Inventory

Deeply tooled leather dhal (shield) with silver bosses

Full Description:

This rare eighteenth century leather dhal shield, mounted with attractive floral silver bosses, is likely to have been produced in the Deccan region, Central India. Of typical convex circular form, with some slight distortion, the outer surface is made of thick stiffened hide, intricately tooled and profusely carved in relief with concentric decorative borders. The widest band features eight large-lobed epigraphic cartouches interspersed amidst scrolling leaves and arabesque designs, followed by a narrow, continuous Arabic inscription and heart-shaped palmettes towards the centre, laden with rosettes. The circumference, with a slightly upturned edge and evidence of restoration, is embellished with vegetal scrollwork. Traces of red pigment in the recesses suggest this dhal was originally painted. The pièce de resistance of this shield is undoubtedly its central medallion, showcasing four mirrored, cusped epigraphic cartouches set within a circle, of which the negative space is in-filled with wavy lines. The Shi‘a inscription reads:

'There is no hero like 'Ali, and there is no sword like Dhulfaqar (Zulfiqar)'

Followed by the Islamic date 1112 AH, which corresponds to 1700-1701 AD.

Deeply carved leather shields are rare, and one with Islamic, and more specifically Shi‘a inscriptions, such as this, is of notable significance. When compared to their lacquered and painted counterparts, the number of carved dhals is far inferior, leading to speculation as to whether their scarcity is accounted to their perishability, or simply fashion trends. A comparable lacquered leather shield with gilt decoration, attributed to the seventeenth century, and featuring four inscriptions like the present example, is in the Furusiyya Art Foundation.¹ Another, held in our own inventory is also attributed to the Deccan region and dated to the seventeenth century.² A later example, dating to the nineteenth century and currently located in the Saloon corridor at Sandringham House (Royal Trust Collection inv. no. RCIN 37531), presents a very similar design to this dhal, showcasing an upward-turned rim with vegetal meanderings, and concentric circles in-filled with flowers and foliage in the centre.³ The rest of the outer surface is carved in relief with an intricate trellis of rosettes and lotus flowers. Similarly to our example, the Royal Collection shield presents traces of paint and gilt outlines, supporting the idea that these carved dhals must have originally been quite colourful.

Taking into account the decorative vocabulary of many of these carved shields, the natural world seems to be the most recurrent source of inspiration, showcasing plenty of foliage, vegetal meanderings, interlocking scrollwork, and traditional Indian flowers like rosettes, lotuses and occasionally, marigolds. The rarity of the present example is enhanced by the notable profusion of Arabic inscriptions, using a distinctive rounded variant of the calligraphic script called rayhani. This ‘pen’ style was considered the chancellery script for official letters, missives and edicts, but it soon flowed into architectural and artistic productions as well. Invented by the Abbasid Arabic calligrapher Ibn al-Bawwab, rayhani became the small-sized companion of muhaqqaq, another beloved and praised Arabic script, mostly used in the productions of Qur’ans. Both calligraphic styles witnessed a rapid decline after the seventeenth century, often abandoned in favour of simpler and neater naskh, the most widespread script in the Muslim world. The script’s style, profusion of inscriptions, and distinctive Shi‘a reference of the central medallion on the present dhal, suggest its strong affiliation to Iran and the Persianate world. Indeed, shields (separ) made in Iran are renowned for being adorned with a plethora of apotropaic inscriptions, often quoting Persian poems, but also Shi‘a prayers (in particular, Nad-e ‘Ali) and Quranic passages. The mention of ‘Ali’s sword, Zulfiqar, further reinforces the link between this shield and long-standing Persian military traditions and practices. Inscriptions like la sayf illa dhu’l-faqar (there is no sword but Dhu’l-faqar / Zulfiqar) were often considered essential protective spells by Persian soldiers, guaranteeing not only victory, but also protection in battle.⁴ The frequent mention of the name of God (Allah) in the cartouches on the outer decorative band also contributed to the transformation of this military accessory into a portable auspicious talisman. In fact, adding the name of the Most Gracious and Most Merciful to arms and armours was believed to imbue them with a protective, spiritual charge, another practice frequently observed in Islamic and Persian models, less so in Indian specimens.

Further research on this riveting dhal might disclose more clues on its specific attribution and commission, but so far, it is safe to assume that this was definitely not a common example. Its owner, most probably a pious Shi‘a warrior, would have been mesmerised by the intricacy of its aesthetic and would have immediately recognised (and praised) the protective halo dispensed by the dense inscriptions adorning its outer surface.

References