[Ibrahiim al Balooshi]

Originally Posted by Jim McDougall

After posting the notes from the article by Stephen Markel, and seeing that apparently in degree, floral motif was used as a dynastic leitmotif by the Mughals, from the time of Shah Jahan onward, it seems that aesthetics also were largely in play.

While Persian poetry and art as well as of course many cultural factors were prevalent in Mughal courts, it seems well established that European influence was also well known and apparently from the 'herbals' of 16thc among such influences. In the attached article from the British Museum,
"Mughal Flower Studies and Their European Inspiration" by J.P.Losty, these cases are discussed, providing insight into aspects of these influences.

It is noted that while the herbals from Europe were primarily from a botanical, rather than aesthetic point of view, it does seem that a certain degree of the character of the illustrations did become notable in Mughal art.
One reference is to the "DARA SHIKOH ALBUM" which is cited as one of the most important artifacts in the museum library.
Dara Shikoh was Shah Jahan's eldest and favorite son (1615-58) who compiled these floral references.
Included is an illustration (attached) of a prince in Persian costume by the 'mysterious' artist Muhammed Khan noted as possibly from the Deccan and engaged by Dara Shikoh when the Emperors court was in Burhanpur in 1630-32.

The arrangement in the vase appears taken somewhat from an Antwerp publication of c1590 (attached) reflecting this influence.

While these references pertain the art in paintings, they were of course the source for floral images which would occur on the hilts of weapons. In the case of the Mughal interpretation, the mix and match assortment of such floral arrangements were not suitable for such motif, however individual flower images were selected and became studies for decoration.

Again, the focus here is on the Mughal decorative motif may be regarded as prevalent on tulwars as they are of course known mostly in that context, it is more difficult to relegate such motifs to Rajput, Sikh and other situations.

I hope this will offer some insight and ideas toward further research on this topic. Please see the attached link below to the full article I noted by Mr. Losty.

Salaams Jim, I have discovered a remarkable painting in a collection of miniatures put together for the somewhat mystic son Dara Shikoh for his wife but that collection was partly painted over in gold hiding his work / involvement (he was a master of calligraphy) done by members of the Royal Court probably of Aurangazeb who had him executed after he, Dara, had lost a key battle with Aurangazeb... for the throne.

What I find intriguing is that the floral style in these flowers in the largest picture below is exactly the same as those for the work on the Tulvar Hilt floral decoration...

There is always a possible link in the hypothesis of some form of mystical tie up with the concept of decoration in the Tulvar and some hidden secret concerning the sword...it's possible proximity/relationship to the name Tulvar and floral image...Tul means flower as does Pul...Thus Tulvar and Pulouar...After all; Dara Shikoh even tried to consider a joint Hindu Arabic link in the two language forms as well as a host of other mystical cult experiences. Could his incredible collection of art work be related to the designs on Tulvar Hilts? See the floral work below from The "DARA SHIKOH ALBUM"

See https://www.theguardian.com/environm...ry-in-pictures

Regards,
Ibrahiim al Balooshi.