A fine and rare Mughal Jade-Hilted Horse Head Dagger with flaming pearls, India, 17th Century

the curved double-edged watered-steel blade with central ridge and chiselling at the forte, the hilt of pale green stone with grey inclusions, the pommel expressively rendered in the shape of a whinnying horse's head, the mane descending to one side, with intricately carved cloudbands and flaming pearls along the grip and quillons

small chip to tip of right ear, some oxidisation and patination to the blade, overall good condition, as viewed
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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The Indian tradition of working blocks of hardstone into beautiful, elegant and functional objects dates back to pre-Islamic times. During the Roman period, Cambay in western India was a centre for exporting agate vessels and other hardstone artefacts to the West. The use of jade however only became evident during the Mughal period, reaching its artistic zenith during the seventeenth century under the patronage of the Mughal emperors, Jahangir (r.1605-27), and his son, Shah Jahan (r.1628-57). The Mughal court chronicler and historian Abu'l Fazl records that Jahangir's father, Emperor Akbar (r.1556-1605), received a merchant at court by the name of Khwaja Mu'in who had the right to the jade stores in the bed of the river Kashgar.

The Mughal emperors not only coveted antique jades but also commissioned contemporary examples from their own private workshops for personal use. William Hawkins, an English merchant who was invited to Jahangir's court, lists the presence of a large amount of uncut stone, including 55 pounds of uncut jade, and goes on to give an account of the carved jades and other treasures he encountered: "drinking cuppes five hundred, but fiftie very rich, that is to say, made of one piece of ballace ruby [spinel], and also of emerods [emeralds], of eshim [yashm: Persian for jade]... and of other sorts of stones" (Stronge 1994, p.7).

Amongst the most personal objects in the possession of a Mughal prince or courtier was his "parade" or "dress" dagger. By Jahangir's reign, edged weapons were no longer used exclusively for warfare: they had become great works of art in their own right, being decorated with enamels, precious metals and stones. Mughal princes, nobles and high officials were honoured regularly by the emperor with jewelled daggers, which were worn like luxury Swiss watches are worn today, as symbols of the wearer's status and wealth. These accoutrements were both private possessions and public statements: intended to be noted and admired by all. Stuart Cary Welch's close study of courtly figures in the Windsor Castle Padshanama reveals that the small number of daggers with animal hilts were reserved for the use of princes, such as Dara Shikoh and Shah Shuja (Beach and Koch 1997, p.57, folio 116 verso, see fig. 1), as well as a few senior dignitaries (ibid., folio 71 recto, see fig. 2). Whilst the number of daggers with animal hilts increased during the late seventeenth and eighteenth centuries, these continued to function as indicators of the highest rank and position at court (Welch 1985, pp.257-258).

The Mughal fashion for animal motifs is a direct reflection of the personal tastes of the emperors. Both Jahangir and Shah Jahan - like their forebear Babur (r.1526-1530), the founder of the dynasty - had an acute sensitivity towards nature and encouraged their artists to record all aspects of the natural world in precise detail through first-hand study.  In his memoirs Jahangir refers repeatedly to indigenous birds, plants and animals, reflecting upon their habits, habitat and appearance. For instance, his enthusiastic first impressions of an ibex: "It is really a remarkably good-looking animal. Although the black antelope of Hindustan is very fine-looking, this one is something else altogether" (Thackston 1999, p. 83). 

The naturalistic component of Mughal art finds glorious expression in jade dagger hilts. These sculptural figures, that often take the form of a creature of the hunt, such as a horse or nilgai, vary in quality and decorative value; some are adorned with jewels, others are left plain. In the present example, even the smallest details, such as the beautifully groomed, wavy locks of the horse's mane, are treated with the utmost sensitivity, whilst the powerfully expressive features of the face invite comparison with the great contemporary animal artist Mansur whose vivid portraits of animals and birds earned him the sobriquet Nadir al-'Asr, "Wonder of the Age."

An unusual feature of the present example is the introduction of the "flaming pearl" into the decorative repertory. Often found in miniature painting and luxury textiles, it is extremely rare in carved jade. The motif has its origins in Chinese iconography as one of the "Eight Precious Objects" associated with the dragon who is typically shown in dynamic pursuit of the elusive pearl, symbol of knowledge, power and good fortune.