Kaskara in Silver Dress: an essay for comment and discussion by Ed Hunley

[Ian]

Moderator's Comment

The following essay has been prepared by Ed Hunley for comments and discussion. Ed asked Vikingsword staff for help in putting his lengthy piece online, and it has been necessary to break his essay into several parts to accommodate the limitations on the number and overall size of graphics that can be included in a single post. We hope that this somewhat disjointed presentation does not detract from Ed's outstanding article. Any typos or other errors in the text are mine and not Ed's. Ian.

[Note: Pictures referenced to this web site have not been attached to these posts--you can access them directly from the links provided in the text--per Forum Policy, all external links must be accompanied by attached pictures.]

INTRODUCTION

Studies of the Sudanese Kaskara sword have focused mostly on variations in blades and quillons, allowing educated guesses as to a sword's regional origin and period of manufacture. However, the Kaskara “sword package” comprises several components—blade, quillon/cross-guard, grip cover, and scabbard with chape and top band—each made by individual craftsmen in the supply chain who may perform their work separated in space and time. Today’s package may be original to its initial time and place of manufacture/assembly, or may have a history of repairs or upgrades over perhaps hundreds of years and considerable distance. Each component has a story to tell.

I propose that we expand our discussions to include silver accessories added to a basic unadorned sword, usually of highest quality. These additions are intended to enhance the sword and its owner, and may be gifted to high status people as an honor. Silver has a talismanic quality as well as a decorative function. Copper and silver are both thought to bring protection from knife attack, but silver trumps copper. Silver accessories include grip covers, pommels, and chaps and bands on the scabbard's bottom and mouth.

Silversmiths are not affiliated with sword-making enterprises. They are higher-end craftsmen located nearer the center of the market. Their work is performed for a customer after the sword and scabbard have been assembled, and is an optional upgrade to enhance the quality of the “sword package” and the prestige of its owner.


A. GRIP COVERS

I am aware of four main styles of grip covers:

1. Diamond or Harlequin Motif
2. Stars and Comets (for want of a better term)
3. Silver filigreed ribbon mixed with reptile skin.
4. Other/Unique

1. Diamond/Harlequin

This is apparently the most common design and would be the easiest to emboss on a sheet of silver. The diamonds are in rows and appear to be aligned at an approximately 60º incline. They are sized to align more or less vertically as well. There is a small incised border at the top and bottom. The format appears to be standardized and varies only slightly in execution among different skilled hands.

This design appears to be most common in Darfur, mainly because it is associated with Ali Dinar's regalia swords. Also, the design, in a simplified form was recorded by Reed in Northern Darfur in 1984–85. An exception is a sword in the al Shinqiti Collection in Khartoum.

Examples

Fig. 1. Sword of Ali Dinar, Sultan of Darfur who was killed by the British in 1916. He apparently was gifted several high-end swords. [Maybe someone can fill in the givers and approximate dates.] It seems reasonable that the sword and grip cover would have been fabricated at the location of the gift rather than the location of the giftee. View online at: http://www.sothebys.com/en/auctions/...d/lot.317.html

Fig. 2. Another sword very similar in quality and design to Ali Dinar's example posted on this web site by DaveS. View online at: http://www.vikingsword.com/vb/showthread.php?t=13142

Fig. 3. Another sword of similar design posted on this web site by David (Katara). Note the unique and exceptional domed pommel. View online at: http://www.vikingsword.com/vb/showth...hlight=kaskara

Fig. 4. Another with copper casing (unique as far as I know)—although it could be just dirty silver—posted by Longfellow on this web site. Also, note the domed top the pommel. View online at: http://www.vikingsword.com/vb/showthread.php?t=16357

Fig. 5. An example with one of the most ornate pommels I've seen. View online at: http://www.sword-site.com/thread/917...a-19th-century

Fig. 6. From the collection of Judge M.S. al Shinqiti (1896–1966), University of Khartoum (picture attached). One of six swords gifted to him c.1956 at the independence of Sudan, as photographed in 1984. [Three other of his swords with the Stars & Comets design will be discussed below.]I showed this photo to the shaykh of the Kassala sword maker's suq. He said it was likely made in the village of Wager about 60 miles north of Kassala. The blade is likely an import (it has the “enigmatic” mark). The quillon may have been forged by a smith there long ago and perhaps a local silversmith made the grip cover.

Fig. 7. Graham Reed 1987. His Plates L1 & L2 (attached below) have diamonds that are arranged vertically with a line gap between (unlike the Ali Dinar standard). The blades are older European and the quillons are well flared. Each has an interesting and well-defined pommel design. My guess is that a local silversmith made the grip covers inspired by the diamonds of the Ali Dinar examples.

Fig. 8. The handle cover on this kaskara (shown on the Ashokar Arts web site) uses the diamond motif but strays from the “standard” of Ali Dinar. It is a Beja sword, which may explain the difference. View online at: http://www.ashokaarts.com/shop/nice-...r-mounted-hilt

All of these examples, except Fig. 7 and the Ashoka Arts item, show remarkable similarity yet are different in subtle ways. Only in Figs. 1, 2 & 4 does the cover extend from the quillon to the top plain band where a tassel usually is tied. All the rest have the gap filled by coils of fine silver wire. I couldn't measure the actual widths, but assume the grips were all virtually the same rather than being of different length, though that is possible. None stray very far from the Ali Dinar grip if it may be the standard. A question remains as to the symbolic meaning, if any, and where, when and by whom it originated.

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