The chhatri or umbrella

[ariel]

Elgood dedicated quite a lot of space to the ch’hatris in his Jodhpur book. Interestingly, he describes quite a lot of them as incorrect, implying their spurious nature.

My guess that just as with the cartouches with Shah Abbas’ name and signatures of Assadullah there was a brisk production and trade in fake ch’hatris. People are only human, and are ready to forge anything ( banknotes, passports, paintings etc) for a profit. Risks be damned!

[Jens Nordlunde]

Here are two examples.
One while the umbrella still was royal - in gold on a katar, and the other one on a tulwar.

[rand]

The umbrella applied with a cross hatching technique, either a gold wire or a gold sheet appliqué. The dots and triangular marks appear to be a form of punch inlay.

The umbrella gold overlay looks fairly thick, and in some places it seems to follow the wootz pattern. Is that true?

rand

[Jens Nordlunde]

Hi Rand,
Nice to hear from you:-).
The layer of gold is quite thick, but I am not sure I understand what you mean when you write, 'it seems to follow the wootz pattern'.
Catalogue pp. 145-146.
The other one is catalogue pp. 331-333.

[rand]

Originally Posted by Jens Nordlunde

Hi Rand,
Nice to hear from you:-).
The layer of gold is quite thick, but I am not sure I understand what you mean when you write, 'it seems to follow the wootz pattern'.
Catalogue pp. 145-146.
The other one is catalogue pp. 331-333.

Hey Jens,

When you look at the wootz pattern of the blade, you see dark and light (black & silver) colors and lines. The black lines being similar to the cartography of a map showing the different levels of elevation. On the golden umbrella, you can also see darker lines that are mostly vertical. On the top right of the umbrella, there are some that are at and angle. Compare the dark lines of the blade to the dark lines of the umbrella. What is most obvious is the slanting top right lines that lines up perfectly on the gold and steel areas.

The camera collects data, that is light reflecting off the surface of the katars blade. My theory: In this example, there are slight variences in the wootz surface height from etching. And that when reflected off the gold surface, then give darker and lighter shades of gold, because of varying angled degrees of light bouncing back to the camera .

If this is true, it adds another dimension to wootz steel. This is where an opinion from a metallurgist that has study'd wootz would help.

"The human brain starts working the moment you are born and never stops until you stand up to speak in public."

George Jessel

rand

[Jens Nordlunde]

Rand,
I see what you mean, and I think this could be the case.

[Battara]

I thought I would offer my example and to get some analysis please:

[Jim McDougall]

Originally Posted by rand

Hey Jens,

When you look at the wootz pattern of the blade, you see dark and light (black & silver) colors and lines. The black lines being similar to the cartography of a map showing the different levels of elevation. On the golden umbrella, you can also see darker lines that are mostly vertical. On the top right of the umbrella, there are some that are at and angle. Compare the dark lines of the blade to the dark lines of the umbrella. What is most obvious is the slanting top right lines that lines up perfectly on the gold and steel areas.

The camera collects data, that is light reflecting off the surface of the katars blade. My theory: In this example, there are slight variences in the wootz surface height from etching. And that when reflected off the gold surface, then give darker and lighter shades of gold, because of varying angled degrees of light bouncing back to the camera .

If this is true, it adds another dimension to wootz steel. This is where an opinion from a metallurgist that has study'd wootz would help.

"The human brain starts working the moment you are born and never stops until you stand up to speak in public."

George Jessel

rand

Great explanation Rand!

My metallurgy compehrension is about at 'Sesame street' level, so thank you for the excellent description of both the photographic and metallurgic factors.

[rand]

Battara,

You have a very beautiful sword. Would need a better quality image to be able to study it, but could determine if all the koftgari on blade was done with the same hand. Possibly a couple other thins too. These type things are best to study using a 10X microscope. Having said that, a great photo go's a long ways in giving clues of origen and quality.

Again, a beautiful sword.

rand

[Jim McDougall]

I wanted to present a bit different conundrum involving the parasol mark which was present on the large bed chamber sword - May 4,1799 as captured by British forces.
The sword was large, unusually so with a 36" blade and tulwar hilt. In this mount a straight blade is typically regarded as termed 'sukhela'.

On the blade was the gold inlaid parasol mark (as pictured) but unusual in the character of the parasol itself, as well as appearing atop the cross & orb so well known on German blades of earlier times. It would be tempting to suggest that the parasol was added to the cross and orb as a convenient adjustment.
However, the vertical line of the cross, extending from the horizontal line that bisects the orb.....is far too long to the parasol and there is no evidence of the original patibulum (cross bar) in the area it should have been.


It would appear that this mark was applied along with other inscriptions etc. at the time this blade was mounted, and suggests the blade is likely Indian.

But why would the parasol be made to include the cross and orb, which obviously was contrary to Mughal symbolism?

There are two cannon of Tipu Sultan's which carry the familiar East India Company symbol heart shaped with a '4' atop but have been described as 'defaced' with the Mysore seal superimposed over the EIC mark.
It would seem that the strangely paired markings were deliberately placed as if to proclaim the vanquishing of the British by Tipu.

Looking again at the strangely configured parasol OVER the cross and orb , could this have been another case of vanquishing power over perhaps the German allies of the British or the profound use of their blades......by placing the parasol OVER the religiously charged cross & orb?
This application much in the sense or convention of the 'defaced' over marking on the cannon?

I would think the French advisors who oversaw the foundries of Tipu would have been delighted to produce cannon with the kind of allegory that Tipu seemed to favor toward his enemies. The famed mechanical toy that has a tiger attacking a European/British victim is case in point.
Perhaps an industrious armourer to Tipu applied this parasol in this manner.


Added: Tipu's tiger, the automaton device which shows a tiger (presumably representing Tipu. the 'tiger of Mysore' attacking a European (British) soldier. The scene allegorically displays Tipu's loathing of EIC forces.

[rand]

Looks similar to the shape of his throne.

https://www.pinterest.com/pin/460422761897861582/


Was looking for star charts too, symbol crux for the Southern cross is similar also.

rand