Kaskara in Silver Dress: an essay for comment and discussion by Ed Hunley

[Ian]

Moderator's Comment
The following essay has been prepared by Ed Hunley for comments and discussion. Ed asked Vikingsword staff for help in putting his lengthy piece online, and it has been necessary to break his essay into several parts to accommodate the limitations on the number and overall size of graphics that can be included in a single post. We hope that this somewhat disjointed presentation does not detract from Ed's outstanding article. Any typos or other errors in the text are mine and not Ed's. Ian.
[Note: Pictures referenced to this web site have not been attached to these posts--you can access them directly from the links provided in the text--per Forum Policy, all external links must be accompanied by attached pictures.]



INTRODUCTION

Studies of the Sudanese Kaskara sword have focused mostly on variations in blades and quillons, allowing educated guesses as to a sword's regional origin and period of manufacture. However, the Kaskara “sword package” comprises several components—blade, quillon/cross-guard, grip cover, and scabbard with chape and top band—each made by individual craftsmen in the supply chain who may perform their work separated in space and time. Today’s package may be original to its initial time and place of manufacture/assembly, or may have a history of repairs or upgrades over perhaps hundreds of years and considerable distance. Each component has a story to tell.

I propose that we expand our discussions to include silver accessories added to a basic unadorned sword, usually of highest quality. These additions are intended to enhance the sword and its owner, and may be gifted to high status people as an honor. Silver has a talismanic quality as well as a decorative function. Copper and silver are both thought to bring protection from knife attack, but silver trumps copper. Silver accessories include grip covers, pommels, and chaps and bands on the scabbard's bottom and mouth.

Silversmiths are not affiliated with sword-making enterprises. They are higher-end craftsmen located nearer the center of the market. Their work is performed for a customer after the sword and scabbard have been assembled, and is an optional upgrade to enhance the quality of the “sword package” and the prestige of its owner.


A. GRIP COVERS

I am aware of four main styles of grip covers:
Diamond or Harlequin Motif
Stars and Comets (for want of a better term)
Silver filigreed ribbon mixed with reptile skin.
Other/Unique
1. Diamond/Harlequin

This is apparently the most common design and would be the easiest to emboss on a sheet of silver. The diamonds are in rows and appear to be aligned at an approximately 60º incline. They are sized to align more or less vertically as well. There is a small incised border at the top and bottom. The format appears to be standardized and varies only slightly in execution among different skilled hands.

This design appears to be most common in Darfur, mainly because it is associated with Ali Dinar's regalia swords. Also, the design, in a simplified form was recorded by Reed in Northern Darfur in 1984–85. An exception is a sword in the al Shinqiti Collection in Khartoum.

Examples

Fig. 1. Sword of Ali Dinar, Sultan of Darfur who was killed by the British in 1916. He apparently was gifted several high-end swords. [Maybe someone can fill in the givers and approximate dates.] It seems reasonable that the sword and grip cover would have been fabricated at the location of the gift rather than the location of the giftee. View online at: http://www.sothebys.com/en/auctions/ecatalogue/2011/arts-of-the-islamic-world/lot.317.html

Fig. 2. Another sword very similar in quality and design to Ali Dinar's example posted on this web site by DaveS. View online at: http://www.vikingsword.com/vb/showthread.php?t=13142

Fig. 3. Another sword of similar design posted on this web site by David (Katara). Note the unique and exceptional domed pommel. View online at: http://www.vikingsword.com/vb/showthread.php?t=10557&highlight=kaskara

Fig. 4. Another with copper casing (unique as far as I know)—although it could be just dirty silver—posted by Longfellow on this web site. Also, note the domed top the pommel. View online at: http://www.vikingsword.com/vb/showthread.php?t=16357

Fig. 5. An example with one of the most ornate pommels I've seen. View online at: http://www.sword-site.com/thread/917/sudanese-kaskara-19th-century

Fig. 6. From the collection of Judge M.S. al Shinqiti (1896–1966), University of Khartoum (picture attached). One of six swords gifted to him c.1956 at the independence of Sudan, as photographed in 1984. [Three other of his swords with the Stars & Comets design will be discussed below.]I showed this photo to the shaykh of the Kassala sword maker's suq. He said it was likely made in the village of Wager about 60 miles north of Kassala. The blade is likely an import (it has the “enigmatic” mark). The quillon may have been forged by a smith there long ago and perhaps a local silversmith made the grip cover.

Fig. 7. Graham Reed 1987. His Plates L1 & L2 (attached below) have diamonds that are arranged vertically with a line gap between (unlike the Ali Dinar standard). The blades are older European and the quillons are well flared. Each has an interesting and well-defined pommel design. My guess is that a local silversmith made the grip covers inspired by the diamonds of the Ali Dinar examples.

Fig. 8. The handle cover on this kaskara (shown on the Ashokar Arts web site) uses the diamond motif but strays from the “standard” of Ali Dinar. It is a Beja sword, which may explain the difference. View online at: http://www.ashokaarts.com/shop/nice-sudanese-north-african-kaskara-or-saif-sword-with-silver-mounted-hilt

All of these examples, except Fig. 7 and the Ashoka Arts item, show remarkable similarity yet are different in subtle ways. Only in Figs. 1, 2 & 4 does the cover extend from the quillon to the top plain band where a tassel usually is tied. All the rest have the gap filled by coils of fine silver wire. I couldn't measure the actual widths, but assume the grips were all virtually the same rather than being of different length, though that is possible. None stray very far from the Ali Dinar grip if it may be the standard. A question remains as to the symbolic meaning, if any, and where, when and by whom it originated.

---------- Attachments: Figures 1, 5, 6, 7, 8 -----------

.

[Ian]

2. Stars and Comets

These examples are intriguing and are rare in my experience. The design consists of opposed comet-like head and tail swoops offset by 5–6 pointed stars. At the center front is a diamond-shaped box with four small diamonds arranged in a vertical square. I've not considered one of these covers in 3-D, seen one unrolled flat or as a template, so it is difficult to present a full picture.

Most intriguing is that the same basic design is exhibited on the oldest documented example of a kaskara, the sword of Nasir Mohammad, the Funj sultan from 1762–69 (see attached Fig. 9), as well as more modern examples. The Nasir design also is on three of the six swords in the al-Shinqiti collection as mentioned above. If the Nasir design is 200 years old and has remained unchanged for that time, it must be full of symbolism and significance to have reappeared to honor al-Shinqiti.

Examples

Fig. 9. Nasir Mohammad sword (c.1762). This sword has all the elements of a first quality kaskara: a high-end blade, marked as a German source, with a perfect high taper quillon and a star and comet silver-covered grip. Indeed, all quillons produced since this design and method of manufacture have degenerated in style and quality. [A skilled swordsmith in Kassala in 1984 said that no one currently makes quillons of that flared design.] The sword is equal in quality to the Ali Dinar (c.1900-1916) piece shown above, except it doesn't have the rich engraving on the quillons. Its “perfect” condition begs the questions: Where did it come from? What is its stylistic development history? Are there any known examples of precedent designs? The Nasir sword is shown here, with a good background by Regihis: http://www.vikingsword.com/vb/showthread.php?t=16814

Fig. 10 a,b. Two views of the same sword in the al Shinqiti Collection are attached. The theme resembles that in Fig. 9, but it has only one “V” line above top center pair of comets. Note the flared quillon (Fig. 10a). Fig. 10b shows the end of the quillon's diamond shape. I wonder if this diamond motif has symbolic relevance like the design on the diamond silver case. It looks to me that if the sword was restored, especially the pommel, it could be a brother to the Nasir Mohammad example and a potential Funj sword as well.

Fig. 11. Another sword from the al Shinqiti Collection. To my eye the silver work is virtually identical to the 1762 grip cover in Fig. 9, although the silver band at the bottom is not there.

--------- Attachments: Figures 9, 10a,b, 11, 12 ---------


.

[Ian]

3. Silver Filigree

This type of grip treatment consists of filigreed silver tape wrapped around the wooden grip base, plus a wrap of reptile skin. Both materials have symbolic meaning. The process is of course less expensive to execute than the high-end diamond and stars examples. However, this treatment addresses the protective qualities of silver and cultural signatures of lizard skin and the traditional Beja tassel.

Examples

Fig. 12. I collected these two Hadendowa swords in Kassaka in 1984 (see attached). The one on the left was said to have been made c. 1915. Due to the similarity of its grip cover, I would date the other to the same time. This style may be a Kassala signature style. Similarly dressed Beja swords are shown on other web sites sites, and two more examples can be found here:

Fig. 13. An example in Lee Jones kaskara paper on this web site is a cut well above. View online at: http://www.vikingsword.com/ethsword/kaskara/index.html

Fig. 14. Another example is on the Oriental Arms site. View online at: http://www.oriental-arms.com/photos.php?id=1343


4. Other/Unique covers

Other embossing styles and designs will be encountered; some may be unique, one-off products of local silversmiths. If we come across other examples that can be typed as stylistically similar, we will have another type to study. Here are a couple of examples:

Fig. 15. Kind of a diamond design, but not really (see attached picture), with good views of the pommel and chape. Somewhat resembles the pommel and top caps in Fig. 12. View online at: http://www.oriental-arms.com/photos.php?id=1430

Fig. 16. A unique design on a Beja sword hilt (Fig. 16a). Also, provides a good view of the pommel and chape (Fig. 16b). View online at: http://www.swordsantiqueweapons.com/s587_full.html


B. POMMELS

Examples of different pommels have been shown along with the pictures of silver grips. A couple are rather spectacular, but these seem one-offs. (Figs. 7, Reed's Plates L1 & L2, show nice sketches of designs.) The pommels in Fig. 12, especially the top caps, are virtually identical and likely made by the same silversmith. Additionally, you will notice other similarities of type. However, I'll leave their description and analysis to others.


C. SCABBARD CHAPES AND TOP BANDS

Chapes are the triangular metal pieces at the bottom of scabbards. They prevent the point of the sword blade from penetrating the leather and causing injury. Bands at the throat of the scabbard are designed to prevent the blade from cutting the scabbard when being withdrawn or replaced. For the most part, these are made of thin light metal, usually aluminum these days, and they generally exhibit a decorative design. On higher end swords these items will be made of silver and many have elaborate designs.

Example

Fig. 17. Shows the scabbard chapes from my two Kassala swords above (Fig. 12). The left chape (of better quality) belongs to the left (better quality) sword in Fig. 12. The corresponding bands are also shown in Fig. 12.


There it is, my first cut at silver dressed kaskaras. I was surprised that my mainly online research revealed so few design motifs. Hopefully, other examples in museums and forum members’ collections will come to light. Comments, discussions and light criticism welcome.



Ed Hunley

July 2018



----------- Attachments: Figures 12, 14, 15, 16a,b, 17 ---------
.

[Ian]

This thread was locked during the loading of all the material from Ed. It is now complete and open for Discussion. I want to thank Ed again for taking a considerable amount of time and effort in putting this magnum opus together.


Ian.

[David R]

Thank you for these posts. Very interesting and informative.

[TVV]

Ed, thank you very much for this essay. It is on a very interesting topic that nobody has tackled before, and I learned a lot from reading it. The essay is very well written as well.

I have a couple of questions: do you know what the symbolism behind the different motives embossed on silver hilts may be (assuming there is any)? Did you consider including the double disc pommel kaskaras in the essay?

Regards,
Teodor

[Edster]

Teodor,

Thanks for your compliments. I did considerable on-line research on any symbolism exhibited. No real luck for the covers. Of course Islamic/Sudanese cultures use a lot astrological images as symbols including images on sword blades. Its fantastic to be out at night in remote Sudan and look up at the sky. No light pollution or humidity and the heavens are alive with stars and shooting stars. That vision is bound to make an impression on the individual, society and culture. But still I found nothing that articulated that. I was hoping that members would be able to add from their research and knowledge.

Double pommels are interesting and I think mostly from Ethiopia. But I didn't include them. By the "pommels" section I was getting drained. I and others would appreciate it if you would add discussion and images them to this thread.

Best,
Ed

[TVV]

Ed, rather than repeat the research of others, here is a link to a thread that was created by Iain for the discussion of double disc pommels:

http://vikingsword.com/vb/showthread.php?t=18691

Teodor

[Edster]

Good addition to the thread. Thanks.

[Kubur]

Dear Ed,

Your essay is interesting, but I can see a serious problem:
- where are your references, books, articles?

Regards,
Kubur

[Edster]

Dear Kubur,

My main reference was on-site research in the Suq al Hadad in Kassala, Sudan in March 1984, associated field notes and written up in my Social Economics of Small Craft Production, the Sword and Knife Makers of Kassaka, Eastern Sudan. (Available from EAA's reference section) I also used G. Reed's 1987 “Kaskara from Northern Darfur, Sudan” in The Journal of The Arms & Armour Society and Lee Jones' “Kaskara of Sudanic Africa”. I inspected and photographed the as-Shinqiti Collection in-situ at the Univ.of Khartoum where I taught a semester in 1984-85. I also used photographs from a couple of my own kaskaras. Most of the other photo references were identified from a Google image search on “Kaskara Silver Grips”. Most of the good stuff was from our own Vikingsword threads and photos. Other photos were from various web sites I incorporated under ”fair use” and did not reference other than their URL address as a live link. I won't mention all the other references, including Sudan Notes and Records articles and the Jay Spauldin works of the Funj Kingdom I reviewed but didn't find anything relevant. I even delved into siting references into the al-Kaid comet or star with a tail; nothing to tie a passage in late Funj times.

If I missed any important or relevent reference, please let me know. Anything to expand our knowledge will be helpful.

Regards,
Ed

[Ian]

Kubur, you raise a good point and thanks Ed for clarifying your sources. So much of our research is necessarily conducted from outside the culture. Ed's field data from his time in the Sudan is valuable information, being reported here in a manner subject to review and critique much as a scientific paper presented at a scholarly meeting. The court of "peer review" on this site can be as rigorous as in an academic setting.

[Kubur]

Dear Kubur,

If I missed any important or relevent reference, please let me know. Anything to expand our knowledge will be helpful.

Regards,
Ed

Dear Ed,

You have plently in any catalogue such as Hales, the MET...
Just look at Ricketts, 1988, he mentions the swords of the Darfur and the ones at the Royal armouries (Richardson)...
...

[Edster]

Dear Kubur,

Thanks for the references. I tried the on-line MET, but the only photo they had was of the snake double pommel sword, but it wasn't as good as the one Teodor supplied. Ricketts, 1988 looks great, but I don't have access to it. I'll try to get bootleg access via libgen.io. I'd appreciate if you could scan & post the Darfur sword sections. Its difficult for casual researchers to get access to a good reference library without spending a bundle. I'm beginning to think that Darfur may be the birthplace of the Kaskara or at least the key location to its development.

Our inquiry is hampered because mostly we see in books "full face" photos of swords and particularly quillons. We need to be able to handle them and see and photograph from different angles to appreciate their 3-D qualities.

On a separate note, I recently found an 1838 reference to the cross & orb with a lion sword makers mark. Its in Travels in Kordofan by Ignatius Pallme, London 1844. Not a very good cut and paste below. Also note the preferred Death's-head mark by Peter Knell. I'm not familiar with that one.

“Two-edged swords, of Austrian manufacture, are thirty-six inches and a half in length, and one inch and three-quarters in breadth, of equal diameter throughout, and rounded off inferiorly. Seven inches and a quarter in the curve, and marked: 5 with a lion. Thescabbardsandhiltsaremadeinthecountry. They areinmostrequestinDarfour. Thesaleisattendedwithcon siderable profit, but those marked with a death's-head from the workshops of Peter Knell, in Solingen, are preferred. “ (Note: The “5” in the text above in the cross & orb symbol in the original.)

Below are great references I used, but forgot to include in the previous reply to you. They are key to the silver grips of both diamond and star & comet motifs.

“Royal Regalia: a sword of the last Sultan of Darfur, Ali Dinar” J. Anderson, A. Ali Mohaned, et al, Sudan and Nubia, The Sudan Archaeological Research Society, Bulletin No. 20, 2016

Ancient Treasures exhibition from the Sudan National Museum, 2004, The British Museum. D. Welsby & J. Anderson. It shows the 1762 Nasir Mohamed Funj sword. I didn't use the image in the essay because a better one was available elsewhere.

Regards,
Ed

[Edster]

Ian,

Great example. Its a new one for me. High-end Beja, my guess. BTW how did you lift (cut & paste) the photos from the web site and to post on a thread? I couldn't make it happen.

Ed

[fernando]

Has this beautiful example already been sold, Ian ? :o .

[Ian]

Has this beautiful example already been sold, Ian ? :o . I don't know Fernando. There appears to be no way to purchase it online at the web site. I looked at the site as carefully as a non-German speaker can, and tried to determine if it was still for sale. Perhaps your German is better than mine. I will soft delete for now until the status can be confirmed.

BTW, does the date 04-07-2018 mean July 4, 2018 or April 7, 2018 in Europe? I'm always getting confused by these different date formats.

Ian

[Ian]

Ian,

... BTW how did you lift (cut & paste) the photos from the web site and to post on a thread? I couldn't make it happen.

EdEd, you have a PM.


Ian

[fernando]

My German is absolute zero, but the page translates automatically into Portuguese as i open it. The way i see it, it has a (fixed) price still open for sale, reason why i asked, expecting to be wrong.

[Oliver Pinchot]

Well done, Ed. Solid and well-written paper which establishes a viable typology.

The Funj sword no longer appears in the British Museum database.
Does anyone know the acquisition date?

[fernando]

BTW, does the date 04-07-2018 mean July 4, 2018 or April 7, 2018 in Europe? I'm always getting confused by these different date formats.
We never had the "July 4" format. We write day/month/year, like 04/07/2018, or skip the zeros (4/7/2018) or even shorten the year( 4/7/18). All those formats are consuetudinary.
However we are now converging to one only system, putting the year in the first place, the month in second and the day in the end (2018/07/04); we already find many blank forms with the corresponding spaces pre-formated ... and even legended. Whether this new system is legally obliging and is European and not only Portuguese, i would have to check.

[kai]

Hello Fernando,

However we are now converging to one only system, putting the year in the first place, the month in second and the day in the end (2018/07/04); we already find many blank forms with the corresponding spaces pre-formated ... and even legended. Whether this new system is legally obliging and is European and not only Portuguese, i would have to check.
Nothing binding yet AFAIK - I see it often in scientific contexts; it certainly allows for much better sorting! (Commonly given as 2018-07-04, possibly to differentiate it from the other notions involving slashes or dots as in 4.7.2018 ...)

BTW, Ian, does it matter? (Both dates being in the past...)

Regards,
Kai

[Ian]

... BTW, Ian, does it matter? (Both dates being in the past...) ...
Kai,


Actually it might. As you know, and Fernando correctly pointed out, current items for sale cannot be referenced in Discussions. A July 4th item is more likely to be an active sale than one posted on April 7th.


Ian.

[fernando]

... Nothing binding yet AFAIK ...
I would say it depends on the perspective. I was checking my State issued documentation and the system is seen all over, namely in the Automobile Circulation Tax and IRS liquidation demo and receipt. So if it is not binding, it has an official posture.

... it certainly allows for much better sorting! (Commonly given as 2018-07-04, possibly to differentiate it from the other notions involving slashes or dots as in 4.7.2018 ...)
The issue here was the format in which time fractions are presented; separation patterns were not relevant for Ian's question. OTOH, whether the optional use of dashes or slashes may fall into a conventional method, the dots may presuppose a visibility issue.

,

[fernando]

... A July 4th item is more likely to be an active sale than one posted on April 7th...
Curiously the date in this Swiss page is broken by slashes (2018/07/04). I do believe the sale is still active, as it even has a box to place offers ... which appears to be functional after you register.

[colin henshaw]

A most useful piece of research by Edster.

The motif of stars is also to be found on coins from the Mahdist era (see image attached). The coins also sometimes have similar "comet or shooting star" forms, however probably then meant to represent foliage ...

[Edster]

Colin,

I'm not really sure the "comets" are comets. Never looked at the overall cover in detail when I photographed them 35 years ago. They just look like they might be such in the photos. Could be foliage. Still an interesting symbolic rich design apparently limited to important swords.

Best,
Ed

[colin henshaw]

Colin,

I'm not really sure the "comets" are comets. Never looked at the overall cover in detail when I photographed them 35 years ago. They just look like they might be such in the photos. Could be foliage. Still an interesting symbolic rich design apparently limited to important swords.

Best,
Ed

I meant on the coin they look like foliage, but on the sword, could well be comets ?

Regards.

[Edster]

Yes, I agree. Coin foliage. Sword probably comets.
Regards,

[Edster]

Oliver,

The 1762 Nasir sword was restored in the British Museum and returned to the Sudanese National Museum in Khartoum. See the "Ancient Treasures" reference in post #14. I'm not aware of the swords history prior to the restoration.

Regards,
Ed

[TVV]

On the subject of silver hilted kaskara in published works, it is true that there is a scarcity of images. In Tirri's "Islamic and Native Weapons of Colonial Africa" in fig. 1-13 there are a couple of kaskara swords with what looks like some metal on the hilt, but nothing worth including here. In Spring there is one silver hilted kaskara in a black and white photo. North of course has the famous Ali Dinar sword from the V&A Museum.

However, there is one publication that contains a couple of very interesting silver hilted kaskaras - "Islamic and Oriental Arms & Armor, A Lifetime Passion" by Robert Hales on p.360. This book also has an image of the Sotheby's sword.

Regards,
Teodor

[Edster]

Teodor,

Great catch. Thanks. I've found three other I'll post as soon as I can create good detailed images, hopefully today:
Victoria & Albert Museum M.47-1953 and Royal Armories Leeds XXVIS.165 & 166. #166 has a double pommel almost exactly like yours except for the very top and all three have star & comet covers as does yours. The more we dig the more family features we find.

Regards,
Ed

[Edster]

Here are three more Star & Comet covers. All in the same motif. They are not identical suggesting they were produced by different artisans.

1. Victoria and Albert Museum M.47-1953
2. Royal Armouries Collections, Leeds XXVIS.166. Note the double pommel. Its similar to the one posted above by Teodor.
3. Royal Armouries Collections, Leeds XXVIS.165. Wire wrapped at bottom just like #166.

[TVV]

Great images Ed, thank you for digging those up. I know the discussion is on the hilts, but the one you posted from the Victoria & Albert Museum has a really interesting blade, probably Persian and quite old.

Teodor

[Edster]

Here's the link to the V&A sword. The image will enlarge to give great detail. They say the blade is 17th Cent. and gives the maker's name. Its #M.47-1953 in case the link doesn't work.
http://collections.vam.ac.uk/item/O71642/sword/

Best,
Ed

[Iain]

On the subject of silver hilted kaskara in published works, it is true that there is a scarcity of images. In Tirri's "Islamic and Native Weapons of Colonial Africa" in fig. 1-13 there are a couple of kaskara swords with what looks like some metal on the hilt, but nothing worth including here. In Spring there is one silver hilted kaskara in a black and white photo. North of course has the famous Ali Dinar sword from the V&A Museum.

However, there is one publication that contains a couple of very interesting silver hilted kaskaras - "Islamic and Oriental Arms & Armor, A Lifetime Passion" by Robert Hales on p.360. This book also has an image of the Sotheby's sword.

Regards,
Teodor

I'm fascinated by the sword on the right in this image. Its almost takouba like in guard construction, including the scabbard fittings. Anyone know where it ended up or have more images?

[stephen wood]

A fascinating piece, thank you so much.

I used Pallme's "Travels..." extensively some years ago in one of my talks about the Kaskara to the Arms and Armour Society at the Tower of London.

"Knell" seems to be a typo. It should read "Kull" as on this Cavalry Sabre. Curiously, I have not yet found a Kaskara with a blade by this maker.

This thread from ten tears ago is worth a look.

http://www.vikingsword.com/vb/showthread.php?p=83072

[Edster]

Stephen,

Thanks for your comments. I'm now today revising/updating this essay in prep for it to be converted into a pdf, as already are the other two essays. I'll incorporate comments above, especially an enlarged pommels section and would appreciate any additional comments you may offer

Best regards,
Ed

[stephen wood]

Ed,

I don't know if you have seen this text published in 1910, there is a section about swords among the Tigre which describes fullers and markings. This text was the theme, along with Burckhardt, of my third talk at the Arms and Armour Society.

It names five types, the fuller arrangements and marks will be familiar.


"THE NAMES OF SWORDS.

The [swords] that were renowned and had a name and
were inherited as heirlooms always by the first born sons,



1) Cf. above p. 184, No. 844.

2) The man who divided and pointed at the different portions with his
staff put down his staff upon the remainder.



SPECIES OF SWORDS



are the following. They did not carry them, however; but
they kept them as precious heirlooms.

[Those that have a name among. the Bet-Abrehe are the
following].

i. Black [of Gabres]. 2. ^Eldy, and 3. Lebteb (probably
from lablaba "he hurt"), [belonging to Hasala son of Tas-
faconj. 4. Narrow [of Harsoy]. 5. Black-white [of Bula],

[Among the Habab is known:] 6. Narrow [of 6aweg].

[Among the c Ad Takles are known :]

7. ^Albenay [of Naseh]. 8. Handmaids-worth, [belonging to
the c Ad 6eme c ]. 9. Half-silver [belonging to the c Ad Derar].
10. Black, and n. KabUlay [belonging to the c Ad Nauraddln].
12. Cutter [belonging to the G Ad Tedros].

[Among the c Ad Temaryam:]

13. Quick [of Sekkar]. 14. Shed [of D Eshaq]. 15. All-killer ! )
[of C AH son of Gabres]. 16. Black [of Be 3 emnat]. 17. Black
[of 3 Ezaz son of Gerenat]. 18. Cutter [of Fekak].

[Among the (jemmegan, in Tigrina Dembezan, i. e. the
region between c Ad Taklezan and Wara:] 19. Piercer.
20. Soldier. 21. White. 2 )

The names of some other swords [not owned by a known
family or man] are the following:

22. Marrow-eater. 23. Shearing. 24. Hurting. 25. Goats-
worth. 26. Dark-speckled. 27. Handmaids-worth. 28. Cutter.
29. Erring.

93- p - 173-

SPECIES OF SWORDS.

The swords are judged by their marks, and are called
"valuable" or "of little value." And .each species has a name.



1) Literally: Father of it all.

2) Cf. also the "Black" of Hakin wad Madln, Vol. Ill and IV, No. 672, 1. 13.



2O6 CUSTOMS

A.'Afren/i; B. MaJiawt; C. Kdr ; D. ^Abutfes; E. Bonkay.
Their marks are the following.

A. The ^Afrengl species.

1. The ^^Afrtngi from Sennar" is valuable. Its marks are:
above the pommel ') four lines along side each other, a span
long. And this is called the " D AfrengI with four streams."

2. But if together with the four lines there is a drum or
a lion or a serpent or a fly [carvedj on it, it is called
"^Afrengl Selemanl;" and this is more valuable than the
foregoing.

3. The "Black DAfrengI" is from Kabasa. Its mark is: a
broad line, a span long, above the pommel, and there is a
fly on it. It is the "Black ^Afrengi" and is also valuable;
and they are all [three] costly.

B. The Mahawl species.

1. The "Rhinoceros-hoof Mahawl" is valuable. Its marks
are: three lines, a span long, above its pommel, and two
crescents with their openings facing each other, and also
the hoof of a rhinoceros. It is costly.

2. The "Running-stream Mahawl" however, has the lines
reaching to its point; it is cheap. Or, again, if one of the

P. 174. lines is a little longer, and the two others are shorter, and
if the crescents face outward, it is [also] called the "Running-
stream Mahawl, and it is of little value, too.

C. The Kar species.

i. The "Closed Kar" has the following marks: it is "closed"
(i. e. without carving) from the pommel upward for a span,
and after that there is a broad line on it; or, again, together
with the closed space below, it is "closed" also above, be-
ginning from the point; for a span, and the broad line is in



i) In these descriptions the sword is always imagined point up.


the middle, and half of it is ornamented with small irregular
lines: it is valuable. Its price is like [that of], the ^Afrengl.
And it is called the "Closed Kar" or the "Erring."

2. But if the Kar is carved with a broad line up to the
point, it is of little value; and it is the sword of the high-
waymen only.

D. The ^Abut/'es species.

The ^Abute^es has under its pommel ') a square ornamented
with little irregular lines; and above the pommel it has a
broad line, a span long. It is of little value. And when it
is used in striking, it has sometimes a "dark day."

E. The Bonkay species is also of little value. 2 )
"

[Edster]

Thanks, Stephen. I couldn't get access to an English version via Archive ,only German, nor from Libgen.

Interesting apparent parallels between kaskara and Ethiopian broad swords, but yet several major differences as I interpret the Ethiopian terminology. Any relevant images in the Princeton book?

The afrengi types must be with foreign (European) blades. The fly, lion, and half moon markings are German and must have been imported well before the 1905-10 period. I'm surprised that 4-line fullers were specified. German & local blades with line fullers on kaskara were three and none that I know of had 4. I few had five, but they were most likely locally made outliers as noted in the Fullers essay.

In the EAA forum, many examples of the full length Kar/Khor were thought to have been made in Ethiopia. Some with two fairly wide fullers with Amharic letters inside. Kassala makers apparently copied Ethiopian designs on this type.

Thanks for sharing,
Regards,
Ed

[Jim McDougall]

Ed, this thread is outstanding, as is the paper you are developing and sharing here. It is truly exciting to see such scholarship in thoroughly examining this sword form, and finally compiling some resolving data in understanding these historic swords.

In reading through this, I have attempted to work my way through my own disheveled notes over some years of research I had worked on with various persons including some great conversations with you.

I wanted to add what I can here, as well as bring in some thoughts/questions.

The earliest example of the sword we recognize as the 'kaskara' as noted with the Funj Sultan Nasir Mohammed (1762-69) is interesting, especially with this star and comet motif. I had thought this cosmological concept with comets had come from the Mahdist period and had to do with his coming (Nigmet al Mahdi) and noted the great comet of 1882. Clearly this sign was already well known in the Islamic Dogma in these regions much earlier.
Also, the cosmological theme seems highly favored in blade decoration (the moons in some later blades with linear groups (on some 'lohr' blades).
In the comet and stars pattern motif in these hilts, it seems like there is a buduh square but with dots, at least it is what it reminds me of.

It is interesting that as late as 1870s, when Burton was researching his 1884 "Book of the Sword" , he saw these swords as from the Danakil (Afar from Ethiopian regions). While he used the term kaskara for broadswords of the Baggara tribes to the west, he does not seem to associate them with the 'Danakil' swords (illustrated as exactly kaskara in form).

The Princeton (1910) work posted here shows these swords to be of the Tigre, a people of Eritrea and Sudan. Other references noting kaskara seem to consider these of these regions, such as the "Voyage to Abysssinae" Theophile Lefebvre (1845) which interestingly illustrates a DUAL SPHERE 'kaskara' type sword (from 'History and Antiquities of Darfur' H.C. Balfour Paul , Sudan Antiquities Pamplet, 1955).
It would seem that 'kaskara' were a broadsword which evolved, probably through Mamluk sword types (?) in Sennar regions early (1760s at least) and were diffused into Ethiopian, Eritrean regions accordingly.

The subject of the dual sphere pommel, I found noted ( "Mahdism and the Egyptian Sudan" F.R.Wingate . 1891, p.137) ….." a pommel of twin flattened hollow spheres filled with beans or small pebbles- common among mounted nobility in Darfur. During victory celebrations Mahdist cavalry charged toward surrendered troops at full gallop, with these swords drawn and shook them to frighten the prisoners".
This was concurred in "Ten Years in the Mahdist Camp 1882-92" by Father Joseph Ohrwalder (1892).

As previously noted from the French book of 1845 (Lefebvre) one of these dual pommel swords is drawn, and presumably of Ethiopian origin.

The illustrations are of the dual sphere pommel shown earlier in this thread.
Next an Ali Dinar period kaskara I have, note the crocodile hide, also the unusual marking at forte which has been thought perhaps to be the Kull death head as interpreted.

[stephen wood]

The Tigre people who Littmann was writing about live in what is now Eritrea and the Sudan rather than Ethiopia proper. They are related to the Beja and were governed by an Ethiopian official, seen here with members of the expedition.

[Edster]

Stephen,

I accessed an English version of the Princeton piece, p.204 f. Thanks.

Jim,

Thanks for your astute comments. I'd like to use your comments and reference to the pebbles in my Silver Dress update in process.

I think the apparent budah square on the Stars & Comets is actually a Dotted Square. It is the focal point of the cover. The dotted square is a ancient talismanic form described by L. D. Graham in his Repeat Letter Ciphers paper, p.e10, linked below.

https://www.academia.edu/1999297/In_Islamic_Talismans_Repeat-Letter_Ciphers_Representing_the_Greatest_Name_Rela te_to_an_Early_Prototype_of_the_Seven_Seals_and_ma y_Link_the_Seals_with_the_Pleiades

I have a note in my 1984 Kassala field notes that has a "cow's head" mark much like the one on your sword. It was attributed to a smith named Sammani who made the sword seen at the time of Ansari, the first Sudanese president (c. 1956). Sammani died c. 1979.

More from notes: The shaykh of the Blacksmiths, Musa Malit, said that in 1918 no one makes swords. They came from Europe & Ethiopia made by companies. People in the country only carried knives & spears. People bought swords from soldiers in Mussawa (these would have been Italians I think), Egypt & Turks. They traded their spears for swords after the Mahdiya.

On the walls were pictures of the Mahdi, Gordon, Sadiq al Mahdi (the Mahdi's son), Othman Digna and the Khalifa. This was in 1984, 100 years after the Mahdiya and the reconquest. History lasts a long time there. What did Faulkner say? "The past is never dead. It's not even past."

Regards,
Ed

[Jim McDougall]

Thank you so much for the kind words Ed, and I added these excerpts from my notes in hopes you could use them in your work, so I am honored they will be useful.
That is exciting to know the smith's name, and that this is a cows head. I sort of thought it might be that and recall even looking into the brands used by cattle herders in Kordofan (MacMillan I think was author c.1911).
Could the mark have been from earlier and taken up by Sammani, this sword seems a lot older than the mid 20th...…...as I mentioned it was supposed to be from time of Ali Dinar (but as he was killed in 1914 the 1918 end of making seems understandable).

I recall your notes on Kassala and that the figures from the time of Mahdi, Khalif and Omdurman were still prominent in 1980s and as you well say, the past never ceases. For me these weapons tell us it is still here and their stories remind us.

[Edster]

I've seen the cow's head on a blade submitted by at least one other forum member as well. That combined with yours and the one in Kassala suggests that the mark was used multiple times, and the punches were available to other smiths. Your cross-guard looks old and is a forge welded 4-piece unit. Certainly older than the "50s. Probably much older. Many Mahdi era blades had religious inscriptions scratched on them and is a pretty good indication of that period.

[Bill M]

Please comment on this? I should take some better images.

http://www.vikingsword.com/vb/showthread.php?t=435&highlight=Kaskara

[Edster]

Bill M,

That's a very nice Kaskara. The blade has a Kar/Khor type fuller and was likely forged in the Tigre (Muslim) region of what is now Eritrea. My informants in Kassala in 1984 attributed the Kar's likely origin to Ethiopia, although that type of fuller was done in Sudan as well. Actually, the larger Beja peoples roamed over the area between Kassala, Suwakin, Mussawa, Red Sea Hills for several hundred years. Lots of spill over in these low lands. Kassaka itself is just a few miles from the Ethiopian border.

Stephen Woods information from Post # 36, collected in Eritrea in 1905-06, above describes this blade/fuller "species" as:
"2. But if the Kar is carved with a broad line up to the
point, it is of little value; and it is the sword of the high-
waymen only."

The Arabic script engraving, lines along edges of the fuller and the silver grip cover would put it as above the "highwaymen only" quality. Translation of the text would enhance our understanding of its origin and possible date.

The etchings on the blade are interesting, but don't really tell me any tales.

The silver grip cover isn't like the two known styles: diamonds and stars & Comets/dotted cross and would likely originate outside Sudan. The cross-guard looks kaskara style, but I don't know how far into Eritrea/Ethiopia the style penetrated. Some may argue that the style even originated there as similar versions have appeared on ancient Ethiopian wall paintings.

Hopefully others will add their interpretations.

Regards,
Ed

[Iain]

The etching on the blade is consistent with a European trade blade, these were popular astral themes on European blades, the blade is very likely to be 18th century and I think the opposite of something for a highwayman. This is the problem with some of the native classifications, depending when they were compiled they may refer in some cases to locally made blades that were inferior but obviously don't cover very good imports like this one.

[Bill M]

The etching on the blade is consistent with a European trade blade, these were popular astral themes on European blades, the blade is very likely to be 18th century and I think the opposite of something for a highwayman. This is the problem with some of the native classifications, depending when they were compiled they may refer in some cases to locally made blades that were inferior but obviously don't cover very good imports like this one.


I appreciate your inputs, Iain and Edster. The blade, in hand, seems of good quality. Someone on another forum, thought it might have been a German import. There are some markings they thought relevant.

"Good quality" has to be relevant to the society as we know different techniques were made within the sociology/craftsmen of the makers.

A Tibetan sword "hairpin" pamor seems lesser quality to a Chinese sword, different than a Japanese sword, Moro kris, or Indonesian keris.

As noted with the date on the original post that it has been a time sense I have looked at it carefully. Please continue.

[stephen wood]

It's a very good one.

I think it's an imported blade with decoration done locally but not necessarily all at the same time. The Arabic script is very well done whereas some of the other motifs are scratched on, which I have come across before.

[Edster]

Stephen,

Local vs. foreign blade sources has often been a sticking point in kaskara attributions. Usually local smiths can produce a blade almost indistinguishable from munitions grade German work. I've wondered for a while if Blade Taper could be indicative of whether a kaskara type blade was forged locally or foreign. Bill M's blade has a slight taper throughout its length and then has a shallow "V" at the end and, as you say, would be indicative of foreign origin. I have four kaskara, locally made, that exhibit a steeper taper almost all the way to the end with a steeper point.

Both groups had files, etc. for final shaping of the blade. The difference may be related to the initial steel billet distributed to blade smiths before the forging process begins. European "put-out" systems would have had a more controlled system with more uniform billets that would yield uniform swords, made to contract specifications for length and width than what may have been available to Kassala smiths. Local forgers may have needed a more pronounced taper to achieve the target length with non-uniform billets.

Your thoughts?

Regards,
Ed

[Edster]

Hello All,

A revised and printable pdf version of the initial thread has been posted on the Ethnographic Arms & Armour Geographical Index, Africa along with similar enhanced versions of the Fullers and Cross-guards monographs. Here's the link:

http://www.vikingsword.com/ethsword/hunley/kaskara_silver_dress.pdf

The new version incorporates comments by Forum members and other materials including an enlarged Pommels section and a commentary on the "Dotted Cross" in relation to the Stars & Comets section.

Thanks to Forum members for their inputs, comments and the use of images from their collections.

Special thanks to Ian Greaves for editing and presenting my initial work suitable for Forum viewing.

Extra special thanks to Lee Jones for additional inputs and for editing and formatting the material into a printable pdf document.

Best regards,
Ed