Comparison of Decorations on Arms and non-Arms Objects

[Richard G]

Hello,
I am new here, so forgive me whilst I struggle with the mechanics of posting. I thought members might be interested to see an example of the the "spiral with leaves" pattern of decoration that is seen on so many Omani\UAE khunjars, and is often said to be associated with Nizwa, on an Indian brass tray.
Hope this works
Regards
Richard

[Ibrahiim al Balooshi]

Originally Posted by Richard G

Hello,
I am new here, so forgive me whilst I struggle with the mechanics of posting. I thought members might be interested to see an example of the the "spiral with leaves" pattern of decoration that is seen on so many Omani\UAE khunjars, and is often said to be associated with Nizwa, on an Indian brass tray.
Hope this works
Regards
Richard

Salaams Richard G and welcome to the Forum !!

This is an excellent subject in which to begin your observations. The Khanjar you post is typical in all respects of Omani work. The decorative technique is in essence the famous "Arabesque" style copied and modified across the entire region. Richardson and Dorr in their book "The Craft Herritage of Oman" go to some lengths to explain the techniques of Khanjar decoration. Perhaps best summed up; Quote. "Arabesque patterns in spirals are used for the ornamentation of silver chapes and bands for sword and khanjar scabbards and hilts ~ a style commonly referred to as being "shamaliyyah" ~ of the north".Unquote.
The pattern appears on trays and dishes (and on most Islamic decorative objects including tiles, ceramics, carpets and even on henna hand decoration) either worked on by hand or stamped or spun onto the plate from a dye or pattern cutter... spinning was a method of placing a cyclic pattern onto a plate often detected by a centre- plate-dent where the spinning object has been steadied in the rudimentary lathe.
Nizwa is a traditional centre for copper wares as well as agricultural tools and silver and gold work. The tray however is purely Indian with many regions where copper and brass were decorated. Omani trays tend to be quite austere; decorated in geometric bands and Arabesques..whereas Indian work may well have those plus fabulous animals depicted in leafy scrolled borders.
The following techniques are employed in Omani Khanjar making where the craftsmen encompass the work of steel, silver, wood, horn, leather and emboidery skills ~ casting, forging, sheet wire and inlay, filigree, chasing, engraving, stamping, doming, granulation, gilding and burnishing. This was a male dominated skill except that women were involved doing "tatriz" the silver emboidery however today there are apprenticeship schemes with females involved at all stages in this great traditional work.

Regards,
Ibrahiim al Balooshi.

Note; Architectural masterpieces in "arabesque" can be seen on the ceilings at Jabrin Palace and Bait al Falaj as well as on the Muscat Merchants houses. The same decorative technique derived from rows of overlapping circles which intersect at their midpoint on an overlapping grid is used on wood carvings on dhows and handcarved doors and windows. The technique goes back in essence to the allowable respected Islamic geometric art form and is a classic in Oman. Favourite silver items decorated thus are the Khanjar, Sword, Hirz silver pendant box and the belt buckle.

After Note ~ Please note that the crown appears to be missing (from the toe of the scabbard) on your otherwise nice example of an Omani Khanjar.

[Jim McDougall]

Richard welcome! and thank you for this outstanding post! Very nicely detailed illustrations and well noted on these Omani khanjhar, especially showing the connection to Nizwa, important in discussions we have had on the saif and kattara from Oman and Muscat.
Ibrahiim, thank you for the additional information explaining further the aspects of the use of these decorative styles in Oman. It is fascinating to see how important the study of these styles are in comprehensive aspects of the material culture in particular regions, and how it is reflected in the motif and decoration of the mountings on weapons. The importance of architectural style and motif is often key as well in illustrating these influences, as you have nicely shown.

Thank you so much guys, incredibly informative and well done!!!


All the best,
Jim

[Ibrahiim al Balooshi]

Salaams all~ Just adding detail to library. Great books;
1. Markets and Merchants of The Islamic World . The Bazaar. By Walter M Weiss. Kurt- Michael Westerman.
2. and another historical department essential tool in unravelling Omani History ; History of Currency in the Sultanate of Oman. (Central Bank of Oman).
From these I have selected a general picture from the first book of Isfahans Masjed(Mosque) e-Sheykh Lotfollah and swords (with plagiarised cartouche) from the section on Damascus and a decorative page cartouche from the(2) Omani coin publication.

Regards Ibrahiim al balooshi.

Note;The cartouche on the blade is copied from Asad-Allah the unchallenged master swordmaker from Damascus who worked at the Royal Court of Persia Isfahan in 1600. (Safavid)

[Ibrahiim al Balooshi]

Salaams All and note to Library~ First a plea that this thread be returned to the top of the front page, Crown Jewels position, we used to call Sticky. This thread had slipped to a descending spot on page 6 where unless you knew it was somewhere in the system it would never be found... This thread is for the growing extra detail and study of dedicated forum input. It was never meant to be cut free to float away. I argue that its importance is eroded and hidden away it is lost to mainstream users whereas developed as a Sticky mega thread it was strategically placed at the cutting edge atop page 1.
With respect I urge that it be put back there, however, as an add on/ late change to my post and having reread the classics thread I advise putting all the classics under one banner say instead of ..calendar...which can be ditched and replaced by Stickys or Flagship Threads or Crown Jewels... perhaps.

Islamic Script Styles.

As an opener I show the equipment and project of a specialist Master Calligrapher. I hope to illustrate all the different styles of script herein; as we roll forward.

Regards,
Ibrahiim al Balooshi.

[Ibrahiim al Balooshi]

Salaams All~ Note to Library ~ Here are some different styles of script...
Regards,
Ibrahiim al Balooshi.

Kufic Script.

SEE https://www.google.com/search?q=Kufi...&sa=X&ei=oKluU

Kufic script, a heavy monumental Arabic script suited to stone carving, appears in the earliest surviving Koran manuscripts. In these, the diacritical marks over the letters are sometimes painted in red, and the gold decorations between suras contrast handsomely with the heavy black script. In the Seljuk period, a more cursive flowing script, Naskhi, developed. The two styles were often used for contrast in architecture and decorative contexts.
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Naskh Script

SEE https://www.google.com/search?q=Nask...w=1366&bih=645


Naskh, which means "copying," was developed in the 10th century, and refined into a fine art form in Turkey in the 16th century. Since then it became generally accepted for writing the Quran. Naskh is legible and clear and was adapted as the preferred style for typesetting and printing. It is a small script whose lines are thin and letter shapes are round.
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Thuluth Script

SEE https://www.google.com/search?q=+Thu...ient=firefox-a


Thuluth was the medieval Islamic style of handwritten alphabet. Thuluth (Arabic: "one-third") is written on the principle that one-third of each letter slopes. It is a large and elegant, cursive script, used in medieval times on mosque decorations. It took on some of the functions of the early Kufic script; it was used to write surah headings, religious inscriptions, and princely titles and epigraphs. It was also used for many of the large copies of the Koran produced from the 13th century.
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Ta'liq / Nasta'liq / Farsi Scripts

Ta'liq is a cursive style of lettering developed in Iran in the 10th century. It is thought to have been the creation of Hasan ibn Husain Ali of Fars, but, because Khawaja Abdul Mali Buk made such vast improvements, the invention is often attributed to him. The rounded forms and exaggerated horizontal strokes that characterize the Ta'liq letters were derived primarily from the Riqa' script. The ornateness and sloping quality of the written line had roots in the Towqi script of Ibn Muqla (died 940). Designed specifically to meet the needs of the Persian language, Ta'liq was used widely for royal as well as daily correspondence until the 14th century, when it was replaced by Nasta'liq.
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Nasta'liq was the predominant style of Persian calligraphy during the 15th and 16th centuries. The inventor was Mir 'Ali of Tabriz, the most famous calligrapher of the Timurid period (1402-1502). A cursive script, Nasta'liq was a combination of the Naskh and Ta'liq styles, featuring elongated horizontal strokes and exaggerated rounded forms. The diacritical marks were casually placed, and the lines were flowing rather than straight. Nasta'liq was frequently incorporated into the paintings of the early Safavid period (16th century) and is traditionally considered to be the most elegant of the Persian scripts.
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Riq'a Script

Riq'a, the simpler style of everyday writing is very economical and easy to write. It is popular for writing both Turkish and Arabic.
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Diwani Script

Diwani script is a cursive style of Arabic calligraphy developed during the reign of the early Ottoman Turks (16th-early 17th century). It was invented by Housam Roumi and reached its height of popularity under Süleyman I the Magnificent (1520-66). As decorative as it was communicative, Diwani was distinguished by the complexity of the line within the letter and the close juxtaposition of the letters within the word.

A variation of the Diwani, the Diwani Al Jali, is characterized by its abundance of didactical and ornamental marks.
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Illustrated below are ; KUFIC, NASHK and THULUTH;

[ALEX]

Richard, Ibrahiim,
Nice references!
As Ibrahiim pointed out: "The decorative technique is in essence the famous "Arabesque" style copied and modified across the entire region".
"Indo-Persian" is one of the terms to reflect this fusion, but it is much wider indeed. Shown below is typical Kutch pattern of late 19th Century. Compare it to the silver decorations on above Omani jambiya - the similarities can be seen in technique and design... Indo-Omani? :-)

[Ibrahiim al Balooshi]

Originally Posted by ALEX

Richard, Ibrahiim,
Nice references!
As Ibrahiim pointed out: "The decorative technique is in essence the famous "Arabesque" style copied and modified across the entire region".
"Indo-Persian" is one of the terms to reflect this fusion, but it is much wider indeed. Shown below is typical Kutch pattern of late 19th Century. Compare it to the silver decorations on above Omani jambiya - the similarities can be seen in technique and design... Indo-Omani? :-)

Salaams ALEX ~ True indeed and in fact the Islamic arch is mirrored in the Hindu traditional archway displayed in the dish above.
Regards,
Ibrahiim al Balooshi.

[Ibrahiim al Balooshi]

Salaams All~ For good background on the subject of Islamic Metalwork see~

http://www.bewilderingstories.com/is...metalwork.html


Regards,
Ibrahiim al Balooshi.

[Ibrahiim al Balooshi]

Ta'liq Nastaliq and Shikaste.

Salaams ~ Note to Library ~ See http://calligraphyqalam.com/styles/n...-shikaste.html for a full description and excellent rendition of different scripts and calligraphy. The three remaining main styles I offer as examples below...though there are many other minor variations and other branches; the ones here and above are the key forms.

Regards,
Ibrahiim al Balooshi.