Possible date attribution for Persian shield
 

Attached photo's are of a parade shield with a rolled rim. You see this type of shield with a brass edge that is riveted on and also with the rolled steel rim. In my minds eye the rolled steel rim the mark of a slightly better made armour.

This shield also has a chiseled floral decoration and is further embelished with gold and silver koftgari, also has silver sheet overlay on the calligraphy only.

Moser Collection Persian Bowl dated 1838
 

Here is a Persian bowl in the Moser Collection that is dated 1838

Section from shield with similar design
 

Here is a Section from the shield with similar design element.

Comparison
 

From a comparison of the oval shape left in the floral design from the absence of being completely filled in with gold overlay, seems these two examples of metalwork are from the same time period and area.

To me this is compelling evidence that this is a Persian shield dating to the second quarter this the 19th century during the reign of Faht Ali Shah.

rand

Older is Better Generality
 

When one is trying to determine the age of Islamic arms there is a generalism of the better the craftsmanship the old the object is. But this is something that is not written in stone, there are exceptions in levels of craftsmenship both in single pieces and also during reigns.

In Persian art the Safavid period (1502-1722) is considered a time of high levels of quality craftsmanship coupled with strong support of artisens from the ruling class.

During the following Qajar Dynasty (1781-1925), the Period of Faht Ali Shah's rule, (1797-1834) also seems to have a resurgence in the level of craftsmanship. There is even the rebirth of earlier designs- patterns, possibly reaching to bring back the glory from their history.

The Persian culture has a long history that shows their appreciation of metalwork. The book "Persian Steel", The Tanavoli Collection, by James Allan shows many examples of every day use articles made from embellished steel. Just point this out because the Persian culture in particular seems to have an afinity for articles made from steel.

rand

Outstanding observations Rand! and a great approach in the understanding of fine Islamic pieces. What you have pointed out is extremely helpful in trying to estimate period and regional affinities by comparison of motif with provenanced material culture and art from associated regions.

Going further, it is fascinating to discover the symbolism often imbued beyond the decorative motif. It seems that often certain botanicals carry key symbolism that may represent not only religious but sometimes traditional or political themes. There is always more to art than meets the eye, as seen popularly in the book and movie, "The DaVinci Code", and while somewhat fanciful and embellished, this illustrates the concept quite well. Even in the artwork in certain temples, some of the themes are believed to carry concealed messages recognizable only to those well versed in the deep esoterica associated with the culture there.

I think one of the best references that discusses this approach in the study of the art in weaponry is "Hindu Arms and Ritual" by Robert Elgood. Though most of the references well known discussing Islamic weapons are typically great for understanding typology, it has seemed to me that they often do not go deeply enough into this concept in understanding the symbolism. While this reference is obviously on Hindu arms, the concept itself is beautifully described by Dr. Elgood.

Thank you for sharing the beautiful example, and the great observations!

All the best,
Jim

Hey Jim,

The floral motifs used in an arms decoration have always held an interest to me. It may be that just as States in the USA all have state flowers the same analogy may hold to different regions in the world in times past. For example the Tulip to Turkey and the Rose to the Caucasus, the intrinsic power of that iconic image is likely under valued.

Elgood is certainly in my minds eye the premiere current author on Islamic arms because of his thorough research and use of multi references to explain his reason for time period and origen. He has made a few mistakes in earlier volumes, the door boss's that were throrized as bucklers in "Islamic Arms and Armor" is one I am sure he would like to be able to rewrite. But it just show that a book is in reality an authors theory and it needs to hold up to criticism over time to really become valid. All to often we see something published with little thought or thorough research.


rand

Hi Rand,
Beautiful shield, but then you know that, or you would not have bought it:).
Interesting what you write about the floral decoration, as I have been working on the subject for years, and am of the same opinion that you are.
It is, however a hard and stony way to walk, although there, now and again, are pieces of information to be found, often when looking at textiles.
Jens

Hi Jens,

Would be very interested in your opinion of what any of the flowers in this shield are and also if you think of a region that may suggest.


rand

Scale-like decoration around calligraphy
 

This photo show a section of the calligraphy on the perimeter of this shield. What interests me is the unusual fish scale like incised decoration around the writing inside the cartouche.

rand

Hi Rand,

Sorry for the late response. It is always difficult to recognise flowers cut in steel, first it can have been difficult for the artist to show the flower in its correct form, and second we must consider the possibility of artistic freedom, which could change the look of the flower considerably. When you look at floral decoration, you should also take an interest in the leaves, as they would have been easier to make, and therefore more like in nature, and I don’t think the artist would use a lot of his ‘freedom’ to change the leaves – but one can never know. There are at least three different flowers on your shield, and one could be a rose, but I am not quite sure.

The scales around the inscription are strange, and have, maybe, only been made for decorative reasons. In some places in India the fish is holy, and there they could have used a scaled decoration, but I don’t know if it was holy anywhere in Persia.

Jens

Then we must also wonder if the scales represented might be reptilian . :shrug: :)

It sure is good to have you back Rick!!!

Reptilian? ahah! very astute :) Nagan associations perhaps? Excellent thought. I was thinking about the fish as Jens had described as I was pondering the great detail he was referring to with the floral motif, and hadn't thought of the snake.
While the fish is indeed important in varying degree in many Indian cultures, I'm not aware of the Persian application, but I feel relatively certain the snake has important symbolism in Persia as well.

Whatever the case, it provides a most attractive field in the motif, and I'm glad Rand posted it here!

All the best,
Jim

Hey Jens,

Very much like your insight for using the leaves of the foliage as an important ingrediant in the recipe for identifying flowers because of their more likely true to form concept. The rose would have also been my guess for the flowers in the central section of the shield, but I more associate the rose with Persia than India, that was one of my original reasons for the shield Persian.

What may be something to consider is the gradual accumulation of line drawing motifs used on arms decoration to form a gradual timeline of both style and decoration. For example it seems the Chinese influence on Islamic arms is greatest during the late 15th and 16th century as that is where you first see the Chinese cloud motif and other very dstinctive floral designs transitions and these would be very apparent when comparing designs.

Your take on the possible association of the fish scale uniquely to India as a holy motif is very intrigueing because I had thought this more likely a Persian shield, now my eyes are open to the now seemingly more likely origen as India. It seems now that getting a translation of the inscription is the next step to see if there is anything else also possibly unique to India as that would certainly make that attribution very solid for this shield.

Thanks Jens,

rand

Hi Rand,
Another thing which you must remember is, that they often show a flower from the front, and from the back - which now and again makes it look like quite another flower. Yes the Indians used the rose for decoration, poppy, chrysanthemum Indicum, sword lilly and many others.
Jens

Hey Rick,

Am very open to all opinions as it is my strong belief that any theor has to be proven over the scrutiny of time. Do you know of any fish scale examples used in Persian or Indian art?

These scale designs when used inside the calligraphy cartouche may become one of the characteristics associating it with the 19th century in Islamic metalwork. Its was just very surprising and exiting to see it for the first time.

Thanks for your suggestion,
rand

Rand,
Just wanted to say I am very much enjoying examining this shield, and appreciate you sharing the subtleties in the overall piece in noting and supporting your thoughts on why it is Persian. It is great to have an example like this to learn from , and adding detailed comments really helps us understand key characteristics for future reference.
It is this kind of discussion, analysis and supported observations that really make our studies worthwhile.
Although we have not yet arrived conclusively at the nature of all the motif elements, it seems we're on the right trail, and its great seeing the observations everyone here is sharing.
Thank you !

All the best,
Jim

Hi Jens,
It seems I remember one hilt we discussed where the front of the flower appeared on one side of the surface, and the rear view of the flower was shown on the obverse. What incredible art and craftsmanship!!

All the best,
Jim

Hey Jim,

Thanks for the kind words,

Am just very appreciative for everyones feedback, added information and opinions....

rand