Lot 186. An elegant gemset and enamelled gold sword (khanda) hilt, Mughal India, 18th century. Main element 4¾in. (12cm.) long. Estimate GBP 30,000 - GBP 50,000. Price realised GBP 62,500. © Christie's Image Ltd 2013

Made in parts, the surfaces of the hilt and mounts elegantly enamelled with floral vine and birds in a variety of colours, the underside of the quillon, finial and exterior of the handguard with diamond inset floral sprays on enamelled ground, the final domed element of hilt and upper mount of the blade now separate but retained, some losses to the enamels.

Note: A quintessentially Indian technique, recorded by Abu'l Fazl and used here, and in the khanda hilt of the preceding lot, is that of kundan or setting of stones. This technique is practiced from the Akbari period until the 19th century when claw settings were introduced via western jewellery. Manuel Keene gives a comprehensive description of how this technique is carried out - 'in the simplest terms, the kundan technique allows a jeweler to build up moulded and cut gold, including stone settings, over any rigid surface, in any configuration and/or pattern density he may desire. This is possible due to a molecular fusion which is accomplished at room temperature under hand pressure on an iron tool, turning small patches of hyper-purified gold foil into a solid mass and conveying an artistic freedom unimaginable in any other setting technique' (Manuel Keene, 'The KundanTechnique: The Indian Jeweller's Unique Artistic Treasure', Rosemary Crill, Susan Strong and Andrew Topsfield (eds.), Arts of Mughal India. Studies in Honour of Robert Skelton, London, 2004, p.192).

An obvious defining feature of both of the khandas offered here, and one for which they are all the more elegant, is the use of enamel, or mina. How and when enamelling was introduced into the Mughal court is unclear. It is said to have reached Mughal India through Goa - 16th century pieces made in Goa confirm that local craftsmen had mastered European techniques (Pedro Moura Carvalho, Gems and Jewels of Mughal India. The Nasser D. Khalili Collection of Islamic Art, London, 2010, p.19). The first known pieces so decorated are an oratory-reliquary and a gold filigree casket, both now in Lisbon and produced in the late 16th century (Museu Nacional de Arte Antiga, Lisbon, inv. nos. 99 and 577). Akbar sent a cultural mission to Goa in 1575 so it is possible that the technique was learnt there. Manuel Keene has suggested that from Goa the enamelling may have spread first to the Deccan (Manuel Keene, Treasury of the World. Jewelled Arts of India in the Age of the Mughals, exhibition catalogue, London, 2001, p.62).

The two khanda hilts offered in this sale, are the only known examples of this form decorated in this rich enameled and gem-set manner. An example of a koftgari hilt of similar form which retains its original blade is in the Furusiyya Art Foundation (Bashir Mohamed, The Arts of the Muslim Knight. The Furusiyya Art Foundation Collection, Milan, 2007, no.66, pp.102-03). That is attributed to the Deccan, early 17th century. Another koftgari khanda, previously in the collection of Sir Ratan Tata, is now in the Prince of Wales Museum of Western India (Kalpana Desai, Jewels on the Crescent. Masterpieces of the Chhatrapti Shivaji Maharaj Vastu Sangrahalaya formerly the Prince of Wales Museum of Western India, Ahmedabad, 2002, no.197, p.198). Two others are in the Clive of India Collection at Powis Castle (Mildred Archer, Christopher Rowell and Robert Skelton, Treasures from India, nos.44-45, pp.52-53).