The Sinhalese Kastane: Its Development, Decoration and Symbolism

[Ibrahiim al Balooshi]

Originally Posted by Jim McDougall

I think that it is well established that the kasthane in the regularly seen embellished form is pretty much a parade type arm worn as a badge of rank or office. As discussed, the elements seen in the hilt are vestigial features from earlier hilts in which the quillon and guard system had intended purposes for combative use. These were primarily the basic features of the hilts which developed in Italy in later fully developed rapier forms, and later found their way into nimcha style hilts . Variations of these same hilt arrangements are known throughout Europe as well as through the Arab trade world.

The various creatures represented on the elements of the hilt have symbolic and some apotropaic purpose of course. It is important to recognize these weapons and these symbolic features in that they serve more votive purpose than any actual combative intent.

The Tibetan axes as well of course as the phurbu daggers are entirely spiritual weapons with no worldly combative value . In India many swords are considered 'temple' swords, such as the unusual flamboyant blade Nayar examples. While these are in some degree regarded as being based on actual combat weapons of earlier times, in actuality the sometimes dramatic features are intended in more spiritually embellished sense than for an actual purpose.

The downward triangular protrusion on the kasthane would be more associated with langets which are essentially for scabbarding the weapon, but also provides useful area for additional embellishment and decoration.

Salaams Jim, Whilst I agree upon the apotropaic nature of such embelishment from the talismanic and majic protection viewpoint and the votive purpose of the Kastane, I was in fact surprised to see that it was also carried into war / battle situations by the Arachchi and probably the Mudaliyars but in the latter more likely in the form of a badge of office...which later transmitted to a full-on badge of rank and status icon... throughout the Portuguese, Dutch and English periods.

Rain Guard.
Taking on the Rainguard; It appears as a peculiar and extended triangular protrusion. Could this have been utilized instead of the quillons for trapping an oponents sword?.. and as a rainguard and locking mechanism into the scabbard ~ clearly its main function...Interestingly it is usually decorated with a foliate or peacock tail feather stylistic decoration associated with several Deities(Makara and other) but also occasionally thereupon sits a funny looking face which is the half humanoid monster "Kirtimukha" on the Kastane at my last posting. Otherwise often carved and painted typically above ancient architectural temple doors.

From Wikipedia; Quote"The word mukha in Sanskrit refers to the face while kīrti means "fame, glory". Kirtimukha has its origin in a legend from the Skanda Purana when Jalandhara, an all-devouring monster created from Shiva, third eye willingly ate his body starting by its tail as per Lord Shiva's order, who pleased with the result gave it the name face of glory. Some authors have compared the Kirtimukha myth with the Greek myth of Ouroboros.

The Kirtimukha is often used as a decorative motif surmounting the pinnacle of a temple or the image of a deity, especially in South Indian architecture. This face is sometimes assimilated to, or confused with, another sculptural element, the lion face (Simhamukha). However, in order to be a Kirtimukha it has to be engaged in swallowing, for the Kirtimukha is the figure of the "all consuming" This monstrous face with bulging eyes sits also as an embellishment over the lintel of the gate to the inner sanctum in many Hindu temples signifying the reabsorption that marks the entry into the temple. Mostly it is only a face, although in some places its arms are portrayed as well".Unquote.

Is what is being portrayed the spilling of minor Deity form via Makara, Nagas and Kirtimukha(swallowing) etc culminating with overflowing and exuberant, lavish, decorative, mythical detail over the quillons and rainguard onto the blade at the throat and onto the scabbard? Thus it is hardly surprising that such a weapon is heralded and so important in the history of Sri Lanka...perhaps underlining its home grown, home produced nature?

Regards,
Ibrahiim al Balooshi.

[Jim McDougall]

It seems that the kasthane, or its prototypes, was at one time a battle sword long before it became a symbolic badge of rank or office. It would seem that less lavishly decorated examples may have existed contemporarily which were used as combat weapons, much as was typically the case with military officers using fighting rather than dress swords
A sword used by King Rajasinghe III at the battle of Gannowruwa in 1638 (now held at Dodanvela Devale) had a hilt with beast pommel and simple upturned knuckleguard with single downturned quillon, no sideguard or langet.
The sword of Bhuvanakabuhu I of Yapuhuva of 13th c. (r.1272-1284)?
was apparently with a lionhead but no further details yet found.

I think it may be helpful to add some of the nomenclature pertaining to the hilt features of the kasthane:
A : Gediya, pommel
B: Mitta or hilt often known as 'sinha manu mitta' (=lion faced hilt)
C: Ath vasma or ath hade= knuckleguard
D: Vari sarkuva-quillons also known as serependiya mana as they
are generally formed of serependiya heads.
E: Alluva....side plates
F: Kadu patha , isa -blade
G: Peeli -grooves along the blade
H: Agissa-edge
I: Thuda-point

Source: Deraniyagala (1942, p.113)

It would appear as is often the case that the battle sword was of loosely the same form however understandably considerably more austere. In Deraniyagala it is noted that "...the development of the ceremonial sword of rank soon unfitted it for fighting purposes as the elaborate crest of the lion headed hit comes into contact with the heel of the users hand or wrist, while it is also significant that swords so ornamented generally appear to be too small for war, unlike the larger ones which have no such crests. The latter swords also possess as many as four quillons" (op.cit. p.113) .

While the projection on the guard extending as a langet (termed alluva or side plate) takes a more vestigial presence in the elaborate kasthane of rank, it serves well as the palate for symbolically placed devices.

Turning to the discussion of the kirtimukha in this location on the hilts of some kasthane, Robert Elgood has observed regarding such instances "...in view of the decisive concern with protection against the spirit world that characterizes Hinduism, the kirtimukha is the perfect device to place upon a weapon for prophylactic reasons; but reflecting the duality of all aspects of Hinduism it contains within it the reverse facility of ferocious aggression" (Elgood, 2004, p.134). The author also discusses the placement of kirtimukha or makara at the base of the blade on many sacrificial weapons to protect the user from spiritual forces unleashed by violent use of the blade

These kinds of symbolism may seem more likely to be placed on actual combat weapons, or as noted on sacrificial weapons, however it is important to remember that in the same sense of 'spiritual combat' with which ritual and ceremonial weapons are used, the weapon worn as a badge of rank may have similar properties. It may be considered that the individual of rank or office is signified as having authority and power in which they might require similar apotropaic protection from consequences or results of necessary actions. Naturally this is my own speculation as I confess less than adequate understanding of these matters.

Returning to these kirtimukha and makara heads (Elgood, p.134) the author notes that the use of this feature at the base of the blade "..appears in the kris in SE Asia where a mask to ward off evil is often carved at the base of the handle above the mendek. The probability is that this is a very ancient practice, because the makara head occupies the same place on the phur-pa and other Tibetan edged weapons and because the design has not changed since the time of the Buddha we may point to the likelihood of it being a feature of the Indian vajra".

As has been noted by Ibrahiim, the presence of these kinds of symbols, devices and representations are of course very much in line with the architecture of temples and many religious monuments and iconography.
In these respects, the kasthane and its profound iconography has become an important reflection of the many facets of the diverse heritage of Sri Lanka, and I hope that here we will continue gaining better understanding of their history.

[Ibrahiim al Balooshi]

Originally Posted by Jim McDougall

It seems that the kasthane, or its prototypes, was at one time a battle sword long before it became a symbolic badge of rank or office. It would seem that less lavishly decorated examples may have existed contemporarily which were used as combat weapons, much as was typically the case with military officers using fighting rather than dress swords
A sword used by King Rajasinghe III at the battle of Gannowruwa in 1638 (now held at Dodanvela Devale) had a hilt with beast pommel and simple upturned knuckleguard with single downturned quillon, no sideguard or langet.
The sword of Bhuvanakabuhu I of Yapuhuva of 13th c. (r.1272-1284)?
was apparently with a lionhead but no further details yet found.

I think it may be helpful to add some of the nomenclature pertaining to the hilt features of the kasthane:
A : Gediya, pommel
B: Mitta or hilt often known as 'sinha manu mitta' (=lion faced hilt)
C: Ath vasma or ath hade= knuckleguard
D: Vari sarkuva-quillons also known as serependiya mana as they
are generally formed of serependiya heads.
E: Alluva....side plates
F: Kadu patha , isa -blade
G: Peeli -grooves along the blade
H: Agissa-edge
I: Thuda-point

Source: Deraniyagala (1942, p.113)

It would appear as is often the case that the battle sword was of loosely the same form however understandably considerably more austere. In Deraniyagala it is noted that "...the development of the ceremonial sword of rank soon unfitted it for fighting purposes as the elaborate crest of the lion headed hit comes into contact with the heel of the users hand or wrist, while it is also significant that swords so ornamented generally appear to be too small for war, unlike the larger ones which have no such crests. The latter swords also possess as many as four quillons" (op.cit. p.113) .

While the projection on the guard extending as a langet (termed alluva or side plate) takes a more vestigial presence in the elaborate kasthane of rank, it serves well as the palate for symbolically placed devices.

Turning to the discussion of the kirtimukha in this location on the hilts of some kasthane, Robert Elgood has observed regarding such instances "...in view of the decisive concern with protection against the spirit world that characterizes Hinduism, the kirtimukha is the perfect device to place upon a weapon for prophylactic reasons; but reflecting the duality of all aspects of Hinduism it contains within it the reverse facility of ferocious aggression" (Elgood, 2004, p.134). The author also discusses the placement of kirtimukha or makara at the base of the blade on many sacrificial weapons to protect the user from spiritual forces unleashed by violent use of the blade

These kinds of symbolism may seem more likely to be placed on actual combat weapons, or as noted on sacrificial weapons, however it is important to remember that in the same sense of 'spiritual combat' with which ritual and ceremonial weapons are used, the weapon worn as a badge of rank may have similar properties. It may be considered that the individual of rank or office is signified as having authority and power in which they might require similar apotropaic protection from consequences or results of necessary actions. Naturally this is my own speculation as I confess less than adequate understanding of these matters.

Returning to these kirtimukha and makara heads (Elgood, p.134) the author notes that the use of this feature at the base of the blade "..appears in the kris in SE Asia where a mask to ward off evil is often carved at the base of the handle above the mendek. The probability is that this is a very ancient practice, because the makara head occupies the same place on the phur-pa and other Tibetan edged weapons and because the design has not changed since the time of the Buddha we may point to the likelihood of it being a feature of the Indian vajra".

As has been noted by Ibrahiim, the presence of these kinds of symbols, devices and representations are of course very much in line with the architecture of temples and many religious monuments and iconography.
In these respects, the kasthane and its profound iconography has become an important reflection of the many facets of the diverse heritage of Sri Lanka, and I hope that here we will continue gaining better understanding of their history.

Salaams Jim, Great rendition, excellent research and important detail in support... I must say I had no idea the separate parts were so called ..and this and the general overall picture indicates and underlines a solemn foundation in Sri Lankan history and beliefs.

To reinforce that general thesis I place an ancient Sri Lankan Gods group in support of the theory of home grown / home produced Kastane...though without prejudicing the potential influences of European, Moors of Sri Lanka or Indian influence partly or wholly...

Naturally I am focused upon the short sword below with the exceptionally long rain-guard and the short blade which I perceive is of Kastane blade proportions and on a hilt with several similar constructions. I take this as evidence of a much earlier short sword style which must be taken into account when deciding on origin of species...thus predating any European influence.

Regarding the Deities since I am close to being in mid stream discussing these~...Whilst conclusions are probably going to be difficult or vague at best... I think we are close to some definition as to type and form however as always caution is advised ... or putting it another way from http://amazinglanka.com/wp/makara-torana/ I quote the authors final comment on drawing any sort of conclusion upon the different understanding of Deities (in this case The Makara) but the rule applies to the many varieties~

Quote"It could be noted that no two sketches have any close resemblance to each other so that it would be evident that each one of these artists acted on his own conception of the Makara".Unquote.

Regards,
Ibrahiim al Balooshi.

[David]

Originally Posted by Ibrahiim al Balooshi

Regarding the Deities since I am close to being in mid stream discussing these~…Whilst conclusions are probably going to be difficult or vague at best... I think we are close to some definition as to type and form however as always caution is advised ... or putting it another way from http://amazinglanka.com/wp/makara-torana/ I quote the authors final comment on drawing any sort of conclusion upon the different understanding of Deities (in this case The Makara) but the rule applies to the many varieties~

Quote"It could be noted that no two sketches have any close resemblance to each other so that it would be evident that each one of these artists acted on his own conception of the Makara".Unquote.

Perhaps just a matter of semantics, but it should be understood that the makara, while known to be a vehicle for certain deities is not, in fact, a diety itself.

[napoleon]

these are wonderfull,many thanks, i think the piha kaetta is the best ive seen,rock crystal handle? were these the kings personal weapons?