Notes from Markel (1999, p.31):
During the Mughal regnal; " ...weapon hilts were also designed with floral and or vegetal forms, either adorned with raised or inlaid poppy plants or other flowers or terminating in floral shapes. Single buds were the most favored terminals, such as those used in the end of the knuckleguard and butt of a floral decorated late 17th c. jade sword hilt made to smaller scale for a young prince.
Occasionally multiple blossoms were used as terminals, such as represented on a jade dagger hilt from about 1700-1750 that features three buds inlaid with gemstones.
Not only did Mughal artists create new weapon hilt and vessel forms but they also modified forms from Islamic and/or Hindu design traditions with flora and fauna motifs that 'Mughalized' the pre existing forms appropriate for their desired imagery."
Further, Markel describes a ewer that has been dramatically 'Mughalized' with numerous depictions of POPPY blossoms, which since the time of the pleasure loving Jahangir served in effect as the STATE FLOWER OF THE MUGHALS.
In Elgood (2004, p.130) he describes "...the three royal families of the Tamils in antiquity known collectively as the Mu Ventor, or three kings, and were the Chera, Chola and Pandya.
The first had as its emblem the large white flower of the Palmyra palm (borassus flabelleifer); the second the at or atti common mountain ebony (bauhinia racemosa) and the third the dark branches of margosa (arya veppu)."
The dynastic flower symbols were later replaced by varied animal symbolism.
It seems that flowers as dynastic leitmotif in Hindu convention was replaced as noted by various animal and other symbolism, but the floral and vegetal dynamics were profoundly represented in Hindu metaphysical and talismanic auspicious representations throughout their tradition.
While the Mughals did largely regard many aspects of these Hindu traditions as heretical in varying degree, it does seem that Akbar was intrigued by Indian 'magic', as many of these holdings were regarded. The reputation of 'Indian magic' was in fact well known from antiquity into European cultures.
It would be interesting to know just how much occult and arcane symbolism in the European herbals which became so fascinating to the Mughals might have had origin in India in the first place.
It does not seem that unusual that Dara Shikoh had become keenly involved in the mystical properties of these herbals, and ironically his fascination was well represented with his forebearers as well. His capture and execution by his religiously conservative brother was more a power play with these mystical fascinations simply impetus to implicate him as a heretic.
In much decoration in Indian hilts, the auspicious and talismanic properties of not only animal totemism, but apotropaic properties of precious stones, metals and features such as architectural design are incorporated.
With these motif the Mughals created designs which brought in their own 'Arabesques' of geometric fashion together with these various floral patterns along with these other key elements.
It would seem that the concept of floral symbolism as a dynastic leitmotif with the Mughals had much more ancient origin in the Hindu culture, but clearly served the Mughal purpose well with their Gardens of Paradise theme.
This is a very complex and difficult topic, and it has taken many hours to try to formulate these thoughts, which I hope make at least some sense.
Jens has done the arms collecting community a great service with his gift of a magnificent volume sharing his many years of collecting and study on Indian arms. He has asked for us to join him in seeking more answers on these deeply esoteric topics, and myself and Ibrahiim have joined him in this discussion in hopes that others too may also participate.
I know there are many collectors out there who have in varying degree included Indian arms in their collections. I would ask that they bring out examples that we might examine and discuss the floral motif found, so that we can build the knowledge base on this important topic.
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