The Sinhalese Kastane: Its Development, Decoration and Symbolism

[Ibrahiim al Balooshi]

Salaams all ~ Note for comparison. There are several sword groups that may have influenced the Kastane design and viable evidence suggests who may have delivered similar sword forms throughout the early years and encompassing(and bracketing) the first Portuguese arrival in 1505. I turn to "Islamic Arms" by the late Anthony North for two such swords for comparisons. The vehicle for such cross pollination in styles are possibly the famous sea traders of Sri Lanka; The Moors. (see note below*)

The weapon displaying quillons with remarkably similar dragon style finials from the above "Islamic Arms" is Quote"The hilt of carved jade mounted in gold, the blade of watered steel Persian, late 15th century Topkapi Palace, Istanbul".Unquote.

The weapons known as Nimcha are equally intriguing as to potential design influence where Moroccan style may have been transmitted.

Regards,
Ibrahiim al Balooshi.

Note.*See http://en.wikipedia.org/wiki/Sri_Lankan_Moors for a more detailed rendition of the Sri Lankan Moors..
Quote"Sri Lankan Moors (commonly referred to as Muslims) are the third largest ethnic group in Sri Lanka comprising 9.23% of the country's total population. They are predominantly followers of Islam. The Moors trace their ancestry to Arab traders (Moors) who settled in Sri Lanka some time between the 8th and 15th centuries."Unquote.

[Jim McDougall]

These are outstanding references Ibrahiim, and thank you for the interesting link to the online reference on the Sri Lankan Moors, which indeed adds some important perspective to understanding some of the ethnic and colonial complexity of Sri Lanka.

As you have well noted, Anthony North does address the potential influences of Venice and Northern Italy on these swords, and specifically cites the distinguished French arms historian Charles Buttin:
"...Charles Buttin, who had a considerable number of Moroccan swords in his own collection, and published a paper on them, detected a number of influences in their very individual hilts. He pointed out their similarity to the indigenous sword of Ceylon, the kastane, and discussed their relationship with European swords".
(from "Les Poignards et Les Sabres Marocains', C.Buttin, Hesperis, TomeXXVI, 1939, p.1)

In this the distinct similarities in the guard systems of the hilt are noted, and in his closing comments, North states, referring to the North African hilts, that "...at least one of the influences of these hilts-and perhaps the strongest-came from North Italy-possibly as early as the 15th century".

from "A Late 15th Century Italian Sword" , A.R.E.North, 'The Connoisseur, December , 1975, pp.238-241)

It would seem clear that the influences of Venice in their powerful trade networks almost certainly introduced their weapon forms and styling into many cultural spheres . In this case it would seem that this style hilt configuration quite likely was filtered into Sri Lanka through the Arab traders who populated the Sinhalese littoral in their ports.

The guard and quillon configuration was specifically placed on the original Italian swords to correspond to their unique style in fencing techniques and as part of the developing hand guard systems of these swords. It would seem that this quillon arrangement was adopted by Arabian and of course the North African regions noted in more of a stylistic sense.

In the case of the kastane, while the hilt form is of course stylistically similar, it has become even more vestigial in the downward quillons next to the blade, and the terminals of the guard and quillon are vehicles for the subordinate beast heads.

The identification of the key figure on the hilt, the zoomorphic on the pommel, of course remains a quandary, and it seems in most cases must be considered specifically with each example as there appear to be numerous variations. Naturally in the scope of journalistic references the pommel beast is described by authors in much variation, which seem to reflect whatever sources they may have used in their research.
In one article for example, a kastane in a news item from 2008 is described as "..an ornamental sword that was the symbol of office of the Kandyan Lords, Kings, Adigars and the Dissawas" . The head on the pommel is described as a makara, and in the photo, I must note that the creature does appear to have a snoutlike feature, very much like the architectural makara figures I have seen.
This particular article was written for the Sri Lanka Express by Emmanuel Silva (April 5, 2008) and expressed great concern for these valuable antiquities being dispersed in auctions, flea markets etc.

Naturally, this material is included here in the discussion impartially, for consideration in the examination of data and detail as we work toward learning more on the kastane.

[Ibrahiim al Balooshi]

Salaams Jim,
Thank you for your post and superb references putting some considerable meat on the bones of my previous notes. I delight in seeing your last paragraph noting the stylistic nature of the pommel in certain cases and underlining the great reverance applied to such iconic features whether Lion or Makara. Were the key concepts simply artistic impression and customer requirements? The Kandyan Kingdom, of course, never succumbed to Portuguese agression so it is difficult to imagine how they could have been involved in its design. One viable situation could be that the Moors having fetched various swords into the country and transmited the essentials of design to the Royal Workshops prior to the Portuguese influx; In that way it seems plausible that a Royal or VIP dagger sword could have found universal Sri Lankan favour..It seems that an essential European sword framework to which great embelishment was then added could carry the formula? A Sri Lankan Kastane (Kasthane) resplendent with embelishment and religious symbolism...perhaps built around a European basic form.

For interest below ~ Portrait of King Rajasingha II of Kandy (1608-1687) (Reign 1635 – 6 December 1687)
Regards,
Ibrahiim al Balooshi.

[Jim McDougall]

In more efforts to revisit articles and notes as well as reviewing the discussion, it seems that the complexities and conundrums of the mysterious kastane remain as elusive as ever. In continuing to examine the nature of the creatures imaged on the hilts of these swords, it seems that consideration of Sinhalese art as a whole may reveal some perspectives .

In "Medieval Sinhalese Art", (A.K. Coomaraswany, 1956) it is noted that "...medieval and modern Sinhalese art is essentially Indian art, but it is not modern Hindu, rather it is such an art as might have survived in some yet Buddhist part of the mainland, if Buddhism had not there been entirely merged in Hinduism"

In "A Royal Dagger of Ceylon" (J.F. Pieris, The Connoisseur, Jan-Jun 1938, Vol, CI) , it is stated that "...much ingenuity and art have been lavished by the Sinhalese craftsmen in adornment of his daggers". While clearly this article is toward the piha kaetta it is important to consider the notes toward this adornment, much of which concerns botanicals, but the use of the serapendiya is mentioned as "...a mythical creature whose decorative possibilities have been freely exploited by craftsmen".
Deraniyagala (1942, p.110) discusses the piha kaetta stating that early examples are unadorned but later featured the lions head, and in final form a floral scroll issued from the lions mouth

While these descriptions are toward the piha kaetta dagger, what is key are the references to the kind of decorative motif and artistic influences in place in Ceylon as the kastane developed . While it does seem that later some degree of influence may have been imported through European presence, I would consider that more nuanced than notable. Naturally I am referring to the decorative features of these swords, as my earlier comments on the guard structure of the hilts probably Italian filtered through Arab traders remain my opinion as stated.

To me it is extremely doubtful that the Sinhalese were in any way in league with the Portuguese in the evolution of the lionhead kastane hilt. The Kandyan kingdom and the Royal Workshops, which remained autonomous through and far beyond those times seem of course where this evolution probably occurred . It seems that artisans and craftsmen in these workshops, like other Sri Lankan artists, were taught to have a degree of latitude in their creativity. However they were also required to learn from early treatises such as the Vaijayanta, and the Rupavaliya how to draw gods and mythical animals.
Deraniyagala (p.101) notes this interesting description of the Royal Sword apparently from the Vaijayanta, "...the hilt of the sword should have a pommel of lotus petals; the middle part should be decorated and possess auspicious figures of lions etc."

What seems interesting here is that this obviously quite early reference notes the pommel with lotus petals, while the lion although auspicious, is curiously in a relatively subordinate position on the hilt. I am not familiar with this treatise nor its period, but it seems to note at least the use of some zoomorphic and botanical embellishment on Royal swords.

The extreme organization of the workshops at Kandy is described in a Dutch plan of the Royal Palace in 1765, "..showing armouries for different types of weapons and quarters for the armourers, and proves the great attention paid to weapons by the Sinhala royalty". (Deraniyagala, p.99).
The organization of these workshops and artisans was quite complex and specialized, but apparently in some cases weapons could be commissioned by others than royalty for specific fees. I am wondering if these private commissions, which obviously require further research, might account for some of the more notable variations in some kastane?

[Ibrahiim al Balooshi]

Salaams All... I am in more or less parallel agreement with the post above..(Thank You Jim !) indeed I find it extremely difficult to separate the design and workshop artistry involved in both Kastane and Piha Kheata in that I cannot imagine the Portuguese being involved in either... or put another way... if they were involved in one they must have had a hand in the other. The description of Royal Workshops mentions the same divisions being responsible for both weapons but no mention is alluded to Portuguese involvement in either.

Whilst some caution may be needed in viewing sketches of the period and since there are so few.. it seems the responsibility for such designs were purely down to Sri Lankan artesanship.

Where a difference evolves in the subject of the main hilt could it be that one Kingdom applied/favoured Lions and the other Makara? Perhaps it may simply be stylistic licence.

Oddly, whilst there are blade marks attributable to The Dutch (VOC) it seems there are none from the other invading powers and apparently none from the EIC though several reports speak of such marked blades.

An exceptional report may be viewed on http://www.craftrevival.org/Extralin...ageCode=P00014 detailing the craftsmen, Royal Workshops details and responsibilities, specialist gold and silver workers and sword makers etc etc ...

Regards,
Ibrahiim al Balooshi.