Noth African sword
 

The seller described it as an Asian saber, but it looks too much like a Takouba style blade to be anything but North African. It's going to be awhile before it arrives here but I thought I'd post a few pictures from the auction.

Judging from the odd shape of the end of the blade and the way the fullers look truncated at the tip, I'm guessing this was cut down from a larger blade. The handle looks like it's riveted on, which is odd. Since the fullers look forged and the moon and crosses on the blade look stamped, is it safe to assume this was a European blade made for export to North Africa?

The maker's mark is a man in the moon with three crosses on each side. I found a Nimcha with similar markings, 4 crosses instead of three though, here

There's no sheath with it, so I'm not sure If it's possible to determine exactly where it came from. Any ideas? Or what I should call it? Was it a Nimcha at some point? Is it possible to tell where the blade was manufactured or how old it is? I got a pretty good price on it and nobody bid against me, so I hope I didn't get another dud.

Salaams blue lander... Looks OK to me! Some may be forgiven for thinking this is a snapped sword ... at both ends... but have a look at http://www.vikingsword.com/vb/showthread.php?t=3985 Oh I see you have already spotted that ... Nice... In particular I think #7 by Jim McDougall is worthy of note. I looked up the reference to Sandiago Cross and that was interesting.


Regards,
Ibrahiim al Balooshi.

Note; For other Cross shapes related to The Cross of St James (Santiago) see http://en.wikipedia.org/wiki/Cross_of_Saint_James

I have added the famous sword hilt detail of the last Emir Abu `Abdallah Muhammad XII (c. 1460 to c. 1533), known as Boabdil (a Spanish rendering of the name Abu Abdullah), was the twenty-second and last Nasrid ruler of Granada. He was also called el chico, the little, or el zogoybi, the unfortunate. Son of Abu l-Hasan Ali, he was proclaimed sultan in 1482 in place of his father, who was driven from the land. Please note the 4 crosses on the hilt. (In Islamic terms, usually, the cross was used to signify light (candlelight), although, there may be another significance attached to this design)

This does indeed look like a European blade with good age to it. The hilt style is from Berber north Africa, Tunis if I recall correctly.

I don't think this is a dud. I'd actually watched this piece for a few months as something of interest, particularly given the price. However it's outside my usual collecting area.

It's so interesting that both of these swords have very similar markings, both were cut down in virtually the same configuration, and then his ends up heavily worn but in a beautiful nimcha and mine ends up lightly used but in a very crude mounting. I wonder how long that Nimcha is. Mine is 69cm OAL.

Thanks for the link on the Cross of St. James. In the Moorish application are there always 4 crosses? Mine has only 3. The half moon on his nimcha is a little different than mine too, it's facing a different direction.

Speaking of the half moon, I think I saw a picture of a Takouba with a nearly identical half moon on, but now I can't find the link.


I'm glad it's an "official" hilt style, to me it looked more like somebody tried to duplicate a machete handle. I haven't had any luck searching for Tunisian hilts on google, but I'll keep looking. I'm glad you decided not to bid on this one :)

Blue Lander, far from a dud!!!!
While of course 'rough' it is a sound example of a blade which has probably been in circulation for a considerable time, and as noted, has been rather radically reprofiled. The hilt corresponds to certain Maghrebi forms, loosely of the type often seen on s'bula from Moroccan regions, and which have ranged in diffusion all the way to Zanzibar on trade routes. The use of wood brings to mind certain Tunisian hilt forms as Iain has mentioned.

Returning to the blade, these distinct cross forms, particularly in the quadriform configuration seem to correspond to other examples seen occasionally on koummya if I recall correctly . The blade I would take for probably an 18th century German trade product and I suspect many of these to have ended up in the Maghreb. It seems that 'nimcha' sometimes have similar and on European origin blades of these forms which continued in production well into the 19th c.

Often trying to definitively classify ethnographic weapons by a typological term is pure folly, as these blades not only were recycled and remounted from one generation to the next. The term 'Berber' of course covers an immense scope across Saharan regions, but may be considered broadly in descriptions while remaining correctly applied .

I would consider this to be a Saharan knife with radically re profiled heavy sabre or cutlass blade of German import and probably as now mounted with tribal origins along Berber inhabited regions from Maghreb to Tunis. The blade likely latter 18th into 19th.

Well I think that answers all of my questions. Thank you! I'm glad I finally got a blade with some significant age to it.

Whoops, thought of a couple more questions: do you think the blade is crucible steel or blister steel? Should I etch the blade or should I just coat it in museum wax and call it a day?

It is a trade blade from Solingen which has nothing to do with those kinds of steel or forging, and a true antique with probably an amazing history. It is not a museum showpiece, but that blade has well earned that dark patination.
In my opinion, out of respect, I would suggest stabilizing and only light cleaning with WD40 or comparable. It is terrible to see the garish, over cleaned items often seen these days which have been stripped of the valuable patina and its inherent charm.

I'll wipe it down and then give it a nice coat of WD-40. Thanks again.

Salaams blue lander .. I'm not sure about the moon being a half moon nor of it being a man in the moon face though clearly the European style inscribed on Toledo blades by Juan Martinez and Peter Munch(Peter Munich) were "man in the moon faces"...I think the later inscriptions copied onto Islamic region swords were of the new moon. Your moon comprises a moon (presumably new) and 3 new moons and possibly a sun..Peter Munch used moons as Talismans it is thought...see http://www.vikingsword.com/vb/showth...ighlight=MOONS
The reason for 3 crosses not 4 is probably because of the fullers preventing a 4th stamp being put. Three is a very powerful talismanic construct...in different regions including the Fleur de Lys 'Trio in Juncta' and Islamic forms.
Regards,
Ibrahiim al Balooshi.

It is a man in the moon, or half moon. These are very common in the region and consist of the curved back of the crescent, the face, often with a pronounced nose and the eye. This particular one is a little more rudimentary than some, but still of the general form.

Salaams Iain, I am aware of the numerous moon inscriptions generally seen on swords in the region but wish to point out that there are two distinct versions (generally).

The first is the Peter Munch full obvious moon face and the second what I describe as the new moon basically struck. The moon in #1 is clearly struck with 3 inner new moon shapes. I think this became the style on African and Arabian(mainly Red Sea) blades copied from Europeans. I also think that although Peter Munch is considered to have struck the moons as some sort of majic association it was without the realization that this could indeed be a strong Talisman in other regions.

The full faced man in the moon are struck at source whereas the more rudimentary forms are done in local workshops.

My main point is that these may not be considered as half moons in Islamic areas since the half moon has little significance whereas the new moon is an entirely different subject.

For a couple of examples of copied moons see http://www.vikingsword.com/vb/showth...ttara+comments #326.

Regards,
Ibrahiim al Balooshi.

Of course talismanic symbols from Europe can take on different meanings in various regions. However even degenerate forms like this one, they still retain the essential characteristics of the man in the moon mark. In this case the semi circles used to stamp the face, are merely the easiest way for the craftsman to achieve the desired pattern as he is not using a complete stamp. The three elements combine to create the distinctive nasal feature.

Salaams Iain ~ Thank you for your diagram illustrating the moon relating its so called facial character.

A lot of folks reading into arms of these regions will have no idea about the Talismanic or other marks on swords...but as you say (and I agree) "Of course talismanic symbols from Europe can take on different meanings in various regions".

If the moon is copied (onto African and Arabian Sword blades) Does the feature then take on another meaning altogether ? ... Is it then a man in the moon or something else? I suggest the latter... In which case it is not a man in the moon .. It becomes a Talismanic object reflecting a new moon in the sense of the region in which it now resides...something very different to its original application and meaning.

In the same way the cross may well have changed to a star or even a dot..

* . and the cross becomes a sign of light (the candle) The dot an indicator of the centre of the Universe...

For a couple of examples of copied moons see http://www.vikingsword.com/vb/showth...ttara+comments #326.


Regards,
Ibrahiim al Balooshi. :shrug: :)

It is what it is and it has a face. Usually when paired on face is open eyed the other winking. As I already stated these symbols can take on different meanings in different cultures, however the retention of the facial features speaks strongly to the lineage of the mark.

A new moon as far as I'm aware in Islamic art is not illustrated with a face... As seen in the one example you linked an image of where it is simply a crescent.

In the context of African blades the mark retained much of its original form because it was a hallmark of quality and not merely an illustrative symbol.

In short, marks can take on multiple meanings, sometimes outside of their original context. But when this much of the form is retained it speaks volumes as to the influence of the original application.

Shedding some light on the New Moon..
 

Salaams Iain,
So you agree that what we have here is quite an interesting linkage back to perhaps Juan Martinez, Toledo mid 16th C or Peter Munch Solingen 1595-1660, thus, a European Sword mark which has been transmitted onto trade blades and copied by local smiths all over the African region and Red Sea, Yemen etc in the last 250 years. The precisely named "man in the moon" insignia being copied and as a mark of excellence onto blades in the region and beyond. Originally probably placed with a magical quality being inferred... and reflected somewhat in the Islamic sense of Talismanic protection in the crescent moon illustration...with and without nose eyes mouth...

Thus it becomes a new moon in the afro/arabian sense from an original European man in the moon design.

Regards,
Ibrahiim al Balooshi.

I agree there's a linkage, although I wouldn't attribute it solely to Munch. He was only one maker to use the symbol.

I don't agree it necessarily becomes a "new moon" in the African context. That's an over simplification in my opinion.

You may find this picture helpful. The flintlock rifle style suggests this picture was taken in Morocco, but does not necessarily limit that style of sword's usage to that area alone.

Nice pic Charles, which seems to show an s'boula. These are usually slimmer than the piece at the start of this thread, but obviously a familial relation in hilt form. Perhaps the piece in this thread could be classed as one as well.

Thanks, that hilt looks quite similar although it doesn't seem to have the leather "bolster" mine has.

Does anybody have an example of what this blade mighty have looked like before it was cut down? Maybe something like this Gurade?
http://www.vikingsword.com/vb/showthread.php?t=10460

Iain,

I think if we can imagine the original sword in the thread with its complete, undamaged stylized "I" hilt as in the version below it could easily fall into the s'boula category. It seems as if this sword's lower hilt, or guard, uses leather as covering where they would more typically be brass covered.

The hilt certainly seems closer to that to me than, say, a kaskara or takouba....don't you think so? Also note the mid hilt bolt that is generally universally seen on s'boulas and compare the zig-zag carving midway on that example to the carving on the wooden portion of the hilt below.

The blade is, indeed, wider than the example below, but it has been cut down, clearly. Perhaps it was an attempt to mimic the s'boula???

Agree completely Charles. It's definitely from the Berber sphere. I see these pop up in French auctions from time to time, all with the same tip style. So it seems like an established type.

Salaams blue lander,
Very interesting blade form. Clearly a reworked European blade but from where I wondered may it have originated. I thought Falchion.

Metropolitan Museum Quote."Falchion refers to a type of curved sword that was used in Europe from about 1200. This one BELOW is one of the few to survive from the late fifteenth century. Its long narrow blade and interlaced decoration on the hilt suggest the Middle Eastern influence that was an important feature in Venetian and Spanish art''.Unquote.

Transmission of Nimcha and associated weapons throughout the Mediterranean is well known.. I see this as possibly the potential design origin of your weapon at #1.

Any ideas anyone?

The crosses look similar to those at http://www.vikingsword.com/vb/showthread.php?t=3996 on #3. Perhaps it is attributable to that specific tribal group?

Regards,
Ibrahiim al Balooshi

Just curious Iain....do they fetch very much at French auctions??? I am guessing not. The style in general won't win many blade beauty contests! :D

One other thing - the hilt appears to be decorated on only one side. Here's two more pictures from the auction. It looks like the seller shipped it out yesterday so hopefully I'll have it in a week or two.

Tends to be on the lower end of the spectrum. A simple style that seems to take advantage of available blades. Some seem a bit cobbled together, others more cohesive in terms of style. I'll try to dig up some photos of others.

It is interesting to see the great developing discussion here especially pertaining to the markings, which of course have been a key fascination of mine for more years than I can say. I am also glad to see agreement in my notes (post #5) suggesting the s'boula hilt connection, which as noted could place this refurbished blade in many regional contexts throughout the wide Berber sphere. As Charles has noted, the occurrence of a weapon in a certain place or with a particular ethnic or tribal individual does not necessarily establish that as its indigenous provenance. The diffusion of ethnographic weapons through trade, warfare and often nomadic movements makes such classifications not only typically unlikely, but profoundly speculative.

Returning to the markings, especially the 'man in the moon' (known as dukari in Saharan parlance usually in pairs on takouba and occasionally on some kaskara in Sudan)....I think it is well established that this image or device has been adopted rather universally in native symbolism. While the original 'moon' character was part of a type of talismanic motif that evolved from various occult and magical followings, believed to have originated probably in Spain, it was soon widely used in Germany.

As trade blades from Germany (the preponderance of volume) entered various centers and diffused into other regions via caravan routes, clearly the presence of such marks were emphasized by merchants to signify the quality of the blades. As these blades dispersed into tribal elements, the markings became often seen in the visual perspective of the folk religion symbolism. There can of course be many interpretations of what these might be as perceived temporally by these typically highly superstitious and not necessarily highly educated tribesmen.

What is key is that the presence of these symbols became a matter of imbuement rather than distinct imagery or iconography. What was important was what the marking or its presence was supposed to induce in the blade, not what it was necessarily supposed to be. Over time these typically paired 'man in the moon' became degenerated in form to the point of being unrecognizable, but still their placement served its purpose .

I think the occasion of these kinds of markings often appearing only on one side of the blade could signify apotropaic importance as protection from evil or malevolence was a prevalent concern in tribal cultures. The outer or 'exposed' face of the blade (sometimes scabbards as well) would have talismanic devices to ward off these forces. The flyssa is a good example of such geometric devices but it is on both blade faces. I think that the images in Briggs note similar mark grouping on a nimcha on one side only . On many Arab swords, the 'aghreb' (=scorpion) appears only on outer side to deflect evil eye.

I'm not overly familiar with these coastal arms (Moroccan etc.) but in other forms it's not unusual to see a "face" side intended to be displayed outwards and a plain reverse side. Seems to be the case here.

We crossed posts Iain :)

Salaams all~Note to Library; I mentioned earlier a reference to Moroccan crosses similar to those at #1 being attributable to one tribal group; Wikipedia, Quote" Mulai Ahmed er Raisuni (Arabic: "مولاي أحمد الريسوني", known as Raisuli to most English speakers, also Raissoulli, Rais Uli and Raysuni) (b. 1871,[1] Zinat, Tétouan – d. April 1925,[2] Tamasint, Al Hoceima[3]) was a Sharif (descendant of Mohammed) and a leader of the Jebala tribal confederacy in Morocco at the turn of the 20th Century.

While regarded by foreigners and the Moroccan government as a brigand, some Moroccans, especially among the Jbala, considered him a heroic figure, fighting a repressive, corrupt government, while others considered him a thief. Historian David S. Woolman referred to Raisuni as "a combination Robin Hood, feudal baron and tyrannical bandit."[4]

He was considered by many as "The last of the Barbary Pirates" though Barbary Coast piracy had ended by the middle of the 19th century. On the other hand, according to Douglas Porch, an American historian, Raisuni was part of the rule rather than the exception in that every successful Moroccan politician at the time combined villainy with sainthood.[5]

He died in 1925 after having been captured and imprisoned by his rival Abd el Krim.Unquote.

The reference to which this link is associated is at http://www.vikingsword.com/vb/showthread.php?t=3985 and shows a dagger with similar crosses.

Regards,
Ibrahiim al Balooshi. :shrug:

Here's a picture from an old auction described as a "TOUAREG JIBOULA". The pattern on the hilt looks very similar to mine, and there's some similarities in the blade it seems too.


Here's a link to another thread with a similar knife, but much smaller:

http://www.vikingsword.com/vb/showthread.php?p=36293

Actually, if you google zanzibar sword or jiboula sword you can find lots of similar example. Most blades look like cut down larger blades with fullers going all the way to the tip, but on some the fullers stop right before the end of the blade. I wonder if these are locally made blades that were made to look like cut down European blades. I haven't seen any other jiboulas/s'boulas/zanzibar swords with any kind of maker's mark, though. That seems more common on Nimchas.

Also, do we think this blade was made in Germany for export, or was it once a European sword that made its way to Africa?

An astute assessment Ibrahiim, and it is well established that many of the weapon forms in North Africa indeed have certain distant ancestry from a number of Italian forms. These of course filtered into the indigenous forms over long progression and long standing trade and colonial contact. The form seen here is also termed 'storta' and beyond the blade features note the guard system on the hilt. This configuration is believed to be loosely the ancestor of the Moroccan sa'if ('nimcha') via Arab trade sources as well as trade routes to the east and the Ceylonese 'kastane'.
Other weapon features are considered often to plausibly have Italian infuences such as the lunette pommel on many koummya, and other dagger blades referred to as 'janawi' or derivative (=Genoa).

Fascinating detail on the potential association between Raisuli and the crosses and that is indeed an intriguing historical perspective. I recall a great movie on the Raisuli , "The Wind and the Lion" with Sean Connery.
I often defer from referencing movies in illustrating in discussion but some, like this one, seems reasonably well researched and interesting perspective.

Salaams Jim... This is one of those moments when suddenly the thick cloud lifts and for a while everything seems clear... links into and from European East Mediterranean to West and to Arabian and far eastern weaponry is sitting there staring off the page. Here are the magnetic attractions caused by war, trade, slavery and exploration between West and East. Not surprising that the great conduit Genoa is in the mix. I see now the potential for the Kastane link, the Nimchas, the east west Mediterranean hands of the Genoans, Italians, East Roman Empire, Arabia et al !! I am learning such a lot from this one... Shukran Jim...

On with the show !!!!

Regards,
Ibrahiim al Balooshi.

P.S. A couple of pictures~VARIOUSLY JANAWI(GENOA DAGGER), SBOULA AND STORTA DAGGERS.

I can see a family resemblance to those Storta, as well as the Falchion you posted earlier. I have to say it's been fun watching you guys piece together the history of this blade form.

:)

Salaams blue lander ~ Well much of it has been done before. For example just put into search Storta and heaps of stuff comes up... same with Nimcha, S'boula and the rest.

This thread can run and run.. but it needs input and constructive criticism...Lots of authors have had a go at these linkages some like Burton and Tirri have perhaps been less accurate than others like Buttin.

It is a broad subject reaching across the desert to the Indian Ocean and by sea the long way round as well as desert caravan (the same route that Ibn Battuta took) Transition of sword style and influence is clear on \Zanzibari Nimcha as well as the tantalizing link to the Sri Lankan Kastane. Reverse engineering the designs leads to the city states of Rome, Venice, Constantinople and Genoa...Pressing the button marked slavery, trade and war exposes these swords to international travel to and via South America with the Spanish and into the Indian Ocean aboard Portuguese men of war...

I think for the uninitiated here is a superb place to commence their study...and for me too long perhaps in the blinkered look at Arabian style it is a staggering eye opener.

Here is an idea I had about crosses which have obviously different meanings depending on where you're from..

This one depicts a huge cross( http://m.skinnerinc.com/m/auctions/2680B/lots/642 )and is on a Tekke tribal rug in west Turkmenestan used as a door hanging..The cross signifying a welcome light..The flickering light (if you like) of a candle.

The second smaller picture is the clincher with the St. James Cross form clearly depicted on a Moroccan rug.

This raises another important question... Is what we are looking at the famous Cross of St James/Sandiago (like the necklace shown) or something quite different?

Regards,
Ibrahiim al Balooshi.

Sandiago/St James or Southern Cross? Berber!
 

And...whilst I'm about it ... shall we look to the other great indicator down the historical timeline... Traditional Silver Jewellery.

Salaams all ~ How did the special cross shape gain acceptability in Moroccan traditions? In their designs on rugs and on swords. If the design was well known in Morocco who placed the cross designs on swords ..The Europeans or the Moroccan craftsmen or both?

Look at the design of the cross shaped tribal jewellery below. http://www.dphjewelry.com/art-n0912-104.html

1. On the necklace~This particular cross is stylized from the actual constellation in the night sky of the Southern Hemisphere, the Southern Cross. This design, often with rivets, is associated with the Tuaregs and Berbers.

2. On the ring.. A clear illustration of Berber tradition using the southern cross as the design in this silver ring.

Thus I present the arguement that the St James Cross was not imported to Morocco from the Spanish though it may well have gone the other way entirely. I also argue that it was not the St James Cross but a simple rendition of the Star form seen in the night sky... The Southern Cross. A Berber construct.

Perhaps this also places the basic moon inscriptions in a different light? :)

Regards,
Ibrahiim al Balooshi.

Very good information that raises the question... who stamped the crosses and moon in these blades? On the one hand it looks like they were stamped in the metal with a die rather than etched. Can you stamp a cold steel blade, or does it have to be done while it's being forged? I guess you could heat it up to stamp it after the fact, but wouldn't that ruin the temper?

On the other hand, it sort of looks like this blade was cut down at both ends and where the current hilt is attached was once part of the blade. If the crosses were stamped into the blade when it was a longer sword, wouldn't that place them somewhere in the middle of the original blade? If that's the case then they may have been stamped at the time the blade was cut down.

Salaams all; Note to Forum. Wikipedia speaks of moons and stars.

Quote. ''Crescent moon and star ;It wasn't until the Ottoman Empire that the crescent moon and star became affiliated with the Muslim world. Legend holds that the founder of the Ottoman Dynasty, Sultan Osman I, had a dream in which the crescent moon stretched from one end of the earth to the other. Taking this as a good omen, he chose to keep the crescent and make it the symbol of his dynasty. There is speculation that the five points on the star represent the Five Pillars of Islam, but this is pure conjecture. The five points were not standard on the Ottoman flags, and it is still not standard on flags used in the Muslim world today.


The Ottomans also used a flag with a crescent. When the first Ottoman Caliph, Selim I assumed power, the religious flag and the national flag were separated. While both flags featured a right facing crescent, the national flag was red and the religious flag green, and, at a later date a five-pointed star was added. This type of flag has become the de facto Islamic flag, and is used, with variations, by multiple Muslim lands such as Algeria, Azerbaijan, the Comoros, Malaysia, Maldives, Mauritania, Pakistan, Tunisia, Turkey, Turkmenistan, the Turkish Republic of Northern Cyprus, Uzbekistan, and the Western Sahara. As the crescent and star have no religious significance however, some Muslim scholars are against attaching these signs on mosques and minarets or using them to denote Muslim societies''.Unquote.

So far as the Berber star situation it seems clear that their ancient traditions which were not written down but were handed down, thus, a Southern Cross format could have preceded the other stars mentioned above. The non religious aspect is interesting since it refers more to the sighting of the new moon (Crescent Moon to ascertain the Lunar Calender) rather than a religious consideration... though it may also have Talismanic reasoning and is, perhaps, pre Islamic as could be the stars and southern cross insignias..

At any rate, moons and stars preceded the advent of such European sword marks since The Ottoman Empire, sometimes referred to as the Turkish Empire or simply Turkey, was a contiguous transcontinental empire founded by Turkish tribes under Osman Bey in north-western Anatolia in 1299. That was about 500 years before European trade blades entered Africa.

The transition of moon and star concepts may have moved in parallel with the conquest of Africa meaning that they would have been well versed in its use quite early since the conquest of North Africa continued under the Umayyad dynasty, taking Algeria by 61H/680AD, and Morocco the following year. Even assuming a few hundred years ...it can be seen that by say 1400 AD the moon cross and star insignia across North Africa would have been well known.

In addition the 5 pointed star, crescent moon and southern cross are insignias common in Morocco today.

Regards,
Ibrahiim al Balooshi. :shrug:

Salaams All Note to Library; Members may be puzzled that a womens jewellery design or an item of womens Jewellery could be used on a mans item such as a sword...however...

The Southern Cross from Agades or Iferwan was originally worn only by men who transferred it from father to son at puberty. It hints to the virility and strength of the young men in relation to their traditional nomad lifestyle. The cross represents the saddle pommel of their camels or in a wider view, the four cardinal directions.

Traditionally a father would transmit the cross to his son saying "Son, I give you the four directions, as no one knows where your path will end."

And.... Each Tuareg village has its own Agadez or Southern Cross. There are 21 distinct crosses that have been documented to identify the Tuareg tribal groups of Northern Niger viewable below and on http://www.raken.com/info/eng/historique/touareg.asp

Regards,
Ibrahiim al Balooshi. :shrug: