The flowers on the tulwar hilts

[Jens Nordlunde]

I think we must take into consideration , that the Hindu decoration of artifacts and weapons was used centuries before the Mughals arrived at the scene.
Before the Muslims arrived in India, they were influenced from different countries, but the Hindu's also had their own style.
Alan is right, scratching the stone doesn't help to understand, one must dig deeper.

[Jens Nordlunde]

Alan, in the article The use of Floral and Fauna Imagery on Mughal Decorative Arts, Stephan Markel writes about a water ewer from Lahore around 1700.
"While the shape follows earlier established conventions, it has been dramatically 'Mughalized' with numerous descriptions of poppy blossoms, which since the time of the pleasure-loving Jahangir (r. 1605-1627) served in effect as the state flower of the Mughals."

Is the poppy also often seen on the keris'?

[Ibrahiim al Balooshi]

Originally Posted by Jens Nordlunde

I think we must take into consideration , that the Hindu decoration of artifacts and weapons was used centuries before the Mughals arrived at the scene.
Before the Muslims arrived in India, they were influenced from different countries, but the Hindu's also had their own style.
Alan is right, scratching the stone doesn't help to understand, one must dig deeper.

Salaams Jens Nordlunde, I agree entirely with your perspective however, I believe that the concept of Islamic versus Hindu art is not up for scrutiny except that it is the balance of both when viewed through the lens of Dara Shikoh and conversely by Aurangzeb who had him executed for trying to fuse the two structures as one. It is therefor nothing to do with religion per se...although you could argue that heresy being the charge Dara had no chance of survival in the situation he found himself surrounded by...May I also point to the time zone that Floral art form more fully became accepted into Hindu art which was apparently not always the case~ As I stated at #51 here Viz;

It is fascinating that Dara (had tried to) fused the two religions of Islam and Hinduism into one form. Hindu decorative style would be influenced by floral art for centuries and become apparent in architecture, weaponry and virtually all forms of artistic work in the entire universal Hindu pallet of arts...In fact this was not always the case..Jahangir’s passion for natural history was not inherited by his son Shah Jahan and grandson Dara Shikoh. It was during the 1630s that flowers and floral arrangements with their decorative possibilities came to dominate Mughal textiles and the adornment of architecture and album pages. See http://blogs.bl.uk/asian-and-african/mughal-india/

It can be seen in the reference how Moghul art developed through phases until direct attention became focussed upon Floral artworks at the very time Dara Shikoh (and by his artists) were being influenced by Mystics perhaps pointing to their secretive and hidden meanings in weaponry decor; particularly hilts. It could be stated that he was one of the main patrons of this floral art form

What seems odd is that the zenith of floral paintings seems to be at the time Dara Shiko was inspired to have artists view flowers especially vases filled with blosoms...and more weirdly influenced by European (EIC) styles which were copied in an attempt to show more realism in Moghul art.

It is worth contemplating what would have been the outcome had Dara Shikoh somehow won against Aurangzeb ...He would have inherited the Mughal crown and in the style of Machiavellian events akin to the Tudors, Aurangzeb would probably have been executed and two great styles may even have been joined.

By now, we would all know the methods and secrets of Tulvar hilt decoration.

See also http://britishlibrary.typepad.co.uk/...spiration.html

The prime reasoning behind accepting into Moghul Art the European exactness of botanical studies in floral form was that it enabled greater accuracy in colours and in lifelike portrayals of subject matter.

Floral artwork of that period around 1620 to 1630 added below.

[A. G. Maisey]

Jens, I do not know of the poppy in Javanese decorative art.

In Malay, which means in Indonesian also, there is a word for the poppy:- "apiun". But there is no word in Javanese for the ornamental poppy.

In Malay, Indonesian and in Javanese there is a word for the opium poppy:- "madat".

In fact, I doubt that the poppy could grow in Java or Bali.

[Jim McDougall]

It seems that from the time of Akbar (1542-1605) there had been a notable tolerance of religions, and Akbar had been key in developing a rather syncretic approach to recognizing tenets of Hindu, Zorastrianism and Christianity. These attitudes and conventions seem to continue through his son Jahangir and grandson Shahjahan. During these times "...Shah Jahan not only continued his fathers love of floral imagery in his decorative arts, but also codified formal portraits of flowering plants as a dynastic leitmotif that was to continue for the next two centuries", (Markel, 1999, p26).

It states further that during this period, "...the naturalistic portrayals of noble animals favored in Akbari and Jahangiri paintings were adopted for use in the decorative arts.
As was generally the case with imperial painting, the decorative arts under Aurengzeb (1658-1707) and later Mughal emperors emulated those established during the reign of Shah Jahan". (Markel, p.26).

It is indicated that probably the same craftsmen were employed as the work carried strong resemblances to predecessors but it seems that as Aurengzebs reign progressed the styles began to degenerate and become more stylized. By the mid 19th century, the elegant floral depictions of the 17th c had become more stylized and repetitive.

It would seem that the more austere and orthodox character of Aurengzebs reign had, while allowing initially the continuance of these styles from earlier reigns, the lack of inspiration artistically and simple imitation had seriously degraded the floral theme.
It appears that under Aurengzeb, the characteristic calligraphic and geometric themes were advanced in the decorative arts, though as noted, repetitive floral themes continued in degree.

In the case of the poppy, this was of course a key floral theme during Jahangirs time, and carried on through Dara Shikoh, clearly for its pleasure giving properties. I am wondering if perhaps this particular flower may have been stricken from the themes during Aurengzeb given his highly orthodox character.

Also, perhaps the poppy in its more degenerative renderings may have occurred in influence in other art of regions such as Java, but simply as an interpretation of such themes. As a directly applied floral theme, as Alan indicates, probably not likely.

[Jens Nordlunde]

When it comes to the decoration on the top of the disc things gets somewhat more complicated.
To take the sun decoration, of which I have several, but the suns are different and the number of rays also. Some have an even number of rays while others have an uneven number. I dont know why it is so, but think it could have something to do with the different clans.
One from Salumbar/Udaipur/Mewar (dated 1870-71) has 40 rays (cat. p. 206), while one from Ulwar (late 18th century)has only 27 rays (cat. p. 241).

[Jens Nordlunde]

Sorry, I should have shown the suns - here they are.
The one with the short rays is from Salumbar, and the one with the long rays is from Ulwar

[Jim McDougall]

Hi Jens,
Thank you for showing these fantastic images of the pommel disc interiors!
It seems that over the years the decorative motif on tulwar hilts has virtually always concentrated on the hilt overall, but without really looking into the designs inside the pommel disc. Your attention to this detail has been well established in that you have always included that key view in the examples in your collection, now gratefully published.

While we have been discussing the floral motif of the hilts, it seems that the inside of the pommel discs are typically a radiating theme in their circular shape. These examples show of course a solar theme, and given that they are of Rajasthan provenance, naturally this suggests Rajput examples.

The Rajput clans are incredibly complex, however rudimentarily they are of three basic lineages.
1. Suryavanshi: The solar, from Surya, Hindu god of the sun.
2.Chandravanshi: The lunar, from Chandra, god of the moon
3.Agnivanshi: The fire, from Agni, god of fire.

Salumbar is in the Udaipur District of Rajasthan, and primarily of the
Chundawat clan.

Ulwar was a princely state with primarily Naruka Rajputs.

While not being entirely clear on which of the three lineages these clans may be ascribed to, by the concept of the solar type motif in the discs, that of the first lineage would be implied.

So the questions would be;
Would the solar theme of suns rays be indicative of these Rajput clans?

How would the radiating rays of the solar theme be differentiated from the radiating design of flames (fire lineage)?

Are there lunar themed discs? Would these have crescents or varying moon phases?

Leaving the Rajput orientation, how would pommel discs of other regions, other groups, be decorated, and what symbolism might we find in those cases?

In the case of solar representation for example, as here, there are more numerous smaller shorter 'rays' and others longer and less in number.
Would this signify different clans of the same lineage, or might this simply be aesthetic representation of same symbolism in accord with regional or clan preference?

A lot of questions, but as the pommel discs seem to not necessarily follow the same theme as the floral motif (or perhaps some do) it would seem that we need to look into the wider scope of these pommel disc decorations.

[Jens Nordlunde]

Hi Jim,
You ask a lot of interesting questions, whish I cant answer, but most of the answers would be - maybe, could be, possible, I don know - I will however try to answer some of the questions.
Here you can see the Sun born, Moon born and the Fire born clans.

http://www.jairajputana.com/list-of-...and-vansh.html

There is something of which you should be aware, and that is that some of the clans mentioned are sub clans of other clans mantioned. Like the Chundawat clan is a sub clan of the Sisodia clan of Mewar - see catalogue pp. 204-205.

You ask what the top of the disc from a fire born clan would look like, I am not sure, but I have seen a sun where the rays looked like flames, so I suppose that is what they could/would look like.

To research this subject would be a lot of work, and quite complicated as a close knowledge of the clans involved, and of their history, would be needed. To this comes the sub clans, sub sub clans and so on.

What about the disc tops with a flower with a different number of petals, or the disc tops with nothing at all?

[Jim McDougall]

Exactly Jens, and the reason I posed this barrage of questions is to set out the kinds of questions that we ,meaning not only us, but any serious student of arms and collector of Indian weaponry, should be asking.

In my post, and aware of the complexity of the Rajput clan system, I noted the three primary lineages, avoiding trying to catalog the many sub clans at this point. Here in trying to explain the nature of the Rajput clans, the goal was to illustrate that these symbols of the primary lineages may account for at least some of the themes in the pommel discs.

Here is where the complications begin, and only the steadfast researcher will achieve gainful advances as they probe further into these matters. It is far from an easy task, as you and I know, as we are aware of how tenacious such study must be, and the frustration and disappointments which thwart it seems too many hopeful leads.
We can only hope that a new breed of researchers are among the new collectors and students of Indian history, and armed with the ever advancing technology, can carry the efforts of the 'old guard', to the new vistas we have ever hoped to achieve.

Even resolving a few of the Rajput symbolism conundrums will hopefully give us better perspective on perhaps resolving the questions toward those motifs in other contexts outside the Rajput spectrum. For example, as you note, the floral character in some where the number of petals shown (like the number of rays in solar or flames in fire) carry some esoteric meaning.

When is a solar ray actually a flame? aren't the 'rays' of sun actually flames from the cosmic ball of fire we know as the sun?
Examining these seemingly aesthetic decorations and motifs in these perspectives becomes a philosophical and many manners of extremely subjective thought, far too complex for most students or collectors.

However to really appreciate a weapon, to understand its true history, we need to try to understand those who had them, who decorated them, and what these things meant to them. The swords and weapons were in many ways the icons of the very being of those who owned them.

That is what the study of arms is all about, and that of the Indian arms is not only some of the most colorful and fascinating, but profoundly challenging that any serious student of arms may encounter.
You have studied and worked tenaciously at this for many decades of your life, and given us all the sound footing and key benchmarks needed to continue the quest . .......for us, and others who will join.....onward!!!

[Jens Nordlunde]

Hi Jim,
I think, maybe I even believe, that the decoration at the top of the disc ought to give more meaning than the decoration at the hilt itself, as this decoration is more likely to follow the fashion than the decoration at the top.
All over the world the early people has their tribe markings on their weapons, like the American Indians, so why would the Indians of India not follow the same thread?
When it comes to research these things, it would be a very good thing not to forget the architecture and the jewellery, as a lot of things starts here, and is then transfirmed to the weapons
One like Markel constantly returns to the poppy used for decoration, so the four pateled flower used on the disc, could it be a poppy?

[Jim McDougall]

Very good points Jens.
In books and research I have found that even prehistoric man marked and embellished his weapons, as these were not only sacred and valuable, but vital to his very life. These marks were of course most often imbuements of power and strength, much as with the animist totems the people, later tribes, would adopt.

Man was tribal long before civilization, but as this developed, along with religions and other civil organizations formed, these totemic symbols and values became inherent in more permanent things such as architecture.

We know that most Indian weapons have been structured in varied degree after architectural elements, with those of temples and religious structures such as virigals and stupas being the literal foundation for such designs .
As Robert Elgood well showed in "Hindu Arms and Ritual", the weapons were often considered to be in essence de facto temples which would actually be visited or even inhabited by the gods and goddesses in the pantheons.

Jewellery was in effect much the same, with key religious symbolism which would provide individuals with talismanic and amuletic protection as well as invocational features to the Faith of the wearer.

These facts emphasize that the decorative features and motif displayed in the iconography and designs in both religious architecture and jewellery may hold valuable clues toward understanding the decoration in these arms.

[Jens Nordlunde]

Yes Jim, there are different way to go if you really want to study the Indian arms, textiles is one of them, which should be added to the others.

[Jim McDougall]

Originally Posted by Jens Nordlunde

Yes Jim, there are different way to go if you really want to study the Indian arms, textiles is one of them, which should be added to the others.

Well there you have it !! yet another avenue for researching these weapons. Too many collectors think that in order to study Indian arms (or any ethnographic forms for that matter) the answers will be in neatly categorized chapters with each type pictured and classified and that the decoration is from such and such place etc.
It is in a broad study of material culture, art and crafts, religion, traditions, coins, textiles etc. that the real answers are found.

[Jens Nordlunde]

I do realise that not many collectors are prepated to start to research in this way - although this is the way to do it, and when we are at it, lets add religion.
This makes me say, that the ones who asks from where is this, or how old is it, should try to think of, how many hours it has taken for the one who answers, to get to the right answer.
I do know that collectors have different levels of interest, in how far they will go researching their weapons - but try to appresiate the answers from the ones who did the reaesrch.

[Ibrahiim al Balooshi]

It is indeed vital to remove the blinkers on this revolving and evolving subject. I also think that the answers may not necessarily suddenly appear rather that someone down the line may take up the challenge based on the research we have here, thus, answers or theories may arise thereafter.

For sure there are shadowy linkages across the spectrum on Religion, history, architecture, metalworking techniques, floral and geometric design, textiles, ceramics, artwork, coins, jewellery, calligraphy, arms and armour, tribal Hindu and Moghul style...secret and talismanic mystical involvement, traditions and probably 10 other associated ideas...at least!

Whilst the subject has a deep melting pot the spin-off is in Indian arms and armour generally; so that having entered the debate researchers will expand their knowledge considerably by getting involved moreover access to this knowledge base is a gateway into other regions weaponry so closely linked both ways when considering Ethnographic Arms and Armour..

[Jim McDougall]

Amen Jens!!!
I think this is one of the reasons that the study of ethnographic weaponry SHOULD be included in the academic study of that as well as anthropology, archaeology and many of the humanities. They are iconic in reflecting so much history of the cultures and all manner of groups which they are from.

I know that in the many years I have studied the weapons, I have learned so much on so many aspects of these cultures that technically are not at all directly related to the arms themselves. It is a dynamically broad picture that actually has few bounds and perpetually grows as more is learned.
Ibrahiim, you too have followed this path, and its great to learn together as we all seek more answers in these many diverse areas.

[Ibrahiim al Balooshi]

Please see http://www.christies.com/features/Bl...rd-5843-1.aspx where the continued demolition of AURANGZEB remaining family members is explained.


See also https://books.google.com.om/books?id...tribes&f=false Which describes Indian Culture and decoration across a wide spectrum of forms.

[Jens Nordlunde]

Thank you for the links Ibrahiim.
One should be aware of, that flowers shown on hilts are seldom what they really looks like. The artists were not botanists, and so they often made the flowers the way which fitted them best.
The khanjarli hilt below asows this quite clearly. The flowers are supposed to be of the same kind, but the number of petals are quite different, 7, 8, 9 and 8.
On some hilts the flowers shown are made in detail, but in most cases this is not so.

[Jim McDougall]

Very well noted of course Jens, and the question of the intent behind the artisan's depiction of flowers and botanical themes can only be speculated.

It is often argued that in such creations, shapes and devices in either the decoration or fashioning of design elements are simply aesthetic. However, in many circumstances where there are mystical, religious, or other situations at hand we must consider the possibility of otherwise.

As we look at the flowers on this khanjhari, which are noted to have varying numbers of petals, it is tempting to consider that perhaps gemetria with mystical or magical properties could be in play.
It would seem that the preparation of a simple petaled flower in silver in a group would be easier if all the same. With the case that there are two (2) of the eight petaled flower, could this be a gemetric or magic number as with the 1414 and 1441 etc on European blades?

Though perhaps a specious exercise, and quite possibly a simple matter of aesthetics or coincidence as so often insisted, the idea is interesting if not nearly compelling.

As with anything artistic, there are always nuances, and in cases flowers may have been portrayed symbolically in a metaphoric sense. Also, as I believe Markel noted, the accuracy and detail of many floral themes degenerated along with the decay of the Mughal Empire, and as artisans failed to pass on their skills in generations following.

[Ibrahiim al Balooshi]

I understand that precise botanical studies of flora were passed on or sought by the Mughal painters so that greater accuracy could be attained ...There are many examples of inaccuracies in design and colour and it was only when companies such as EIC became involved that true scientific drawings could be referred to...as outlined at #63 above viz;

Quote."What seems odd is that the zenith of floral paintings seems to be at the time Dara Shiko was inspired to have artists view flowers especially vases filled with blosoms...and more weirdly influenced by European (EIC) styles which were copied in an attempt to show more realism in Moghul art.

The prime reasoning behind accepting into Moghul Art the European exactness of botanical studies in floral form was that it enabled greater accuracy in colours and in lifelike portrayals of subject matter". Unquote.

Regards,
Ibrahiim al Balooshi.

[Ibrahiim al Balooshi]

I will add that ~In respect of the above post ~For the original document by JP Losty see http://britishlibrary.typepad.co.uk/...spiration.html

[Jens Nordlunde]

Ibrahiim, the thing about floral decoration is not only about the floral decoration about the time of Dara Shiko (1615-1659). THe floral decoration was used centuries before and after.
Some years ago I had a PM discussion with a member on this forum. The thing was, that he was a botanic, and he did not recognise the different flowers, but being a scientist, he would, of course, want more prof than shown on most weapons, and I respect him for this.
More artistic writers/scholars are freer in their judgement which flowers are shown on the weapons, but they also warn that the number of petals should not always be taken too serious.
So this leaves the rest of us guessing, but it is sure that the poppy flower was very popular, and so was the sun flower in the south.

[Jens Nordlunde]

I think Hindu Arms and Ritual by Robert Elgood chapter 13 explains a lot of what we are discussing.

[Jim McDougall]

Chapter 13 of "Hindu Arms and Armour" (Robert Elgood, 2004) does attend to certain aspects of the flower, and notably botanical symbolism in various instances in Indian tradition and culture. Here he makes a compelling comment which specifies 'plants', however in the context of the narrative notes, " ...it follows that a plant depicted on a weapon is likely to represent more than its decorative value". This would seem to imply that a flower would be afforded the same circumstance.

The convention of flowers as a leitmotif for opposing armies and signifying various situations toward battle, victory and other symbolic use seems to have deep history beyond India alone. Elgood does note that the Tamils in antiquity did use flowers as dynastic symbols (p.130) but these were later replaced.
As the book concerns Hindu tradition and culture of course he tends to many aspects of the very botanical nature of their symbolism in material culture and in ritual. One flower in particular that seems to be broadly depicted and used in Hindu culture is the lotus (the red flower of the goddess Kali ). The 'generative' aspect of the bud of the lotus is often depicted as well, such as on the pommel of many tulwars.

Turning to the depiction of flowers on the weapons, I looked into Pant (1980) who has the chapter on 'decoration'. The entire text is focused on technique in application, metalwork, enameling, jewels and styling, but like other references to the sumptuous Mughal hilts....the only specification is the type of jewels used....a flower is simply described....'flower'.

Other references describing the decoration and motif on hilts are much the same, and even in Elgood concerning the red flower symbol of Kali (op. cit. p.131) what is described is the 'red lotus stone' of the goddess..a ruby.

In reading through most of the descriptions of the Mughal emperors, there seems to have been a considerable degree of tolerance, if not even fascination with, aspects of other religions and cultures. The properties and symbolisms associated were in varying degrees filtered into Mughal arts.

It does seem however, most of the discussion of these situations, the attention is toward the material culture of artwork and various objects, with very little direction toward application on weapons. In the literature on arms, it is as if the author observing the examples considers that the characteristically nuanced or subtle depictions of flowers or plants are not relevant to the character or theme of the weapon.

Robert Elgood and Stephen Markel have offered us the most insight and best foothold into this esoteric topic, but it will take remarkable tenacity and serious study to advance. This has been the reason for this thread and others related, and hopefully others reading who have background in the study of Indian art and culture might join with their thoughts and observations.
Meanwhile other collectors may bring in examples for examination and discussion, just as Jens has always done with his amazing collection items.

[Ibrahiim al Balooshi]

Originally Posted by Jens Nordlunde

Ibrahiim, the thing about floral decoration is not only about the floral decoration about the time of Dara Shiko (1615-1659). THe floral decoration was used centuries before and after.
Some years ago I had a PM discussion with a member on this forum. The thing was, that he was a botanic, and he did not recognise the different flowers, but being a scientist, he would, of course, want more prof than shown on most weapons, and I respect him for this.
More artistic writers/scholars are freer in their judgement which flowers are shown on the weapons, but they also warn that the number of petals should not always be taken too serious.
So this leaves the rest of us guessing, but it is sure that the poppy flower was very popular, and so was the sun flower in the south.

Salaams Jens Nordlunde, I pause deliberately on the scope of time spanned by the Dareo Shikoh period since it offers the study of a certain spike in floral artwork and has an intriguing air to it surrounded by treachery and subterfuge so typical in the Machiavellian discourse inside the Mughal ruling family which would eventually end in disaster for the young prince who came very close to fusing together two great religions through his ideas on floral artwork/talsimanic expression etc.

In terms of the style we recognise as floral Indian work it is clear that the fashion ebbed and flowed across the period and according to various documents viz;

Quote''The floral and plant motifs predominate in the decorative repertoire of Mughal India. The combination of the naturalistic yet subtly stylized treatment of Mughal flowers, together with their balanced and symmetrical arrangement, is emblematic of Mughal taste in the seventeenth and eighteenth centuries, when the floral motif became a leitmotiv that permeated all the arts of the court (textiles and decorative arts, arts of the book) and even architecture. This fascination with the floral motif can be traced back to the reign of the Emperor Jahangir. It originated during a journey made by Jahangir in 1620 to Kashmir, a country where the emperor was enchanted by the variety and profusion of the flowers which grew there, and which he was subsequently wont to describe as “a garden where spring reigns eternally”. During this trip the monarch was accompanied by one of the great masters of the imperial atelier of painting, the animal painter Ustâd Mansûr Nâdir al’Asr, who, at the request of the sovereign, executed more than a hundred flower studies, of which only three precious examples still survive.

This poetic delight in the exuberant blossoming flowers of Kashmir was reinforced by the discovery of European herbals brought to the Mughal court by Jesuit missionaries and agents of the East India Company''.Unquote.

For interest I added the final paragraph above to encompass botanical detail fed into the arena by The EIC...

It would therefor seem that although Indian work may have contained a broad spectrum of floral content down the ages that in fact these floral peaks and troughs included concentrated periods where the fashion was exaggerated no more so perhaps than in the Daro Shikoh time frame. I point to the 1630s as a key time frame when such influence blossomed viz;

Quote"Hindu decorative style would be influenced by floral art for centuries and become apparent in architecture, weaponry and virtually all forms of artistic work in the entire universal Hindu pallet of arts...In fact this was not always the case..Jahangir’s passion for natural history was not inherited by his son Shah Jahan and grandson Dara Shikoh. It was during the 1630s that flowers and floral arrangements with their decorative possibilities came to dominate Mughal textiles and the adornment of architecture and album pages. See http://blogs.bl.uk/asian-and-african/mughal-india/ '' Unquote.

Regards,
Ibrahiim al Balooshi.

[Jens Nordlunde]

Ibrahiim, what we have discussed so far are the decorations inlaid or in koftgari, but there are others - the steel cut ones, and they go back far longer.
At the same time I am not so sure, that the disc decoration and the hilt decoration are connected, they could be, but I have my doubt, as to me the disc decoration seems not to change in the same way as the hilt decoration does - after fashion.

[Ibrahiim al Balooshi]

Originally Posted by Jens Nordlunde

Ibrahiim, what we have discussed so far are the decorations inlaid or in koftgari, but there are others - the steel cut ones, and they go back far longer.
At the same time I am not so sure, that the disc decoration and the hilt decoration are connected, they could be, but I have my doubt, as to me the disc decoration seems not to change in the same way as the hilt decoration does - after fashion.

I have done a comparison on this thread looking at both hilt and disc pommels and find that most are of the same decorative form whereas a few are not of the same style. I conclude therefor that the two areas of decoration must be linked with a few exceptions.. Page 1 of this thread has many that are clearly linked. The pommel however does lend itself to a cyclic style simply because it is round thus sunburst form is common. I wondered if the general form of the pommel was related to the name Tulvar meaning flower and suggest that it looks similar to a poppy.

[kronckew]

somewhat more mundane mughal style bronze grip on one of my swords with cast in floral decor.

[Jim McDougall]

Mundane?? Very nice entry Wayne!
This looks very much Mysori, with the tiger head.