Shashka translation please.

[Gavin Nugent]

Originally Posted by ariel

I have my qualms
First, I'd like to see the entire shashka: are the rings on the concave or the convex side of the scabbard? I.e., was it assembled as a shashka or as a saber?
Second, the use of velvet is not typical for Caucasian weapons. Kindjals,- occasionally, but not shashkas.
Third, the upper scabbard fitting is strange: half Kubachi, half plain silver ( Turkish fashion). I have a suspicion that the front panel with Kubachi work was cut off the original and attached to a new base.
Fourth, while I cannot see well the details on the photo, there seems to be a subtle difference in the ornamentation of the handle vs. scabbard. The idea is the same which is not surprising, since the patterns were quite formalized. But the tendrils on the scabbard are more delicate and better executed.
I think, you get my drift....

Ariel, any further input further to these comments? I know these weapons are a passion of yours...I thought you might have followed up sooner.

Based on these comments above and other information Zifir was kind enough to support and elaborate with on Ward's initial translation, I am looking at options of how it came to be...though there are many possibilities.

To me, it is safe to say a Dagestan Shashka, made by or at least the silverwork made by an Armenian sword maker named Kevork in, though possibly just from Erzurum. Most likely fully assembled by Kevork or even modified as Ariel suggests is possible without further feedback on the images supplied...but with the text "sword maker" accompanying his name I think it could safely be said he assembled the sword.

Based on the high probability of the sword maker being Armenian, to me this would support the blade that also appears to be Armenian in manufacture being used in its construction.

For those knowing the geographical trade routes and boundries of the region this sword has come from, do you think Kevork was making his living in Erzurum and exporting to Dagestan or perhaps in Tiflis whilst noting his name and place of birth in the signiture and exporting to Dagestan as many Shashka were or perhaps others ideas on the matter...I look forward to hearing them.

Thoughts and further input welcome on these seldom discussed weapons.

Gav

[ariel]

The new pics are good.
Now... I like it! Enjoy and remember me if you ever want to swap it for something close to your heart:-)

[Gavin Nugent]

Thanks Ariel,

I'll keep the offer in mind...stranger things have happened.

Would you agree the blade is also of Armenian manufacture?

Gav

[ariel]

Here we are on thin grounds: the inscription is on the throat silver fitting. Blades and fittings were usually made in different places. The most famous split is between Amuzgi ( blades) and Kubachi ( mountings), but there were dozens potential combinations and permutations. After the Russian conquest of the Caucasus, weaponmaking became decorative rather than practical, and was concentrated in the cities,- Tiflis, Vladikavkaz etc. Workshops were established, and individual masters from all over were employed. Traditions became mixed, and it is no longer possible to define something as "Avar work", for example, because one could order any style from the same workshop or even individual master.

Keurk is an Armenian name, but Armenians were the main workforce in the new tourist industry, and there must have been dozens of them. Blades were remounted or made anew from the newly-available spring steel, although owners like Zinaida Koshtoyanz stubbornly employed blades made by a Chechen master Chilla.

Same places made silver trinkets, like cigarette holders, tea glass holders, drinking horns, studs etc. Everybody in Russia wanted something "Caucasian", and the inherently-Oriental marrket responded to the demand with enthusiasm. Imperial Russia conquered the Caucasus, but the Caucasus conquered Russian imagination.

All in all, anything after ~1870 became a tourist item.