I think Jens has brought up a very fascinating element of decoration on ethnographic weapons that is, as noted, seriously underresearched and seldom discussed in thier study. This would account for general lack of response on this topic, as the few resources available are extremely difficult to acquire and decidely vague as well as often conflicting in the data found.
I had wanted to respond to this post earlier, but must admit that I claim virtually no specific knowledge nor understanding of enamel decoration thus could not add to the discussion at the time.
It is important to say that one of the things key to Jens' posts is that he always presents magnificent examples of Indian edged weapons, and knows distinctly what questions need to be considered. Not only has he specialized in acquiring great examples but has tenaciously sought to discover the subtle meanings and reasons for the often breathtaking decoration found on them.
As I mentioned, upon reading this post initially I had not actually realized how little I knew about enamelling, but became fascinated when reading the brilliant discourse posted by both Jens and Brian on the subject and decided to try to find what I could here.
I found some helpful data in a book titled "Arts and Crafts of India" by Cooper & Gillow (London, 1996) and wanted to add some thoughts in observing the tulwar Jens has posted based on what information I reviewed.
The aspect noting the variation in the style and coloration of the enamels is interesting and as Jens has noted, may be associated with some auspicious or talismanic meaning applicable to the client or recipient of this piece. It seems that it would be incredibly difficult to assign this piece or its components to specific regions as when the Mughal Empire began its decline at the end of the 18th c. the craftsmen diffused to other princely states, especially Rajasthan. Also skilled enamellers were the Hindu Punjabis who went to Jaipur from Lahore, later adopting Sikhism. It should be noted that many of the enamellers noted as the most skilled in Pant were apparantly Sikhs.
The center at Jaipur is one key location noted, along with Nathdwara, bringing us to the block lettered inscription inside the pommel. I tend to agree with Tim, that this marking suggests that the weapon was made by an Indian craftsman possibly employed at a shop under British supervision, which were considerable during the Raj. This is further suggested by the Sansrit characters on the blade, indicating initials k,l,l (?) but I do not believe to be armoury related. By the latter 19th century, work was probably logged in such establishments and the shop initials probably were VJ (British assoc. further suggested by the ampersand reflecting many British firms cf. Bourne & sons etc. ..the letters copied and the ampersand inadvertantly included ), and the shop in Nathdwara.
It would seem that the green and blue (and I agreed with Brian in his thoughts of Lucknow) were prevalent in high quality enamelling, as the vitreous glazes vary in the fuzing temperature, with red being of the lowest. The white, and translucent glazes require the highest, thus opague forms probably suggest the most skilled craftsmen. As noted by Jens, such skills seem most likely in the north, where key Persian influence also effected enamelling ( one of the ancient enamelling practioners was Assyria).
I would consider the tulwar an extremely fine example probably produced in traditional hilt style by a firm in Rajasthan in the latter 19th century, and by craftsmen likely using techniques varying somewhat as comprehensively acquired. The blade may well have been produced locally by similar trade firm craftsman in the highly desirable chevron form reflecting the earlier examples. It seems early examples were pieced together and not necessarily suited for combat, with the symbolism being key to the blade.
I am not sure what to consider as far as the variations in coloring and the decoration overall vs. the underside of the pommel, but it may have to do with certain auspicious application. In the use of gems on decoration in India it seems that there are variations in external and internal (i.e.obverse and reverse) application. Possibly some subtle symbolism intended for very personal awareness? But then we need to get back to the ongoing search into the vastly encrypted secrets of the decoration of these weapons.
As usual...I too have posted an epic, but wanted to add some thoughts that may have some bearing on this fascinating topic.
Thank you Jens for posting this! I very much appreciate you and Brian taking the time to write in depth sharing the information on enamelling, its great to learn more on this very esoteric topic
!!
All the best,
Jim