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- Dated: 18th century
- Place of Origin: Sri Lanka
- Medium: steel, silver, gold, pink sapphires, agate.
- Measurements: overall length: 62 cm
This kasthane has a silver pommel chiseled as a typical simha (lion) head with a prominent crest made up of an entwined liya-pata motif covered in sheet gold. A narrow, pala-peti design is around the mouth and this, too has been covered in sheet gold. The gaping mouth has an orange agate or carnelian tongue that projects right out of the mouth and rows of especially sharp and naturalistically-rendered teeth.
The snout on each side has a characteristic ‘S’ scroll. The eyes are large and distinct and comprise pink sapphires in gold mounts and with magnificently scrolled eyebrows. The ears are prominent and in leaf form. The simha’s mane comprises a series of semi-circular whirls on top and a spectacular array of whirls about the neck. The rest of the neck comprises floral and foliate liya pata panels, four of which have been inset with pierced, solid gold plaques.
The narrow crossguard has two “serapendiya” head quillon finials. An ‘S’-shaped knuckle guard issues from the mouth of one and this guard terminates with a prominent serapendiya head. The other serapendiya head quillon finial looks away from the back of the simha. A solid gold flourish issues from its mouth. The ricasso at the root of the blade is encased in silver sheet engraved with the sinha flower motif within a scrolling trellis design.
The blade, of steel, is single edged and curved while the scabbard is curved and chased or repoussed with rococo-esque scrolling floral and foliage patterns against a finely tooled ground, as well as an upper square section decorated with a geometric flower pattern and plated with gold. The scabbrd is also held together by the locket and another plain silver band. There are four silver carrying rings are attached to the top of the locket. The chape is in the form of a “serapendiya” head disgorging a floral sphere which itself terminates with a plain silver bead.
Cézanne’s “paintings of apples confused critics and art enthusiasts alike. People were astonished that apples could look so ugly, and be so poorly painted. Some thought Cézanne’s still lifes were actually a joke, or an insult.”
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