From Aylward, ("The Smallsword in England", 1945, p.57):
"...at the very opposite pole to brass hilts are the most beautiful ones commonly known as 'Tonquinese' . Made originally in the Far East between 1710 and 1750 to the order of the Dutch East India Company, it would seem that the ascription of the work to Tonquinese artists is hardly correct, for while Dampier , for instance, in his 'Voyages', describes all the then manufacturers of Tonquin most closely, he says nothing at all about swords being made there, and it is a historical fact that the Dutch withdrew their factory from Tonquin in 1707. It is most likely that these weapons were first made for the Dutch factory in Pekin, and it is known that, afterwards, the Company brought over some Chinese workmen to Europe, who produced in Amsterdam hilts of similar character which were fitted with blades made in Holland and Solingen".
While this excerpt clearly is from much later than the subject of the painting and sword of our discussion, and is regarding small sword hilts, it does illustrate the presence of the VOC in both Tonkin (North Vietnam) and China in the 17th century as well as the importation of Chinese artisans to Europe.
I would point out here that Cochin, when referred to in Dutch context, seems to refer to the Malabar coast of India, not Viet Nam (indeed normally termed Cochin in the south). The southern or Cochin part of Vietnam was termed 'Quinam' by the Dutch, and was primarily a French concern.
Dutch VOC trading posts were in Hoi An and Pho Hien in northern Viet Nam or Tonkin.
Having noted the Tonkin/Cochin aspects and European use of Chinese artisans brought into Europe, I would like to return to the distinct (in my opinion) Siamese character of the sword in this painting, regardless of artist, which is clearly Dutch and of first half of 17th c.
It seems that the VOC was well established in the Kingdom of Ayuttlaya (Siam) through the 17th c. from about 1608, though trading posts were somewhat intermittently open.
That the aspects of foreign artisans and makers brought into Europe seem to have focused more on fashioning hilts of European style, while applying Oriental or Asian motifs and decorative techniques (such as shakudo or Tonquinese), it seems that the sword in question would more likely be a dha from Siam and as traditionally produced there. As throughout the 17th century, the Dutch sent various embassies to Siam with these trading posts, certainly these weapons may have been obtained either diplomatically or as souveniers by VOC.
I think that the painting, regardless if attributed to Bol or not, is of the Dutch masters style of the first half of the 17th century, and depicts an individual holding what appears to be a Siamese dha in characteristic high relief silvered motif seen traditionally on these type swords. Given the significant presence of the VOC in Siam as noted, and other items brought back to Holland by VOC factors, it seems likely this sword became a prop among others used by Rembrandt and others in his circle using this convention in their work.
|