Arab Cutlasses of the Pirate Coast

[fernando]

So it seems as 'lingua franca' had its variants ...
https://en.wikipedia.org/wiki/Lingua_franca
"Portuguese served as lingua franca in the Portuguese Empire, Africa, South America and Asia in the 15th and 16th centuries. When the Portuguese started exploring the seas of Africa, America, Asia and Oceania, they tried to communicate with the natives by mixing a Portuguese-influenced version of lingua franca with the local languages. When Dutch, English or French ships came to compete with the Portuguese, the crews tried to learn this "broken Portuguese". Through a process of change the lingua franca and Portuguese lexicon was replaced with the languages of the people in contact."

[Jim McDougall]

Interesting discourse guys, thank you!
In beginning this thread my objective was to discuss some swords (cutlasses as it were) which I thought were aligned with the so called 'pirate coast' situated on eastern littoral of Arabia. What evolved has become even more fascinating and comprehensive thanks to the great entries here.

Actually, not surprisingly, it turned out these examples were actually from regions in Yemen and from familiar types there, with the expanse of Yemen and its profound external contacts experiencing a spectrum of variations in the swords present.

This revealed that Yemen was but one center in the vast sphere of sword forms, from those distinctly recognized and via the keen desperation of many collectors, and often scholars, to inclusion in the typically jargon oriented glossaries of what have become known loosely as 'collectors terms'.

The intriguing discourse here exploring the evolution of these vast spheres of colonization, indeed much of which was pioneered by Portugal in the 'Age of Discovery' in the 14th century, offers an interesting comparison.

Much in the way the necessary development of the 'lingua francia' concept, which in not confined to one particular pairing or amalgam of languages, the diffusion of weapon forms traveled through cultural spheres profusely.

By analogy, the styles and elements of hilt forms evolving throughout the vast cultural spheres and colonized regions becomes comparable to the diffusion of languages, and of course the evolution of 'lingua francia' language forms, which evolved into a sort of amalgam the prime languages. In comparison to the evolution of words in the lingua francia becoming a commonly recognized language, the styles and elements of swords from other cultural spheres prevalent in a region, became incorporated into locally favored styles.


With the complexity of the vast trade systems, and the confounding networking within presents the equally vast conundrum of trying to classify these various sword forms and their variants. While we try to use the blades in identification, despite being able to distinguish them typically through their character, markings etc. these were so widely traded as a commodity. In addition, blades were commonly replaced through the working lives of swords, which kept them circulating through many generations in many cases.

While there has been through the years, an understandable relative futility in trying to accurately classify these forms and their variants, I am glad to have the shared expertise and knowledge clearly exchanged here bringing these plausibilities and well supported observations into a comprehensive look at these conundrums.

Expansion is a good thing, as it is of course growth, and rather than deviation I see the growth of this thread in these expanded angles of observation toward the knowledge needed to better understand the diffusion of these sword forms.

[Peter Hudson]

Hello Fernando,
Thanks for your post. Yes I have seen your reference which also states the case for spoken Arabic. Quote"Arabic was used as a lingua franca across the Islamic empires, whose sizes necessitated the need for a common language, and spread across the Arab and Muslim worlds" Unquote.

In dealing with the peculiarities of two essentially regional designs of Nimcha i.e. The Moroccan and The Zanzibari; The common denominator is The Ottoman Empire and driven by the linguistic situation in both Regions meaning The Indian Ocean and its surroundings and The Meditteranean. It can be seen that Arabic was the lead Language ...in its spoken form...The primary Lingua Franka. Thus it was a CULTURAL situation.

It may be seen that in this case where a ship bourne sword was required and that applies in both Moroccan and Zanzibari requirements...that a tried and tested Cutlass type of sword would be ideal for ship defence and boarding party attacks ...

I use the term Form follows Fashion in the same way that court swords in Europe became shorter since they were often carried at Court and worn under the Court Dress Jacket....and these Jackets became shorter so the swords did the same...Thus it can be envisaged that the Nimcha swords of both regions followed many quirks and foibles specific to the regions it entered...

The most extraordinary variant is probably the Zanzibari Nimcha...which somehow sports a Turtle atop its Pommel, An odd squigle on the quillons similar to the Tughra of the 19thC ruler, Circular Sworls on the Scabbard Leather ...Weird gold over Ivory decoration on some VIP swords but overall a fascinating resemblance to a horses head grip and Pommeland almost exactly the same look as the Ottoman Pallasch hilt.

I insert here a note about the Knuckle Guards... since the squared Moroccan hilt was designed to ride up high on the chest almost under the left armpit which neccessitated a squared off knuckleguard as a rounded form wouldn't work but the squared off item did as it fitted flat against the ribcage...A rounded Knuckle Guard tends to make the weapon roll.....In the Zanzibar variant the sword was worn formally on the belt and simply followed the same form as the Pallasch in that respect. The blades were changed probably since the Ottoman item was very expensive looking at the Islamic inlay and lighter cheaper blades were available from German sources for Morocco and Hadramaut or Indian sources for Zanzibar.

Conclusion. Based on the similarities on the hilt of the Ottoman Pallasch and using the features outlined by Buttin in his quite detailed charts and from the history of the Ottoman Navy in the Indian Ocean and backed up in our own Forum Library my view is that the Pallasch is the prime suspect in the design flow across both regions in the case of both the Arabian and African variants...and seek the support from Forum to make that assessment.


Peter Hudson

[Ian]

Peter,

You have laid out a lengthy argument for your case that the palash influenced nimcha styles. I think this deserves a more scholarly setting than our humble forum. Have you considered writing this for a journal? I'm not sure of the appropriate place for such an article, but perhaps our forumites might suggest one for you.

Regards,

Ian

[Peter Hudson]

This thread is almost tied to http://www.vikingsword.com/vb/showthread.php?t=21833 where many other clues are situated. I reccommend both threads be viewed as there are overlapping and interlinked posts showing fine details of the design influence now being closely observed...As an example of the relevant links here is what could well be the original hilt form of Nimcha swords across all the recognised types. Some accounts describe the shape as a horse head and I do not disagree on that. Clearly the blade has been replaced in all the variants I have viewed and there are different regional variations on add ons alterations and materials on the hilts and Quillons and Knuckleguards but the basic form is retained.

Quote" Pallasch; Culture: blade - Italian, Milan (with Ottoman decorations), mount - Ottoman, vessel (Hilt?) - Morocco
Dated: 16th Century
Material and Technique: blade of iron, forged, etched and engraved grip of iron, wood, horn
Measurement: total length of 107.7cm; blade 93.9cm; weight 1817g

Elector Christian I of Saxony received the saber as a gift in 1587 by Francesco I de ‘Medici, Grand Duke of Tuscany. This weapon is one in many respects to the peculiarities of the Turkish Chamber. First and foremost, the impressive appearance is mentioned, which is caused by the massive, ornate edged blade.

This saber is made of very different work areas. While the vessel(hilt?) is from Morocco and the typical form there corresponds with strongly angled work and s-shaped quillons, the blade is an Italian work. She has been a chosen, and was crowned Pi marked accordingly in Milan. (what is Pi ?)

The blade was then decorated in the Orient. The etched and partly engraved decoration consists of medallions with stripes and scrolls, flowers and leaves. The middle stripe is a Spanish inscription found in a secret script-like character.

How did this strange mixture of different origins (come about) is not yet clear. Could possibly play in the events following the reconquest of Spain by 1492. Many Spanish Jews left the country after the conquest of Granada and moved some of North Africa in the dominion of the Ottomans."Unquote.

Source & Copyright: Staatliche Kunstsammlungen Dresden.

When I wrote up this reference I had not suspected as I now do that the influence into and across The Indian Ocean and Mediterranean was because of Ottoman expeditions in those regions however I now have a clearer view that this is the case. It remains a staggering fact that almost 50 styles of Nimcha are shown in Butins charts and that there are even more cloned hilts not yet assessed.

Peter Hudson.

[Peter Hudson]

Originally Posted by Ian

Peter,

You have laid out a lengthy argument for your case that the palash influenced nimcha styles. I think this deserves a more scholarly setting than our humble forum. Have you considered writing this for a journal? I'm not sure of the appropriate place for such an article, but perhaps our forumites might suggest one for you.

Regards,

Ian

Dear Ian, For the time being I am pleased to leave this work in the realms of Forum for discussion but welcome your remarks . In my 40 yers in Oman I was intrigued by this sword form as well as the Omani Sayf , and Kittarah etc and the general situation in Zanzibar. I am convinced that The Indian Ocean is key historically to much of the conundrum but especially that surrounding the Nimcha style. Previously no one considered the common language of spoken arabic (The Cultural Effect) as central to the solution on design copying on weapons, however, almost everything was copied and subject to this phenomena...Thank you for your support.
Peter Hudson.

[Peter Hudson]

Saaid The Great ruled Oman and Zanzibar during the early to mid 19thC from about 1804 to 1856. Several well known design features entered the history books either invented by him or inspired through one of his wives...including The Royal Turbanand Royal Cammerbund, The Royal Hilt on his adopted 7 ringer Khanjarand given his name, and the same style of hilt given to the Royal form of the old Omani Battle Sword called Sayf Yemani. In addition a sword with sharpened on both edges and carrying a long almost tubular hilt was placed by him as an item for dancing showing off its flexibility and being included in the famous national treasureThe Funun This dancer also became a heraldic and military presentation appearing on march past gatherings and at weddings and adorned with the shield...The Omani Terrs ...It was given the honour of being present at important meetings and at bothe Eids and as well as occasionally being highly decorated in silver adornments it could also meet the demands of the mass market in a much less expensive form and was still loved by the people. Saaiid moved the Omani Capital city to Zanzibar in about 1830 and transformed the Islands into a collosal herb growing region...and removed with others the Portuguese invaders chasing them south to Mozambique etc. Zanzibar became a massive trading and slave Hub and in about 1840 another sword appeared which was a single crved blade which Saaiid The Great gave the same Omani Long Hilt and as a shield the same Omani Terrs. The sword had a multi role purpose not only as a formidable weapon but as a badge of office seen on the waists of Omani slave traders passing through the Omani friendly Bunyoro Kittarah which incidentally was where the blade had been noticed on swords probably of German origin ... Cavalry swords... It marked the Omani hunters and Traders from a great distance as having permission ...right of passage and safety from attack was thus assured. Pictures of Omani individuals are sketched in the Zanzibar slave markets equiped with these weapons often with the Terrs slung over their backs and armed with Omani Kittarah as they became known.

Meanwhile the Navy needing a cutlass weapon and having seen the Nimcha styles we know existed through illustration ; the hilts... stiched in with silver thread or hammered in on a hot anvil...Some delicacy is required as the minute floral decorations on the actual Tughra are repeated on the copied stylistic quillons on the anvil..These were dynastic swords and this is what he must have ordered... He wanted his name on them... In fact his Tughra .
And although not on all weapons there are certainly a great number that carry this insinignia. See below.

I have described the Cultural process on this thread... through the use of one singular Lingua Franka (Spoken Arabic.)..common to most players.

[Peter Hudson]

For Clarity here again is the detail...showing the Omani Dancer/ The Omani Sayf with the Rulers Tughra.

[Peter Hudson]

Just adding a few words about the applied decoration and what I have identified as a sort of Royal Signature on Omani and Zanzibari weapons... and this work applied using quite rudimentary equipment either stitched onto leather or hammered onto steel hilts/quillons though not onto all the examples
which suggests to me that those VIP richly decorated swords may well have been presentation items and or high ranking business owners or Officers in the Omani Navy. Those swords of a lesser grade / munitions grade probably not so lavishly adorned nevertheless a degree of transfer identified in common design style. I tend to see some potential copying from the main style in Ottoman style plus style from other previous Omani types as well as unusual additions such as the Turtle motiff...and with a regional probably inexpensive blades ...and the black leather Scabbards complete with a sworl pattern. The apparent horses head hilt when finished in Ivory and gold imported from African trade operations into Zanzibars artesan workshops Joins the array of incredible designs and the broadened bottom third points at Malibari style seen on Moplah.