As noted by Teodor, there are certain issues in relying on artwork for investigation of historic arms, which I also mentioned in my post (#11) and as I had mentioned, a degree of caution using these resources is of course necessary.
I do believe that in many cases there is a good degree of reasonable accuracy prevalent, and as with any investigation, items or elements in question should be researched independently for corroborating evidence.
I think Ibrahiim has followed that approach well in seeking more evidence in other sources to discover just what type of weapons might have been used by the Zaporozhian Cossacks in the rather broadly described period suggested for that of Brandt's painting. I think perhaps the degree of license employed by Brandt might be revealed in knowing more about him, his nationality, and circumstances pertaining to him (the painting is dated c.1880).
As Ibrahiim has noted, the author Albert Seaton in his book "The Cossacks" has noted that the Zaporozhian Cossacks wore Turkish and Tatar dress and used these weapon forms, and puts that reference to c.1700.
I can recall being surprised many years ago in research which revealed that Zaporozhian Cossacks were exceptional among Cossack hosts as they DIDN'T wear shashkas. I do not recall further details, but am grateful that Ibrahiim found this information and cited the source...as always good to recheck notes!
Here is where the most exciting part of our shared interest here comes in, and what is often referred to as 'historic detection'.
In looking at this painting, the lead figure in these images of Zaporozhian Cossacks, said to be of late 16th-17th c. , is clearly wearing a shashka.
This is instantly recognized as anomalous as (1) it is typically held that the shashka was not a favored weapon among these Cossacks, and (2) the timeline of these sabres seems to date much later than the period represented in the painting.
Certainly the most obvious answer to this curious detail is, the artist in rendering his painting in 1880 (s) was likely familiar with the shashka, which was broadly associated with 'Cossacks' and presumed this 'key' weapon at the forefront would instantly identify the figures as such.
While such art works are not of course completed in 'real time', the accuracy must always be suspect, but still we wish to determine the validity of the elements represented. So we ask, 'could a Zaporozhian Cossack have been using a shashka?'
We must consider that this host of Cossacks was effectively dissolved and assimilated into other groups and regions under Russian influence in the 18th c.
Since the timeline for the painting is set in the 17th century, or largely so, the question set forth by Ibrahiim on the timeline of the shashka, as a weapon form, is well placed. We know that most examples of this guardless sabre seem to be of early 19th century, some perhaps into 18th, as far as surviving examples and primarily in Caucasian regions. While examples of this 'type' of sabre seem to occur in other regions as well, mostly Central Asian but apparently even wider into even Bulgaria (?) and others, the timeline is far from clear. What we do know is that the shashka was well known in the 19th century, and had become predominantly associated with Cossacks, especially of course, those in Russian service.
These things considered, probably the most important to remember would be that these early Cossack hosts were widely diversified as to their ethnic components. This is key as they of course favored and used their own types of arms. They are also, like most relatively unregulated groups (as far as 'uniformity' ) prone to use weapons obtained through many means. There were no dress codes nor uniform patterns for arms for Cossacks (aside obviously from later when they became Russian army units) much as there were none for auxiliary units like 'Pandours' etc. in European armies.
Therefore I would presume that in the painting by Brandt, it is most likely that artists license prevailed, and the shashka was quite possibly placed in a key location to emphasize or distinguish these as 'Cossacks'. It seems that Rembrandt used weaponry distinctively in some cases (as in the 'Night Watch') as well as fancifully (as the keris in the painting of Samson and Delilah).
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