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Kaskara in Silver Dress: an essay for comment and discussion by Ed Hunley
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Moderator's Comment The following essay has been prepared by Ed Hunley for comments and discussion. Ed asked Vikingsword staff for help in putting his lengthy piece online, and it has been necessary to break his essay into several parts to accommodate the limitations on the number and overall size of graphics that can be included in a single post. We hope that this somewhat disjointed presentation does not detract from Ed's outstanding article. Any typos or other errors in the text are mine and not Ed's. Ian. [Note: Pictures referenced to this web site have not been attached to these posts--you can access them directly from the links provided in the text--per Forum Policy, all external links must be accompanied by attached pictures.] INTRODUCTION Studies of the Sudanese Kaskara sword have focused mostly on variations in blades and quillons, allowing educated guesses as to a sword's regional origin and period of manufacture. However, the Kaskara “sword package” comprises several components—blade, quillon/cross-guard, grip cover, and scabbard with chape and top band—each made by individual craftsmen in the supply chain who may perform their work separated in space and time. Today’s package may be original to its initial time and place of manufacture/assembly, or may have a history of repairs or upgrades over perhaps hundreds of years and considerable distance. Each component has a story to tell. I propose that we expand our discussions to include silver accessories added to a basic unadorned sword, usually of highest quality. These additions are intended to enhance the sword and its owner, and may be gifted to high status people as an honor. Silver has a talismanic quality as well as a decorative function. Copper and silver are both thought to bring protection from knife attack, but silver trumps copper. Silver accessories include grip covers, pommels, and chaps and bands on the scabbard's bottom and mouth. Silversmiths are not affiliated with sword-making enterprises. They are higher-end craftsmen located nearer the center of the market. Their work is performed for a customer after the sword and scabbard have been assembled, and is an optional upgrade to enhance the quality of the “sword package” and the prestige of its owner. A. GRIP COVERS I am aware of four main styles of grip covers:
This is apparently the most common design and would be the easiest to emboss on a sheet of silver. The diamonds are in rows and appear to be aligned at an approximately 60º incline. They are sized to align more or less vertically as well. There is a small incised border at the top and bottom. The format appears to be standardized and varies only slightly in execution among different skilled hands. This design appears to be most common in Darfur, mainly because it is associated with Ali Dinar's regalia swords. Also, the design, in a simplified form was recorded by Reed in Northern Darfur in 1984–85. An exception is a sword in the al Shinqiti Collection in Khartoum. Examples Fig. 1. Sword of Ali Dinar, Sultan of Darfur who was killed by the British in 1916. He apparently was gifted several high-end swords. [Maybe someone can fill in the givers and approximate dates.] It seems reasonable that the sword and grip cover would have been fabricated at the location of the gift rather than the location of the giftee. View online at: http://www.sothebys.com/en/auctions/...d/lot.317.html Fig. 2. Another sword very similar in quality and design to Ali Dinar's example posted on this web site by DaveS. View online at: http://www.vikingsword.com/vb/showthread.php?t=13142 Fig. 3. Another sword of similar design posted on this web site by David (Katara). Note the unique and exceptional domed pommel. View online at: http://www.vikingsword.com/vb/showth...hlight=kaskara Fig. 4. Another with copper casing (unique as far as I know)—although it could be just dirty silver—posted by Longfellow on this web site. Also, note the domed top the pommel. View online at: http://www.vikingsword.com/vb/showthread.php?t=16357 Fig. 5. An example with one of the most ornate pommels I've seen. View online at: http://www.sword-site.com/thread/917...a-19th-century Fig. 6. From the collection of Judge M.S. al Shinqiti (1896–1966), University of Khartoum (picture attached). One of six swords gifted to him c.1956 at the independence of Sudan, as photographed in 1984. [Three other of his swords with the Stars & Comets design will be discussed below.]I showed this photo to the shaykh of the Kassala sword maker's suq. He said it was likely made in the village of Wager about 60 miles north of Kassala. The blade is likely an import (it has the “enigmatic” mark). The quillon may have been forged by a smith there long ago and perhaps a local silversmith made the grip cover. Fig. 7. Graham Reed 1987. His Plates L1 & L2 (attached below) have diamonds that are arranged vertically with a line gap between (unlike the Ali Dinar standard). The blades are older European and the quillons are well flared. Each has an interesting and well-defined pommel design. My guess is that a local silversmith made the grip covers inspired by the diamonds of the Ali Dinar examples. Fig. 8. The handle cover on this kaskara (shown on the Ashokar Arts web site) uses the diamond motif but strays from the “standard” of Ali Dinar. It is a Beja sword, which may explain the difference. View online at: http://www.ashokaarts.com/shop/nice-...r-mounted-hilt All of these examples, except Fig. 7 and the Ashoka Arts item, show remarkable similarity yet are different in subtle ways. Only in Figs. 1, 2 & 4 does the cover extend from the quillon to the top plain band where a tassel usually is tied. All the rest have the gap filled by coils of fine silver wire. I couldn't measure the actual widths, but assume the grips were all virtually the same rather than being of different length, though that is possible. None stray very far from the Ali Dinar grip if it may be the standard. A question remains as to the symbolic meaning, if any, and where, when and by whom it originated. ---------- Attachments: Figures 1, 5, 6, 7, 8 ----------- . |
Kaskara in Silver Dress: an essay for comment and discussion by Ed Hunley--Part 2
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2. Stars and Comets
These examples are intriguing and are rare in my experience. The design consists of opposed comet-like head and tail swoops offset by 5–6 pointed stars. At the center front is a diamond-shaped box with four small diamonds arranged in a vertical square. I've not considered one of these covers in 3-D, seen one unrolled flat or as a template, so it is difficult to present a full picture. Most intriguing is that the same basic design is exhibited on the oldest documented example of a kaskara, the sword of Nasir Mohammad, the Funj sultan from 1762–69 (see attached Fig. 9), as well as more modern examples. The Nasir design also is on three of the six swords in the al-Shinqiti collection as mentioned above. If the Nasir design is 200 years old and has remained unchanged for that time, it must be full of symbolism and significance to have reappeared to honor al-Shinqiti. Examples Fig. 9. Nasir Mohammad sword (c.1762). This sword has all the elements of a first quality kaskara: a high-end blade, marked as a German source, with a perfect high taper quillon and a star and comet silver-covered grip. Indeed, all quillons produced since this design and method of manufacture have degenerated in style and quality. [A skilled swordsmith in Kassala in 1984 said that no one currently makes quillons of that flared design.] The sword is equal in quality to the Ali Dinar (c.1900-1916) piece shown above, except it doesn't have the rich engraving on the quillons. Its “perfect” condition begs the questions: Where did it come from? What is its stylistic development history? Are there any known examples of precedent designs? The Nasir sword is shown here, with a good background by Regihis: http://www.vikingsword.com/vb/showthread.php?t=16814 Fig. 10 a,b. Two views of the same sword in the al Shinqiti Collection are attached. The theme resembles that in Fig. 9, but it has only one “V” line above top center pair of comets. Note the flared quillon (Fig. 10a). Fig. 10b shows the end of the quillon's diamond shape. I wonder if this diamond motif has symbolic relevance like the design on the diamond silver case. It looks to me that if the sword was restored, especially the pommel, it could be a brother to the Nasir Mohammad example and a potential Funj sword as well. Fig. 11. Another sword from the al Shinqiti Collection. To my eye the silver work is virtually identical to the 1762 grip cover in Fig. 9, although the silver band at the bottom is not there. --------- Attachments: Figures 9, 10a,b, 11, 12 --------- . |
Kaskara in Silver Dress: an essay for comment and discussion by Ed Hunley--Part 3
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3. Silver Filigree
This type of grip treatment consists of filigreed silver tape wrapped around the wooden grip base, plus a wrap of reptile skin. Both materials have symbolic meaning. The process is of course less expensive to execute than the high-end diamond and stars examples. However, this treatment addresses the protective qualities of silver and cultural signatures of lizard skin and the traditional Beja tassel. Examples Fig. 12. I collected these two Hadendowa swords in Kassaka in 1984 (see attached). The one on the left was said to have been made c. 1915. Due to the similarity of its grip cover, I would date the other to the same time. This style may be a Kassala signature style. Similarly dressed Beja swords are shown on other web sites sites, and two more examples can be found here: Fig. 13. An example in Lee Jones kaskara paper on this web site is a cut well above. View online at: http://www.vikingsword.com/ethsword/kaskara/index.html Fig. 14. Another example is on the Oriental Arms site. View online at: http://www.oriental-arms.com/photos.php?id=1343 4. Other/Unique covers Other embossing styles and designs will be encountered; some may be unique, one-off products of local silversmiths. If we come across other examples that can be typed as stylistically similar, we will have another type to study. Here are a couple of examples: Fig. 15. Kind of a diamond design, but not really (see attached picture), with good views of the pommel and chape. Somewhat resembles the pommel and top caps in Fig. 12. View online at: http://www.oriental-arms.com/photos.php?id=1430 Fig. 16. A unique design on a Beja sword hilt (Fig. 16a). Also, provides a good view of the pommeland chape (Fig. 16b). View online at: http://www.swordsantiqueweapons.com/s587_full.html B. POMMELS Examples of different pommels have been shown along with the pictures of silver grips. A couple are rather spectacular, but these seem one-offs. (Figs. 7, Reed's Plates L1 & L2, show nice sketches of designs.) The pommels in Fig. 12, especially the top caps, are virtually identical and likely made by the same silversmith. Additionally, you will notice other similarities of type. However, I'll leave their description and analysis to others. C. SCABBARD CHAPES AND TOP BANDS Chapes are the triangular metal pieces at the bottom of scabbards. They prevent the point of the sword blade from penetrating the leather and causing injury. Bands at the throat of the scabbard are designed to prevent the blade from cutting the scabbard when being withdrawn or replaced. For the most part, these are made of thin light metal, usually aluminum these days, and they generally exhibit a decorative design. On higher end swords these items will be made of silver and many have elaborate designs. Example Fig. 17. Shows the scabbard chapes from my two Kassala swords above (Fig. 12). The left chape (of better quality) belongs to the left (better quality) sword in Fig. 12. The corresponding bands are also shown in Fig. 12. There it is, my first cut at silver dressed kaskaras. I was surprised that my mainly online research revealed so few design motifs. Hopefully, other examples in museums and forum members’ collections will come to light. Comments, discussions and light criticism welcome. Ed Hunley July 2018 ----------- Attachments: Figures 12, 14, 15, 16a,b, 17 --------- . |
Thread now open for Comments/Discussion
This thread was locked during the loading of all the material from Ed. It is now complete and open for Discussion. I want to thank Ed again for taking a considerable amount of time and effort in putting this magnum opus together.
Ian. |
Thank you for these posts. Very interesting and informative.
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Ed, thank you very much for this essay. It is on a very interesting topic that nobody has tackled before, and I learned a lot from reading it. The essay is very well written as well.
I have a couple of questions: do you know what the symbolism behind the different motives embossed on silver hilts may be (assuming there is any)? Did you consider including the double disc pommel kaskaras in the essay? Regards, Teodor |
Teodor,
Thanks for your compliments. I did considerable on-line research on any symbolism exhibited. No real luck for the covers. Of course Islamic/Sudanese cultures use a lot astrological images as symbols including images on sword blades. Its fantastic to be out at night in remote Sudan and look up at the sky. No light pollution or humidity and the heavens are alive with stars and shooting stars. That vision is bound to make an impression on the individual, society and culture. But still I found nothing that articulated that. I was hoping that members would be able to add from their research and knowledge. Double pommels are interesting and I think mostly from Ethiopia. But I didn't include them. By the "pommels" section I was getting drained. I and others would appreciate it if you would add discussion and images them to this thread. Best, Ed |
Ed, rather than repeat the research of others, here is a link to a thread that was created by Iain for the discussion of double disc pommels:
http://vikingsword.com/vb/showthread.php?t=18691 Teodor |
Good addition to the thread. Thanks.
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Dear Ed,
Your essay is interesting, but I can see a serious problem: - where are your references, books, articles? Regards, Kubur |
Dear Kubur,
My main reference was on-site research in the Suq al Hadad in Kassala, Sudan in March 1984, associated field notes and written up in my Social Economics of Small Craft Production, the Sword and Knife Makers of Kassaka, Eastern Sudan. (Available from EAA's reference section) I also used G. Reed's 1987 “Kaskara from Northern Darfur, Sudan” in The Journal of The Arms & Armour Society and Lee Jones' “Kaskara of Sudanic Africa”. I inspected and photographed the as-Shinqiti Collection in-situ at the Univ.of Khartoum where I taught a semester in 1984-85. I also used photographs from a couple of my own kaskaras. Most of the other photo references were identified from a Google image search on “Kaskara Silver Grips”. Most of the good stuff was from our own Vikingsword threads and photos. Other photos were from various web sites I incorporated under ”fair use” and did not reference other than their URL address as a live link. I won't mention all the other references, including Sudan Notes and Records articles and the Jay Spauldin works of the Funj Kingdom I reviewed but didn't find anything relevant. I even delved into siting references into the al-Kaid comet or star with a tail; nothing to tie a passage in late Funj times. If I missed any important or relevent reference, please let me know. Anything to expand our knowledge will be helpful. Regards, Ed |
Kubur, you raise a good point and thanks Ed for clarifying your sources. So much of our research is necessarily conducted from outside the culture. Ed's field data from his time in the Sudan is valuable information, being reported here in a manner subject to review and critique much as a scientific paper presented at a scholarly meeting. The court of "peer review" on this site can be as rigorous as in an academic setting.
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You have plently in any catalogue such as Hales, the MET... Just look at Ricketts, 1988, he mentions the swords of the Darfur and the ones at the Royal armouries (Richardson)... ... |
Dear Kubur,
Thanks for the references. I tried the on-line MET, but the only photo they had was of the snake double pommel sword, but it wasn't as good as the one Teodor supplied. Ricketts, 1988 looks great, but I don't have access to it. I'll try to get bootleg access via libgen.io. I'd appreciate if you could scan & post the Darfur sword sections. Its difficult for casual researchers to get access to a good reference library without spending a bundle. I'm beginning to think that Darfur may be the birthplace of the Kaskara or at least the key location to its development. Our inquiry is hampered because mostly we see in books "full face" photos of swords and particularly quillons. We need to be able to handle them and see and photograph from different angles to appreciate their 3-D qualities. On a separate note, I recently found an 1838 reference to the cross & orb with a lion sword makers mark. Its in Travels in Kordofan by Ignatius Pallme, London 1844. Not a very good cut and paste below. Also note the preferred Death's-head mark by Peter Knell. I'm not familiar with that one. “Two-edged swords, of Austrian manufacture, are thirty-six inches and a half in length, and one inch and three-quarters in breadth, of equal diameter throughout, and rounded off inferiorly. Seven inches and a quarter in the curve, and marked: 5 with a lion. Thescabbardsandhiltsaremadeinthecountry. They areinmostrequestinDarfour. Thesaleisattendedwithcon siderable profit, but those marked with a death's-head from the workshops of Peter Knell, in Solingen, are preferred. “ (Note: The “5” in the text above in the cross & orb symbol in the original.) Below are great references I used, but forgot to include in the previous reply to you. They are key to the silver grips of both diamond and star & comet motifs. “Royal Regalia: a sword of the last Sultan of Darfur, Ali Dinar” J. Anderson, A. Ali Mohaned, et al, Sudan and Nubia, The Sudan Archaeological Research Society, Bulletin No. 20, 2016 Ancient Treasures exhibition from the Sudan National Museum, 2004, The British Museum. D. Welsby & J. Anderson. It shows the 1762 Nasir Mohamed Funj sword. I didn't use the image in the essay because a better one was available elsewhere. Regards, Ed |
Ian,
Great example. Its a new one for me. High-end Beja, my guess. BTW how did you lift (cut & paste) the photos from the web site and to post on a thread? I couldn't make it happen. Ed |
Has this beautiful example already been sold, Ian ? :o .
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BTW, does the date 04-07-2018 mean July 4, 2018 or April 7, 2018 in Europe? I'm always getting confused by these different date formats. Ian |
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Ian |
My German is absolute zero, but the page translates automatically into Portuguese as i open it. The way i see it, it has a (fixed) price still open for sale, reason why i asked, expecting to be wrong.
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Well done, Ed. Solid and well-written paper which establishes a viable typology.
The Funj sword no longer appears in the British Museum database. Does anyone know the acquisition date? |
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However we are now converging to one only system, putting the year in the first place, the month in second and the day in the end (2018/07/04); we already find many blank forms with the corresponding spaces pre-formated ... and even legended. Whether this new system is legally obliging and is European and not only Portuguese, i would have to check. |
Hello Fernando,
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BTW, Ian, does it matter? (Both dates being in the past...) Regards, Kai |
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Actually it might. As you know, and Fernando correctly pointed out, current items for sale cannot be referenced in Discussions. A July 4th item is more likely to be an active sale than one posted on April 7th. Ian. |
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A most useful piece of research by Edster.
The motif of stars is also to be found on coins from the Mahdist era (see image attached). The coins also sometimes have similar "comet or shooting star" forms, however probably then meant to represent foliage ... |
Colin,
I'm not really sure the "comets" are comets. Never looked at the overall cover in detail when I photographed them 35 years ago. They just look like they might be such in the photos. Could be foliage. Still an interesting symbolic rich design apparently limited to important swords. Best, Ed |
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Regards. |
Yes, I agree. Coin foliage. Sword probably comets.
Regards, |
Oliver,
The 1762 Nasir sword was restored in the British Museum and returned to the Sudanese National Museum in Khartoum. See the "Ancient Treasures" reference in post #14. I'm not aware of the swords history prior to the restoration. Regards, Ed |
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On the subject of silver hilted kaskara in published works, it is true that there is a scarcity of images. In Tirri's "Islamic and Native Weapons of Colonial Africa" in fig. 1-13 there are a couple of kaskara swords with what looks like some metal on the hilt, but nothing worth including here. In Spring there is one silver hilted kaskara in a black and white photo. North of course has the famous Ali Dinar sword from the V&A Museum.
However, there is one publication that contains a couple of very interesting silver hilted kaskaras - "Islamic and Oriental Arms & Armor, A Lifetime Passion" by Robert Hales on p.360. This book also has an image of the Sotheby's sword. Regards, Teodor |
Teodor,
Great catch. Thanks. I've found three other I'll post as soon as I can create good detailed images, hopefully today: Victoria & Albert Museum M.47-1953 and Royal Armories Leeds XXVIS.165 & 166. #166 has a double pommel almost exactly like yours except for the very top and all three have star & comet covers as does yours. The more we dig the more family features we find. Regards, Ed |
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Here are three more Star & Comet covers. All in the same motif. They are not identical suggesting they were produced by different artisans.
1. Victoria and Albert Museum M.47-1953 2. Royal Armouries Collections, Leeds XXVIS.166. Note the double pommel. Its similar to the one posted above by Teodor. 3. Royal Armouries Collections, Leeds XXVIS.165. Wire wrapped at bottom just like #166. |
Great images Ed, thank you for digging those up. I know the discussion is on the hilts, but the one you posted from the Victoria & Albert Museum has a really interesting blade, probably Persian and quite old.
Teodor |
Here's the link to the V&A sword. The image will enlarge to give great detail. They say the blade is 17th Cent. and gives the maker's name. Its #M.47-1953 in case the link doesn't work.
http://collections.vam.ac.uk/item/O71642/sword/ Best, Ed |
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Peter Kull, Solingen.
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A fascinating piece, thank you so much.
I used Pallme's "Travels..." extensively some years ago in one of my talks about the Kaskara to the Arms and Armour Society at the Tower of London. "Knell" seems to be a typo. It should read "Kull" as on this Cavalry Sabre. Curiously, I have not yet found a Kaskara with a blade by this maker. This thread from ten tears ago is worth a look. http://www.vikingsword.com/vb/showthread.php?p=83072 |
Stephen,
Thanks for your comments. I'm now today revising/updating this essay in prep for it to be converted into a pdf, as already are the other two essays. I'll incorporate comments above, especially an enlarged pommels section and would appreciate any additional comments you may offer Best regards, Ed |
The Princeton Expedition to Abyssinia
Ed,
I don't know if you have seen this text published in 1910, there is a section about swords among the Tigre which describes fullers and markings. This text was the theme, along with Burckhardt, of my third talk at the Arms and Armour Society. It names five types, the fuller arrangements and marks will be familiar. "THE NAMES OF SWORDS. The [swords] that were renowned and had a name and were inherited as heirlooms always by the first born sons, 1) Cf. above p. 184, No. 844. 2) The man who divided and pointed at the different portions with his staff put down his staff upon the remainder. SPECIES OF SWORDS are the following. They did not carry them, however; but they kept them as precious heirlooms. [Those that have a name among. the Bet-Abrehe are the following]. i. Black [of Gabres]. 2. ^Eldy, and 3. Lebteb (probably from lablaba "he hurt"), [belonging to Hasala son of Tas- faconj. 4. Narrow [of Harsoy]. 5. Black-white [of Bula], [Among the Habab is known:] 6. Narrow [of 6aweg]. [Among the c Ad Takles are known :] 7. ^Albenay [of Naseh]. 8. Handmaids-worth, [belonging to the c Ad 6eme c ]. 9. Half-silver [belonging to the c Ad Derar]. 10. Black, and n. KabUlay [belonging to the c Ad Nauraddln]. 12. Cutter [belonging to the G Ad Tedros]. [Among the c Ad Temaryam:] 13. Quick [of Sekkar]. 14. Shed [of D Eshaq]. 15. All-killer ! ) [of C AH son of Gabres]. 16. Black [of Be 3 emnat]. 17. Black [of 3 Ezaz son of Gerenat]. 18. Cutter [of Fekak]. [Among the (jemmegan, in Tigrina Dembezan, i. e. the region between c Ad Taklezan and Wara:] 19. Piercer. 20. Soldier. 21. White. 2 ) The names of some other swords [not owned by a known family or man] are the following: 22. Marrow-eater. 23. Shearing. 24. Hurting. 25. Goats- worth. 26. Dark-speckled. 27. Handmaids-worth. 28. Cutter. 29. Erring. 93- p - 173- SPECIES OF SWORDS. The swords are judged by their marks, and are called "valuable" or "of little value." And .each species has a name. 1) Literally: Father of it all. 2) Cf. also the "Black" of Hakin wad Madln, Vol. Ill and IV, No. 672, 1. 13. 2O6 CUSTOMS A.'Afren/i; B. MaJiawt; C. Kdr ; D. ^Abutfes; E. Bonkay. Their marks are the following. A. The ^Afrengl species. 1. The ^^Afrtngi from Sennar" is valuable. Its marks are: above the pommel ') four lines along side each other, a span long. And this is called the " D AfrengI with four streams." 2. But if together with the four lines there is a drum or a lion or a serpent or a fly [carvedj on it, it is called "^Afrengl Selemanl;" and this is more valuable than the foregoing. 3. The "Black DAfrengI" is from Kabasa. Its mark is: a broad line, a span long, above the pommel, and there is a fly on it. It is the "Black ^Afrengi" and is also valuable; and they are all [three] costly. B. The Mahawl species. 1. The "Rhinoceros-hoof Mahawl" is valuable. Its marks are: three lines, a span long, above its pommel, and two crescents with their openings facing each other, and also the hoof of a rhinoceros. It is costly. 2. The "Running-stream Mahawl" however, has the lines reaching to its point; it is cheap. Or, again, if one of the P. 174. lines is a little longer, and the two others are shorter, and if the crescents face outward, it is [also] called the "Running- stream Mahawl, and it is of little value, too. C. The Kar species. i. The "Closed Kar" has the following marks: it is "closed" (i. e. without carving) from the pommel upward for a span, and after that there is a broad line on it; or, again, together with the closed space below, it is "closed" also above, be- ginning from the point; for a span, and the broad line is in i) In these descriptions the sword is always imagined point up. the middle, and half of it is ornamented with small irregular lines: it is valuable. Its price is like [that of], the ^Afrengl. And it is called the "Closed Kar" or the "Erring." 2. But if the Kar is carved with a broad line up to the point, it is of little value; and it is the sword of the high- waymen only. D. The ^Abut/'es species. The ^Abute^es has under its pommel ') a square ornamented with little irregular lines; and above the pommel it has a broad line, a span long. It is of little value. And when it is used in striking, it has sometimes a "dark day." E. The Bonkay species is also of little value. 2 ) " |
Thanks, Stephen. I couldn't get access to an English version via Archive ,only German, nor from Libgen.
Interesting apparent parallels between kaskara and Ethiopian broad swords, but yet several major differences as I interpret the Ethiopian terminology. Any relevant images in the Princeton book? The afrengi types must be with foreign (European) blades. The fly, lion, and half moon markings are German and must have been imported well before the 1905-10 period. I'm surprised that 4-line fullers were specified. German & local blades with line fullers on kaskara were three and none that I know of had 4. I few had five, but they were most likely locally made outliers as noted in the Fullers essay. In the EAA forum, many examples of the full length Kar/Khor were thought to have been made in Ethiopia. Some with two fairly wide fullers with Amharic letters inside. Kassala makers apparently copied Ethiopian designs on this type. Thanks for sharing, Regards, Ed |
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