The flowers on the tulwar hilts

Jim McDougall · 16th February 2017, 09:24 PM

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 · 19th February 2017, 04:49 PM

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).

16th February 2017, 09:24 PM	#1
Jim McDougall Arms Historian Join Date: Dec 2004 Location: Route 66 Posts: 10,295	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.

19th February 2017, 04:49 PM	#2
Jens Nordlunde Member Join Date: Dec 2004 Location: Europe Posts: 2,718	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).