The Sinhalese Kastane: Its Development, Decoration and Symbolism

[Prasanna Weerakkody]

Fernando; I believe that is an omission by the artist who had not seen the kasthana himself. Similar errors abound in his work but there is also much that can be corroborated with known sources to give a level of credibility to the material included.

Ibrahiim the image of King Rajasinge II is also from Knox- and by the same artist as the illustration I included. both the I and II Rajasinhe’s had a habit of donating swords to both Buddhist and Hindu temples as tokens of battle victories. but from what I have seen is quite often these turn out to be Portuguese swords possibly belonging to the vanquished enemy captains. I am not sure if King Rajasinghe II sword has properly been identified in collections yet. Knox remained a captive in Kandy for near 2 decades and had audience with the King on many occasions- so his description could be believed

Regards

Prasanna

[Prasanna Weerakkody]

Ibrahiim; Just to note that except in the case of Kings and then later era mudelliers serving under colonial masters- Kashane was not worn on a sash, but hung from the belt usually with a spring loaded clip or a loop on the scabbard.


Prasanna

[Ibrahiim al Balooshi]

Originally Posted by Prasanna Weerakkody

Ibrahiim; Just to note that except in the case of Kings and then later era mudelliers serving under colonial masters- Kashane was not worn on a sash, but hung from the belt usually with a spring loaded clip or a loop on the scabbard.


Prasanna

Salaams Prasanne ~ Thank you for the detail. As you clearly realise...researching this topic "as an outsider" hits the wall at about three quarters the way through the first colonial period and huge gaps are apparent in our understanding ~not least the disruption of locally produced blades~ and in trying to identify the starting grid for the original Kastane design etc . Here is a perfect example of that misunderstanding... The appearance on artwork of the sash and later Kastane being worn in a similar fashion, yet, unbeknown to outside researchers the fact as you describe above. Thank you also for the Knox detail.

There is an interesting note in a description of Knox in captivity which states:

Quote " Describing the King’s palace, he says: "I will not adventure to declare further the contents of his treasuries, lest I may be guilty of a mistake. " Unquote.

That I find a great pity since he did not spend half an afternoon describing the Kastane!! If only?

Readers can see a full account at http://en.wikipedia.org/wiki/Robert_Knox_%28sailor%29 and many others simply by keying in "Knox in Sri Lanka"..interesting that his adventures inspired Daniel Defoe's Robinson Crusoe ..


Regards,
Ibrahiim al Balooshi.

[Prasanna Weerakkody]

Including an image carved by a Portuguese artist currently at the Maha Saman Devala (temple) premises in Rathnapura. the stone carving depict the Portuguese captain slaying a local chief. There is some doubt as to who is the fallen warrior, (may be Fernando or someone versed in Portuguese could attempt to decipher the attached text. ) interestingly the fallen warrior carries a lion headed- single edged blade with similarities to Kasthana. the guards and quillons are not clear- either due to not being present, hidden or artists omissions. The image is dated circa 1610-1650

Regards

Prasanna

[Ibrahiim al Balooshi]

Originally Posted by Prasanna Weerakkody

Including an image carved by a Portuguese artist currently at the Maha Saman Devala (temple) premises in Rathnapura. the stone carving depict the Portuguese captain slaying a local chief. There is some doubt as to who is the fallen warrior, (may be Fernando or someone versed in Portuguese could attempt to decipher the attached text. ) interestingly the fallen warrior carries a lion headed- single edged blade with similarities to Kasthana. the guards and quillons are not clear- either due to not being present, hidden or artists omissions. The image is dated circa 1610-1650

Regards

Prasanna

Salaams Prasanna..Tantalising also is the shape of the blade...Whose form is so similar to the Sendai Museum blade...!!

I place below a Knox addition showing the warrior to the right with an apparent Kastane also.

Regards,
Ibrahiim al Balooshi.

[fernando]

At forst sight, this is more a problem of visibility than one of language. Sadly most words are unreadable in the picture.
But i can advance Prasana that, this may not be a slay scene but a surrender one.
I think i discern the letters that compose "surrender" or its derivations (Render, Rendição) and, if you look at the picture with such focusing, you will realize this seems to make some sense. Maybe also the word India can be read ?
I promise i will burn my eyelashes to go deeper into this... and also spot some citation to a surrender in the pages i can access.

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[Ibrahiim al Balooshi]

Salaams All.. A note on Iron Production which though it may have been slowed and disrupted by Colonial interference through cheaper imports was by no means totally stopped..Knox writes ~

Quote " Their Manufactures are few: some Callicoes, not so fine as good strong Cloth for their own use: all manner of Iron Tools for Smiths, and Carpenters, and Husbandmen: all sorts of earthen ware to boil, stew, fry and fetch water in, Goldsmith’s work, Painter’s Work, carved work, making Steel, and good Guns, and the like.

But their Art in ordering the Iron-Stone and making Iron, may deserve to be a little insisted on. For the Countrey affords plenty of Iron, which they make of Stones, that are in several places of the Land; they lay not very deep in the ground, it may be, about four or five or six foot deep.

How they make Iron.First, They take these Stones, and lay them in an heap, and burn them with wood, which makes them more soft and fitter for the Furnace. When they have so done they have a kind of Furnace, made with a white sort of Clay, wherein they put a quantity of Charcoal, and then these Stones on them, and on the top more Charcoal. There is a back to the Furnace, like as there is to a Smith’s Forge, behind which the man stands that blows, the use of which back is to keep the heat of the fire from him. Behind the Furnace they have two logs of Wood placed fast in the ground, hollow at the top, like two pots. Upon the mouths of these two pieces of hollow wood they tie a piece of a Deers Skin, on each pot a piece, with a small hole as big as a man’s finger in each skin. In the middle of each skin a little beside the holes are two strings tied fast to as many sticks stuck in the ground, like a Spring, bending like a bow. This pulls the skin upwards. The man that blows stand with his feet, one on each pot, covering each hole with the soles of his feet. And as he treads on one pot, and presseth the skin down, he takes his foot off the other, which presently by the help of the Spring riseth; and the doing so alternately conveys a great quantity of wind thro the Pipes into the Furnace. For there are also two Pipes made of hollow reed let in to the sides of the Pots, that are to conduct the wind, like the nose of a Bellows, into the Furnace.

For the ease of the Blower, there is a strap, that is fastned to two posts, and comes round behind him, on which he leans his back: and he has a stick laid cross-ways before him, on which he lays both his hands, and so he blows with greater ease. As the Stones are thus burning, the dross that is in them melts and runs out at the bottom, where there is a slanting hole made for the purpose so big as the lump of Iron may pass thro: out of this hole, I say, runs out the dross like streams of fire, and the Iron remains behind. Which when it is purified, as they think, enough, so that there comes no more dross away, they drive this lump of Iron thro the same sloping hole. Then they give it a chop with an Ax half thro, and so sling it into the water. They so chop it, that it may be seen that it is good, Iron for the Satisfaction of those that are minded to buy". Unquote.

Regards,
Ibrahiim al Balooshi.

[Ibrahiim al Balooshi]

Salaams All, At last a description by Knox in his book which can be fully read on line at...

http://www.gutenberg.org/ebooks/14346

and in which he describes the nobility and what they wear..viz;

Quote"The Nobles in their best Apparel.The Habit of the men when they appear abroad is after this sort. The Nobles wear Doublets of white or blew Callico, and about their middle a cloth, a white one next their skin, and a blew one or of some other colour or painted, over the white: a blew or shash girt about their loyns, and a Knife with a carved handle wrought or inlaid with Silver sticking in their bosom; and a compleat short Hanger carved and inlaid with Brass and Silver by their sides, the Scabbard most part covered with Silver; bravely ingraven; a painted Cane and sometimes a Tuck in it in their hands, and a boy always bare-headed with long hair hanging down his back waiting upon him, ever holding a small bag in his hand, which is instead of a Pocket, wherein is Betel-leaves and nuts. Which they constantly keep chewing in their mouths, with Lime kept in a Silver Box rarely engraven, which commonly they hold in their hands, in shape like a Silver Watch". Unquote.

Regards,
Ibrahiim al Balooshi.

[fernando]

Tell me Prasana: Why do you call the Portuguese soldier a Captain ... do you know he had such rank, or you just used term in a abstract manner ?
I amalso curious in that, when i saved the images to 'work' on them, the name shown in them was "Pinhão" for the first one, "Pinhão-sword" for the second and "Pinhão-inscription" for the third. Just for curiosity, i browsed on Pinhão in Ceylon and i found a Captain Fernão Pinhão whom, under command of Captain-General Jorge de Albuquerque was in charge of the reinforcement works of the fortification of Galle, by 1623.
I notice that Rathnapura is not so far from Galle.
Most probably this is a coincidence ... interesting, nevertheless

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[Ibrahiim al Balooshi]

Originally Posted by Prasanna Weerakkody

Including an image carved by a Portuguese artist currently at the Maha Saman Devala (temple) premises in Rathnapura. the stone carving depict the Portuguese captain slaying a local chief. There is some doubt as to who is the fallen warrior, (may be Fernando or someone versed in Portuguese could attempt to decipher the attached text. ) interestingly the fallen warrior carries a lion headed- single edged blade with similarities to Kasthana. the guards and quillons are not clear- either due to not being present, hidden or artists omissions. The image is dated circa 1610-1650

Regards

Prasanna

Salaams Prasanna, As you say some say it is Samarakoon rala/Kuruwita Bandara others say it was Rathnayaka mudiyanse... however do you draw anything from the similarity in sword which appears to have many Kastane characteristics and tantalizing in its parallels with the Sendai Museum item? The more I think about the fact of the broad Storta like blade the more I consider this form as a possible shape to the early (15/16thC Kastane.) Such a famous and respected Sri Lankan Warrior could easily have dispensed with the quillons and guard for his personal weapon of choice; The Kastane.

For interest I note from another Forum the possibility/hypothesis that the Kastane hilt was crossed onto other blade forms as a matter of preference in the early European days of the Portuguese period.

Regards,
Ibrahiim al Balooshi.

[Jim McDougall]

It is excellent that this thread is moving along so well, and I especially appreciate the constructive and well observed contributions by Prasanna, Fernando and Ibrahiim. It is most helpful that along with Prasanna's well established experience in this fascinating history are the researched entries by Fernando and Ibrahiim which has enabled some great questions and perspective.

I am inclined to agree with Fernando in thinking that this late 16th century frieze was probably fashioned by a Portuguese artist there in Ceylon.
It is important to note that artists have always been inclined to a degree of latitude in 'spinning' their works toward the perception intended for their theme. I think in this case the Portuguese soldier is well depicted as is the arming sword he is wielding. With this in mind, it would seem that the sword of the Sinhalese chief would be equally accurate in its depiction, and with that I believe that the blade does remarkably correspond to heavy, single edged straight falchion type forms, indeed as seen on some storta.

In reviewing Deraniyagala, there is mention of early Sinhalese swords notably including a single edged form along with contemporary double edged forms. It is noted that these single edged forms apparently had a truncated tip recalling those of Japanese swords. I do not mention this to allude to any connection to Japanese swords, and the comment is as a point of comparison noting the attention to the blade tip. In these heavy, storta/falchion type blades there is considerable attention to a protracted radius to afford better slashing potential.

It is also noted in Deraniyagala that the kasthana which developed as a ceremonial sword of rank did differ from the less embellished combat types of course. As we have discussed, the quillons found in the more familiar guard system seen on kasthana are vestigial elements which were not in place for swordsmanship or combat purposes, so it would seem understandable that a combat version as seen here may likely have been without them. More interesting is the presence of what indeed appears a zoomorphic head on the pommel, and the suggestion that such iconic presence could be placed in the period when this frieze was carved.

Concerning the reference to the weapon termed calachurro, in going through one reference which I believe has been mentioned ('Journal of the Royal Asiatic Society' #46, 1895-1896) the author states that in the Kandyan region there is no such term, but it is unclear whether the reference might allude to another weapon. In Knox's Sinhalese vocabulary it is noted that they did carry a small, short sabre with slight curve.

In analyzing contemporary narratives or later recounting of them, there is perhaps even more danger or 'fantasy' involved in interpretation than in the visual reading of artwork. This is of course due to semantics and local parlances and colloquial use for various descriptive terms.

Such are the conundrums and issues we typically encounter as we use the resources and material at hand to investigate evidence and clues using them to formulate ideas and observations. Though sometimes seeming somewhat fanciful or 'fantastic' , these are always pertinent and valid in varying degree, and here we consider it constructive research, which indeed well describes the texture of our thread.

[Ibrahiim al Balooshi]

Now heres a funny thing ! From http://www.huntspost.co.uk/news/late...useum_1_896806

Quote "Historians think the handles, part of a new exhibition on the battle of Naseby at Cromwell Museum, were found at the battlefield in Northamptonshire, where Oliver Cromwell’s forces defeated the Royalists in 1645.

The owner of the swords and their presence at the battle remains a mystery, but the handles were mounted as a carving knife and fork set in the 19th century.

Curator John Goldsmith said: “We can only suggest that one of the handles was lost on the field at Naseby, and then re-used for the carving set. But who was the owner on that violent day in 1645? We may never know. Please come along and find out more about this important battle that happened on Huntingdon’s doorstep and form your own theories.”

INFORMATION: The Museum is open Tuesday to Sunday from 10.30am to 12.30pm and 1.30pm to 4pm. Admission is free".Unquote

Regards,
Ibrahiim al Balooshi.

[Ibrahiim al Balooshi]

Could these have been court swords\ worn on the Armour similar to the Popham?

Ibrahiim al Balooshi ~

[Ibrahiim al Balooshi]