The flowers on the tulwar hilts

[Ibrahiim al Balooshi]

Originally Posted by Jim McDougall

This is really an interesting topic, and as Jens has asked, to research more on the flowers on tulwar hilts. Naturally, the floral designs extend to daggers and sheaths as well.
As I noted in my earlier posts, an interesting article is by Stephan Markel, "Use of Flora and Fauna Imagery in Mughal Decorative Arts" ('Marg', Vol.50, #3, Mar. 1999, pp.25-35).
He notes; "...throughout the Mughal period there were several basic uses of flora and fauna imagery in the decorative arts. First and foremost was adornment for both solely decorative and/or dynastic identifying purposes.
Along with jewellery, dagger and sword hilts, sheath and scabbards were the most prolific court object to be accented with floral imagery". (p.27)

Also noted is that by the end of the Mughal period in the mid 19th c. the dynastic emblem of flowering plants had paled into a repetitive motif less aesthetic than the elegant flowers of the 17th c.

It seems there are considerable 'floral lore' assessments of the symbolism of certain flowers in various religions, which vary in degree but in religions such as Hinduism and Buddhism, the seems one of the most significant.

In Islam, there is a great deal of aesthetic attention to arrangement of floral and botanicals as the focus on replicating the Gardens of Paradise and their beauty is a key theme. Meanwhile, it does seem that the use of codified representations of certain flowers were dynastic representations.

It would be interesting to discover more on which flowers were indicative of which dynasty and how they were portrayed in various regions or periods.
There is mention of 'Mughalization' of Hindu forms of flower in some cases.

It seems less likely for talismanic application in most cases, as most of what is described seems to refer to aesthetic floral themes in favored arrangements and certain codification probably aligned with dynastic favor of those themes.

In the case of the interior of the pommel discs, it seems these motif may be themed after certain solar or celestial subjects, but can be floral as well.
I am curious if these follow the theme of the hilt or can differ.

Hello Jim, Your detailed post is well accepted and hopefully the Talismanic values of the floral artwork can be realized. The fact that the sword of Dara Shikoh can reveal something interesting in that regard could be interesting... though in fact what he was trying to do ... and the main reason that Aurangezeb was able to have him executed was tied up to the Mystic situation and where Dara Shikoh attempting to link Islam with Hinduism. That in itself may yield the answers we seek. In other words; Is that what floral decoration was meant to secretly represent? I realize that this is somewhat hypothetical but it may be what everyone is missing.

Did his detractors miss the point in gold painting out any written references (Artistic impression in Islam to them meant the written word and pure geometry only) whilst not seeing the artwork as important?...Perhaps representing to Dara Shikoh the joining of two great religions. Is this possibly what the smokescreen of floral design came to represent?

If he had somehow survived it can be imagined how different history would have been.

Regards,
Ibrahiim al Balooshi.

[Ibrahiim al Balooshi]

Following the reference by Jim earlier I noted from another associated work by Stephen Merkel on http://asianart.com/articles/markel2/index.html

Quote '' Another quality of the finest Mughal jades is that they can exhibit a sophisticated complexity of design with multiple component parts. This complex design is exemplified by a white nephrite dagger hilt dating from around the mid-seventeenth century, which was recently acquired by the San Diego Museum of Art (2004:196)(Fig. 17, below) . The hilt was originally crafted for a type of Mughal dagger with a double-edged curved blade with a strong mid-rib, which in Akbari and Jahangiri historical records was called a khapwah, meaning “the finisher, the giver of coup de grace.”[23] The San Diego khapwah hilt is fashioned in a classic Mughal complex hilt form that was first used for daggers made with metal hilts.[24] This jade example is one of the few known to survive, and replicates the hilt parts derived from metal hilts. The end of the hilt, termed the pommel, is in the form of two leaves that function as the end guards and flank a bud-shaped finial called the tang-button. Around the middle of the hilt grip is a decorative band called the necklace, which is in the form of a flowering vine graced by irises and stylized open poppy blossoms (Fig. 18, below). The base of the grip flares out with bud-shaped terminals that serve as the arms of the cross guard, called quillons, used to protect the hand. A knuckle guard connects the pommel with the quillon on one side. It ends at the pommel in the form of a pendant bud and as a volute at the quillon. Joining the quillon and the grip in the center is an openwork shaft in leaf form that is hollowed to accommodate the blade tang. Protruding from the base of the quillon is a short collar that anchors the blade in place and acts as a coupling when the hilt is inserted into the locket of the sheath. The subtle floral and vegetal designs of the San Diego hilt not only proclaim its Mughal origin, but also create a decorative program that elegantly contrasts and complements its sheer surface''.Unquote.

[Ibrahiim al Balooshi]

Does anyone have a copy of Stephan Markels , "Use of Flora and Fauna Imagery in Mughal Decorative Arts" It would be useful to have this document transferred here for library purposes. I cannot get it to download...

In addition please see http://blogs.bl.uk/asian-and-african...spiration.html alluded to by Jim McDougall in an earlier post...

[Jim McDougall]

Ibrahiim, thank you for the detailed information and excerpts on the possible talismanic aspects of the decoration on these weapons. It really gives us a lot to consider!
While much of what we are looking into involves the Mughal decoration of tulwar hilts, clearly the links to Hindu imagery play an important part in the development of many of these motifs.

I think the capture and execution of Dara Shikoh was more a result of the typical power struggle between the heirs for control from the standing emperor than differences in idealogy. The fact that Dara Shikoh was quite liberal compared to his younger brother Jahangir and as noted, was deeply involved in mysticism was however a notable circumstance. Elgood explains (p.135, "Hindu Arms & Ritual", 2004) that with the forces under these rulers, "...the ideological battle between Islam and Hinduism had limited relevance as mercenaries served either side".

In his book, Elgood explains also that flowers and plants indeed had both certain talismanic as well as dynastic significance in the early Hindu kingdoms and of course Faith. He states (p.129) that "...it follows that a plant depicted on a weapon is likely to represent more than its decorative value"
Further, that there were nine species of plant associated with the warrior goddess Durga, and the "...red flower is used for good and evil for charms and incantations on the one hand, and for witchcraft and spells on the other".

The exposure with European contact certainly rang true with respect to the various volumes of botanical lore and art known as herbals, as "...the Indians, like the Victorians (much later) had a very precise language of trees and plants and though there are regional differences, plants had a pan Indian value" (p.129).

Also noted is the sweet basil plant called tulsi (ocimum sanctum) associated with Vishnu, and referred to as 'bhutagni' (=killer of demons). Evil spirits including the god of death, Yama, are driven away by this plant, and its leaves often worn in the turban by Rajput and other warriors (p.144).

[Ibrahiim al Balooshi]

Hello Jim and thank you for an excellent reply summarizing what is so far outlined. If I may quote from my last post ~The subtle floral and vegetal designs of the San Diego hilt not only proclaim its Mughal origin, but also create a decorative program that elegantly contrasts and complements its sheer surface''. as being the archetypal description of Mughal work... placing floral design at the zenith of the famous Mughal art style...

and if I can refer to Dora Shikoh since he was executed as a Heretic because he tried with other Mystics to fuse Hinduism and Islam together... His fate was sealed at that point... and the mystery was developed from then on...The Hindu system already had floral Talisman as you state ...and since Aurangzeb completely missed the point of the artistic flowers and focused instead on erasing any written work that Daro had added to that artwork (by painting over with gold paint) we may never know the depth of secrecy hidden in the paintings..if indeed such secrets exist.

In conclusion and whilst no conclusion may exist on the topic here, I fully commend the study of Indian arms (often disregarded by 19th C weaponry writers and ethnographic experts) and especially taking difficult subject matter like this in an attempt to get a beam of light into the far flung corners of the subject as it opens up the entire spectrum of Indian Arms and Armour and puts the pen in the hand of all of us.

Regards,
Ibrahiim al Balooshi.

[Jens Nordlunde]

It is interesting to see how the discussion develops, although I had hope for more members to participate.
We must not forget that the Hindu's and the Muslim's used the floral decoration in different ways. Most of the flowers the Hindu's used represented a diety, and so had a special meaning to them. The Muslim's on the other hand, used the floral decoration only for decoration.

[Ibrahiim al Balooshi]

It is at first a complex subject but well worth getting stuck into.

[Ibrahiim al Balooshi]

[QUOTE=Jens Nordlunde]It is interesting to see how the discussion develops, although I had hope for more members to participate.
We must not forget that the Hindu's and the Muslim's used the floral decoration in different ways. Most of the flowers the Hindu's used represented a diety, and so had a special meaning to them. The Muslim's on the other hand, used the floral decoration only for decoration.[/QUOTE


Salaams Jens Nordlunde for what is a short but crystal clear point. It was indeed the Islamic view that calligraphy and geometry used as decoration was really the only allowable art form. This explains the gold painting over of such paintings commissioned by Daro on the orders of Aurangzeb whilst ignoring the beautiful floral decoration which as you point out was Hindu...

That the Flowers and Calligraphy were mixed together may have been at the heart of the secret which Daro and his Mystic friends were trying to hide.

Thank you.

[ariel]

[QUOTE=Ibrahiim al Balooshi]

Originally Posted by Jens Nordlunde

..... It was indeed the Islamic view that calligraphy and geometry used as decoration was really the only allowable art form.....

With all due respect, this is a tremendously simplified and rather incorrect point of view.
Aniconism as such was officially introduced by Caliph al-Malik in ~697 CE ( that was when islamo-byzantine coins stopped carrying portraits of the Caliph ( or presumably Muhammed himself) and became image-less tokens.
However, in a little bit of time Persians, Mamluks, Moghuls and Ottomans produced enormous numbers of detailed miniatures with human images and even portraits, including Muhammed himself, and some of those images were pretty risque, not to say pornographic.

Perhaps the only society where uniconism still persisted was Aravia proper, but even there crude engraving were created.

Hadiths proscribe music as well, but it was never suppressed and flourished unabated everywhere. Even alcohol was used in some islamic societies and strains.

[Ibrahiim al Balooshi]

Originally Posted by Jim McDougall

Ibrahiim, thank you for the detailed information and excerpts on the possible talismanic aspects of the decoration on these weapons. It really gives us a lot to consider!
While much of what we are looking into involves the Mughal decoration of tulwar hilts, clearly the links to Hindu imagery play an important part in the development of many of these motifs.

I think the capture and execution of Dara Shikoh was more a result of the typical power struggle between the heirs for control from the standing emperor than differences in idealogy. The fact that Dara Shikoh was quite liberal compared to his younger brother Jahangir and as noted, was deeply involved in mysticism was however a notable circumstance. Elgood explains (p.135, "Hindu Arms & Ritual", 2004) that with the forces under these rulers, "...the ideological battle between Islam and Hinduism had limited relevance as mercenaries served either side".

In his book, Elgood explains also that flowers and plants indeed had both certain talismanic as well as dynastic significance in the early Hindu kingdoms and of course Faith. He states (p.129) that "...it follows that a plant depicted on a weapon is likely to represent more than its decorative value"
Further, that there were nine species of plant associated with the warrior goddess Durga, and the "...red flower is used for good and evil for charms and incantations on the one hand, and for witchcraft and spells on the other".

The exposure with European contact certainly rang true with respect to the various volumes of botanical lore and art known as herbals, as "...the Indians, like the Victorians (much later) had a very precise language of trees and plants and though there are regional differences, plants had a pan Indian value" (p.129).

Also noted is the sweet basil plant called tulsi (ocimum sanctum) associated with Vishnu, and referred to as 'bhutagni' (=killer of demons). Evil spirits including the god of death, Yama, are driven away by this plant, and its leaves often worn in the turban by Rajput and other warriors (p.144).

Salaams Jim, Once again I refer to your notes and on the inclusion of the Durga which must be one of the top echelon Deities in Hindu circles. The statue of Durga is often displayed with a huge group of weapons held by the deity which includes The Lotus. Clearly floral association with weapons is at play here...and as you point out other linkages are apparent across the spectrum of floral tributes...

Daro Shikoh must have considered this famous Deity in his Mystical studies and it becomes clearer how he looked at fusing two religions with floral and Calligraphic decoration; Hinduism and Islam. Unfortunately instead of taking over the Mughal dynasty he was judged a Heretic and died because of it.

[Ibrahiim al Balooshi]

Below some renditions of the famous Deity; Gurda.. In one the clear group of weapons and with one described as The Lotus. Interesting that the main weapon appears as a Tulvar. In the marble figure a Lotus held in one hand...

[Ibrahiim al Balooshi]

To remind and revise here are some additional items displaying Hindu floral work. It is clear that not only hilts were decorated with floral work but blades, scabbards as well as other weapons thus shields daggers et al were thus endowed. This then is very much key to Hindu style although Hindu script and Islamic form with Calligraphy and geometry were incorporated..