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Originally Posted by Ren Ren
I also noticed some similarities between this sword and Vietnamese items.
A significant part of the Cham people in Vietnam are Muslims. But I have never seen items from Vietnam decorated with Arabic graphics.
I know that the Chams kept in touch with the language-related Muslims of the Malay Peninsula. Perhaps it is worth looking in the sultanates of the Malay Federation? It has very strong Muslim traditions and has a long history of home to many Chinese artisans.
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Good observation as re physical characteristics. The guard reminds me of an abbreviated version of the full knucklebow as seen on later (Nguyen Dynasty) sabers. Same for the scabbard profile, the tiny loose-ring for carrying mounted on the throat fitting (instead of on a separate band or sleeve as with most saber scabbards from other cultures including Chinese), and the flame motif on the chape. However, on Vietnamese officials' regalia sabers, the flames mostly appear on the dorsal side of the throat and suspension fittings; their location on the chape must be quite an impediment to wearing the saber at the belt since the little prongs can easily catch on clothing, or whatever.
The Cham people have an interesting history. Immigrating from south India early in the medieval period, establishing a flourishing civilization based on piracy and trade in central and southern Vietnam, introducing a Sanskrit based writing system to the area thanks to their Hindu faith, leaving behind some impressive architectural and sculptural achievements, and finally being conquered and (largely) dispersed through conquest by the Vietnamese in the 15th cent. Their islamicization seems to have occurred post-conquest. The remaining Cham in Vietnam are a minority which is rural and Muslim.
This saber could well be from the Cham community, in a locality somewhere in "Indochina" or Malaya because of the inscriptions and the design of the mountings. There is quite a spillover of influences in arms design in the traditional weaponry between the various parts of mainland SE Asia (not to mention foreign stylistic elements from China, Japan, and France) so trying to separate the sheep from the goats can end up being quite an exercise.