The Sinhalese Kastane: Its Development, Decoration and Symbolism

[Prasanna Weerakkody]

Including an image carved by a Portuguese artist currently at the Maha Saman Devala (temple) premises in Rathnapura. the stone carving depict the Portuguese captain slaying a local chief. There is some doubt as to who is the fallen warrior, (may be Fernando or someone versed in Portuguese could attempt to decipher the attached text. ) interestingly the fallen warrior carries a lion headed- single edged blade with similarities to Kasthana. the guards and quillons are not clear- either due to not being present, hidden or artists omissions. The image is dated circa 1610-1650

Regards

Prasanna

[Ibrahiim al Balooshi]

Originally Posted by Prasanna Weerakkody

Including an image carved by a Portuguese artist currently at the Maha Saman Devala (temple) premises in Rathnapura. the stone carving depict the Portuguese captain slaying a local chief. There is some doubt as to who is the fallen warrior, (may be Fernando or someone versed in Portuguese could attempt to decipher the attached text. ) interestingly the fallen warrior carries a lion headed- single edged blade with similarities to Kasthana. the guards and quillons are not clear- either due to not being present, hidden or artists omissions. The image is dated circa 1610-1650

Regards

Prasanna

Salaams Prasanna..Tantalising also is the shape of the blade...Whose form is so similar to the Sendai Museum blade...!!

I place below a Knox addition showing the warrior to the right with an apparent Kastane also.

Regards,
Ibrahiim al Balooshi.

[fernando]

At forst sight, this is more a problem of visibility than one of language. Sadly most words are unreadable in the picture.
But i can advance Prasana that, this may not be a slay scene but a surrender one.
I think i discern the letters that compose "surrender" or its derivations (Render, Rendição) and, if you look at the picture with such focusing, you will realize this seems to make some sense. Maybe also the word India can be read ?
I promise i will burn my eyelashes to go deeper into this... and also spot some citation to a surrender in the pages i can access.

.

[Ibrahiim al Balooshi]

Salaams All.. A note on Iron Production which though it may have been slowed and disrupted by Colonial interference through cheaper imports was by no means totally stopped..Knox writes ~

Quote " Their Manufactures are few: some Callicoes, not so fine as good strong Cloth for their own use: all manner of Iron Tools for Smiths, and Carpenters, and Husbandmen: all sorts of earthen ware to boil, stew, fry and fetch water in, Goldsmith’s work, Painter’s Work, carved work, making Steel, and good Guns, and the like.

But their Art in ordering the Iron-Stone and making Iron, may deserve to be a little insisted on. For the Countrey affords plenty of Iron, which they make of Stones, that are in several places of the Land; they lay not very deep in the ground, it may be, about four or five or six foot deep.

How they make Iron.First, They take these Stones, and lay them in an heap, and burn them with wood, which makes them more soft and fitter for the Furnace. When they have so done they have a kind of Furnace, made with a white sort of Clay, wherein they put a quantity of Charcoal, and then these Stones on them, and on the top more Charcoal. There is a back to the Furnace, like as there is to a Smith’s Forge, behind which the man stands that blows, the use of which back is to keep the heat of the fire from him. Behind the Furnace they have two logs of Wood placed fast in the ground, hollow at the top, like two pots. Upon the mouths of these two pieces of hollow wood they tie a piece of a Deers Skin, on each pot a piece, with a small hole as big as a man’s finger in each skin. In the middle of each skin a little beside the holes are two strings tied fast to as many sticks stuck in the ground, like a Spring, bending like a bow. This pulls the skin upwards. The man that blows stand with his feet, one on each pot, covering each hole with the soles of his feet. And as he treads on one pot, and presseth the skin down, he takes his foot off the other, which presently by the help of the Spring riseth; and the doing so alternately conveys a great quantity of wind thro the Pipes into the Furnace. For there are also two Pipes made of hollow reed let in to the sides of the Pots, that are to conduct the wind, like the nose of a Bellows, into the Furnace.

For the ease of the Blower, there is a strap, that is fastned to two posts, and comes round behind him, on which he leans his back: and he has a stick laid cross-ways before him, on which he lays both his hands, and so he blows with greater ease. As the Stones are thus burning, the dross that is in them melts and runs out at the bottom, where there is a slanting hole made for the purpose so big as the lump of Iron may pass thro: out of this hole, I say, runs out the dross like streams of fire, and the Iron remains behind. Which when it is purified, as they think, enough, so that there comes no more dross away, they drive this lump of Iron thro the same sloping hole. Then they give it a chop with an Ax half thro, and so sling it into the water. They so chop it, that it may be seen that it is good, Iron for the Satisfaction of those that are minded to buy". Unquote.

Regards,
Ibrahiim al Balooshi.

[Ibrahiim al Balooshi]

Salaams All, At last a description by Knox in his book which can be fully read on line at...

http://www.gutenberg.org/ebooks/14346

and in which he describes the nobility and what they wear..viz;

Quote"The Nobles in their best Apparel.The Habit of the men when they appear abroad is after this sort. The Nobles wear Doublets of white or blew Callico, and about their middle a cloth, a white one next their skin, and a blew one or of some other colour or painted, over the white: a blew or shash girt about their loyns, and a Knife with a carved handle wrought or inlaid with Silver sticking in their bosom; and a compleat short Hanger carved and inlaid with Brass and Silver by their sides, the Scabbard most part covered with Silver; bravely ingraven; a painted Cane and sometimes a Tuck in it in their hands, and a boy always bare-headed with long hair hanging down his back waiting upon him, ever holding a small bag in his hand, which is instead of a Pocket, wherein is Betel-leaves and nuts. Which they constantly keep chewing in their mouths, with Lime kept in a Silver Box rarely engraven, which commonly they hold in their hands, in shape like a Silver Watch". Unquote.

Regards,
Ibrahiim al Balooshi.

[fernando]

Tell me Prasana: Why do you call the Portuguese soldier a Captain ... do you know he had such rank, or you just used term in a abstract manner ?
I amalso curious in that, when i saved the images to 'work' on them, the name shown in them was "Pinhão" for the first one, "Pinhão-sword" for the second and "Pinhão-inscription" for the third. Just for curiosity, i browsed on Pinhão in Ceylon and i found a Captain Fernão Pinhão whom, under command of Captain-General Jorge de Albuquerque was in charge of the reinforcement works of the fortification of Galle, by 1623.
I notice that Rathnapura is not so far from Galle.
Most probably this is a coincidence ... interesting, nevertheless

.

[fernando]

So the Captain was indeed Pinhão; not Fernão but Simão.
And, as i have previously discerned, both words SURRENDER and INDIA are in the inscription .


Say Prasanna, did you know this paper ?


The inscribed mural stone at Maha Saman Devale, Ratnapura by Donald Ferguson (1899).

... Let into a niche in the basement of the raised quadrangle, a little to
the north of the flight of steps leading from the outer courtyard, is a
mural stone of some historic value, and of singular interest from the
strange and unexpected position in which it is found. On it, sculptured
in bold relief, are two figures about half the size of life. They
represent the closing event of a mortal combat between a Portuguese,
armed cap-a-pie, and a Sinhalese warrior. Conquered in the encounter,
the latter has been stricken down ; his sword and shield are cast
despairingly aside ; and his antagonist, trampling under foot his pros-
trate form, is now with one final blow about to deprive him of his life.
The inscription below, partly in Roman and partly in Sinhalese
characters, is so much effaced as to be only very partially readable ;.
some portions of the figures are also damaged, seemingly from the action
of the weather upon the stone. The whole is, however, most spiritedly-
executed, and enough of the inscription remains to show that the name
of the Portuguese soldier was Gomez. The Sinhalese say the prostrate
warrior was their champion, one Kuruwita Bandara, a dreaded enemy
of the Portuguese, whose soldiers he had repeatedly cut off, and that
some fifty had fallen by his hand ere he himself was slain. The
sculpture was no doubt executed in Europe by royal or vice-regal
command, and sent hither to do honour to the soldier whose valorous
deed it commemorated.
The above is the only reference to this stone that I have met
with in the many writers on Ceylon — Portuguese, Dutch, and
English — whose works I have searched for information
regarding it ; and yet it is undoubtedly some three centuries
old ; though how long it has heen in its present position,
and whether it was originally placed near the spot it now
occupies, are questions which may well arise in one's mind.
Mr. Skeen's description contains several errors. I think
it more probable that the sculpture was executed in Ceylon,
where there would be no lack of artists in the Portuguese
ranks competent for the work. There are no Sinhalese
characters in the inscription, which is entirely in Portuguese.
Moreover the name of the Portuguese warrior (who is
hardly " armed cap-a-pie") was not Gomez, though any one
ignorant of Portuguese might easily conclude so from
deciphering the first few letters-.
The inscription, so far as I have been able to decipher it,
is as follows (I expand the contractions, and separate the
combined letters): —

COM • EST A* • RENDl • ESTEf * HA ■ 23J ■ ANNOS • QVE ■
ANDO • NA • INDIA • E • HA ■ 15 J • QVE • SIRVO • DE • CA
PITAO • E • TAOQVE§ • OS • REIS ... DE ... E • ■ REI ■
DE • IAFANAPATAO • EV- SIMAO- PINHAO • VENCI

* Scil. espada. f Scil. homem, J Conjectural. § Or ao que 1

Transcript:

[Com esta rendi este, ha 23 (?) annos que ando na India, e ha 15 (?)
que sirvo de capitao ; e taoque (?) os reis...de... (?) e o rei de
Jafanapatao, eu Simao Pinhao o venci.]

Translation:

With this [sword] I overcame this [man], it being 23 (?) years that
I have been in India, and 15 (?) that I have served as captain ; and as
soon as (?) the kings and the king of Jafanapatao, I, Simao Pinhao, conquered him. "

[Prasanna Weerakkody]

Yes it is known that the Portuguese warrior was Pinhao. Thanks Fernando for putting much time in to this. I had not seen this particular paper but seen Similar ones. there are 3 interpretations circulating so I was interested in trying to get some independant confirmation. , some say it is Samarakoon rala/Kuruwita Bandara others say it was Rathnayaka mudiyanse and 3rd it was the king of Jaffna. each interpretation given by people with good standing, so only the text shall say for sure. The key is if the word Jaffnapato is really there that will rule out the other two.

There was a Portuguese fort for a time close to the Saman devale premises. this was possibly erected there and later moved to the devale after destruction of the fort. Sri Lanka is a small country so warriors were deployed all over the place.

Regards and thanks

Prasanna

[Ibrahiim al Balooshi]

Salaams All...

The Sendai Museum exhibits a potentially original early Kastane blade see http://www.vikingsword.com/vb/showthread.php?t=14998 where the weapon is discussed in depth...collected intact, by chance in the Philipines, by the Japanese diplomat and Samurai Hasekura Tsunenaga and this may be backed up by the stone carving with identical form below and expertly presented at post #112.

The Storta style of blade whilst intriguing, puzzling and stunning!! may have been introduced earlier, though, that is pure conjecture but in line with the hypothesis on European blade diffusion / the Moors /etc.

The interesting reverse theory that this shape of blade may in fact be of the early home grown form and occasionally favoured by warriors without the Vajra Quillons perhaps so that the index finger could be looped over the guard for added purchase power on the thick backblade? Perhaps quillons were optional?

(Though it is not without possibility that this was simply artistic stone carvers artistic impression the other details in the carving seem very accurate)

Regards,
Ibrahiim al Balooshi.

[fernando]

Hello again Prasanna

I am beginning to learn that the interpretation of this mural stone has been a largely divulgated enigma; which makes me feel a dwarf among so many specialists, versus whom i, a non schooled person, wouldn't dare to contradict.
But ...
Although the character of Simão Pinhão (Fernão's oncle) appears to be of no doubt, the Cingala warrior individual and his situation in the scene is still a mistery. So much because the text mentions more than one King and, the posture of the Portuguese Captain, i humbly insist, is that of imposing submission and not of execution.
An atemptive translation of the text reminds us that Pinhão is (only) defeating his adversary. While he says that "with this i render this", he doesn't say i am executing or executed this; if he had in fact killed the warrior, why wouldn't he prefer the stone sculpted with such final image ?
An exponential example of this is one provided by a source that pretends that Pinhão is rescuing from death the successor of the King of Jaffna ... whatever this statement is worth :
(QUOTING) In 1591 the king of Jafnna was unwise enough to attack Mannar, and in consequence lost his life and throne at the hands of the Portuguese under Andre Furtado. His successor, whose rescue from death by Simao Pinhao is depicted on the mural tablet at the Saman Dewale near Ratnapura, was the creature of Portugal, and from 1593 there were only two powers in the island, the Kandyans under Vimala Dharma Surya and the Portuguese notninally fighting for Dharmapala;. the latter, as we have seen, had taken Sitawaka and recovered most of the old dominions of Kotte with such ease that in.. 1594 they proposed to annex the highland kingdom and place on the throne Dona Catharina, the daughter, of the king expelled by Rajasinha. Pedro Lopes De Sousa, the first `Captain General of the Conquest,' succeeded in entering Kandy, and enthroned the princess. But he alienated the people by surrounding the young queen with Portuguese. Further, Manamperi was suspected of treason and slain; his levies thereupon deserted, and the expedition ended in disaster in the neighbourhood of Gannoruwa. The general was killed and Dona Catharina fell into the hands of Vimala Dharma Surya, who perfected his title by marrying the heiress of Kandy. The `Apostate of Candea' treated the captive Portuguese with great cruelty, mutilating fifty of them and sending these to Colombo `with one eye for each five (END QUOTING).
The other "confusion" is that Pinhão mentions various Kings in the text. Although the deciphering does not reveal the name of them all, we clearly read OS REIS DE meaning the plural for Kings (*) ... this before mentioning the last King, such one considered to be the one subjugated in the scene.
(*) Could one be the King of Uva ?
Another touch up in the translation would be that he mentions that he has "defeated" or "beaten" (the King or Kings) ... perhaps better terms than "conquered".
Concerning the inclusion of the name of Jaffanapatão (Jaffnapatan), even with the help of the decipherings already published i am not qualified to assure the word is there ... although it looks plausible, certainly more plausible than the other possibilities suggested. Besides the erosion of the stone, translations of (early) texts are (also) contextual, hence worthy of a specialist. I have read that Donald Ferguson is intimate with the portuguese language.
One possibility i haven't yet heard of, which being a remote one is not necessarily implausible, is that the scene depicted may only be a virtual (symbolic) one, commissioned by a presumptuous Pinhão, based on his feats. Symbolism also exists; somehow like the multiple attribution of the Cingalese warrior in the scene.
But coming back to the topic of the thread, which is the Kasthane, the sword in the hands of the Cingala (Kandyan) warrior looks more like a calachurro


-

[Ibrahiim al Balooshi]

Originally Posted by Prasanna Weerakkody

Including an image carved by a Portuguese artist currently at the Maha Saman Devala (temple) premises in Rathnapura. the stone carving depict the Portuguese captain slaying a local chief. There is some doubt as to who is the fallen warrior, (may be Fernando or someone versed in Portuguese could attempt to decipher the attached text. ) interestingly the fallen warrior carries a lion headed- single edged blade with similarities to Kasthana. the guards and quillons are not clear- either due to not being present, hidden or artists omissions. The image is dated circa 1610-1650

Regards

Prasanna

Salaams Prasanna, As you say some say it is Samarakoon rala/Kuruwita Bandara others say it was Rathnayaka mudiyanse... however do you draw anything from the similarity in sword which appears to have many Kastane characteristics and tantalizing in its parallels with the Sendai Museum item? The more I think about the fact of the broad Storta like blade the more I consider this form as a possible shape to the early (15/16thC Kastane.) Such a famous and respected Sri Lankan Warrior could easily have dispensed with the quillons and guard for his personal weapon of choice; The Kastane.

For interest I note from another Forum the possibility/hypothesis that the Kastane hilt was crossed onto other blade forms as a matter of preference in the early European days of the Portuguese period.

Regards,
Ibrahiim al Balooshi.

[Jim McDougall]

It is excellent that this thread is moving along so well, and I especially appreciate the constructive and well observed contributions by Prasanna, Fernando and Ibrahiim. It is most helpful that along with Prasanna's well established experience in this fascinating history are the researched entries by Fernando and Ibrahiim which has enabled some great questions and perspective.

I am inclined to agree with Fernando in thinking that this late 16th century frieze was probably fashioned by a Portuguese artist there in Ceylon.
It is important to note that artists have always been inclined to a degree of latitude in 'spinning' their works toward the perception intended for their theme. I think in this case the Portuguese soldier is well depicted as is the arming sword he is wielding. With this in mind, it would seem that the sword of the Sinhalese chief would be equally accurate in its depiction, and with that I believe that the blade does remarkably correspond to heavy, single edged straight falchion type forms, indeed as seen on some storta.

In reviewing Deraniyagala, there is mention of early Sinhalese swords notably including a single edged form along with contemporary double edged forms. It is noted that these single edged forms apparently had a truncated tip recalling those of Japanese swords. I do not mention this to allude to any connection to Japanese swords, and the comment is as a point of comparison noting the attention to the blade tip. In these heavy, storta/falchion type blades there is considerable attention to a protracted radius to afford better slashing potential.

It is also noted in Deraniyagala that the kasthana which developed as a ceremonial sword of rank did differ from the less embellished combat types of course. As we have discussed, the quillons found in the more familiar guard system seen on kasthana are vestigial elements which were not in place for swordsmanship or combat purposes, so it would seem understandable that a combat version as seen here may likely have been without them. More interesting is the presence of what indeed appears a zoomorphic head on the pommel, and the suggestion that such iconic presence could be placed in the period when this frieze was carved.

Concerning the reference to the weapon termed calachurro, in going through one reference which I believe has been mentioned ('Journal of the Royal Asiatic Society' #46, 1895-1896) the author states that in the Kandyan region there is no such term, but it is unclear whether the reference might allude to another weapon. In Knox's Sinhalese vocabulary it is noted that they did carry a small, short sabre with slight curve.

In analyzing contemporary narratives or later recounting of them, there is perhaps even more danger or 'fantasy' involved in interpretation than in the visual reading of artwork. This is of course due to semantics and local parlances and colloquial use for various descriptive terms.

Such are the conundrums and issues we typically encounter as we use the resources and material at hand to investigate evidence and clues using them to formulate ideas and observations. Though sometimes seeming somewhat fanciful or 'fantastic' , these are always pertinent and valid in varying degree, and here we consider it constructive research, which indeed well describes the texture of our thread.

[Ibrahiim al Balooshi]

Now heres a funny thing ! From http://www.huntspost.co.uk/news/late...useum_1_896806

Quote "Historians think the handles, part of a new exhibition on the battle of Naseby at Cromwell Museum, were found at the battlefield in Northamptonshire, where Oliver Cromwell’s forces defeated the Royalists in 1645.

The owner of the swords and their presence at the battle remains a mystery, but the handles were mounted as a carving knife and fork set in the 19th century.

Curator John Goldsmith said: “We can only suggest that one of the handles was lost on the field at Naseby, and then re-used for the carving set. But who was the owner on that violent day in 1645? We may never know. Please come along and find out more about this important battle that happened on Huntingdon’s doorstep and form your own theories.”

INFORMATION: The Museum is open Tuesday to Sunday from 10.30am to 12.30pm and 1.30pm to 4pm. Admission is free".Unquote

Regards,
Ibrahiim al Balooshi.

[Ibrahiim al Balooshi]

Could these have been court swords\ worn on the Armour similar to the Popham?

Ibrahiim al Balooshi ~

[Ibrahiim al Balooshi]

[spiral]

Well often people who believe curators blindly are nearly as daft as those who believe arms dealers {or anyone else who works in sales, or has a vested interest that increases there personal wealth... secondhand car dealers, electrical goods salesmen etc.etc.}....{ Of course excluding & Excepting all respected members of this forum of course... }


Here's a early & "rare antique Gurkha kukri" in a secure museum area, gifted to them by police who had seized it...

Strange really it looks like 70s or 80s export crap to me...

But oddest of all is really, how scary & horror B movieish curators & police look together...

spiral

[Ibrahiim al Balooshi]

Salaams... Indeed Museums do come in for a certain degree of poked fun.. however, such is the rarity of Kastane turning up early in UK circles that perhaps these are vintage Cromwellian, and though this tiny museum is on the fringe ... It does claim to be the Oliver Cromwell Museum... and artefacts in it appear to be from that period. If anyone is in the area... a quick visit may be suggested... apparently it is so small a half hour is sufficient to absorb the content. It would be interesting to discover the facts about these two Kastane... most peculiar ! It may be about to close... maybe they will sell the objects cheap...

Regards,
Ibrahiim al Balooshi.

[fernando]

Originally Posted by spiral

... But oddest of all is really, how scary & horror B movieish curators & police look together... ...

Scary?
We sure have different perspectives, Jonathan; they look pathetic to me .

[Ibrahiim al Balooshi]

Salaams all... Well that was an interesting interlude. Shall we bring the guns to bare on the main target ?... The Kastane .. I have tried in vain to raise the Cromwellian Museum but the curator was last seen carrying a huge bundle of swords in the direction of the local souk..."Any Old Iron" !! was his call...
I consider decorative Kastane style here and bring another item of beautiful hand carved Ivory as a sample of excellent artesan production..
Here is an Ivory Sri Lankan box... hand carved in identical fashion to the swirls of the Makara tail often incorporated into Kastana hilts...

The one with the Iconic Zoomorphic style is described as ~

Such cabinets were produced in Ceylon (present day Sri Lanka) off the western coast of India on commission from Portuguese traders for the European market by the mid 16th century.

The shape and function are European, but the subject and style of the elaborate carving, including perforation of the ivory plaques that make it up, are characteristic of Ceylon.

The plaques of ivory are carved in low relief, backed by sheets of tortoise shell and with silver fittings (corner pieces, rivets, key plates, original key and handles).

On the front, the upper drawer is decorated with confronted lions spewing scrolls enclosed in borders of quatrefoils and beading; the lower two drawers have key plates and scrolling, with identical borders.

On the sides are square central panels with winged leonine fantastic creatures with reptilian scaled tails (serapendiyas) enclosed in borders surrouned by scrolling and framed with borders.

On the top are two confronted leonine creatures, similar to those on the sides, enclosed in beaded ovals and scrollwork, further enclosed in a border with outer scrolling and border.

On the back is an oblong field with fragment of leonine creature enclosed in beaded frame with elaborate scrolling and border.

The underside is composed of plain ivory.

There is also a small section of border in the upper drawer.

So as not to be out done by the Cromwellian Museum I also sourced a carving set with Lionesque Sri Lankan Icons for hilts...Maybe the hilts shown earlier were previously swords on 'Armour Cromwellian' after all !

Regards,
Ibrahiim al Balooshi.

[spiral]

Originally Posted by fernando

Scary?
We sure have different perspectives, Jonathan; they look pathetic to me .

Fair enough Fernando! You brave hero!

I can just imagine booking into a rural hotel, on a stormy night that these 3 run, but I guess you haven't seen the old English hammer house of horror b movies..

No real loss.

But of course it may just be your brave Mediterranean machismo that would deal with the potential Perverted cannibal zombie vampires without even a slight hastening of the heart beat.



spiral