Ottoman Yataghans were assembled from mass-produced blades coming largely from Anatolia and Balkans ( Bosnia, mainly). Wherever they landed, their further fate was to fall into the hands of a local master who added the rest according to his local customs, tastes and traditions. This step defined the final product. That was the similar to the fate of other trade blades, such as Genoese, Styrian or generic Indian. Depending on the point of their final destination, they could be converted into Moroccan nimchas, Caucasian shashkas, Afghani pulwars, Mughals, Rajputs etc.
What is still original here is the blade ( generic “ Ottoman”) but a typical Greek/ Cretan crenellated niello silver tunkou/ Habaki- like appliqué at the root of the blade. That is all we have and all we can use in determining the ethnic origin of the final product.
How do we interpret it depends on our discretion. We can take the “path of the least resistance” that was used by Gozde Yasar, for whom everything yataghanish was “Ottoman, period”, or try and discern local decorative peculiarities. The latter would point toward Crete.
Finally, we are dealing not with certainties, but with probabilities. In a humongous and multiethnic Ottoman Empire nothing prevented a master of one ethnicity from using decorative technique of other people. That was a “ dime a dozen” approach in Imperial Russia with its multiethnic workshops geographically located in Tiflis and Vladikavkaz and spitting out thousands of “Caucasian” shashkas and kindjals of whatever ethnic pattern sold better at that moment or even creation of “Caucasian” - looking examples in St. Peterburg or Ukraine.
Perhaps the most accurate definition of that yataghan would be “ Ottoman in a Cretan style”.
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