Talismanic Devices and Imbuements on Islamic Arms

[Jim McDougall]

AHAH!!! The dreaded five dot combination!!!
OK that makes sense, and works out by saving space.
With that in mind, I think of the dot combinations in the Italian blade markings. ….those 'Genoan' sickle marks while seen in pretty standard arrangement were often realigned in all sorts of configurations.

It truly is interesting to look into. A mark may have had peculiar significance in its origin, then later become looked at as a sign of quality......further copying led to its use as an aesthetic theme or arrangement...its original meaning long lost.

In Germany the use of Toledo markings were much in this manner, and certain marks were paired or grouped completely incongruently .

It all makes for interesting study and investigation for those who enjoy a good mystery.....weapons have a lot of 'em!!

[Edster]

Great thread. I'm learning that:

Seldom is a cigar just a cigar!

[Jens Nordlunde]

Here is the sickle with the three dots.
Detail from a tulwar blade. Mughal late 17th to early 18th century.

[Ibrahiim al Balooshi]

SEE http://www.vikingsword.com/vb/showthread.php?t=7138 where MATCHLOCK (RIP) placed a stunning article on the haquebus and showed three dots at #! on the 6th picture. BELOW

[Ibrahiim al Balooshi]

More on the 3 dot structure using an image of an Afghanistan Pulwar ~

[Ibrahiim al Balooshi]

More on the 3 dot structure using an image of an Islamic Gun at the cannon barrel end. ~

[Norman McCormick]

Hi,
Here's another configuration of the three dots. They are on a sword that I can only describe as an Indian style cutlass.
Regards,
Norman.

[Jim McDougall]

Originally Posted by Norman McCormick

Hi,
Here's another configuration of the three dots. They are on a sword that I can only describe as an Indian style cutlass.
Regards,
Norman.

Most tactfully and well described Norman lest we stir another 'name game' debate!! It seems that the term may be well placed, given that the Marathas were known for their notable naval power.


Ibrahiim thank you for these further examples into use on guns in various contexts. It seems I recall in our findings that in many cases there were numbers of gold metal filled dots on the blades of early Islamic swords (varied in number) which were said to be talismans to bring luck.


With reference to the three dot configuration in European context, the heavy bladed swords with rebated blade tips typically used as 'bearing swords' (though often termed more nefariously) often had three holes at the tip of the blade. These have been explained as to be there to create a whistling in the stroke; to attach weights and not sure of what other fanciful purposes..however the representation of the Holy Trinity is most reasonable.


Curiously, heavy bladed swords in Africa claimed to be used in similar purpose in cases have had the same three holes in the same blade location.


Jens shows a great example of Mughal tulwar with the familiar sickle and three dots configuration, clearly copying the European mark well known on blades elsewhere in India in many instances.

[fernando]

If we look at "Armi Bianche Italiane" (Boccia/Coelho), we can see the dots "all over" such work. Curiously the authors care to add in index of all weapons illustrated in the book but i don't see any their assessment on the dots interpretation.


.

[Jim McDougall]

Excellent example Fernando, and Boccia & Coelho (1975) is an outstanding reference with comprehensive illustrations of these many known markings. As noted, there really are no details or insights into the symbolism imbued in any of them (or few) and these are realized as occurring on blades with period or regional attribution noted but not necessarily particular maker.

This suggests of course that these markings, in which configurations are often multiply used or in varying numbers ,are most likely renderings of certain devices or imbuements. We know that the 'Genoan' sickle (dentated arcs) marks were apparently some type of mark used in Genoa, or attributed to that city as a departure port for blades. The mark actually occurs on blades from other centers as well.

This I think was the reason the mark became so widely copied, as it noted 'quality' in these blades so widely traded, and just as with Toledo as well as Solingen/Passau that connotation prevailed.

[Jens Nordlunde]

Thank you for showing this Fernando, some of them I have never seen before.

[Ibrahiim al Balooshi]

Originally Posted by Jim McDougall

Excellent example Fernando, and Boccia & Coelho (1975) is an outstanding reference with comprehensive illustrations of these many known markings. As noted, there really are no details or insights into the symbolism imbued in any of them (or few) and these are realized as occurring on blades with period or regional attribution noted but not necessarily particular maker.

This suggests of course that these markings, in which configurations are often multiply used or in varying numbers ,are most likely renderings of certain devices or imbuements. We know that the 'Genoan' sickle (dentated arcs) marks were apparently some type of mark used in Genoa, or attributed to that city as a departure port for blades. The mark actually occurs on blades from other centers as well.

This I think was the reason the mark became so widely copied, as it noted 'quality' in these blades so widely traded, and just as with Toledo as well as Solingen/Passau that connotation prevailed.

HELLO JIM... What a great thread!!

I heard that the arc sign called variously hogs back or eye lash marks was a secret sign made by prisoners to signal to a visitor or onlooker that all was OK … Would that indicate that the dots were actually toes..? And taken from ancient tradition as three is an auspicious number in many structures.

[Jim McDougall]

Originally Posted by Ibrahiim al Balooshi

HELLO JIM... What a great thread!!

I heard that the arc sign called variously hogs back or eye lash marks was a secret sign made by prisoners to signal to a visitor or onlooker that all was OK … Would that indicate that the dots were actually toes..? And taken from ancient tradition as three is an auspicious number in many structures.

Thank you! It is good to see some traction in looking into these markings, which as noted regarding the typical lack of attention to explaining or any particular attention other than mentioning their presence.

These and many of the markings which were discussed over years in the trademarks thread have had many suggestions and explanations discussed, and most are of course apocryphal but indeed feasible in numerous cases.

What has brought us to these curious paired arcs (usually dentated) were the triple dots at the end of each arc. It seems certain such symbols may have been placed congruently with others to disguise them in degree.

As mentioned, in the case of 'dots' in Islamic parlance, in many cases the number and configuration may have simply been for 'luck', but with regard to the 'three' that may well have been with religious significance. It is always hard to guage just how much influence diffused into various cultures and regions from another, but the varied examples and cases can be estimated on their own merits.

[Ibrahiim al Balooshi]

I note that across the entire spectrum there appear certain key royal marks such as the Ottoman (Othmanli) Tughra although in this case below I show an Indian blade mark of Royal intent... The Parasol Mark. This mark thus appears as an imbuement to the other Talisman figures on these important weapons.

In addition it carries three dots atop the Parasol and second cartouche which is in Islamic script and flanked to one side by the Buduh square as well as ribbons of attribution to Religious Iconic figures; again in scripted gold style.

SEE https://auctionsimperial.hibid.com/l...=2&ref=catalog FOR THE SUPERB DESCRIPTION

[Jens Nordlunde]

Ibrahiim, could you possible turn the pictures so they will fit within the frame?
Thank you
Jens

[Kubur]

Originally Posted by Ibrahiim al Balooshi

SEE https://auctionsimperial.hibid.com/l...=2&ref=catalog FOR THE SUPERB DESCRIPTION

... famous Imperial Parasol mark indicating it was owned by the Mughal Emperor...

Well in fact it was given by the Mughal emperor not owned... that's a huge difference... but still a royal provenance i agree

[Jim McDougall]

Originally Posted by Kubur

... famous Imperial Parasol mark indicating it was owned by the Mughal Emperor...

Well in fact it was given by the Mughal emperor not owned... that's a huge difference... but still a royal provenance i agree

Well noted, and I think what is being observed are the various perceptions toward these distinct occurrences of the gold parasol on certain very high quality Indian blades.

There are suggestions that the parasol mark was indicative of the finest Persian blade makers for Royal patrons, and that this mark indicates Royal ownership or indeed for presentation deserving such recognition.
The blade in the link also carries the Assad Allah cartouche, which of course aligns with the suggestion regarding Persian blade makers. Along with that is the beduh square, which brings the character of this blade into the talismanic perspective which is themed in Ibrahiims observation.


The parasol as being discussed, can also have talismanic properties being symbolized (still in its Royal connotation) in that it is of course a protective device in character, in addition to its auspicious meaning representing in effect the 'dome of heaven'.


In many examples of the parasol marking the three dot device is included at the base of the handle, also the dangling fringe dots from the parasol dome are typically three on each side.

[Ibrahiim al Balooshi]

Originally Posted by Jim McDougall

Well noted, and I think what is being observed are the various perceptions toward these distinct occurrences of the gold parasol on certain very high quality Indian blades.

There are suggestions that the parasol mark was indicative of the finest Persian blade makers for Royal patrons, and that this mark indicates Royal ownership or indeed for presentation deserving such recognition.
The blade in the link also carries the Assad Allah cartouche, which of course aligns with the suggestion regarding Persian blade makers. Along with that is the beduh square, which brings the character of this blade into the talismanic perspective which is themed in Ibrahiims observation.


The parasol as being discussed, can also have talismanic properties being symbolized (still in its Royal connotation) in that it is of course a protective device in character, in addition to its auspicious meaning representing in effect the 'dome of heaven'.


In many examples of the parasol marking the three dot device is included at the base of the handle, also the dangling fringe dots from the parasol dome are typically three on each side.

HELLO Jim ..I note the following thread here on EAA Library as full of detail on the PARASOL on MUGHAL weapons. http://www.vikingsword.com/vb/showthread.php?t=7165

In addition I add this dagger with Cartouche and Parasol as also of Royal linkage although in many cases not necessarily owned by the Emperor(BUT THIS ONE WAS SHAH JAHANs) but perhaps more his insignia denoting fine quality; probably made in a Royal Workshop. (The larger picture from the thread at para 1 at # 7 by RAND.)

[Ibrahiim al Balooshi]

Is it possible that the three dot form is in fact linked closely to Koranic script? ...see the picture of the very important red amulet below surrounded by the row of triple dots..With an important verse from the Koran inside the protective? dots.

This object is illustrated from the MET museum and incorporated at https://simergphotos.com/2013/02/19/...-muslim-world/

[Jim McDougall]

That is truly an interesting and compelling note !
The 'three' is a significant numeral in many contexts it seems, and as it transcends cultures and religions, superstitions, etc. it is perceived accordingly.

While obviously the three in Christianity signifies the Holy Trinity, but in other religions it has similar purpose but clearly different in definition.

It would be interesting to see more on this angle of the three dots in use!

[Ibrahiim al Balooshi]

Hello Jim,

The use in combination with Koranic script is most interesting and it seems there were no barriers on blades in using any of these marks singly or in multiples or all together. Thus I searched for evidence from the Religious script viewpoint and although the dots were not always used they certainly sometimes were.. I suspect their presence indicates a particularly important verse however what the exact meaning was meant to convey...protection from evil spirits or as some form of added sentinel or simply a good luck omen it is difficult to be certain.. diffusion in use across the different artefacts seems proven and below I have two forms ; one on Ceramic and the other on Islamic script.
On the tile is the clear three dot symbol of Tamberlane on a Turkish ceramic accompanied by the elusive second element of Tamerlanes marker... tiger stripes.

On the script and geometric covers of a rare pair of document covers at page 30 of TRM TAREQ RAJEB MUSEUMs 1994 DOCUMENT ...the actual contents being on page 31 which comprise Al-Shihabs Sayings of THE PROPHET(PBOH) written in Valencia 1172 AD. THE 3 DOTS in this case appearing just off the main page but seemingly guarding it. Notice also that the outer most border of the covers comprises a complete band of figure 3 and figure 5 dots...thus possibly signifying a kind of sentinel or guard line protecting the entire folder and inner document.

[Jens Nordlunde]

Yes the Cintamani (clouds?) is often shown with three dots or maybe it is a flower.
Hilt probably Deccan 17th century with a straight blade.
Catalogue pp. 313-314.

[Ibrahiim al Balooshi]

SEE https://www.academia.edu/17314322/_%...2007_pp._33-49

WHERE IF EVER AN academic paper brilliantly presented blows the entire roof clean off many of the ideas rumours legends and reasoning previously attempted on this great subject>>> The Cintamani Dots>

See below the amazing coat ...Short-sleeved kaftan with Cintamani motifs. Bursa, attributed to Mehmet II but probably 16th century. 13/6, Topkapı Saray Museum, Istanbul.

I thought it a good plan to place the Epilogue first since it is all encompassing but needs the research of the entire document. IT is brilliant>

Quote"Epilogue;

This paper has taken account of the infinitely complex way in which the triple-ball pattern was formed and became known as Cintamani in Ottoman art. Because of its immense impact on the art of the Ottoman period and modern times, a decorative peculiarity of three balls in the triangular arrangement has been celebrated by inviting yet confusing etymological stories. The misleading naming — Cintamani — has increased yet another perplexity and turned into one of the scholarly wonders in Islamic art studies. Clearly, this decorative motif is by no means a parody of Buddhist jewels. Its Turco-Iranian associations speak for itself. There is no intention to rehearse the Ottoman story of Cintamani — how the creative spark of Ottoman designers made this motif special; how the echo of Cintamani reached its climax in the design of ceramics in the 16th century and subsequently spread across variety of media; and how it became standardized due to its involvement in the mass market and lost its exquisite flavour in the 17th century. Yet in any case, Cintamani appears along the ebb and flow of Buddhist inspiration.

As the style mellowed, the triple-ball pattern lost its animal features and began to convey different artistic messages. Its talismanic function was by degrees enhanced in Ottoman contexts, combining the forms of a crescent; it was eventually incorporated into a symbol of Islam, the profession of faith, as exemplified in the design of Ottoman banners."Unquote.

[Ibrahiim al Balooshi]

Might and Magic: The Use of Talismans in Islamic Arms and Armor


On Islamic armour we haven't really set much in print here, however, please see https://www.metmuseum.org/blogs/rumi...arms-and-armor and especially the armoured shirt where the individual rings are stamped with religious names...

[Ibrahiim al Balooshi]

Another Iznic ceramic echos the Othmanli use of the 3 dot "cintimani" design.

[Ibrahiim al Balooshi]

The book on Suleyman The Magnificent has further illustrations in its vast volume including furniture< Koran holders< arrow quivers and a great historical account of The Ottoman Empire.

In Ottoman traditional designs we see a changing or morphing style perhaps magnified through the many different schools of design through centres of excellence, royal court workshops and different trades such as woodwork, calligraphy, textiles, carpet weaving, ceramics, armour makers and weapons workshops to name a few. here below are some further examples below. including impressions on coinage, various costumes and black and white sketches from old Turkish carpet design showing variety in the way the Cintimani was interpreted.

Note how the dots may change to diamond shapes or reflect moons and the animal stripe can float as a cloud design especially on carpets.
Generally Cintimani can be reflected by artisans using both dots and stripes or separately and the meaning can evolve from the Turkik tribal 3 way understanding of Sun... Sky... Fire... to a religious triple and perhaps finally to the all encompassing sign of the religion itself thus the Talisman meaning; of Islam; the overall protector.

[Jim McDougall]

Jens thank you for that great hilt entry!!! A perfect example of these unusual 'cintamani' combinations, and those 'lips' looking things do resemble clouds in a 'Rohrshach' kind of way.
Ibrahiim, thank you as well for the diligent research and entries here which are adding do much perspective to the topic.

It does seem that as with all kinds of symbolism or in many instances of intercultural exchange of influences, perception and semantics are going to have understandable differences.

For example, by way of analogy, the venerable European globe and cross, familiar as a key marking on German blades over several centuries, became a fixture not as a makers mark, but a kind of talismanic device which imbued protective properties as well as suggestion of high quality.

As these blades became traded into North Africa, the globe and cross was seen by natives in these regions as a drum and sticks, which were important in their culture as a status oriented symbol. Other markings which were often almost indeterminant in character were seen as (in one case) the fly, which odd as it sounds, to them represented the character of a great warrior.

There are many such examples and surely much the same in other cases where symbols and markings transcend cultural bounds.


I think obviously that the cintamani , referring to the three in figures usually dots, is much in this kind of situation which became a convention adopted broadly to represent what each group or culture perceived it to mean.

In many cases, of course such diffusion can lose deeper meanings and as applied in material culture items as decoration, becomes aesthetic in sense, but for our purposes we want to know the deeper meanings from their origins.


I once had a wonderful shamshir, which was clearly from Central Asia with an amazing instance of the three dot motif applied in linear fashion on the backstrap and other parts of the hilt. It was generally held that this use of the three dots represented the Turkic heritage of these people and of course heralding Tamerlane. In those times I could not associate this device (termed cintamani) with the 'gift giving jewel' in the usually described connotation. With this look into the deeper character of the term and its origins, it becomes much clearer.

So thank you Ibrahiim, and Jens, for adding all of this!!!

[Ibrahiim al Balooshi]

Thanks Jim for a great summary on the Talisman Cintimani subject which spans so many centuries and religions down the ages. In the book shown below which I highly recommend to members it describes the difficulty encountered by the Othmanli had immense problems dealing with beurocratic issues at the best of times but in the question of liaison among the different quality workshops it was very chaotic...even though it may be said that in war they had great ability in mastering logistics...in other areas this was not the case.

In fact there was an overall sort of pecking order or authority over other master works that the Royal calligraphers seemed to have but it simply didn't work... specialists in the different disciplines of high quality craftsmanship took the designs to whatever end they were moving...so the Cintimani moved from concept to concept and even split in two the three circles or ideas from the so called tigers stripes so that they often morphed into separate designs or placed in the composition in separate areas or both.

I digress but in support of more pictures here is my next set of quite amazing photographs worth seeing from the Othmanli period on this issue. The red Koran holder showing only dots while the brown Koran holder only wavy lines i.e. Tiger stripes now morphed into cloud patterns and also seen in Turkish Rugs...AND in the decoration of the shield also incorporating dots and cloud patterns but spread separately.

Note that the Ottoman ceramic bottle has clear designs of the Cintimani and the possible shape of the tiger stripes lending themselves to The Buddha lips idea.

A most peculiar painting of a Japanese 3 dotted alter with what seems to be a sacrifice with the perpetrator making an escape and the dead body laid in front of the three ball device? A pointer toward Buddhist involvement?

[Jim McDougall]

It is sometimes hard to maintain discourse and perspective with regard to the talismanic condition as often various marks, devices, phrases etc. become regarded as indicators of quality, status and heritage. With this being the case it seems almost necessary at times to include variations and applications which might exceed the specific talismanic denominator.

In the case of the 'cintimani' device of three orbs I previously noted as found in hilt motif on a shamshir, this perhaps may not have been applied in a 'talismanic' sense per se', but more of a commemorative or honorific sense recalling tribal heritage from Tamerlane.

Still, the deeper origins of the symbol from ancient Buddhist and Hindu tradition and dogma carried profound talismanic properties and varying perception and application. This then became associated with Tamerlane, diffusing into various cultures and their material culture.

As people see this marking in materials, weapons, markings etc. many may see the Tamerlane, Turkic perspective.....while many may perceive the deeper religious and talismanic properties of ancient Buddhism and Hinduism. Here are the varied concepts that Ibrahiim refers to, and fascinating as we look into all of them as we evaluate the properties and character involved in these cases.

[Ibrahiim al Balooshi]

Compare two designs ..One of Buddhist the other Ottoman form below..The linkage suggests the two are in some way related on the one hand the 8 auspicious Buddhist signs and the wavy line seen in carpets and textiles (here seen on a Koran wallet from the Ottoman style) and from the Cintimani tiger stripe sometimes also explained as the lips of the Buddha...seen on carpets etc as a W shaped cloud pattern...and comparable to the 8 auspicious Buddhist signs...actually on 7 of them below.