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Old 3rd June 2011, 09:12 PM   #47
Jim McDougall
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Hi Ibrahiim,
I have been completely intrigued by your writing on this in what I consider absolutely superb scholarship in presenting theory and support concerning these variations of the Omani 'kattara'.
I have also added your excellent observation concerning the octagonal cross section in the hilts on many of the earlier examples to the itemized list of points in your earlier post as requested. I would like to note here that the domed pommel on these is remarkably similar to some minarets as seen in the Mosque of al-Hakim in Cairo (attachment below). One of the prevalent characteristics of hilt construction in many instances is compellingly associated with architectural features of these kinds of religious structures.
Regarding your note on the octagonal cross section, many minarets and elements of structure in mosques have eight sided features.

One of the most pleasing and rewarding aspects of our discourse on studying these swords is that it perfectly illustrates the importance of considering so many ancillary aspects in the way we look at them. With the sword obviously being a combat weapon, many would wonder what in the world would dancing amd music have to do with this? As you have well shown, the anthropology of these dance traditions, and in particular the rhythms with drums that accompany them, not only preserve these traditions, but have well served as martially oriented honing of skills in handling these weapons.

Much in the way that hunting often served not only the important purpose of supplying food, which kepts skills with weapons at optimum levels, these kinds of martial 'dances' were actually a kind of training exercise in my view.
Being familiar with the weight and balance of a weapon, and perfecting instinctively reactive movements using them seems of course well placed, and essential at combat skills. It has long been known how important music and accompanying movements have been since earliest times, even to the shamanistic rituals of prehistory. The rhythmic beat of drums and certain other instruments carrying melodic accompaniment certainly has dramatic impact in psychotropic perspective, as well as chants, singing, etc. and the link to the Omani funun you attached is fascinating.

As I mentioned earlier, it is I think most important to go sort of 'long form' is describing these weapons as we discuss them, although the seemingly more general term 'kattara' of course applies generally. I agree that the short battle sword likely was developed and maintained in the inland sectors of Oman. These regions were as previously mentioned, notably conservative and distinct adherents of the Ibadi sect of Islam, and which appears to have evolved just a short time after the death of the Prophet Mohammed in 632C.E. The Ibadiyya seems to have extended into Zanzibar and regions in East and North Africa

The development of these short battle swords are most likely as you suggest, developed from the Abbasid type swords, but the actual form as far as I have been able to find resources on, seems unclear. In "Islamic Swords and Swordsmiths", (the late Dr. Unsal Yucel, Istanbul, 1986.).. it is noted that no Abbasid hilts are known and he suggests they were probably closer in form to Mamluk/Syrian types of 14th c. (AD). He does note that some of the earliest Arab miniatures (c. 13th c. AD) reflect hilts having downturned quillons.

While trade contact with coastal regions in Muscat would have been prohibitive obviously for the tribal groups of interior Oman, as you note there were trade contacts in place into the Rub al Khali which connected to other parts of Arabia and Syria in network. With considerably more diverse external influences from many countries it would seem likely that the break from the more conservative weapon would take place in this context. The development of the cylindrical, sans quillons hilt it would seem to me would as you note probably be in accord with the Razha tradition as the longer unobstructed handle would lend well to the elaborate movements and catching the sword hilt.

The well established tradition of the blunt tip was from early times, where the thrust was not favored and chopping or slashing moves were used. The short heavy blade sabre forms you have described with the karabela style hilts and resembling cutlasses were of course more inclined to maritime use and the coastal trade regions in Muscat. These trade connections by sea to Yemen were likely how these were received as well as the manner the 'long kattara' form went to Yemen (as seem in Michaels post Arabian Swords 2009). It is indeed most interesting to see the vestiges of the interior (possibly we might designate these short battle swords of 'Nizwa' form?) style hilt on the example in the souk in Riyadh. I am not sure this represents a developmental form or a contemporary hybridization though. If more corroborating examples were found of course it would be more compelling. It is a captivating example and definitely worth following further though.
Seeing the old 'minaret' style pommel grafted to the collared and segmented shaft without the familiar drooping quillons is truly a tempting variation.

Regarding the leather covered examples of the 'shashka' type profile hilt which seem to be found with various blades, I think these are most likely Bedouin examples from varying contact tribes further into the Rub al Khali and along established routes. Through intertribal contact and trade these seem to be of a Bedouin type which extends throughout their territories throughout Arabia and into the Sinai regions.
The use of curved blades of course is favored as they are more pragmatically applied to mounted use.

This is truly a fascinating discussion Ibrahiim, and I hope we can keep looking more into these kattara, and your work is outstanding, Im truly learning a great deal here!!! and I thank you so much.

All the best,
Jim
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Last edited by Jim McDougall; 4th June 2011 at 03:49 AM.
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