled plumes on the bird might leather with a large chape decorated lead us to consider north India as a with floral patterns in traditional possible provenance, but the style style, complete with a chased and shape of the quillons is a specific suspension loop. style found on arms from south India. The parrot styling of the hilt can The large hilt is beautifully modelled be compared to a bronze lamp from thick, heavy, wonderfully in the British Museum attributed patinated bronze. The full breasted to the eighteenth or nineteenth bird looks backwards, the tail curling century Deccan.38 downwards to connect to a curved knuckle-guard which terminates in a small birds-head. The langets have a References most unusual ‘feathered’ form. 38. British Museum no.1953,0713.16. For a discussion on zoomorphic Indian lamps see Zebrowski, Gold, Silver & Bronze, from Mughal India, 1997, p.95-109.

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NAIR (NAYAR) SWORD Robert Elgood, the only person The hand guard, is made up of four to make serious attempts to study identical bronze discs, each with

Kerala, South India South Indian arms (see Hindu seven concentric circles, almost Arms and Ritual, 2004) suggests certainly inspired by the seven 14th–18th Century that a comparative blade39 in the of the human body. Government Museum, Chennai This would give the warrior a Overall 720 mm relates to swords from the spiritual advantage in the belief Chalukyan dynasty that ruled large that the sword would receive his parts of South and Central India energy and completing the cycle between the sixth and twelfth by circulating the energy back centuries. They both are unusually through his seven chakras. striated and of early manufacture, Elgood dates the Chennai sword to A triangular blade strap and a the fourteenth- or early fifteenth smaller load bearing triangular strut century, the blade on the example sit on the hand-guard and connect shown here could be as early as to the blade, all deeply chased with that, but the bronze hand guard and stylised floral patterns and south blade straps, now without grip and Indian scrolls. pommel, are probably seventieth or eighteenth century. A further sword for comparison and good provenance is in the These swords were initially used for Metropolitan Museum, New York.41 war but designs changed. However The original collection index card early temple sculpture showed the (George Cameron Stone) reads: archaic form and therefore temples ‘Sabre from Malabar. Curved blade continued to use the early weapon 23in long with elaborate reinforcing for ritual purposes. From time to pieces on each side covered with time the hilts deteriorated due to silver bosses. Hilt steel, horn, wood wear and tear and were renewed. and brass rattles in the pommel. This sword type is shown in a Oldman/Stone Collection’. seventh century south Indian temple sculpture,40 and remained in military use until the sixteenth century, when References it became a ritual item, hence the 39. Elgood, Hindu Arms and Ritual, 2004, sometimes incorrect ‘Temple Sword’ p.83, no.8.14. provenance given to these swords. 40. Elgood, Hindu Arms and Ritual, 2004, p.83, no.8.13. 41. Metropolitan Museum, New York, acc.no.36.25.1583. 58

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TRIBAL AXE An elegantly sculpted, steel, tribal axe head, mounted on a later wooden

Gond, Central India haft, an axe from the Gond people of central India. Its quality is far Early 17th Century superior to those usually seen, the craftsmanship suggesting it was made Overall 800 mm for a chief or other important person. Blade 288 mm The haft fits into a beautifully shaped large socket, an integral part of the axe head, which acts as a counter balance to the blade and also as a stylish bludgeon for its owner. Despite its gory functionality it is a beautifully fluent design. Details such as the prominent curved back edges on the axe blade have the abstract sophistication of modern art and the clean sweeping lines give it an aesthetically pleasing sculptural quality.

We can compare this axe to two others in the Royal Jaipur Collection, published by Elgood (2015).42 Elgood suggests that the two Jaipur examples were possibly captured from tribal chiefs during Raja Jai Singh’s campaign against the Gonds in 1630.

References

42. Elgood, Arms and Armour at the Jaipur Court: The Royal Collection, 2015, p.196-197, cat.no.133 and 134.

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ZAGHNAL AXE An Indian all-steel ‘zaghal’ with an The last octagonal portion is early Deccani curved blade, from the elegantly flared like a piece of

Deccan, India maharaja’s armoury in the former Mughal jade, one of the sides has a princely state of Bikaner. further punch dot marking which 17th–18th Century seems to have more antiquity than This zagnal, Persian for ‘crows-beak’, the other markings. Overall 620 mm has a triangular, slightly curved Blade 170 mm blade of watered steel, with a The curved katar blade of the raised central spine and swollen tip proportions shown here feature for armour piercing. The square in Blochmans translation of Abu’l section socket is marked with Fazl’s, A’in-i-Akbari,43 a manuscript the Devanagari number ‘12’ and originally written for the Emperor a longer marking on the opposite Akbar in 1589. Unfortunately, these face which is done with a punch nineteenth century drawings are dot, a technique which is another grossly inaccurate. A photograph of hallmark of the Bikaner armoury. the British Museum’s A’in-i-Akbari Opposite the blade is a striking manuscript dated 1621 is published hammer, with an octagonal waist, the by Elgood, 2004, p. 18. This shows a striking surface is also ground to an katar with a blade of this form. This octagonal apex. very broad blade form is extremely rare, on a zagnal or on a katar, and The tubular steel shaft is beautifully there is reason to suggest that the constructed in three parts, the upper blade on this axe is earlier than the part twisted, with the ‘twists’ each haft and dates from c.1600. being chased with a thick line in the grooves. These were almost certainly See Elgood (2015), cat.no.137, p.202 inlaid with gold. A large central for a similar item. portion is nine-sided with a long Devanagari inscription on one face, which translates: References 43. trans. Henry Blochmann. 3 vols. ‘Collection serial no.1952’. Repr. Delhi, 1988, vol. I, p. 117.

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REVOLVING A scarce matchlock musket with Early prototypes and experiments MATCHLOCK MUSKET revolving multi-shot cylinder from with revolving have always Western India. The curved wooden intrigued those involved with arms stock painted black with a painted and armour, none less than Samuel Western India arched panel at the butt-end, Colt who travelled to the United 17th Century and a similar arch at the breach- Kingdom and studied an Indian end; contained within the arches matchlock musket with revolving Overall 1420 mm Mughal style flower sprays in red, cylinder, not dissimilar to the one green and yellow, all on a golden shown here, which was then kept orange background. The arches at the Tower of London, now provide a border for the central part of the collection at the Royal area where painted in golden red Armouries, Leeds (XXVIF.2).46 Colt are an eight petalled flower, bottle went on to illustrate the musket or vase, a swan and a leaf. These in a lecture he gave in London on objects are usually found on ivory revolver design in 1851. inlaid matchlock guns from Jaipur, Jodhpur and Bikaner. Elgood (2015) publishes an example from the Royal Jaipur collection,44 another example from the Royal Collection Trust is kept at Sandringham House, and illustrated by Clarke (1910).45 The Sandringham example was presented to the Prince of Wales, later Edward VII, during his tour of India in 1875-76 by the Maharaja of Jaipur.

The polished steel cylinder, marked References

with a presumed armoury marking 44. Elgood, Arms and Armour at the of ‘SK12’ has four chambers. Each Jaipur Court: The Royal Collection, 2015, chamber is capable of individual p.256-257, cat.no.183. loading with supplied ramrod. Hand- 45. Clarke, Arms and Armour at Sandringham, rotating, the cylinder is located to 1910, p.18-19, cat.no.242. the breech by nocks engaging the 46. The Royal Armouries, shaped top strap which connects the object no. XXVIF.2, see https://collections.royalarmouries.org/ stock to the barrel. The serpentine is object/rac-object-30642.html connected to the trigger by means of a simple linkage system which is hidden in the stock, when the trigger is squeezed, the serpentine is lowered slowly into the priming pan of the selected chamber. The barrel is slender, of round section and retained by four barrel bands. An old label is still attached to a suspension ring with the stamped date of 18th June 1973 and the handwritten number ‘162’ and ‘appraisal #17’.

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CURIOUS GUN A curious blued and decorated On their own website the Royal nineteenth century Indian metal Armouries have suggested the

Rajasthan, North India instrument from Rajasthan. It has application of a sundial. Ian a nine-sided staff, in four sections Bottomley, writing in the Royal 19th Century which screw together, the last Armouries journal, suggests the containing a flintlock pistol and most likely attribution as a gunner’s Overall 850 mm the first fitted with a threaded baton, finding a comparison with replacement bulbous stop end. similar scales used on European The first section has accurately gunner’s instruments for calculation drilled holes in the middle of each of powder charges and weights of face. The sides are all precisely inlaid shot. The Royal Collection Trust with gold in what appears to be a have stated that the numbers are measuring system in Sanskrit. The a calendar (a theory no doubt pistol end is decorated with gold supported by the finding of an koftgari in a classic north Indian hour-glass in one of the sections). repeating floral pattern, with the jaws and the outside of the striking The example shown here is in pan heavily gilded. A long leaver exceptional condition with all of the trigger, is inscribed, puzzlingly, on the original gold and bluing still present, inside face with numbers which also quite remarkable considering there appear to be calibrated in a similar is no handle as such. The Leeds measuring system, the trigger when example is heavily patinated as one not in use held in place by a gilded might expect from such an object. iron sleeve. The Sandringham example while not available for inspection due to Both the Royal Armouries (Leeds), building refurbishment, appears from and the Royal Collection Trust the online image to be in better (Sandringham), own similar objects condition than the Leeds example. which they describe as a ‘Walking It is complete with a spring loaded Stick Gun’. These are all of similar , which the Leeds example construction and undeniably made and the example shown here for the same purpose. Despite the probably never possessed. uniformly attributed name, both institutions have differing opinions on It is important to note that the intended use of the instrument the Sandringham example was as can be seen in an article printed presented to the Prince of Wales, in the Royal Armouries Journal, 1.1, the future Edward VII, during his tour 2004, the Royal Armouries have of India in 1875-76 by Ram Singh the contradicting views on its application. Maharao of Bundi, which helps us date, and geographically attribute this curious object.

References

47. The Royal Armouries, Leeds, no.XXVIF.218, see https://collections.royalarmouries.org/ object/rac-object-9519.html 48. The Royal Collection Trust, Sandringham House, RCIN 37960, see https://www.royalcollection.org.uk/ collection/37960/walking-stick-gun 49. Bottomley, Indian firearms curiosa, Arms & Armour 1.1, 2004: p.81-88.

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HISPANO-ARAB A small decorative iron box from The lid depicts a cusped Islamic DAMASCENED BOX the early twentieth century, archway underneath which stand a damascened in two colours of pair of robed and turbaned Muslim gold in a style that was preserved, men. The archway is surrounded Eibar, Spain perfected, and popularised by the by panels of fleur-de-lis and various Circa 1920 Zuloaga family of Eibar, Northern geometric designs, likely inspired by Spain; particularly Plácido Zuloaga Hispano-Arab ceilings, plasterwork Overall 50 x 50 x 24 mm (1834-1910), the supreme and wooden doors. damascener of that family. The Zuloaga family were known first as A winged projection from the lid gunsmiths and armourers but later provides purchase for opening, and as artisans for decorative objects. each of the four sides of the box has a central elaborate eight-pointed Probably made in Eibar, Northern star, flanked by leaning palmettes, all Spain, this pill box is closely related surrounded by foliate designs and to two similarly damascened profuse dot punching. cigarette-cases (maker unknown) from an Eibar catalogue from the The turbaned men are an unusual 1920’s.50 The three related objects depiction on such boxes, but a conform to a brief ‘Moorish’ trend in similar damascened pillbox from Eibar in the early twentieth century. Eibar (1910-1925) decorated with Cards retained by the Iraeta family of the Nasrid motto ‘there is no victor Eibar, and illustrated by Lavin, show but God’, is in the Khalili collection interior views of the Alhambra in and illustrated by Lavin (1997).51 Granada and of the Alcazar Palace in Seville, a royal palace originally developed by Muslim rulers. References These or other cards like them 50. Lavin, The Art and Tradition of the would have provided the source Zuloagas: Spanish Damascene from the Khalili Collection, for the ornamentation of the box 1997, p.140-141. shown here. 51. IBID, p.137, cat.no.39.

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BRONZE DIE A small bronze multi-impression OR MOLD die from India, seventeenth to nineteenth century. A fascinating curiosity, the convex surface is India efficiently covered with decorative 17th–19th Century impressions in the form of symmetrical flowers, teardrop Diameter 70 mm shapes, and small circles - some arranged in a pyramid or square formation. The rear is flat to provide a stable work surface. The upper, and more exposed surface has beautifully patination in a deep golden yellow colour, the underside, more protected and less handled, has maintained its natural silvery colour which exposes the high content of tin to give the die a higher degree of hardness.

The compact nature of this object, and the efficient use of the surface area, suggests that it was used by somebody for whom space was a premium. A likely candidate is a jeweller, but the symmetrical flowers are quite often found as decorative washers on objects such as weapons and armour.

Despite the inconclusive summary, the item remains an intriguing and decorative object, capable of sparking an interesting debate. 70

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BETEL-CUTTER The practice of betel-chewing is Brownrigg (1991) published the a historical cultural phenomenon Samuel Eilenberg collection of

Tamil Nadu, India which has been endemic throughout betel-cutters, and shows a small the Indian subcontinent, south east group of horse cutters from Tamil 18th Century Asia and large parts of the western Nadu. It is a popular subject matter Pacific. ‘Paan’ in Hindi is a chew or for cutters not only from India, but Overall 132 mm ‘quid’ parcel of betel leaf containing also from Indonesia. He comments areca nut, which is sliced using a that an iron horse betel-cutter is betel-cutter, and a lime paste. It an exception to the general rule is chewed for its stimulant and that Indian horse cutters are usually psychoactive effects. The cutters are made of brass. The reason for sometimes referred to as ‘betel nut Brownrigg’s observation is that brass cutters’ which is a misnomer since is a far more malleable material, there is no such thing as a ‘betel nut’. and the creation of an iron horse sculpture of the quality shown in This eighteenth century example is the Eilenberg example52 and the in the form of a handsome stallion comparable one shown here, would with chiselled and pronounced be a difficult task for the maker, thus, features, and simple line decoration made at a higher cost, for a wealthier representing the mane. The blade and more important client. is integral to the upper section and forms the horse’s belly. A lower section, attached by a simple pivot References at the base of the long neck of the 52. Brownrigg, Betel Cutters - from the horse, form the partly protracted Samuel Eilenberg Collection,1991, front legs. The curved cutter handles p.77, fig.no.70. form the rear legs. When the cutter is closed, the horse is at rest but when opened, the horse appears to rise up on his back legs like a stallion rearing in the wild. The ears, mane and tail are represented by chased and shaped pieces of applied silver.

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LARGE VALAI-TADI A South Indian throwing weapon The Dewan of Pudukkottai (a made of iron, known as a valai-tadi, small state in Tamil Nadu), wrote in 53 South India Tamil meaning ‘curved stick’. Other 1909 that the British encountered regional names are birundungi, them during the Palaiyakkarar Wars 17th–18th Century katariya, or valari. (1799-1805), fought between the Polygars (Palaiyakkarars) of the Overall 400mm This weapon is crescent shaped, one Tirunelveli Kingdom in Tamil Nadu, end heavier than the other, the two- and the British East India Company. piece pommel providing a handle. The Dewan further says that those This example has some simple still using these weapons would chased decoration and a reinforced hunt hares, jungle fowl etc, but now striking end. Men trained in the use these objects are mostly kept in the of the weapon would hold it by the puja (prayer) room of Kallan and lighter end, whirl it a few times over Maravan families, to be brought out, their shoulders, and then hurl it with cleaned, and worshipped on Ayudha great force against a target. Experts day (when weapons and implements in the art of throwing the valai-tadi of industry were worshipped). He could dispatch small game and even goes on to describe how at a Kallan men. This example, bigger and marriage, the couple visit the home heavier than most, was used against of the bridegroom and boomerangs larger animals or in warfare. are exchanged before a feast is held. He quotes a saying: “Send the valai- tadi, and bring the bride”.

References

53. The Dewan wrote to Thurston concerning the latter’s study of Castes and Tribes of South India, 1909, Vol I-A &B, xxviii, xxix. 74

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DECORATED A slightly later ‘valai-tadi’ boomerang VALAI-TADI than the previous example (cat.no.30). This one is for hunting small animals. Lighter, but more decorative, the South India reinforced end has a dense pattern 18th–19th Century of leaves, with two rows of half circles along the spine, and three four-petalled Overall 350mm flowers on each side. The two-piece handle has some damage on one side.

Elgood illustrates a similar example from the National Museum, Liverpool.54

References

54. Elgood, Hindu Arms and Ritual, 2004, (No.6.6.28D), p.191, fig.19.7.

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MONASTERY DRUM Tibetans love strong and vibrant The timber shell is generally in The skin is decorated in a concentric colours and this monastery drum good condition, but probably in its pattern with a large central wheel rnga Tibet (TIbetan ) is no exception. working life a small portion of the of joy, representing Mount Meru, Nineteenth century or earlier, it has wooden rim has separated from a sacred mountain with five peaks 19th Century a wooden body forming the shell the main body. It is completely considered to be the centre of and leather goat skin covering each stable now, but it leaves a small gap all the physical, metaphysical and Diameter 600 mm side. It is painted with dragons, skulls, which interestingly reveals a piece of spiritual universes. The area around and a large central gaykil (wheel applied pink material, hardened with this is considered to be the ‘great of joy). A carved socket on the the application of animal glue. We salt ocean’ which surrounds Mount underside allows the drum to sit on do not know if it is some attempt Meru, also the drums striking area, a tripod like stand, or be held on a at a repair or stabilization, or a decorated with eight laughing skulls pole by a monk who would beat the devotional act. with orange tendrils. Finally, there drum with a curved stick. is an outer band of red with black The wooden body is painted with outline beyond which is a rim in a We should begin by putting this a red background, and depicted deep golden yellow. drum into context, and a big clue are two large dragons (Tib. druk, lies in the imagery and importantly brug) with scaly bodies and fire like It is unusual for the striking area the colour of the background of tails, writhing in a scene of storm to be decorated. Not only is the the leather skin. Usually the main clouds. The dragon often represents laughing skull depiction interesting colour is green. However, in this thunder, so in the context of a drum but there is an arresting visual case we see a black background, it is significant. Each dragon grasps impact, partly due to the surrounding and thus draw comparisons with a pearl in each claw, the pearls orange flames which represent ‘nag-thangs’ (black paintings) which producing dew, and when the dragon the incineration of the poisons of can be linked with wrathful deities clenches them tightly, a downpour ignorance, desire, aversion, pride and or ‘Dharampalas’. The inference of rain. The dragon has always had jealousy. The skulls when linked here can now be drawn that the drum a strong association with weather with the Wheel of Joy, symbolize the was perhaps kept in a ‘mgon-khang’ prognostication, and used in this capacity to cut through all obstacles (chapel for a wrathful deity), linked particular application, particularly and illusions. The Wheel of Joy is the with visions of cosmic apparitions pertinent due to the association of central hub of the ‘dharmachakra’, and used for secret initiations or the drum with music and the weather. which literally means ‘the wheel of tantric dances, played by a single transformation’, or spiritual change. monk keeping rhythm for chanting, The taught leather skin is stretched The four yin yang shaped sections music, dancing; and symbolically with over the wooden rim and held with are painted to represent the four cosmic rhythm. dozens of wooden pegs. seasons, and represent Buddha’s four noble truths.

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TIBETAN FOUR A highly interesting and decorative On the opposite side, in a pyramid The rear plate shows a single gilt MIRROR ARMOUR set of steel Tibetan armour, in an formation, there is an offering of skull, presented much in the style arrangement that is commonly seen three jewels or ratna (Tib. rin-chen of the front Garuda head and the in India and Persia, and referred to or rin-poche) or mani (Tib. norbu). on the side plates. While it Tibet as ‘char-aina’, literally ‘four mirrors’. On a lotus base, they represent is an obvious symbol associated 18th Century Held together with leather straps the jewels of Buddha, with death, it is also said to be a and secured to the body by means and sangha, while single flames reminder of impermanence and the Breast Plate of iron buckles, it comprises a highly emitting from the sides reflect the consequent importance of giving up Diameter 185 mm decorative front plate, with a more adamantine nature. ones’ desires. A powerful object in restrained back plate and two side Tantric ritual, it is further evidence plates. The slightly convex breast The handsome Garuda (Tib. Khyung, that this armour would have been mirror is fitted with an applied gilt mkha’ lding) is an assimilation of made primarily for ceremonial use. copper border, with the exposed the Indian Garuda (enemy of the steel showing signs of ‘mechanical Nagas), with the khading – the LaRocca, comments on the presence damascus’ (folded steel). In the horned golden eagle, king of birds of skulls on a spear, musket and centre is a three-dimensional gilt and the bon bird of fire. Shown musket barrel in his book Warriors head of Garuda, a large mythical bird here with twisted hair and eyebrows of the Himalayas,55 suggesting the of religious and spiritual importance. like fire, and between his sharp objects were either installed as horns a protuberance symbolizing a part of the panoply of armour and The Indo-Persian variant was concealing of a naga jewel in his skull. weapons often found in shrines physically more efficient, as the plates This jewel, stolen from the King of devoted to a guardian deity, or that were usually rectangular and larger, the Nagas, is sometimes represented they were designed for use in a but for a Tibetan, a mirror-armour as a head ornament placed above divination ceremony conducted by would provide powerful spiritual the sun and the moon on his crown. a high-ranking oracle, such as the protection. In Tibet these mirrors A prominent curved beak, like that State Oracle formally at Nechung would have been referred to as me of an eagle or falcon, complete in Tibet. A photograph in the same long bzhi, meaning ‘four mirrors’. In the powerful image. Garuda book56 shows the oracle of the deity Buddhism the mirror represents appears in many forms according Baung Choje in 1928, wearing a very the clear karmic past of previous to different traditions and linages, similar breast plate to the one being lives, one of eight auspicious objects but assumes greatest prominence discussed here. in of Indic, pre- in the transmissions of Buddhist origin. the Nyingma and Bon traditions. This is certainly an important set, He is commonly the vehicle of and has comparable characteristics The border is in deep repoussé, Amoghasiddhi – the green Buddha to many published oracle mirrors.57 chased with foliated scrolls. At the of the north. Possibly made for an important top is an interesting depiction of general, in the context of a ‘the wrathful offering of the five While the front plate gives spiritual Nyingma monastery, it is unlikely to senses’ (Tib. Khro bo’I dbang po Inga offerings, and displays aggression be matched, and a wonderful relic of tshogs). Depicted in a traditional in the form of Garuda, the pair of a magical place and people. ‘torma’ arrangement, it is a dark side plates, protecting the kidneys, and gory offering of body parts provide defensive and indestructible presented to wrathful deities or imagery. The small ‘vajra’ symbolizing References Dharmapala’s. Shown is a the impenetrable, imperishable, 55. LaRocca, Warriors of the Himalayas, skull cup, resting on two severed immovable, immutable, indivisible Rediscovering the Arms and Armour of Tibet heads, containing the five sense and indestructible, giving the wearer , 2006, cat.nos.78, 103 &105. organs. Centrally, there is a heart a superhuman belief in himself. The 56. IBID, p.39, fig.37. (representing touch), attached to wearer would also be aware that 57. Ashencaen and Leonov, The Mirror the sides of which are a pair of ears, the vajra symbolizes the masculine of Mind: Art of Buddhism, and between the ears a nose with principle of method and skill, giving Spink,1995, cover image, p.1, no.1. flared nostrils. Optic nerves emerge him further belief in his own martial from the cup, with the attached eyes or spiritual prowess. looking toward each other. A tongue hangs limp over the edge of the cup. Symbolically the presentation of this offering of the five sense organs represents the subtlest level of consciousness. 80

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TIBETAN FOREARM Formed from a single piece of The diamond shaped openwork GUARD hardened leather, this is a scarce cartouches on the door, and on Tibetan guard for the left forearm. other similar armguards, are probably Unlikely to have ever been made in from the same workshop. Kamansky/ Tibet pairs, the small group of surviving Hayward state a similar door to the 15th–16th Century examples are all for the left arm. one they illustrate can be seen in A near identical example is in the Nechung, the traditional seat of Overall 265mm Metropolitan Museum, New York, the State Oracle in Lhasa, which illustrated by LaRocca. gives some indication of the high status of the artist producing this The surface of the leather has been pierced ironwork. affected by age and climate but has taken on a wonderful reptilian The rear of the guard is appearance in red and gold that undecorated, but shows good could be compared to the flames colour and patina. A single wax of hell. Perhaps the maker would be seal with a floral pattern is thought quite happy with this result! Either to be an early twentieth century way it is evident that the leather was Tibetan export seal. A similar seal once decorated with gold and red/ is on a lamellar Tibetan helmet in orange paint. the National Museum of Scotland,61 sold to the Museum in 1908 by F.M. Five vertical iron straps and integral Bailey (1882-1967). Bailey was an diamond/half diamond shaped officer during the Younghusband cartouches are riveted to the leather, expedition of 1903-1904, and spent each tipped with an arrowhead like time as the British Trade Agent in finial. The only exception being the Gyantse, an important Tibetan town largest central fitting, this seems to south west of Lhasa. be unique in the fact it has a brass background, which can be seen through the openwork. The unusual References central brass floral washer in the 58. LaRocca, Warriors of the Himalayas, centre is also quite unusual, but Rediscovering the Arms and Armour of Tibet can be compared to an example , 2006, p.118, cat.no.35. illustrated by Hales.59 The leather 59. Hales, Islamic and Oriental Arms and Armour, a Lifetimes Passio edge is strengthened by means of n, 2013, p.298, fig.716. an applied iron border, which, like 60. Kamansky/Hayward, Wooden Wonders: the straps, is chased with single line Tibetan Furniture in Secular and highlighting the design. Religious Life, 2004, P.307, fig.126. 61. LaRocca, Warriors of the Himalayas, These straps compare loosely to Rediscovering the Arms and Armour the fittings found on the Tibetan of Tibet, 2006, p.54-56, cat.no.1. shield, cat.no.38 of this publication, but more closely to the iron fittings on a very fine Tantric door, dated sixteenth-eighteenth century.60

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MAIL AND PLATE An important Moro body armour The use of iron plates, and iron ARMOUR of unusual form. The steel plates are rings is unprecedented in Moro chiselled with Islamic inscriptions in shirts which are typically made from a style consistent with late Mamluk brass or horn plates with brass Philippine archipelago or early Ottoman armour of the rings. From the materials chosen 19th Century or Earlier sixteenth century. and the unique Mamluk or Ottoman style calligraphy, it is evident that a Torso Height 870 mm The shirt consists of fifty-three Moro armourer or his patron saw iron plates attached together with examples of Mamluk or Ottoman large butted iron rings, assembled armour, probably due to trade in a similar construction to Moro contact with the Ottoman Empire. shirts from the Philippines, with From the beginning of the Muslim a distinctive flared skirt. Related era there were extensive trade links examples can be seen in the Islamic between South East Asia and Jeddah Arts Museum, . However where communities of Asian Muslim these are invariably nineteenth merchants settled and prospered, century and earlier examples have particularly in the spice and timber not been identified. trade. One of these is likely to have commissioned this armour, styling it The inscriptions on the plates are quite deliberately in the manner of honorifics commonly found the rulers of Egypt. on Mamluk objects. The maker of this shirt was somebody who has The maritime links between the Red seen late-Mamluk or early Ottoman Sea region and the Philippines are armour. The inscriptions include: extensive. The Ottoman Caliphs in Istanbul assumed the leadership of the Muslim world and took the title al-'izz li-mawla[na] ‘Custodian of the two Holy Places’ “Glory to our Master” (Mecca and Medina) after defeating the Mamluks in 1517. Successive Caliphs rendered assistance to al-mawlawi al-amiri Muslim communities. Ottoman “The Lordly, the Amir” records show that in the sixteenth century gunners and gunsmiths were sent to in Sumatra to help al-'alim al-'ali (?) fight against the Portuguese and “The Learned, the Exalted (?) ... the Dutch, each of whom sought to dominate the pepper trade.63 The annual Hajj pilgrimage to Mecca and al-amir al-dawadar (?) Medina, was under Ottoman control “The Amir, the Dawadar (?), from 1517 to the early twentieth the officer of al-Salih, the Just (?)” century. This unique shirt was commissioned at an unknown date by a pious Muslim who sought the al-amiri al-kabiri (?) al-ghazi protection that the words convey “The in Chief, to the wearer. Further protection the Ghazi” was sometimes acquired by dipping the garment into the well at Mecca Other words appear to be parts of which was believed to contain the Arabic benedictions, which are less water of Paradise. indicative of Mamluk influence, and suggest rather early-Ottoman or Iranian influence. These include: References 62. Islamic Arts Museum Malaysia, Symbols of Power and Beauty: al-nusra The collection of the Islamic Arts Museum Malaysia, 2015, p.120-123. “Victory” 63. Donoso, Issac. ‘The Ottoman Caliphate and Muslims of the Philippine Archipelago during the Early al-thana' wa al-ra[ha] Modern Era’. From Anatolia to Aceh - Ottoman, Turks and Southeast Asia, ed. “Praise and ease” A.C.S.Peacock & A.Teh Gallop. Oxford University Press, 2015.

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HEAVY IRON SHIELD An extremely heavy iron shield In the cartouches running around Due to the unusual construction of convex form and elaborate the border are two Persian couplets: and design, it is difficult to attribute

India decoration. The reason for the this shield. However, the carved impressive 5.5kg weight is the fact intertwined arabesques provide us سپری داشت / آن گزیده سوار Circa 18th Century that the shield is formed from a with some clues, and we can begin آسمان رنگ و / آینه کردار 1615–1573 single piece of iron. The polished to compare it to the patterns on a

shield depicted by Egerton,64 which همچه ]کذا[ )همچو( گرد قمر / منور بود foliate scrollwork and borders that Diameter 370 mm he describes as Indian Punjabi work پر ز یاقوت / لعل گوهر بود are clearly visible on the surface are Weight 5.5 kg not applied as would be expected, from Lahore which is Persian in but carved from a single thick piece “That elite warrior had a shield, character. This would support the of iron with hammer marks distinctly The colour of the sky and reflective. fact that the inscriptions, while being present on the reverse side. Just as around the moon identified as being in Persian, are not [everything] is illuminated, likely to have been executed by a The lower surface has traces of gold So is the spinel a jewel infused native Persian due to language and that indicate that the entire surface with ruby.” spelling anomalies mentioned above. has been gilded. However, a careful examination reveals that beneath the The meaning of the second couplet Four unusual iron bulbous bosses are gold, the shield was blued, perhaps is that whatever is in the orbit attached to small threaded rods, one the gilding is a later embellishment; or vicinity of something superior with an old brass armoury tag with regardless, the contrast with the increases in value by virtue of its the number 100. Comment should raised ironwork, now in high polish proximity. The spinel (la'l) was also be made in regards to the with traces of silver, was, and still is, generally held to be inferior to the weight, perhaps the intention was to quite striking. ruby (yaqut). This also is a reference make it able to deflect musket balls; to the design of the shield on which it is too heavy to be carried in the The lower surface is chased with the cartouches containing the verses traditional way except by some giant subtle floral patterns, stippled are arranged in orbit around the Sikh warrior. flowers and comer like scroll central six-sided star, in which there designs, within the raised arabesque appears to be the number twelve, scrollwork. Chased inscriptions fill possibly referring to the Shi'i imams. Provenance the raised lozenge shaped panels Stern Collection, New York that run around the circumference The spelling of the word hamchu as of the shield. The characters hamcheh suggests strongly that this References were originally filled with silver was not made in , but rather has 64. Egerton, An Illustrated Handbook (traces remain), to contrast with a regional provenance. of Indian Arms, 1880, p.49, fig.7. the gilt background.

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PAINTED A nineteenth century Indian shield The rear of the shield is also DHAL SHIELD known as a dhal, from Rajasthan, decorated in a similar way, the lower probably Ajmer. A similar shield ground closest to the border having is shown in a brightly coloured red hills, and the upper ground India lithograph from the Journal of Indian with shaded rocks. The grain of the 19th Century Art and Industry.65 It is labelled leather is more apparent on the ‘Shield made by Khuda Bux, of rear, and provides a clever sense of Diameter 470 mm Shahpura, Ajmere’. Ajmer was a texture to the scenic painting. The princely state in India, and is now shield has a later red velvet knuckle a city in the state of Rajasthan. pad and cord handles. Ajmer is surrounded by the Aravalli mountain range, and these The gilt-copper bosses have a style mountains could be the source of of repoussé found on objects from the landscapes we see on shields Kutch in the nineteenth century. from this group. Each is set with four large pieces of polished green agate. The bosses This example is convex and made may have been added at a later of buffalo hide. It has a base layer date. In India bosses were treated of black paint which is used to as a removable accessory. We can great effect with the creation of see from Elgood’s recent catalogue a hilly landscape on four sides of of the Jaipur collection that five of the front surface. With the use the six hide shields catalogued are of various shades of red on the without bosses.66 black background, the artist creates an organic and subtle bed to the The use of decorative stone in shield elaborate floral arrangements. The bosses however, is not unique to this flower beds are bordered by sandy example, the Metropolitan Museum coloured rocks which the artist has publish an Indian shield from the shaded to create a three-dimensional Bashford Dean Memorial Collection, visual effect. This effect continues which has copper-gilt bosses with complex sprays of flowers mounted with green glass.67 and although the same shading techniques have not been used, the flowers, blossoms, fruits and larger References leaves have multiple paint layers to 65. JIA, vol. III, 1890, illus. no. 6. give a physical prominence from 66. Elgood, Arms and Armour at the the surface of the shield in contrast Jaipur Court: The Royal Collection, 2015, to those leaves that are painted as cat.no’s. 114, 115, 116, 119, and 120. background. The use of gold in the 67. Alexander, David G, Islamic Arms paints is apparent which gives the and Armor: In the Metropolitan Museum of Art shield an opulent appearance. , 2015, p.10, fig.10, Acc.no.29.158.598.

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CANE SHIELD A heavy and substantial cane shield We can compare the ironwork to a WITH IRON STRAPS from Western Tibet with applied Tibetan arm guard, (cat.no.34 in this AND UMBO ironwork straps and umbo. Similar publication), and also to a group of shields have been found in an Tibetan leather boxes.68 Anninos excavation of Tsaparang, the capital dates the boxes with similar struts to Tibet of the ancient Guge Kingdom. Only the fifteenth-seventeenth centuries. 14th–16th Century slightly domed, it is formed from a continuous spiral of bound cane. The obvious and deliberate Overall 630mm The outer surface has black painted arrangement of two separate iron diamonds with highlights of red, struts laid upon each other to form the painting now partly obscure a trident deserves at least some and worn. The shield is in superb comment. While widely perceived condition with only small losses to as a Hindu symbol, for Buddhists it some rattan binding. symbolises the powers derived from mastery of the three channels of the In the centre is a large, three- subtle nervous system, that yogis stepped iron umbo, radiating from visualise in their mediations as a ball which are four iron trident shaped of energy fibres wound around a braces, each with a snake-like or blue central spinal channel; so as we arrow-like head. Each quarter can see, the decoration of functional created by the tridents is divided Tibetan objects is frequently further with a short straight strut influenced by religion and spirituality. with the same shaped finial, hooked over the perimeter of the shield and A similar shield is in the Royal terminating about half the distance Armouries collection and can be from the centre of the shield. The viewed online: rear is fitted with two large iron https://collections.royalarmouries. suspension rings, joined with a org/object/rac-object-8997.html twisted piece of leather to form a handle. References

68. Anninos, Tibetan Leather Boxes: Arts of Asia, Volume 30, Number 1, 2000, p101-117.

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SIXTEEN-PLATE The fifth Dalai Lama, writing in 1643, The brim of the helmet is fitted HELMET said that armour was first bought with a thick cylindrical band of to Tibet from a district in Kham yak hair, dyed in vibrant colours (smar khams) during the reign of of red, yellow and black. It is a Tibet the semi legendary ancient king wonderfully preserved piece of 15th–16th Century Trigum Tsenpo (gri gum btsan po).69 accoutrement that once again We now have a recognisable gives us an example of spiritual Bowl Diameter 210 mm Tibetan tradition of lamellar plate and religious representation in armour and helmets to which this Tibetan design and manufacture. helmet conforms. The six coloured segments take the spiralling form of a ‘dharamchakra’, Made of sixteen iron plates, this is the wheel of spiritual change. In a more complex arrangement than this case there are six segments those with the more common eight (three colours repeated twice) in lames. Eight outer plates overlap a yin-yang pattern, which symbolise eight inner plates in an over-under a wheel of enjoyment (Tib. dga’ pattern, all secured with leather ‘khyil), representing the trinity of laces. The outer plates have a strong Buddha, dharma and sangha, and the medial ridge, and have two cusps overcoming of the three poisons of with a single point each side. The ignorance, desire and aversion. bowl is surmounted by a socket, secured around its border by laces, Another Tibetan helmet of sixteen and an integral two level pagoda plates, part of a matching armour set, shaped plume holder. is in the British Museum, London.70

References

69. Early History of Tibet, Delhi, 1967, p.8. 70. La Rocca, Warriors of the Himalayas, Rediscovering the Arms and Armour of Tibet, 2006, p.59, cat.no.3.

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WOODEN HELMET A wooden hat or helmet, known as (OKLOP) an oklop, from the Philippines, circa nineteenth century. Despite the precise ribs of the bowl, the maker Philippines has captured a sense of nature, 19th Century and influence could have been taken from the sea and marine life. Bowl Diameter 185 mm The scalloped brim is carved in an identical fashion to an Ifugao Duyu utilitarian bowl, which in turn mimics the star shaped shell ornaments worn as belt decorations by the upper classes.

Wooden helmets developed and worn by the northern tribes of the Philippines doubled as bowls and water vessels when needed. The artefact in question however, because of its shape, refinement and polish, is a different animal altogether, undoubtedly the property of a man of chiefly rank.

A collection mark of P.L.53 in white ink can be found under the brim.

Provenance

Purportedly collected in the Philippines in 1926, by A.W. Price who was a member of the 31st Infantry Regiment of the U.S. Army.

Sold by the Price family to D.A.Schenne, New York in 1999.

Purchased from D.A.Schenne.

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Alexander, David G. De Silva, P.H.D. and Wickeramasinghe The Arts of War: The Nasser D. Khalili Collection of Islamic Art. Ancient Swords, Daggers & Knives in Sri Lankan Museums. Azimuth Editions and OUP, 1992. Sri Lanka, 1975.

Alexander, David G, Deraniyagala, P.E.P contributions from Pyhrr, Stuart W & Kwiatkowski, Will. Sinhala Weapons and Armor. Huntingdon, 2009 Islamic Arms and Armor: In the Metropolitan Museum of Art. (from the 1942 Journal of the Ceylon Branch of the New York, 2015. Royal Asiatic Society, Volume XXXV).

Altmann, Karin Donoso, Issac. Fabric of Life, Textile Arts in - Culture, Tradition ‘The Ottoman Caliphate and Muslims of the Philippine Archipelago during the Early Modern Era’. and Transformation. Berlin/Boston, 2016. From Anatolia to Aceh - Ottoman, Turks and Southeast Asia, ed. A.C.S.Peacock & A.Teh Gallop. Oxford University Press, 2015. Anninos, Tony Tibetan Leather Boxes: Arts of Asia, Volume 30, Number 1. Lord Egerton of Tatton Hong Kong, 2000. An Illustrated Handbook of Indian Arms. London, 1880.

Archer/Rowell/Skelton Elgood, Robert Treasures from India, the Clive Collection at Powis Castle. Arms and Armour at the Jaipur Court. New Delhi, 2015. The National Trust, 1987. Islamic Arms and Armour. Scolar Press, 1979. Ashencaen, Deborah and Leonov, Dr. Gennady Arms and Armour of Arabia, in the eighteenth, nineteenth The Mirror of Mind: Art of Vajrayana Buddhism. Spink, 1995. and early twentieth centuries. Scolar Press, 1994. Firearms of the Islamic World in the Tareq Rajab Museum, Kuwait. Aziz, Abdul I.B.Tauris, London, 1995. The Imperial Treasury of the Indian Mughuls. Lahore, 1942. Hindu Arms and Ritual. Delft, 2004. Introductory essay to Indian Art at Marlborough House. Ball, V and Crooke, William With the original introduction by G. Birdwood. London 1898: and Travels in India by Tavernier, Jean-Baptiste (Baron of Aubonne). Arms and Armour at Sandringham. The Indian Collection presented Delhi, 1925. by the Princes, Chiefs and Nobles of India to H.M. King Edward VII when Prince of Wales on the occasion of his visit to India 1875-6. Beer, Robert London 1910. Two volumes republished in facsimile editions with The Encyclopedia of Tibetan Symbols and Motifs. Boston, 1999. additional colour photos. Ken Trotman Books, 2008. Also see Purdon Clarke. Berger, Patricia and Bartholomew, Terese Tse (and others) Mongolia: The Legacy of Chinggis Khan. London, 1995. Figiel, Leo S. On Damascus Steel. New York, 1991. Blackmore, Howard L Guns and Rifles of the World. New York, 1965. Haidar, Navina Najat and Sardar, Marika Sultans of Deccan India, 1500-1700, Opulence and Fantasy. Blochmann, Henry (trans) Metropolitan Museum of New York, 2015. Abu’l Fazl, A’in-i-Akbari. 3 vols, repr, Delhi, 1978. Hales, Robert Islamic and Oriental Arms and Armour, a Lifetimes Passion. Bottomley, Ian Indian curiosa. Royal Armouries: Arms & Armour, Butler Tanner and Dennis Ltd, 2013.

Vol. 1, No.1, Leeds, 2004. Holstein, P Contribution A L’Etude des Armes Orientales, 2 vols. Paris, 1931. Brownrigg, Henry Betel Cutters - from the Samuel Eilenberg Collection. Mayer, 1991. Islamic Arts Museum Malaysia Symbols of Power and Beauty: The collection of the Islamic Arts Clarke, Purdon Museum Malaysia. Malaysia, 2015. Arms and Armour at Sandringham. The Indian Collection presented by the Princes, Chiefs and Nobles of India to Jansen, Eva Rudy H.M. King Edward VII when Prince of Wales on the occasion The Book of Hindu Imagery: The Gods and their Symbols. of his visit to India 1875-6. London 1910. Diever, 1993.

Coomaraswamy, Ananda K. Kamansky, David Mediaeval Sinhalese Art. New Delhi, 2003 Wooden Wonders: Tibetan Furniture in Secular and (from the second edition 1956). Religious Life. Chicago, 2004.

The David Collection Komaroff, L and Carboni, S (and others) Islamic Arms and Armour from private Danish Collections. The Legacy of Genghis Khan: Courtly Art and Culture Copenhagen, 1982. in Western Asia, 1256-1353. Yale University Press, 2002. 101

Krieger, Herbert W. Reynolds, Valrae/Heller, Amy/Gyatso, Janet The Collection of Primitive Weapons and Armor The Newark Museum: Tibetan Collection. of the Philippine Islands in the United States New Jersey, 1986. National Museum. Washington, 1926. Richardson, Thom LaRocca, Donald J. Islamic Arms and Armour. The Trustees of the Armouries, Warriors of the Himalayas, Rediscovering the Arms and Leeds, 2015. Armour of Tibet. Yale University Press, 2006. Richardson, Thom and Bennett, Natasha Lavin, James D. Indian Arms and Armour. The Trustees of the Armouries, The Art and Tradition of the Zuloagas: Spanish Damascene Leeds, 2015. from the Khalili Collection. Oxford University Press, 1997. Ricketts, H. J. and Missillier, Philippe Loureiro, R (and others) Splendeur des Armes Orientales. Paris, 1988. Rites of Power: Oriental Weapons – Collection of Jorge Caravana. Portugal, 2010. Rogers, Alexander The Tuzuki-i-Jahangiri or Memoirs of Jahangir. Delhi, 2006. Mohamed, Bashir The Arts of the Muslim Knight: The Furusiyya Art Foundation. Schuckelt, Holger Milan, 2007. The Turkish Chamber: Oriental Splendour in the Dresden Armoury. Staatliche Kunstsammlungen Nebesky-Wojkowitz, Rene Dresden, Rustkammer. Deutscher Kunstverlag Oracles and Demons of Tibet: The Cult and Iconography of Berlin Munchen, 2010. the Tibetan Protective Deities. 1975 Graz edition. Singh, Runjeet Nordlunde, Jens Arms & Armour from the East. Coventry, 2015. How Old is the Katar? – The Royal Armouries: Arms & Armour Volume 10, Number 1, Leeds UK, 2013. Slusser, Mary Shepherd and Fuller, Manuela Royal katars of Bundi – South Asian Studies, Volume 25, The Nepalese Ink-Well – Arts of Asia, 2009 – Issue 1. Hong Kong, July-August 1987

Pant, G.N. Stone, George Cameron The Indian Shield. New Delhi, 1982. A Glossary of the Construction, Decoration and use of Arms and Armour. Maine, 1934. Pant, G.N, and Sharma, K.K. Indian Armours: In the National Museum Collection. Storl, Wolf-Dieter New Delhi, 2001. Shiva: The Wild God of Power and Ecstasy. Vermont, 2004.

Parker, H Yucel, Unsal Ancient Ceylon. New Delhi, 1909. Islamic Swords and Swordsmiths. Istanbul, 2001. (Asian Educational Services, Version 1984). Zebrowski, Mark Rawson, P.S. Gold, Silver & Bronze, from Mughal India. The Indian Sword. New York, 1968. Alexandria Press, 1997.

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Runjeet Singh Correspondence Address Arms & Armour From the East PO Box 6365 © 2016 Runjeet Singh Coventry CV3 9LU ISBN 978-0-9934409-1-5 United Kingdom

Published by Runjeet Singh Photography by Philip Connor First Published November 2016 Printed by Taylor Bloxham Ltd.

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TIBETAN FOUR MIRROR ARMOUR