PREFACE
ARMS & ARMOUR OF INDIA, NEPAL & SRI LANKA
PREFACE, OR HOW TO USE THIS BOOK
This book is written with the hope of germinating seeds of curiosity towards, and understanding of, those elements of Indic culture, arts and traditions in which arms and armour are embedded. You will discover that these are not mere physical objects that exist in a self-contained, isolated realm. In fact, they are part of our historical memories, artistic sensibilities and belief systems. Conveying these notions in the twodimensional space of a book is challenging. It is hoped that ample illustration, and presenting the information as bite-sized chunks, will enable the reader to sense the richness of art and meaning inherent in these objects. The illustrations in this book are intentionally larger than usual. It is an invitation to linger over the images, discover the many details in them, savour the artistry, soak in the atmosphere and be transported back in time. The first few sections offer a brief overview of the geography and history of the region in order to contextualise these objects. The chapters on arms and armour are organized according to conventional divisions: daggers, swords and so on. The descriptions of objects are not as detailed as they would be in a catalogue, because that is not the intention here.
8
As mentioned before, weapons can have ritual and sacred significance; this point is discussed in the section on ‘Symbolism’. The illustrated glossary, while selective, covers common object types that one is likely to encounter early on as a collector or during a visit to a museum. One of the most vexing aspects of this project was deciding which examples to include from the vast store of objects in museums and private collections. After all, one can include dozens of variations to cover the gamut of each object type. However, this would defeat the purpose of an introductory volume. The approach taken, which is decidedly very subjective, is to include a few standard types that offer an overall sense of an object’s typology. The practical goal of this book is to acquaint you with the world of Indic arms and armour as a starting point to what hopefully will become a lifelong quest. Whether your interests gravitate towards the martial aspects, or the purely decorative qualities, or the symbolism of these objects, arms and armour of the Indic region offer unending delight.
NOTE FROM THE AUTHOR
The first few sections offer a brief overview of the geography and history of the region in order to contextualise these objects. Imagine you are on a visit to the museum, where you are going to learn about the history and arts of a region. As in a museum, there is a bit of background information, and curated images and objects to give you a sense of the time and place. That is the approach taken in this book. You will meander around, soaking up the atmosphere, and leave with an appreciation, if not deep knowledge, of the history and the arts of that period.
9
PREFACE
ARMS & ARMOUR OF INDIA, NEPAL & SRI LANKA
PREFACE, OR HOW TO USE THIS BOOK
This book is written with the hope of germinating seeds of curiosity towards, and understanding of, those elements of Indic culture, arts and traditions in which arms and armour are embedded. You will discover that these are not mere physical objects that exist in a self-contained, isolated realm. In fact, they are part of our historical memories, artistic sensibilities and belief systems. Conveying these notions in the twodimensional space of a book is challenging. It is hoped that ample illustration, and presenting the information as bite-sized chunks, will enable the reader to sense the richness of art and meaning inherent in these objects. The illustrations in this book are intentionally larger than usual. It is an invitation to linger over the images, discover the many details in them, savour the artistry, soak in the atmosphere and be transported back in time. The first few sections offer a brief overview of the geography and history of the region in order to contextualise these objects. The chapters on arms and armour are organized according to conventional divisions: daggers, swords and so on. The descriptions of objects are not as detailed as they would be in a catalogue, because that is not the intention here.
8
As mentioned before, weapons can have ritual and sacred significance; this point is discussed in the section on ‘Symbolism’. The illustrated glossary, while selective, covers common object types that one is likely to encounter early on as a collector or during a visit to a museum. One of the most vexing aspects of this project was deciding which examples to include from the vast store of objects in museums and private collections. After all, one can include dozens of variations to cover the gamut of each object type. However, this would defeat the purpose of an introductory volume. The approach taken, which is decidedly very subjective, is to include a few standard types that offer an overall sense of an object’s typology. The practical goal of this book is to acquaint you with the world of Indic arms and armour as a starting point to what hopefully will become a lifelong quest. Whether your interests gravitate towards the martial aspects, or the purely decorative qualities, or the symbolism of these objects, arms and armour of the Indic region offer unending delight.
NOTE FROM THE AUTHOR
The first few sections offer a brief overview of the geography and history of the region in order to contextualise these objects. Imagine you are on a visit to the museum, where you are going to learn about the history and arts of a region. As in a museum, there is a bit of background information, and curated images and objects to give you a sense of the time and place. That is the approach taken in this book. You will meander around, soaking up the atmosphere, and leave with an appreciation, if not deep knowledge, of the history and the arts of that period.
9
ACKNOWLEDGEMENTS Before you start some work, ask yourself three questions. Why am I doing it? What the results might be? Will I be successful? Only when you think deeply and find satisfactory answers to these questions, go ahead. CHANAKYA, AUTHOR ARTHASHASTRA, C. 4TH CENTURY BCE
The idea of a writing a book comes easily. It is driven by a need to share – knowledge, ideas, a vision – with the hope that it will be useful to its readers. To realize this goal is no easy task and is only realized with the help of many. In my case, foremost I am deeply grateful to my wife, Cornelia, who has been a lifelong partner in collecting and studying, and cheering on my writing aspirations. Our children were also very encouraging of the project, in their own bemused way. Along the way, I have been inspired by those who have preceded me in studying South Asian arms and armour, particularly Dr Robert Elgood, scholar par excellence. I have been welcomed by Donald LaRocca of the New York Metropolitan Museum of Art, who has also provided valuable information on arms and armour. I wish to thank in particular Runjeet Singh, whose friendship and guidance has helped shape an evolving collection. I am grateful to Courtenay McGowen for opening the world of the Naga, and allowing some of her material to be included here.
There are many other people, of course, who have generously shared their expertise over the years, and provided photographs – Leonard Lantsman, Jens Nordlunde, Philip Tom, Alexis Renard, Philippe Missilier, Peter Dekker, and private collectors. Thanks to my friends in India, Gopan Nair and Vibin Balakrishnan, and Coorgstories.com who provided photographs of places, rituals and objects that otherwise would not have been available to me. Anyone who has published art images knows the challenge of accessing them and obtaining copyright permissions! Thus, I am immensely grateful that many of the great museums of the world have their collections online, and some generously offer free and unrestricted use of high-quality images, which I have utilised extensively. To mention a few Metropolitan Museum of Art, Los Angeles County Museum of Art, David Collection in Copenhagen, Chester Beatty Library in Dublin, Rijksmuseum in Amsterdam, Harvard Museum, and New York Public Library.
Other museums were kind enough to waive any fee for this publication, including the Royal Collection in the UK, Norton-Simon Museum in Pasadena, California, and others. I am grateful to Dr Diana Chou and the San Diego Museum of Art for access to the splendid Binney collection and permission to use these images. Photographs of my personal collection were taken by Deborah Shields. Working alongside her under the bright lights of the studio, I saw details that had escaped me before, and thus came to appreciate even more the beauty of these objects. However, having the best images in hand is insufficient; it still requires a vision to effectively convey this information. Mark Owens created a beautiful and effective layout to experience this material. And, of course, without the support of Ben Evans, editor of HALI publications, this book would have struggled to come to fruition. Just to be clear, any errors of fact and judgement are mine alone. I welcome corrections in the spirit of learning and advancing knowledge.
© Metropolitan Museum of Art, New York 10
11
ACKNOWLEDGEMENTS Before you start some work, ask yourself three questions. Why am I doing it? What the results might be? Will I be successful? Only when you think deeply and find satisfactory answers to these questions, go ahead. CHANAKYA, AUTHOR ARTHASHASTRA, C. 4TH CENTURY BCE
The idea of a writing a book comes easily. It is driven by a need to share – knowledge, ideas, a vision – with the hope that it will be useful to its readers. To realize this goal is no easy task and is only realized with the help of many. In my case, foremost I am deeply grateful to my wife, Cornelia, who has been a lifelong partner in collecting and studying, and cheering on my writing aspirations. Our children were also very encouraging of the project, in their own bemused way. Along the way, I have been inspired by those who have preceded me in studying South Asian arms and armour, particularly Dr Robert Elgood, scholar par excellence. I have been welcomed by Donald LaRocca of the New York Metropolitan Museum of Art, who has also provided valuable information on arms and armour. I wish to thank in particular Runjeet Singh, whose friendship and guidance has helped shape an evolving collection. I am grateful to Courtenay McGowen for opening the world of the Naga, and allowing some of her material to be included here.
There are many other people, of course, who have generously shared their expertise over the years, and provided photographs – Leonard Lantsman, Jens Nordlunde, Philip Tom, Alexis Renard, Philippe Missilier, Peter Dekker, and private collectors. Thanks to my friends in India, Gopan Nair and Vibin Balakrishnan, and Coorgstories.com who provided photographs of places, rituals and objects that otherwise would not have been available to me. Anyone who has published art images knows the challenge of accessing them and obtaining copyright permissions! Thus, I am immensely grateful that many of the great museums of the world have their collections online, and some generously offer free and unrestricted use of high-quality images, which I have utilised extensively. To mention a few Metropolitan Museum of Art, Los Angeles County Museum of Art, David Collection in Copenhagen, Chester Beatty Library in Dublin, Rijksmuseum in Amsterdam, Harvard Museum, and New York Public Library.
Other museums were kind enough to waive any fee for this publication, including the Royal Collection in the UK, Norton-Simon Museum in Pasadena, California, and others. I am grateful to Dr Diana Chou and the San Diego Museum of Art for access to the splendid Binney collection and permission to use these images. Photographs of my personal collection were taken by Deborah Shields. Working alongside her under the bright lights of the studio, I saw details that had escaped me before, and thus came to appreciate even more the beauty of these objects. However, having the best images in hand is insufficient; it still requires a vision to effectively convey this information. Mark Owens created a beautiful and effective layout to experience this material. And, of course, without the support of Ben Evans, editor of HALI publications, this book would have struggled to come to fruition. Just to be clear, any errors of fact and judgement are mine alone. I welcome corrections in the spirit of learning and advancing knowledge.
© Metropolitan Museum of Art, New York 10
11
WRITING SCHEMA
ARMS & ARMOUR OF INDIA, NEPAL & SRI LANKA
WRITING SCHEMA
DATES
TERMINOLOGY
C = Century
Each object has multiple names, in different regional languages, all of which are locally important. Of these many variations, there appear to be some that in common use and these I have chosen. Hopefully, any confusion is avoided by the accompanying image.
BCE = Before Current Era (formerly often BC) CE = Current Era (formerly often AD) c. = circa
SPELLING Many Indic words are used in this book. There are a great many variations in their spelling and transliteration. Krishna or Kṛṣṇa? I have chosen the more familiar, far less scholarly, approach. And then there is the issue of American versus British spelling. Even though I reside in America, I have chosen the British form of spelling out of respect for India, Nepal and Sri Lanka where they continue this practice. Finally, and in spite of wiser and more knowledgeable people than I looking over the text, any remaining grammatical and spelling errors are mine alone.
NOTE FROM THE AUTHOR
© The British Library Board
12
The illustrations in this book are intentionally larger than usual. It is an invitation to linger over the images, discover the many details in them, savour the artistry, soak in the atmosphere and be transported back in time.
13
WRITING SCHEMA
ARMS & ARMOUR OF INDIA, NEPAL & SRI LANKA
WRITING SCHEMA
DATES
TERMINOLOGY
C = Century
Each object has multiple names, in different regional languages, all of which are locally important. Of these many variations, there appear to be some that in common use and these I have chosen. Hopefully, any confusion is avoided by the accompanying image.
BCE = Before Current Era (formerly often BC) CE = Current Era (formerly often AD) c. = circa
SPELLING Many Indic words are used in this book. There are a great many variations in their spelling and transliteration. Krishna or Kṛṣṇa? I have chosen the more familiar, far less scholarly, approach. And then there is the issue of American versus British spelling. Even though I reside in America, I have chosen the British form of spelling out of respect for India, Nepal and Sri Lanka where they continue this practice. Finally, and in spite of wiser and more knowledgeable people than I looking over the text, any remaining grammatical and spelling errors are mine alone.
NOTE FROM THE AUTHOR
© The British Library Board
12
The illustrations in this book are intentionally larger than usual. It is an invitation to linger over the images, discover the many details in them, savour the artistry, soak in the atmosphere and be transported back in time.
13
INTRODUCTION
ARMS & ARMOUR OF INDIA, NEPAL & SRI LANKA
INTRODUCTION
Welcome to the exciting and exotic world of arms and armour from India, Nepal and Sri Lanka! The diversity of weapon types – ayda katti to zaghnal – reflects the long martial history of the peoples of this region, local traditions and beliefs, influences from distant lands, the fine arts, and mastery of metalwork. Arguably, no other region of the world has the variety of weapon types than found here, many of which are encountered nowhere else, some of which are shown on the right. They encompass simple choppers to some of the most elaborate and fanciful daggers ever created; from unadorned katars to bejewelled hilts embedded with hundreds of rubies, emeralds and diamonds. Many pieces had significance far beyond their ostensible function. Jade-handled daggers with exquisite blades were proudly worn. Swords were given names, and the finest watered steel blades were passed down from one generation to the next.
Weapons were, and still are, central to many religious ceremonies, and arms and armour were commonly adorned with sacred symbols and images. Because weapons are also metaphors for spiritual battles, they are amply illustrated in paintings and sculptures of the gods and goddesses of the Indian pantheon, where they are vanquishing evil, cutting through ignorance, crushing pride, piercing darkness, and defending the defenceless. For the collector of arms and armour, or those merely curious, there are many avenues to experiencing these objects.
The variety of 18th century Indian arms and armour is vividly rendered in this drawing from the Gentil album, c. 1774. © Victoria and Albert Museum, London
There is visual delight in the beauty of these objects, forgetting for a moment their intended purpose. For those fortunate to hold a finely crafted dagger, one can sense the hand of the artisan at work. For some, arms and armour are a window into the tumultuous events that have shaped our history. Others see the cultural and religious ethos of a people to whom these weapons belonged. For these many reasons, collecting arms and armour from this region has had a long history.
Pata or gauntlet sword, 18th C. © Author’s Collection
14
Bichwa, literally scorpion tail on account of the shape of the blade. South India, 18th C. © Author’s Collection
Katar, or punch dagger. North India, 19th C © San Diego Museum of Art
Bagh nakh (tiger claw), 18th C © Royal Armouries
15
INTRODUCTION
ARMS & ARMOUR OF INDIA, NEPAL & SRI LANKA
INTRODUCTION
Welcome to the exciting and exotic world of arms and armour from India, Nepal and Sri Lanka! The diversity of weapon types – ayda katti to zaghnal – reflects the long martial history of the peoples of this region, local traditions and beliefs, influences from distant lands, the fine arts, and mastery of metalwork. Arguably, no other region of the world has the variety of weapon types than found here, many of which are encountered nowhere else, some of which are shown on the right. They encompass simple choppers to some of the most elaborate and fanciful daggers ever created; from unadorned katars to bejewelled hilts embedded with hundreds of rubies, emeralds and diamonds. Many pieces had significance far beyond their ostensible function. Jade-handled daggers with exquisite blades were proudly worn. Swords were given names, and the finest watered steel blades were passed down from one generation to the next.
Weapons were, and still are, central to many religious ceremonies, and arms and armour were commonly adorned with sacred symbols and images. Because weapons are also metaphors for spiritual battles, they are amply illustrated in paintings and sculptures of the gods and goddesses of the Indian pantheon, where they are vanquishing evil, cutting through ignorance, crushing pride, piercing darkness, and defending the defenceless. For the collector of arms and armour, or those merely curious, there are many avenues to experiencing these objects.
The variety of 18th century Indian arms and armour is vividly rendered in this drawing from the Gentil album, c. 1774. © Victoria and Albert Museum, London
There is visual delight in the beauty of these objects, forgetting for a moment their intended purpose. For those fortunate to hold a finely crafted dagger, one can sense the hand of the artisan at work. For some, arms and armour are a window into the tumultuous events that have shaped our history. Others see the cultural and religious ethos of a people to whom these weapons belonged. For these many reasons, collecting arms and armour from this region has had a long history.
Pata or gauntlet sword, 18th C. © Author’s Collection
14
Bichwa, literally scorpion tail on account of the shape of the blade. South India, 18th C. © Author’s Collection
Katar, or punch dagger. North India, 19th C © San Diego Museum of Art
Bagh nakh (tiger claw), 18th C © Royal Armouries
15
INTRODUCTION
ARMS & ARMOUR OF INDIA, NEPAL & SRI LANKA
The India exhibit in the Crystal Palace during the 1851 Great Exhibition. Walter Goodall, 1851 Š Victoria and Albert Museum, London
Records exist of arms and armour making their way into European collections from the 17th century onwards. This collecting increased during the 19th and early 20th centuries, owing to the greater presence of Europeans in this part of the world, primarily the English. Several events in the 19th century exposed Indic arms and armour to the wider, primarily English, world.
16
India Room at Marlborough House. Photograph from The Indian Journal of Art, vol. IV, 1891.
There was the Great Exhibition of the Works of Industry of All Nations in 1851 at the Crystal Palace in London. The India section displayed a variety of arms and armour, as well as the Koh-i-Noor diamond, thus making this a very popular attraction.
Vestibule at Sandringham Hall, with Indian arms and armour displayed on the wall. Photograph from The Indian Journal of Art, vol. IV, 1891.
In 1875-76 the Prince of Wales embarked on an extensive tour of India, Nepal and Sri Lanka, and was given lavish gifts by the maharajas and nobles. These were subsequently displayed in Marlborough House and Sandringham Hall. Then there was the Indian and Colonial Exhibition of 1886 in London that had over 5 million visitors in the 164 days it was open.
Amid a vast array of industrial goods and decorative arts from the colonial territories were large displays of Indic arms and armour. While these events helped alert the West to the allure of arms and armour from this region, the objects have yet to achieve the appreciation they merit, despite outstanding collections in several great museums of the world.
17
INTRODUCTION
ARMS & ARMOUR OF INDIA, NEPAL & SRI LANKA
The India exhibit in the Crystal Palace during the 1851 Great Exhibition. Walter Goodall, 1851 Š Victoria and Albert Museum, London
Records exist of arms and armour making their way into European collections from the 17th century onwards. This collecting increased during the 19th and early 20th centuries, owing to the greater presence of Europeans in this part of the world, primarily the English. Several events in the 19th century exposed Indic arms and armour to the wider, primarily English, world.
16
India Room at Marlborough House. Photograph from The Indian Journal of Art, vol. IV, 1891.
There was the Great Exhibition of the Works of Industry of All Nations in 1851 at the Crystal Palace in London. The India section displayed a variety of arms and armour, as well as the Koh-i-Noor diamond, thus making this a very popular attraction.
Vestibule at Sandringham Hall, with Indian arms and armour displayed on the wall. Photograph from The Indian Journal of Art, vol. IV, 1891.
In 1875-76 the Prince of Wales embarked on an extensive tour of India, Nepal and Sri Lanka, and was given lavish gifts by the maharajas and nobles. These were subsequently displayed in Marlborough House and Sandringham Hall. Then there was the Indian and Colonial Exhibition of 1886 in London that had over 5 million visitors in the 164 days it was open.
Amid a vast array of industrial goods and decorative arts from the colonial territories were large displays of Indic arms and armour. While these events helped alert the West to the allure of arms and armour from this region, the objects have yet to achieve the appreciation they merit, despite outstanding collections in several great museums of the world.
17
INTRODUCTION
ARMS & ARMOUR OF INDIA, NEPAL & SRI LANKA
The Ain-i-Akbari is part of the Akbarnama (The Book of Akbar). It is a highly detailed compendium of the Mughal emperor Akbar’s administration. This drawing is a portion of a catalog of weapons in India, according to its author, during the 16th century.
One of several displays from the Indian & Colonial Exhibition of 1886. Photograph from The Indian Journal of Art, vol. VI, 1896.
18
A very large display of edged weapons and firearms from the Indian & Colonial Exhibition of 1886. Photograph from The Indian Journal of Art, vol. VI, 1896.
19
INTRODUCTION
ARMS & ARMOUR OF INDIA, NEPAL & SRI LANKA
The Ain-i-Akbari is part of the Akbarnama (The Book of Akbar). It is a highly detailed compendium of the Mughal emperor Akbar’s administration. This drawing is a portion of a catalog of weapons in India, according to its author, during the 16th century.
One of several displays from the Indian & Colonial Exhibition of 1886. Photograph from The Indian Journal of Art, vol. VI, 1896.
18
A very large display of edged weapons and firearms from the Indian & Colonial Exhibition of 1886. Photograph from The Indian Journal of Art, vol. VI, 1896.
19
FIREARMS / COMMON TYPES OF ARMS
ARMS & ARMOUR OF INDIA, NEPAL & SRI LANKA
FIREARM ACCOUTREMENTS
A primer flask that holds a finer grade of gunpowder for the priming pan. The shape is reminiscent of the early horn primers. Gilded brass with ivory spout in the form of a deer. North Indian, 19th C. © Author’s Collection
Barutdan (gunpowder flask) to hold gunpowder. This is a common shape, mimicking a nautilus shell. This one is made of wood, covered with blue and black lacquer, and bordered by delicate floral designs in gold. Mughal, 17th C. © Metropolitan Museum of Art, New York
A rare copper-alloy South Indian primer flask, with mythological beasts. 18th - 19th C © Author’s Collection
148
149
FIREARMS / COMMON TYPES OF ARMS
ARMS & ARMOUR OF INDIA, NEPAL & SRI LANKA
FIREARM ACCOUTREMENTS
A primer flask that holds a finer grade of gunpowder for the priming pan. The shape is reminiscent of the early horn primers. Gilded brass with ivory spout in the form of a deer. North Indian, 19th C. © Author’s Collection
Barutdan (gunpowder flask) to hold gunpowder. This is a common shape, mimicking a nautilus shell. This one is made of wood, covered with blue and black lacquer, and bordered by delicate floral designs in gold. Mughal, 17th C. © Metropolitan Museum of Art, New York
A rare copper-alloy South Indian primer flask, with mythological beasts. 18th - 19th C © Author’s Collection
148
149
FIREARMS / COMMON TYPES OF ARMS
ARMS & ARMOUR OF INDIA, NEPAL & SRI LANKA
Photograph showing a complete ensemble of firearm accessories. Sind, 19th C. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2018
Cartridge chargers hold premeasured amounts of gunpowder, with cork stoppers, allowing quicker reloading. These are ivory chargers from the 19th C. © Author’s Collection Barutdan with exaggerated coiling, covered with embroidered textile. Sind, 19th C. © Victoria and Albert Museum, London
Royal tastes and wealth dictated the materials used for all objects of use. Ivory, along with jade, was the preferred material for Mughal primer flasks. This one is typical in form and carving of animals, both natural and composite, inspired by miniature paintings. Mughal, 17th C © Metropolitan Museum of Art, New York
150
Jade primer flask inlaid with rubies, and gilt copper alloy fittings, Mughal, c. 1700-1725. © Los Angeles County Museum of Art
151
FIREARMS / COMMON TYPES OF ARMS
ARMS & ARMOUR OF INDIA, NEPAL & SRI LANKA
Photograph showing a complete ensemble of firearm accessories. Sind, 19th C. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2018
Cartridge chargers hold premeasured amounts of gunpowder, with cork stoppers, allowing quicker reloading. These are ivory chargers from the 19th C. © Author’s Collection Barutdan with exaggerated coiling, covered with embroidered textile. Sind, 19th C. © Victoria and Albert Museum, London
Royal tastes and wealth dictated the materials used for all objects of use. Ivory, along with jade, was the preferred material for Mughal primer flasks. This one is typical in form and carving of animals, both natural and composite, inspired by miniature paintings. Mughal, 17th C © Metropolitan Museum of Art, New York
150
Jade primer flask inlaid with rubies, and gilt copper alloy fittings, Mughal, c. 1700-1725. © Los Angeles County Museum of Art
151
ARMOUR
ARMS & ARMOUR OF INDIA, NEPAL & SRI LANKA
ARMOUR Helmet with Nasal Aventail
The design and decoration of Indian armour has been influenced by the local climate, combat style and cultural inclinations. The heat and humidity common to India would have made heavy metal body armour, as in Europe, quite unsound. Padded clothing was used from the early days, which was quite effective against swords because it had the capacity to ‘give’ before tearing. It was not uncommon for foot soldiers to wear large turbans; apart from the traditional aspect of wearing such headgear, it doubled as head protection.
The use of chainmail, which is lighter and flexible, was widely adopted in India’s medieval period. However, since metalbased armour was relatively expensive, padded cloth continued to be used widely and for a long period.
Char-aina
Dastana (vambrace) Chainmail Shirt Dastana extension covering the hand
A full suite of armour consisting of fine patterned mail shirt and trousers, helmet with a nasal, char aina (four mirrors) cuirass, dastana (vambrace or arm guards), and steel shield. Mughal, 18th C. © Royal Armouries
152
Shield
Chainmail Trousers
Chainmail Shoes
Prince Azam Shah on horseback wearing full coat of mail, featuring a Shaffron, armour for the horse’s head. Mughal, c. 1690 153 © David Collection, Amsterdam
ARMOUR
ARMS & ARMOUR OF INDIA, NEPAL & SRI LANKA
ARMOUR Helmet with Nasal Aventail
The design and decoration of Indian armour has been influenced by the local climate, combat style and cultural inclinations. The heat and humidity common to India would have made heavy metal body armour, as in Europe, quite unsound. Padded clothing was used from the early days, which was quite effective against swords because it had the capacity to ‘give’ before tearing. It was not uncommon for foot soldiers to wear large turbans; apart from the traditional aspect of wearing such headgear, it doubled as head protection.
The use of chainmail, which is lighter and flexible, was widely adopted in India’s medieval period. However, since metalbased armour was relatively expensive, padded cloth continued to be used widely and for a long period.
Char-aina
Dastana (vambrace) Chainmail Shirt Dastana extension covering the hand
A full suite of armour consisting of fine patterned mail shirt and trousers, helmet with a nasal, char aina (four mirrors) cuirass, dastana (vambrace or arm guards), and steel shield. Mughal, 18th C. © Royal Armouries
152
Shield
Chainmail Trousers
Chainmail Shoes
Prince Azam Shah on horseback wearing full coat of mail, featuring a Shaffron, armour for the horse’s head. Mughal, c. 1690 153 © David Collection, Amsterdam
BODY ARMOUR / ARMOUR
ARMS & ARMOUR OF INDIA, NEPAL & SRI LANKA
BODY ARMOUR
The quantity and quality of body armour that a soldier had at his disposal was limited only by his or his commander’s means. Few could afford a full suite of armour (parure), and had to make do with padded vests, if even that. Nobles and generals would have high quality chainmail, with extravagant padded overcoats, often studded with gilded nail-heads. Additional protection could be had with the char-aina (literally, four mirrors) which were four metal plates attached with leather straps, each plate protecting the front, back and the two sides.
Additionally, there would be dastana (vambrace) for the elbow and forearm, and chainmail gauntlets to cover the back of the hand. Some mounted soldiers would wear chainmail pants and knee guards, and even metal shoes.
This is a highly important and one of the most beautiful surviving Mughal mail shirts; it belonged to Shah Jahan. The armor plates are covered in two-color gold and incised with Qur’anic suggesting. Each ring is stamped with several of the ninety-nine names of God. 1632-33. © The Metropolitan Museum of Art, New York A mounted solder wearing full coat of mail, char-aina, and dastana. Painting by Edwin Lord Weeks, 1883. Mail shirts reinforced with steel plates (zereh bagtar) were introduced by the Mughals. The thin, overlapping steel plates still allowed flexibility and prevented penetration by arrow points or points of swords and daggers, unlike chainmail. Vijayanagara kingdom, 17th C. © The Metropolitan Museum of Art, New York
154
155
BODY ARMOUR / ARMOUR
ARMS & ARMOUR OF INDIA, NEPAL & SRI LANKA
BODY ARMOUR
The quantity and quality of body armour that a soldier had at his disposal was limited only by his or his commander’s means. Few could afford a full suite of armour (parure), and had to make do with padded vests, if even that. Nobles and generals would have high quality chainmail, with extravagant padded overcoats, often studded with gilded nail-heads. Additional protection could be had with the char-aina (literally, four mirrors) which were four metal plates attached with leather straps, each plate protecting the front, back and the two sides.
Additionally, there would be dastana (vambrace) for the elbow and forearm, and chainmail gauntlets to cover the back of the hand. Some mounted soldiers would wear chainmail pants and knee guards, and even metal shoes.
This is a highly important and one of the most beautiful surviving Mughal mail shirts; it belonged to Shah Jahan. The armor plates are covered in two-color gold and incised with Qur’anic suggesting. Each ring is stamped with several of the ninety-nine names of God. 1632-33. © The Metropolitan Museum of Art, New York A mounted solder wearing full coat of mail, char-aina, and dastana. Painting by Edwin Lord Weeks, 1883. Mail shirts reinforced with steel plates (zereh bagtar) were introduced by the Mughals. The thin, overlapping steel plates still allowed flexibility and prevented penetration by arrow points or points of swords and daggers, unlike chainmail. Vijayanagara kingdom, 17th C. © The Metropolitan Museum of Art, New York
154
155
BODY ARMOUR / ARMOUR
ARMS & ARMOUR OF INDIA, NEPAL & SRI LANKA
Peti, literally box, is body armour that surround the trunk. This one is quilted and covered in velvet and nail-heads. Indore, 18th – 19th C © Victoria and Albert Museum, London
156
European style armour is unusual for India. These were produced for the Nizam of Hyderabad, and do not appear in other parts of India. Many of this group were inscribed with a date and the name ‘Sarkar Mir Nizam ‘Ali Khan Bahadur’ (1734-1803), who was given the title Nizam by the Mughal emperor. Hyderabad, 18th C. © Author’s Collection
Mail coat is steel, brass and copper butted links in a zig-zag pattern and a velvet collar studded with gilt-headed nails. It was presented to the Indian Museum by the Maharaja of Holkar in 1850. Rajasthan, Late 18th C. © Victoria and Albert Museum, London
Dastana. In Persian referred to as bazu band. It is an arm guard (vambrace), extending from elbow to wrist, with a wrist plate to fasten it. A flexible gauntlet, made of chainmail covered with fabric, extends over the back of the hand to protect fingers. Like char aina, dastana can be beautifully decorated with koftgari and chiselling. North India, 18th - 19th C. © The Metropolitan Museum of Art, New York
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BODY ARMOUR / ARMOUR
ARMS & ARMOUR OF INDIA, NEPAL & SRI LANKA
Peti, literally box, is body armour that surround the trunk. This one is quilted and covered in velvet and nail-heads. Indore, 18th – 19th C © Victoria and Albert Museum, London
156
European style armour is unusual for India. These were produced for the Nizam of Hyderabad, and do not appear in other parts of India. Many of this group were inscribed with a date and the name ‘Sarkar Mir Nizam ‘Ali Khan Bahadur’ (1734-1803), who was given the title Nizam by the Mughal emperor. Hyderabad, 18th C. © Author’s Collection
Mail coat is steel, brass and copper butted links in a zig-zag pattern and a velvet collar studded with gilt-headed nails. It was presented to the Indian Museum by the Maharaja of Holkar in 1850. Rajasthan, Late 18th C. © Victoria and Albert Museum, London
Dastana. In Persian referred to as bazu band. It is an arm guard (vambrace), extending from elbow to wrist, with a wrist plate to fasten it. A flexible gauntlet, made of chainmail covered with fabric, extends over the back of the hand to protect fingers. Like char aina, dastana can be beautifully decorated with koftgari and chiselling. North India, 18th - 19th C. © The Metropolitan Museum of Art, New York
157
HELMETS / ARMOUR
ARMS & ARMOUR OF INDIA, NEPAL & SRI LANKA
HELMETS
These were usually made from metal, but also from fabric. Fine helmets made from wootz were used by high-ranking officers and nobility. Most helmets were constructed from a single piece of steel that was hammered into a bowl shape, and frequently included a nasal (a strip of metal that protected the nose). Helmets were decorated with koftgari and chiselling and Qur’anic texts.
An early, large turban-shaped helmet forged from a single piece of wootz. A sliding nasal, characteristic of Indian helmets, with a wide anchorshaped nose guard. Deccan, 16th C. Private Collection
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This early helmet is shaped in the form of a cloth turban, with mobile earflaps and neck guard, and a sliding nasal. A steel plaque riveted at the top is inscribed in Arabic: “There is no hero like Ali and no sword like dhu’l-faqar.” Bijapur, 17th C. © Metropolitan Museum of Art, New York Silk and velvet helmet. Central India, 18th C. © Metropolitan Museum of Art, New York
159
HELMETS / ARMOUR
ARMS & ARMOUR OF INDIA, NEPAL & SRI LANKA
HELMETS
These were usually made from metal, but also from fabric. Fine helmets made from wootz were used by high-ranking officers and nobility. Most helmets were constructed from a single piece of steel that was hammered into a bowl shape, and frequently included a nasal (a strip of metal that protected the nose). Helmets were decorated with koftgari and chiselling and Qur’anic texts.
An early, large turban-shaped helmet forged from a single piece of wootz. A sliding nasal, characteristic of Indian helmets, with a wide anchorshaped nose guard. Deccan, 16th C. Private Collection
158
This early helmet is shaped in the form of a cloth turban, with mobile earflaps and neck guard, and a sliding nasal. A steel plaque riveted at the top is inscribed in Arabic: “There is no hero like Ali and no sword like dhu’l-faqar.” Bijapur, 17th C. © Metropolitan Museum of Art, New York Silk and velvet helmet. Central India, 18th C. © Metropolitan Museum of Art, New York
159
Arms & Armour Of India, Nepal & Sri Lanka Š 2018 Ravinder Reddy All rights reserved. No part of this publication may be reproduced or used in any form or by any means – photographic, electronic or mechanical, without permission of the Publisher. In respect to links in the book the Publisher expressly notes that no illegal content was discernible on the linked sites at the time the links were created. The Publisher has no influence at all over the current and future design, content or authorship of the linked sites. For this reason, the Publisher expressly disassociates itself from all content on linked sites that has been altered since the link was created and assumes no liability for such content. Produced in the United Kingdom by Hali Publications Ltd., 8 Ability Plaza, Arbutus Street, London E8 4DT www.hali.com Edited by: Designed by: Mark Owens Indexing by: Christopher Phipps Printed and bound in Italy on GardaPat Kiara 150gsm paper from a sustainable source A catalogue record for this book is available from the British Library ISBN 978-1898113-85-0