A Ram’s Head Shamshir
Lucknow, Uttar Pradesh, 19th Century
41 in. (104 cm.) long

The shamshir’s name comes from the radical curve of its blade, translating to ‘lion’s claw’ or ‘lion’s tail.’ The blade itself is forged from wootz steel–the carbon deposits within the iron ingots forming intricate wave-like patterns known as ‘damascus.’ A modern scabbard of tooled black leather, attached with shell-shaped brackets for suspension, accompanies the sword.

The present shamshir is a beautiful example of the famed silver metalware produced in Lucknow during the eighteenth and nineteenth centuries. The diamond-shaped quillion is made from engraved silver with fine blue and green champleve and basse-taille enamelling particularly characteristic of Lucknow. In the center is a Hyderabadi poppy in aquamarine blue–a distinctive motif in the Lucknow vocabulary which demonstrates the fusion of Deccani opulence and Mughal naturalism. (see Mark Zebrowski, Gold, Silver & Bronze from Mughal India, 1997, p. 87, pl. 74.) 

Perched above is a bird in blue and cherry red, its head bowed and wings spread wide. A spiral of bristling green leaves encircles the scene, and is flanked by two birds in flight. On the border appears a quatrefoil floral pattern on a blue ground, another characteristic motif of nawabi enamel. The quillon’s tapered ends mirror the splendid offset pommel, which is formed into a ram’s head. The fine etchings in the ram’s fur and curling horns shine through the vibrant blue and orange enamel, contrasting the animal’s brilliant silver smile. The grip–extending as if the curving neck of the ram–is made of translucent rock crystal, secured to the tang with small pins.

Compare the present example to another fine ram’s head shamshir from Lucknow currently  housed at the Metropolitan Museum of Art (acc. 36.25.1302a, b). The scabbard exhibits similar enameled metal work motifs such as the Hyderabad poppy, the scrolling green foliage, and the quatrefoil floral border.

Talwar engraved with images of the ten avatars of Vishnu
Rajasthan, 19th century
Sword: 34 ¼ in. (87 cm.) long
In scabbard: 36 ¼ in. (92 cm.) long

The Indian saber or talwar consists of a curved blade and an all-metal hilt with disc-shaped pommel and integral quillons. This distinctive Indo-Muslim hilt has its origins in medieval western India, while the increasing influence of the Turco-Mongol dynasties in the late Medieval period led to greater use of curved swords. The marriage of these arms practices gave rise to the talwar, which became the most popular sword on the Subcontinent by Mughal times.

Here, the finely-decorated hilt incorporates pointed langets, a centrally swollen grip, and disc pommel, all of which has been overlaid with elaborate gold floral designs. The knob protruding from the pommel has been pierced to allow for a wrist strap cord that is embroidered with eight-point star designs. A deep blue velvet scabbard with gold chape accompanies the sword. For a comparable 19th-century gold-embellished hilt, see the collection of the Victoria and Albert Museum, acc. 112-1852. Note the similarities in the pointed langets, convex quillon ends, centrally swollen grip, disc-shaped pommel with knob, and intricate foliate designs.

The present wootz steel blade is engraved with the ten avatars of Vishnu: Matsya (the fish), Kurma (the tortoise), Varaha (the boar), Narasimha (the man-lion), Vamana (the dwarf-god), Parasurama (Brahman warrior), Lord Rama (the perfect man), Lord Krishna (the divine statesman), Balarama (Krishna’s elder brother), and Kalki (the mighty warrior prophesied to end the Kali Yuga). Although the decoration of this blade is quite unique, another example of a talwar blade displaying Vishnu’s ten avatars resides in the collection of the Victoria and Albert Museum (acc. 3418&A/(IS)).

Koftgari talwar
Rajasthan, 17th–18th century
Sword: 37 ⅝ in. (95.5 cm.) long
In scabbard: 37 ¾ in. (95.9 cm.) long

Provenance:
The collection of Dr. Leo S. Figiel (1918–2013).
Butterfield & Butterfield, San Francisco, 24 August 1998.

Published:
Leo S. Figiel, M.D., On Damascus Steel, New York, 1991, pp.100-1, no. IS5.

The present sword’s hilt-form—with centrally swollen grip, rectangular langets, and near-flattened quillons—is often referred to as the Jodhpur style, popularized during the reign of Maharaja Jaswant Singh II. In a tribute to the sun god Surya, from whom many Rajputs claim descent, the disc pommel is engraved with a sunburst design. The remaining hilt surface is embellished with foliate koftgari designs, an Indian damascening technique that involves inlaying steel with gold. 

The talwar’s wootz steel blade features an enlarged tip and two fullers along the flat edge running partway down the sword. In the center of the blade near the hilt is a stamped maker’s mark consisting of dots, textured lines, and star designs. See a similar gold-embellished Jodhpur-style talwar with protruding point in the collection of the Victoria & Albert Museum (acc. As1997,30.9.a).

Jade-hilted and gilt khanjar
Mughal, 18th century
14 ⅛ in. (36 cm.) long

Daggers or khanjars and other arms were commonly carried by Mughal courtiers, as seen in the numerous portraits produced throughout the empire. Their blades were made of tempered steel, following the Persian tradition of hammering different steels together to form a marbled pattern. The hilts, often made from jade, served to counterbalance the blades as well as display a level of opulence through reliefs, jewels, and gilding. Such decorations frequently incorporated floral and foliate designs deriving from traditional Mughal motifs.

This khanjar comprises a typical ‘pistol-grip’ jade hilt with a curved double-edged wootz steel blade. Closely carved iris flowers and leaves decorate the lobed quillon block and pommel on either side, spreading over the medial brim of the hilt. Beautifully gilded foliate designs adorn the base of the blade, which displays a central ridge and rich marbling throughout.

For another delicately carved jade-hilted Mughal dagger with gilt blade designs, see the collection of the Victoria & Albert Museum (acc. 721&A-1889).

Jade-hilted and jeweled khanjar
Mughal, 18th–19th century
15 ⅞ in. (40.2 cm.) long

The present khanjar features a pale green jade hilt of ‘pistol-grip’ form, exquisitely detailed with emerald and ruby stones mounted in gilt settings arranged into foliate designs. The double-edged straight steel blade exhibits a wootz fuller with carved arabesques at either end and the gilded inscription ‘ya Ali’ (‘Oh Ali’) at the base of the blade. Such lavish detailing exemplifies both the high level of artistry as well as the extravagance that the Mughal Empire was renowned for.

A similarly decorated jade-hilted Mughal dagger can be found in the Metropolitan Museum of Art’s collection (acc. 36.25.658), which displays the same method of inlaying stones into a gilt-foliate design.

Painted saddle
Tibet, 15th–17th century
Gilt and varnished wood and leather, with gilt-iron frames
24 x 14 in. (61 x 35.6 cm.)

Published:
Himalayan Art Resources (himalayanart.org), item no. 7504.

The present saddle’s wooden frame, or saddletree, is richly decorated with gilded and varnished leather panels on the arched front plate (pommel) and rear plate (cantle). The sideboards are equipped with end-board extensions that adjoin the leather varnished panels which are strengthened with iron frames adorned with gold and silver foliate scrollwork. Both pommel and cantle are decorated with dense scrolling foliage with repeated lotus blooms on the top register, and a wish-fulfilling jewel on a lotus base flanked by a pair of makara dragons on the lower. On both panels, the two registers are separated by a solid gold line on a raised central rib—the pommel, however, also includes a third, lower register, separated by a gilt-iron arch and decorated again with scrolling lotus blooms.

This saddle’s floral arrangements can be compared to a 17th-century Tibetan wooden box from a private collection that is illustrated in Wooden Wonders: Tibetan Furniture in Secular and Religious Life (Kamansky, 2004, p.64, cat. no.241), as well as to those published in Warriors of the Himalayas: Rediscovering the Arms and Armour of Tibet (La Rocca, 2006, P.105, cat. no. 30). The latter exhibits the same lacquer-like effect, formed by layers of pigmented shellac followed by the gold leaf designs, another layer of shellac, and a final coat of tung oil glaze.