Sinhala / Sri Lankan Swords?

[Ibrahiim al Balooshi]

Salaams all ~ PLEASE SEE http://www.michaelbackmanltd.com/1407.html Michael Backman antiques shows photos of a sold KASTANE of exceptional quality.. but wrongly attributed as a lion head..Its a Makara !! Otherwise the description is accurate... and well produced by Michael as usual.

See http://www.youtube.com/watch?v=HH__TFpU2SA for a very nice Kastane which I believe is now in a Sri Lankan Museum.

I should like to address the Makara situation since dating its decorative style may point toward a start date of the Kastane. I will show that the Makara is a revered, mystical creature that is ingrained in Buddhist and Hindu ritual beliefs. The question of the other beasts (Nagas ~ snake like serpent Gods and a human / crocodile form) emanating apparently from the mouth of the Makara on the Kastane Hilt is also described here.


Without putting too fine a point on this " The fact the Hindu structure alone stretches back about 4,000 years, therefore, you may agree, puts some tension on the Kastane being 15th or 16th Century Portuguese, though, it may yet be so.

Some of the descriptions below are shown in pictures I have posted previously...see above posts.

The Makara.

Typically Makara are displayed disgorging other beasts (usually Nagas ~ snake like serpents) e.g. On corner of a lintel on one of the towers surrounding the central pyramid at Bakong, Roluos, Cambodia. They also appear on the Kastane Hilt.

Its symbolic representation in the form of a Makara head at the corner of temple roofs is as water element which also functions as a "rainwater spout or gargoyle". It is also seen as water spouts at the source of springs. The artistic carving in stone is in the form of identical pair of Makaras flanked by two nagas (Snake Gods) along with a crown of Garuda, which is called the Kirthimukha face. Therefor the two are commonly seen together and in ancient settings.

Such depictions are also seen at the entrance of wooden doorways as the top arch and also as a Torana (Entrance)behind Buddha’s images.

The Newa art of Nepal uses this depiction extensively. In Newar architecture, its depiction is; "as guardian of gateways, the Makara image appears on the curved prongs of the vast crossed-vajra that encompasses the four gateways of the two-dimensional mandala. Of the three dimensional-mandala this crossed-vajra supports the whole structure of the mandala palace symbolizing the immovable stability of the vajra-ground on which it stands."

Makaras are also a characteristic motif of the religious Khmer architecture of the Angkor region of Cambodia which was the capital of the Khmer Empire.

They are usually part of the decorative carving on a lintel, tympanum, or wall. Makaras are usually depicted with other (various and miscellaneous) symbolic animals, such as a lion, naga or serpent, emerging from its gaping open mouth.

Makara are a central design motif in the beautiful lintels of the Roluos group of temples: Preah Ko, Bakong, and Lolei. At Banteay Srei, carvings of Makaras disgorging other monsters were installed on many of the buildings' corners.

Occasionally I see human form similar to the carving on the bows of sailing ships (on the knuckle guard of the Kastane) though this may be coincidental but I have yet to crack the reason for this I will do in a minute !!..It could be that or another beast style in the human form? Anyway the Makara appears to spew out these Naga mini beasts and others in several depictions... and as seen on pictures at my above posts.

Makara (Sanskrit: मकर) is a sea-creature in Hindu mythology. It is generally depicted as half terrestrial animal (in the frontal part in animal forms of elephant or crocodile or stag, or deer) and in hind part as aquatic animal, in the tail part, as a fish tail or also as seal. Sometimes, even a peacock tail is depicted.

It is the Vahana (vehicle) of the Ganga - the goddess of river Ganges (Ganga) and the sea god Varuna. It is also the insignia of the love god Kamadeva. Kamadeva is also known as Makaradhvaja (on whose flag a Makara is depicted).

The Makara is the astrological sign of Capricorn, one of the twelve symbols of the Zodiac.(absorbed into Hindu/Buddhist doctrines from the Ancient Greek Zodiac and in the case of Capricorn modified with their own version.. "The Makara".) It is often portrayed protecting entryways to Hindu and Buddhist temples.

It is symbolized in ornaments are also in popular use as wedding gifts for bridal decoration. The Hindu Preserver-god Vishnu is also shown wearing Makara-shaped earrings called Makarakundalas. The Sun God Surya and the Mother Goddess Chandi are also sometimes described as being adorned with Makarakundalas.


There is a Row of Makara in base of Chennakesava Temple at Belur, Karnataka

In Hindu iconography, Makara is represented as the Vahana (‘vehicle’) of Ganga, the river goddess. A row of Makara may run along the wall of a Hindu temple, or form the hand rail of a staircase.

The leading Hindu temple architect and builder Ganapati Sthapati describes Makara as a mythical animal with the body of a fish, trunk of an elephant, feet of a lion, eyes of a monkey, ears of a pig, and the tail of a peacock.

A more succinct explanation is provided: "An ancient mythological symbol, the hybrid creature is formed from a number of animals such that collectively possess the nature of a crocodile. It has the lower jaw of a crocodile, the snout or trunk of an elephant, the tusks and ears of a wild boar, the darting eyes of a monkey, the scales and the flexible body of a fish, and the swirling tailing feathers of a peacock."

Traditionally, a Makara is considered to be an aquatic mythical creature. Makara has been depicted typically as half animal half fish. Some traditional accounts identify it with a crocodile, specifically Gharial because of its long extended snout. It is depicted with the forequarters of an elephant and the hindquarters as a fish tail. Crocodile was also a form which was used in the earlier days which was shown with human body.

So could this be one of the beasts in human form seen occasionally spewed onto the knuckle guard of the Kastana ? see picture above. The other beasts emanating from its open jaws being miniature Makara and Nagas.

A Row of Makara decorate the base of Chennakesava Temple at Belur, Karnataka. In many temples, the depiction is in the form of half fish or seal with head of an elephant. It is also shown with head and jaws resembling a crocodile, an elephant trunk with scales of fish and a peacock tail. Other accounts identify it with Gangetic Dolphin having striking resemblances with the latter, now found mainly in Vikramshila Gangetic Dolphin Sanctuary. Others portray it as a fish body with an elephant's head. The tradition identifies the makara with water, the source of all existence and fertility.

In the medieval era of South India, Makara was shown as a fifth stage of development, symbolized in the form of an elephant head and body with an elaborately foliated fish tail. Most myths maintain this symbolism of this stage in the evolution of life.

The Makara Thoranam above the door of the to Garbhagriha of Chennakesava Temple at Belur. Two makaras are shown on either end of the arch.
In a Hindu temple, the Makara often serves as the structural bookends of a thoranam or archway around a deity. The arch emerges up from the jaws of one Makara, rises to its peak, the Kirtimukha (the ‘Face of Glory'), and descends into the gaping jaws of another Makara. Varuna is also depicted as a white man sitting on the monster makara. As a marine monster, it is also shown with the head and legs of an antelope, and the body and tail of a fish.

A Makara made in iron shows the monster in the form of half stag and half fish.These elements are variously joined to form one of the most common recurring themes in Indian temple iconography. In Indian art, the Makara finds expression in the form of many motifs, and has been portrayed in different styles. Makara figures are placed on the entry points (Toranas) of several Buddhist monuments, including the stupa of Sanchi, a world heritage site. It is found guarding the entrances to royal thrones.

In the Tibetan Buddhist format it evolved from the Indian form of Makara. However, it is different in some ways such as, "display of lions fore paws, a horse’s mane, the gills and tendrils of a fish, and the horns of a deer or dragon. From its once simple feathered fishtail it now emerges as a complex spiraling pattern known as Makara-tail design (Sanskritmakaraketu)".

In Tibetan iconography, it is depicted in the Vajrayana weaponry of strength and tenacity which is the hall mark of crocodiles, since crocodiles hold on its hapless victim in nothing but death. The Vajrayan weapons which have crocodile symbolism are; axe, iron hook, curved knife, Vajra, ritual dragon in all of which the theme is "emergence from the open mouth of Makara".

In conclusion it can be seen that the Makara is the ancient Sri Lankan and neighboring Buddhist and Hindu regional form from which the design is taken in Sri Lanka for the Kastane Hilt. The question of the additional beasts are explained as serpent or snakelike gods usually spewing from the Makaras open jaws and the appearance of a strange human like figure which is clearly the early human crocodile form explained above. (in red for easy reference) and often seen on the Kastane Knuckleguard.

Looking ahead; the question emerges ~ Is the Makara a Sri Lankan design or was it taken from a Sri Lankan design by the Portuguese and put onto a Sword? I cannot imagine the latter. In my view the hilt is Sri Lankan and taken from their historical design. The Makara; Common all over their iconic religious format in architecture et al. I see no evidence of a Portuguese design... yet.
The existence of a Portuguese word for stick (Castao) is interesting but may only be coincidental. After all Kastane is closer to Kattara than Castao but I'm not examining the "whats is a word conundrum here"...Sri Lankan word strings are long and complicated enough as it is !!
In my next article I hope to shed some light on the situation in Sri Lanka before and during the period leading up to Portuguese partial takeover... looking at the splintered kingdoms and their mode of craftsmanship and how the Kastane may have developed.

Feel free to join in ....all.

Regards,
Ibrahiim al Balooshi.

[Ibrahiim al Balooshi]

Note to library ~ Pictures of two different styles of Kastane hilt both Makara.

[Jens Nordlunde]

This book is not about the Sri Lanka flag, but maybe it will bring some understanding to what happened in the earlier times between India and the countries in that area.
R.C.Majumdar: Suvarnadvipa. Hindu Colonies of the Far East, vol. I-II.

[Ibrahiim al Balooshi]

Salaams All ~

''Makara'' is a Sanskrit word which means "sea dragon" or "water-monster" and in Tibetan language it is called the "chu-srin", and also denotes a hybrid creature. It is the origin of the word for crocodile 'mugger' (मगर) in Hindi. The English word 'mugger' evolved meaning one who sneaks up and attacks another. The name is applied to the Mugger crocodile, the most common crocodile in India, and is descriptive of its aggressive feeding behavior.

It would seem that in all respects the Makara Hilt was ideal for incorporation onto the Kastane sword. It achieves honorific almost heraldic importance reflecting ancient religious artefacts, beliefs, architecture and recognition as a mythological fabulous creature.

For those reasons I find myself fighting the corner marked Home Grown Weapon. "The Kastane".

What I cannot see is a window through which this icon suddenly appears as a Portuguese, Dutch or British incorporation onto a Sri Lankan sword design. Portuguese swords were Portuguese, in design and inscription but the Kastane is not in that orchestra. Later the Dutch seem to have hijacked the blade and marked variants sporting the VOC marks are common but although books aspire to explain that EIC marks exist; I admit to seeing none as yet.

Anyway it is perhaps irrelevant since we are not that interested in the 3 invading ownership periods, rather, we need to get at the earlier known dealings i.e. between the Portuguese and Sri Lankan kingdoms of the Karava and Kandyans and in the build up before actual Portuguese dominance. Once the entire Island was taken over and ruled by the Dutch then the British the vagaries of outside dominance appear to shroud the Kastane story in thick impenetrable clouds.

The entire muddled load of brass copies appearing in Europe via Egypt (I assume Suez if indeed they were produced in Sri Lanka) in the 18th/ 19thC thence to Algeria and Morocco and beyond as Belly dancing swords needs to be ring fenced as irrelevant cheap castings. More than likely they were created in brass molding works throughout Europe also. It appears that they were refitted or made with the hilt reversed and the blades were never sharpened as to balance better on the performers head !

The weapon needs to be viewed in context with its use within the different kingdoms at the time the Portuguese assumed part control thus;

Part 1 will cover the Kandyan Kingdom 1593-1815.
Part 2 at my next post will deal with the Karava (The Sri Lankan fighting class) Kingdom.

The notes below are mostly quotations rearranged and paragraphed for easier handling and meant as Library records in the advent of further research etc... However, almost as a conclusion to the following extracts I consider that the Kandyan Kingdom was well placed through its established Royal Workshops to turn out all the requirements for the Kastane using locally employed artisans.

What needs to be understood about the Kandyan kingdom is that they were never taken over by the Portuguese. They fought many wars and skirmishes with each other but the Kandyan Dynasty never succumbed.

It would seem likely that the Kastane if it was made in the Kandyan Royal and other workshops would have enjoyed a degree of freedom ... to wear in public and as a secondary fighting dagger, short sword/and or for wearing at court.

Some further work is needed to view the restriction on such weapons being displayed during this dynasty's time span; The question "Could Kandyans wear swords during the time of Kandyan kings"? appears as "They could not". Even the highest Adigars could only wear a short knife as part of their ceremonial dress. Did the Kastane then adopt or "morph" into a short blade dagger?

Regards,
Ibrahiim al Balooshi.


Notes; Quote "Arts and Crafts in the Kandyan Kingdom
by ANURDHA SENEVIRATNA
Monday, 30 March 2009
Speaking of arts and crafts during the Kandyan period which is considered the time between 1593-1815 with Kandy as the Capital we notice several aspects of art and crafts. From Architectural point of view Buddhist temples and deistic shrines built during this period occupies a prominent place. They include monuments such as Len Vihara, Tampita Vihara and Ambalamas.

The Buddhist physician, John Davy, writing an “Account of the Interior of Ceylon” (1821:104-105) described the royal palace of the last Kings of Kandy. He gives us a long list of official attached to the place. Among them were, the officers in charge of music, Dance and handicrafts. The Ran Avuda Maduwe Lekam Mahattaya was the Secretary of the Golden Arms. The Avudage Vannaku Nilame was the officer in charge of the Armoury. The Netum illangame Muhandiram Nilame was in charge of the Department of Dance. The Kavikara Maduwe Muhandiram was in charge of the court of Musicians. The Wahala Ilangame Muhandiram Nilame was in charge of the Royal Dance Ensemble. The Tamboru Purampattukara Muhandiram Nilame was in charge of the musicians who played the Tamboru and Trumpet.

The most skilled craftsmen in the country were selected from among several thousand workers and were raised to the rank of Royal craftsmen. They were attached to the royal palace itself. These masters craftsmen worked within four workshops called the Pattal Hatara: (1) Abharana Pattale (the workshops of the jewelers); (2) Rankadu Pattale (the work shop of the craftsmen engaged in making golden swords); (3) Sinhasana Pattale (the work shop of the craftsmen engaged in making the royal throne which included painters and ivory carvers) and (4) the Otunu Pattale (consisted of craftsmen engaged n making the Royal Crown). The chief of the work shop was called the Mulachari and he was in attendance at the Royal place.

Each Department or Workshop was in charge of a Kankanama or a supervisor, sometimes called a Muhandiram or Hangediya according to the type of craft. It was considered a high honour and prestige for an artist at the time to achieve this distinction. He not only enjoyed prestige but also royal privileges such as land grants and royal titles. The status of the artist was something that the kings had honoured from the remote past.

There were also 14 offices in charge of Baddas (Departments). They were organized on a caste basis to perform certain duties to the palace, such as supplying clothes, pots, mats and various other necessities. During the time of the Kandyan Kingdom, there were two such Departments, one for the Kandyan areas and the other for the Low Country areas.

Besides the functions attached to the royal palace these craftsmen were also organized under the district administration headed by a chieftain called the Dissave. The artists and the craftsmen received patronage from the king himself who represented the central administration; the Disave at the district level; the lay chiefs if the temples of gods (devale) known as the Basnayake Nilames and the Buddhist temple (viharas)headed by the Diawadana Nilame of the Temple of the Sacred Tooth Relic in the Kandy.

While government administration supported various categories of artists and craftsmen by means of land grants and other rewards for their services to the royal place, and to the chiefs of the districts, the viharas and devales also gave patronage to the artists and the craftsmen for the services performed for these places of worship included, the painters, sculptors, drummers, and dancers as well as other craftsmen such as the blacksmiths, the silversmiths and the goldsmiths.

The various artists and craftsmen organized into a caste system in the Kandyan period acquired certain flexibilities. These caste group were attached to state department called Kottal Badda (The Department of Artificers) who were dawn from Nawandanna caste (families of craftsmen). They inter – married with the South Indian craftsmen who had settled in the Kandyan Kingdom. They were divided into two groups known s Achari (the metal workers) and Waduwo (wood/stone workers). Still later, they were sub-divided into several castes such s Achari (black smith), Badallu (gold and silver smith) Waduwo (Carpenters), Galwaduwo (Stone cutters), Hitaru (Painters), and Lokurovo (brass founder), etc. The gold and silver smiths, the painters, ivory carves and brass workers were known as Gamladdo or Galladdo and were regarded s the highest rank. As the name suggests they ere people who enjoyed royal lands granted to them.

In return these craftsmen supplied various items such as Chunm boxes, Arecanut cutters, Bill-hooks, and Coconut scrapers, to the Rajakeeya Gabadawa (the Royal Stores).

There is ample evidence available as to show these artists and the craftsmen were looked after by these organizations. This information is found in Sannas (copper plate grants) given by the king himself and on ola leave (tudapat, sittu and panivida panata) given by the district chiefs. The Medawala copper plate grant given by King Kirti Sri Rajasinha of Kandy (1755 A.D.) records the benefit received by the Buddhist Vihara at Madawela. This pious king, who heard of the negligence of the Viharaya, had rebuilt an image house decorated with murals, statues, and exquisitely rich wood carvings. The copper plate (Ez.Vol.V.1965:466-486) explains how this was carried out and also the manner in which the artists and craftsmen were rewarded.
“When after the completion of the wood work of the two storeyed seven cubit image house, artist were summoned for the work of planting and the work on the image commenced, the King heard of the ceremony and made a grant of a thousand coins from the Royal Coffers, and from the royal Offices and Commandants, that the services should be rendered without delay and gave without any shortcoming all gifts such as rice and beetle to the master craftsmen.”

“When it came to the ceremony of the painting of the eyes, this was conducted, having given to the Master Craftsmen without shortfall two yalas and ten amunas of raw rice which was contributed for the –ceremony of Atamangala and the placing of pots of luck connected with the shrine, twenty three cows for the Gowasa (the cattle enclosure set apart for the use of shrine), one hundred and one pieces of cloth, one thousand one hundred and fifty fannamas, the neck ornament of Pandiran gold from Pandyan?) and Uttaran (pure gold) for adoring the five fold bodily members and all the rest. So was complete the eye ceremony that the master craftsmen may be pleased and so give thanks”.

It is also believed that at the time that the Gangarama Viharaya in Kandy was completed, Kirtisiri had an entire costume presented to the master artist and also tied a gold frontlet (Nalalpata) to the forehead of the artist. He is also known to have given Gannoruwe Davunda Abharana Achariya, a skillful goldsmith working in the King’s Place, land, money and an elephant Furthermore, when Marukona Ratna Abharana Wedakaraya appeared at the place gate before King Rajasingha the Second he was ordered to make jewellery prepared for Royal Dress. Having done so, he stated that he required Mottuwela Nilapanguwa Badavidilla in Pallesiyapatttuwa of Asiri Korale in the Matale District for his maintenance. In the year 1665 the King granted the request to this craftsmen.

According to popular legend, when Kirtisri Rajasingha was on his way to Hanguranketa, he spent a night in the house of a goldsmith, Ratnavalli Navaratna Abharana of Neelawela. If this was true, then it shows that the King never treated the artists as low. We have ample examples of ancient Sinhalese Kings who were themselves proficient in various arts such as literature, ivory carving, etc.

The Kandyan arts and crafts are not completely free from foreign influence. It is evident from historical sources that during the latter part of the Kandyan Kingdom of the 18th century, various arts and craftsmen were invited to the Kingdom from South India by the last generations of Kings in Kandy who were Nayakkars of South Indian origin.
“The Navandanna or artificers at any one time, speaking of the 18th and immediately preceding centuary at least consisted partly of indigenous craftsmen and partly of newly settled Tamil artificers, coming from South India to work for the King, who showed them favour and made the grants of land. Hence, it is that not only do we find the close correspondence in detail and technique between South Indian (Tamil) and Sinhalese work, but also that the Artificer families have often Hindu names (such as Rajesvera, Devasurendra) they preserve traces of Siva workship and of other Hindu ceremonies (Netra Mangallaya) etc. The technical works are obviously a part of the Indian Silpasastra, some of the technical terms are corruptions of Tamil words, they make use of the Hindu Mntrams. They are occasionally referred to as Kammalar, and so forth.
(Ananda Coomarasamy, Medieval Sinhalese art.)
As far as the tradition of dancing in the Kandyan hills is concerned, it is clear that it has derived inspiration from the village ritual known as Kohomba Kankariya. According, to the popular beliefs prevalent among these traditional dancers,’ the vannamas of the present day tradition of Kandyan dance were introduced by the famous Silpadipati Ganitalankara of Kerala. Sinhalese arts and crafts flourished throughout a magnificent period of several centuries and absorbed this particular foreign influence. When the country was ruled by these South Indian Nayakkara rulers, local artists lives and worked together harmoniously with South Indian artists and crafts and craftsmen which resulted in new tradition of arts and crafts which is Kandyan.

The social organization of the Kandyan Kingdom, then consisted of various social groups practicing various trades under a Badda (in the strict sense it means a caste). Thus a new caste system emerged solely’ on The basis of occupation, which is only partially true of the Indian system. This generation of artists, who worked within this system of occupational divisions, continued to live in Kandy and its suburbs even after the down fall of the Kandyan Kingdom in 1815. The following list will show the continuation of these divisions of labour and the traditional villages to which various craftsmen are attached, even to this day:

Craft Village
Brass work and casting Madawla, Kirivavula,Embekke
Silver and brass Danture,Ullandupitiya,Arattana
Nilawela,Pilawala,Medawela
Gold and Silver Embekke and Nilawela
Lacquor and wood work Gunnepana,Embekke and Hapuvida
Cloth Talagune
Mat weaving Henawela
Drum making Kuragala, Kuragandeniya
Crystal work Kirivavula
Dancing and drumming Tittapajjala,Malagammana,Ihalawela,Molagoda,
Hewaheta,Yakawela,Kondadeniya,Nittawela,
Amunugama
Decorative art Kulugammana
Painting Nilagama
Ivory Kundasale, Mawanella.

Though the castebased social organizations remained intact, the artists and the craftsmen, as well as their arts and crafts suffered immensely after the downfall of the Kandyan Kingdom as no support and patronage was provided. In 1882, for the first time, the artist and the craftsmen in the Kandyan Provinces were brought together by the British Government of Kandy represented by Sir Frederick Dikson, who organized the Kandyan Arts Association, which has continued to this date.

With a magnificent new building complex constructed for the century this Association located in Kandy, near the Temple of the Sacred Tooth Relic, continues to serve the artists and the customers alike maintaining its great traditions. The National Crafts council of Sri Lanka, the Department of Small Industries and government organizations such as Laksala have joined hands in looking after the arts and crafts of the old Kandyan Kingdom." UNQUOTE

[Gavin Nugent]

An image of the Kastane in native context with a baldric suspension a video of an outstanding example.....subtitled for those who don't understand "American"

http://www.youtube.com/watch?v=HH__TFpU2SA

Gav

[Ibrahiim al Balooshi]

Salaams All ~

The Kandyan Dynasty which was never brought to heel by the invaders neither Portuguese nor Dutch but which eventually fell to British control in 1805. There were treaties cleverly enacted by the Kandyan rulers prior to that but no takeover and no control "per se". The Kanyan kingdom comprised most of the eastern three quarters of the entire country.

In parallel the Karava dynasty, the fighting caste…was split in half; allegiance being half for and half against the Portuguese invaders.

A 19th century representation of the Karava Makara Flag. The image of the mythical creature Makara is extensively used in ancient Sri Lankan royal architecture. This flag is one of the main flags still used by the Karavas at their ceremonies. The Mukkara Hatana, an ola leaf manuscript now in the British Museum states that King Parakramabahu IV granted it to the Karavas.
Parakrama Bahu IV , came to the throne in the Saka year 1247 or A.D. 1325/6. More than 3 centuries before Portuguese involvement.

Karava (pronounced Karaava) also Karawa, Karawe, Karave, Kaurava, Kshatriya, Khatriya, Kuru, Kuru Kula, Kurukulam, Kurukulum, Kurukulather or Kurukulathar is the traditional military (warrior / Kshatriya / royal ) race, of Sri Lanka. The Karavas were one of the interconnected ruling dynasties of the Indian region. Royal succession in Sri Lanka passed on to Karava rulers during the Polonnaruwa period. Karava king Gajabahu was one of the greatest, and the Kandy Perehera and other annual pageants of Sri Lanka that end with the water cutting ceremony were initially pageants in honour of king Gajabahu's victories . The many kingdoms of Sri Lanka were thereafter ruled by Karava Kings and sub-kings until the last three kingdoms passed over from Karava royal families to Europeans; Kotte and Jaffna in the 16th century to the Portuguese and Kandy in the 19th century to the British (see Timeline of Kings)

True to their royal ancestry, the Karavas are the only Sri Lankan community to bear ancestral family names that signify royal ancestry, possess an array of ancient flags and use royal insignia at family ceremonies.

The fortunes of the Karava community has seen ups and downs over the centuries dependent on the fortunes of the leading Karava royal families and their victories, defeats and alliances with South Indian royal dynasties. European colonisation ended all native dynasties and rulers of the region and was therefore disastrous for the Karavas as well as the Kshatriya Rajputs of India. (seeTimeline of the Karava I) The post-independence period too has been particularly disastrous for the Karavas. Whatever lost wealth and power the Karavas had regained during the British period was taken away from the Karavas by Govigama dominated post-independence governments of Sri Lanka and Sri Lanka government sponsored propaganda during the 1900s has attempted to falsely portray the Karawas as the "Fisherfolk Caste" of Sri Lanka!!

As the Karavas were the traditional martial race of Sri Lanka it is not surprising to find one of their symbols, the Makara, used as ornamentation on traditional swords. Such swords are unique to Sri Lanka and not found either in India or the Malay peninsular. Compare the similarity of the Makara on the water spout with the decorative hilts on the Kastane on my post above.

I believe that whilst this does not herald "game set and match" it goes some way to supporting my theory that the Kastane is a Sri Lankan invention moreover that it may have originated in the Karava dynasty " The Fighting Caste".

Regards,
Ibrahiim al Balooshi.

[tribalarms]

Originally Posted by freebooter

An image of the Kastane in native context with a baldric suspension a video of an outstanding example.....subtitled for those who don't understand "American"

http://www.youtube.com/watch?v=HH__TFpU2SA

Gav

It appears as the fine example in the video was offered on Ebay only weeks ago.

As it did not sell, I'm not sure if it would be correct to post a link to the Ebay auction or include images as it might be relisted?

[VANDOO]

AS I KNOW VERY LITTLE ABOUT ALL THIS I MAY ASK A SILLY QUESTION. PERHAPS THE LION MENTIONED IS ACTUALLY THE BARONG WHICH IS A LION LIKE BEING REPRESENTING GOOD AGAINST RAGDA THE EVIL WITCH IN BALI. WAS THE BARONG PRESENT IN CEYLON AND INDIA IN ANCIENT TIMES?

[Ibrahiim al Balooshi]

Originally Posted by tribalarms

It appears as the fine example in the video was offered on Ebay only weeks ago.

As it did not sell, I'm not sure if it would be correct to post a link to the Ebay auction or include images as it might be relisted?

Salaams tribalarms ! Well it was listed as sold or gone to lunch or... anyway I was told it was purchased by the Sri Lankan National Museum...and anyway its a film. And a very knowledgeable and informative bit of kit indeed for our esteemed library... its a must see... A pictures worth a thousand words but a film... must be worth a lot more ! See that Makara Hilt !!
Regards,
Ibrahiim al Balooshi.

[Ibrahiim al Balooshi]

Salaams ~ Anybody out there??? Hello ~ Calling all Lurkers....hello

Regards,
Ibrahiim al Balooshi

[fernando]

Originally Posted by tribalarms

... As it did not sell, I'm not sure if it would be correct to post a link to the Ebay auction or include images as it might be relisted?

Yes, it is wise not to include them.

[Prasanna Weerakkody]

Thanks Jim.
While it is difficult to add any good clarifications to most of your points. I am also interested in the motifs and decorations of the weapons. There seem to be three primary animal forms used on sword hilts, The Lion which is a national symbol of the Sinhalese (Sinha =Lion) and two forms of mythical beasts The Makara or the equivalent of a “Dragon” and the Serapendiya which is a Raptorial bird.

The differences in depiction of the beasts is not always straight forward, The Lion head which in the late medieval tend to be stylized to different degrees can be defined by the clear depiction of a lions mane around the neck arranged usually as three rows of flowing curved motifs, The Lion figures often have the tongue extended as well. The Makara has its origins in a Water beast with combined elements from different animals as the trunk of an elephant, tusks of a boar etc. It is usually depicted with a up curved proboscis like devise at the tip of the snout and the tusk depicted as a large rounded knoblike tooth as is often used to depict the canine tooth of the Lion heads in some figures, The Serapendiya is often portrayed with a toothed down curved beak with similarly shaped pointed sharp teeth; lacking the enlarged canine tooth at the front end of jaw. This is a very basic guide which may not help define all depictions as the individual craftsmen seem to have introduced variations. The Pommel is (almost) always a Lion-head though few with serapendiya heads are sometimes also found. I have never seen a Makara head on the pommel of a kasthana Sword. The quilons and guards carry Makara and Serapendiya heads interchangeably. Some swords also carry representation of deities on sword hilts in addition to the Animal forms.

Being a Sinhalese from Sri Lanka - I think Ibrahiim has been reading too much of the Alternate “Fake” history propagated by the nefarious elements aligned mostly to the Separatist movements like the recently crushed LTTE in Sri Lanka. There is a Mainstream history in the country that also has one of the longest documented histories in Asia; substantiated with vast amounts of solid archaeological work. I do not know why Ibrahim is prejudicial against the Sinhales. If one is to accept most of what Ibrahiim have copied in as evidence; we may have to burn libraries of good books that say otherwise. This issue is not relevant here and due to the political / sensitive nature of it I shall not engage in any further comments in that regard. But would ask the readers to look at the so called “myths” and all the derogatory statements on the Sinhala race by Ibrahim objectively, much has been written on these issues in the relevant fora and it can be researched adequately there.

To keep it relevant to the topic the Sinha (Lion) motif has been well Identified with the Sinhala (People) both in motifs as well as within literary sources.

I have seen a very curious sword in a private collection that is transient between the predominant long straight double edged swords popular in the Polonnaruwa Kingdom 1017-1235 AD and the Kasthana in that it shows the early evolution of quilons with terminal primitive animal head devises while still carrying the straight blade and hilt elements from the Polonnaruwa swords. It is believed that this sword may belong to the period before the Kotte/Seethawaka Kingdoms or the time of the Portuguese wars. so a trend towards adoption of zoomorphic ornamentation may have existed prior to the arrival of the Portuguese. There is a proper Kastana sword in the Colombo Museum that is believed to be of King Buwanekabahu I of Yapahuwa Kingdom which predates the arrival of Europeans on the Island by at least a century. (Though I am not convinced of the authenticity of this piece)
The kasthana swords come in different sizes and classes of ornaments, some of the larger more impressive swords seem to have seen significant action; most of them would carry wooden or horn hilts and brass guards and quillons and some are rather simple swords that still carry the components of the Kasthana. The Golden and Silver swords with precious stones would more likely be side arms of Chieftains or in the latter centuries purely rank or gift swords. The practice of presenting swords as emblems of authority was prevalent. The short length of the blade may not in itself disqualify any sword as a fighting sword as it seem to have yielded to local fighting styles.

I shall include a sword Identified as having belonged to Kandyan Chieftain “Leuke” Disawa who was a prominent warrior in the wars against the British in the 18-19 centuries. It is a rather large and heavy Kasthana with intricate Silver workings, It is not clear when this sword was manufactured as his father was also known to be a leading figure in the Dutch wars.
Hope this was helpful

[Jens Nordlunde]

Hi Prasanna :-).
Thank you for clarifying this subject.
I am wondering why the Makara is so important, and not the Yali?
As the Makara was more used in the northern parts of Indian, and the Yali was used more in the Deccan area.
I agree that the lion, and a number of other animals are important (royal), and therefore used on temple decorations, paintings and weapons.
Regards
Jens :-)

[Prasanna Weerakkody]

The Yarl is not part of the Sinhala Mythical beasts, though they do on occasion exist in Hindu Kovils it has not spread further than that in Sri Lankan Culture.

The Lion represents the race of Sinhalese, While Makara in most contexts is associated with rejuvenation and re-generation, It is an Auspicious symbol - A good luck charm if you will. Not too sure of the Serapendiya- a commonly figured beast with a rather vague history here.

The Images I posted earlier didn't upload properly so I am re- attaching them here. The First two are of the Kasthana of Leuke Disawa. While the Third is one of my paintings of a Sinhala warrior- The figure is holding the transitional sword between the older sword types and the emergence of Animal head motifs that I mentioned in my earlier post.