#Talwar history

[okaydrawboy]

My collection of swords, from a few years back, I think 2021? A swordtember collection.

[bollywoodirect]

Tribute to #Roshan, one of the greatest music composers in the history of Hindi cinema, on his 57th death anniversary. Roshanlal Nagrath (14 July 1917 – 16 November 1967), better known simply as Roshan, was a celebrated Hindi film music composer. He was the father of actor and director Rakesh Roshan and music director Rajesh Roshan, as well as the paternal grandfather of Hrithik Roshan. In 1948, Roshan moved to Mumbai to pursue a career as a Hindi film music director. Initially, he worked as an assistant to Khawaja Khurshid Anwar for the film Singaar. After facing significant struggles, he finally received his break when Kidar Sharma gave him the opportunity to compose music for Neki Aur Badi (1949). While the film did not achieve success, Roshan established himself on the Hindi film music scene with the release of Baawre Nain in 1950. During the early 1950s, Roshan worked with legendary singers like Mohammed Rafi, Mukesh, and Talat Mahmood. Films such as Malhar, Shisham, and Anhonee featured his compositions, showcasing his talent. One of his iconic creations from this time was Aeeri Main To Prem Diwani Mera Dard Na Jaane Koi, sung by Lata Mangeshkar in the film Naubahaar. Although he was not consistently commercially successful, Roshan’s work was widely respected. He played a pivotal role in introducing lyricists Indeewar and Anand Bakshi to the industry. Both would later rise to prominence as sought-after songwriters in Mumbai. Anand Bakshi’s first break came in 1956 with Bhala Aadmi, although it was Nissar Bazmi who gave him the opportunity. Roshan later collaborated with Bakshi on CID Girl (1959) and delivered a significant success with Devar (1966). The 1960s marked the golden era of Roshan’s career, where his unique ability to blend folk music with Hindustani classical influences became his trademark. His compositions during this time included memorable songs from films such as Barsaat Ki Raat (Na To Caravan Ki Talaash Hai and Zindagi Bhar Nahi Bhoolegi Woh Barsaat Ki Raat), Aarti (Ab Kya Misaal Doon and Kabhi To Milegi), Taj Mahal (Jo Vaada Kiya Woh Nibhana Padega, Pao Chhoon Lene Do, and Jurm-e-Ulfat Pe), Dil Hi To Hai (Nigahen Milane Ko Jee Chahta Hai and Laga Chunari Mein Daag), Chitralekha (Sansaar Se Bhaage Phirte Ho and Man Re Tu Kaahe), and Anokhi Raat (Oh Re Taal Mile and Khushi Khushi Kar Do Vida). His work in the film Mamta (1966) with lyricist Majrooh Sultanpuri resulted in timeless melodies like Rehte The Kabhi Jinke Dil Mein, Rahen Na Rahen Hum, and the duet Chuppa Lo Yun Dil Mein Pyar Mera with Hemant Kumar. The film Devar also featured iconic songs such as Aaya Hai Mujhe Phir Yaad Woh Zalim, Baharon Ne Mera Chaman Loot Kar, and Duniya Mein Aisa Kahan Sab Ka Naseeb Hai. Roshan’s unique contribution to Hindi cinema was his mastery of the qawwali, which was evident in creations like Nigahen Milane Ko Jee Chahta Hai and Na Khanjar Uthega, Na Talwar Tumse. His ability to craft soulful and memorable music, blending genres with finesse, cemented his legacy as one of the most gifted composers in the history of Indian cinema.

[viyaahuk]

Honoring Heritage: The Wedding Sword as a Symbol of Strength for Grooms

Weddings are rich with symbolism and traditions, many of which are deeply rooted in the cultures that celebrate them. One such tradition, particularly in South Asian, Middle Eastern, and even some European weddings, is the groom’s sword. This magnificent symbol of strength, valor, and honor is more than just a decorative accessory—it represents a connection to a groom's heritage and lineage. In modern weddings, the wedding sword is making a significant resurgence, serving as a blend of history, culture, and symbolism for grooms around the world.

In this blog, we will explore the historical significance of the wedding sword, its symbolism, and how modern grooms are incorporating this striking tradition into their ceremonies. We’ll also dive into the types of wedding swords, how to style them, and why this timeless accessory continues to thrive in today’s wedding culture.

The Historical Significance of the Wedding Sword

The practice of carrying a sword during wedding ceremonies can be traced back to various cultures, each with its own unique interpretation of the tradition. In many parts of the world, the sword was not only a symbol of physical strength but also a representation of the groom's readiness to protect his new family. It symbolized responsibility, bravery, and leadership—traits that were highly valued in a husband.

1. South Asian Tradition

In South Asian weddings, particularly Sikh and Rajput weddings, the sword (often referred to as a kirpan in Sikh culture or a talwar in Rajput tradition) holds deep spiritual and cultural significance. In Sikhism, the kirpan represents a commitment to righteousness, justice, and defending the weak, making it an essential accessory for the groom. It is not just a weapon but a symbol of faith and the groom's readiness to fulfill his duty as a protector of his family and community.

For Rajput grooms, the talwar signifies a warrior spirit and a connection to their royal lineage. Historically, Rajput kings and warriors carried swords as part of their identity, and this practice continues today as grooms don the sword to honor their ancestors.

2. Middle Eastern Tradition

In Middle Eastern cultures, the sword represents nobility, leadership, and protection. Grooms in these cultures often carry elaborately designed swords during wedding processions as a symbol of their role as the leader and protector of their new household. The sword also signifies the groom’s status and is often passed down through generations as a family heirloom.

3. European Influence

In some European cultures, particularly in medieval times, knights and noblemen often carried swords as a symbol of their social status and bravery. Wedding ceremonies would sometimes include the exchange of swords as a gesture of loyalty and protection. While this tradition has largely faded in Europe, it is occasionally revived in historical or themed weddings.

The Symbolism of the Wedding Sword

The wedding sword is rich in symbolism, representing many important qualities and values that are key to the groom’s role in marriage. Below are some of the key symbolic meanings of the wedding sword:

1. Strength and Valor

The Wedding sword for groom has long been associated with physical and moral strength. For the groom, carrying a sword on his wedding day is a representation of his ability to protect and defend his partner and future family. It symbolizes his courage and readiness to take on the responsibilities of marriage.

2. Heritage and Lineage

In many cultures, the wedding sword is not just an accessory but a symbol of the groom’s family heritage. In Sikh and Rajput traditions, the sword often represents a connection to the groom’s ancestors, particularly if it is a family heirloom passed down through generations. Carrying the sword is a way for the groom to honor his lineage and uphold the traditions of his forefathers.

3. Protection and Responsibility

The sword is a symbol of protection, which is particularly significant in the context of marriage. By carrying a sword, the groom symbolically commits to protecting his spouse and family, not just in a physical sense but also emotionally and spiritually. This gesture highlights the role of the groom as a provider and protector in the union.

4. Faith and Honor

In religious contexts, such as Sikhism, the wedding sword also carries deep spiritual significance. The kirpan, for example, is one of the five articles of faith for Sikhs and represents the duty to stand against injustice. By wearing the kirpan on his wedding day, the groom affirms his commitment to uphold these principles in his marriage and life.

Incorporating the Wedding Sword in Modern Ceremonies

As modern weddings evolve to incorporate elements of both tradition and contemporary flair, the wedding sword has found its place as a symbol of cultural pride and personal style. Here are some ways grooms are incorporating the wedding sword into their big day:

1. The Entrance Procession

One of the most dramatic and visually striking moments in a wedding is the groom’s entrance, and the wedding sword can add an air of regality and grandeur to this moment. Many grooms, especially in Sikh, Rajput, and Middle Eastern weddings, hold their sword during the baraat (wedding procession), where they are often on horseback or arrive in a decorated car or chariot. The sword becomes a central part of the groom’s majestic entrance, symbolizing strength and nobility.

2. Wedding Attire

The bridal accessories complements traditional wedding attire beautifully. Grooms often pair their sword with a sherwani (a traditional long coat worn in South Asian weddings) or a ceremonial outfit that reflects their culture and heritage. The sword can be worn either sheathed at the waist or held in hand, depending on the groom’s preference and the cultural customs being observed.

3. Symbolic Gestures

In some cultures, the wedding sword is used during symbolic rituals as part of the ceremony. For example, in some Rajput and Sikh weddings, the groom may use the sword to make symbolic gestures, such as cutting through obstacles as a metaphor for overcoming challenges in life and marriage. In other traditions, the sword may be passed down from father to son as part of the ceremony, symbolizing the passing of familial responsibilities.

4. Photography and Aesthetic

A wedding sword adds an undeniable aesthetic appeal to wedding photography. Photographers often incorporate the sword into key shots to highlight the groom’s strength, valor, and connection to tradition. Whether posed in hand or worn at the side, the sword adds a touch of regality and timeless elegance to the wedding album.

5. Heirloom and Keepsake

For many grooms, the wedding sword becomes more than just a ceremonial accessory—it transforms into a cherished heirloom that can be passed down to future generations. Custom-made or family heirloom swords carry deep sentimental value, making them a powerful symbol of family legacy and tradition. Some grooms also choose to engrave the sword with the wedding date or initials to create a lasting keepsake.

Types of Wedding Swords

Wedding swords come in various designs, each with its own historical and cultural significance. Here are some popular types of wedding swords used in different cultures:

1. Kirpan

The kirpan is a small sword or dagger carried by Sikhs as part of their religious faith. For Sikh grooms, the kirpan is worn during the wedding ceremony as a symbol of faith, justice, and the duty to protect the weak.

2. Talwar

The talwar is a curved sword traditionally used by Rajput warriors in India. For Rajput grooms, carrying a talwar during the wedding ceremony symbolizes their warrior heritage and connection to royal lineage. These swords are often elaborately designed with intricate engravings and are passed down through generations as family heirlooms.

3. Shamshir

The shamshir is a type of curved sword popular in Middle Eastern cultures. It has a long, curved blade and is often used in ceremonial contexts. Middle Eastern grooms may carry a shamshir as a symbol of leadership and protection during their wedding processions.

4. European Swords

In European-themed or historical weddings, grooms may opt for medieval-style swords that are straight and double-edged. These swords harken back to the days of knights and noblemen, symbolizing chivalry, honor, and loyalty.

Conclusion

The wedding sword is more than just an accessory—it is a powerful symbol of tradition, strength, and cultural heritage. For grooms across the world, carrying a sword on their wedding day is a way to honor their ancestors, embrace their role as protectors, and infuse their wedding with timeless elegance and significance.

Whether it’s a simple kirpan or an ornate talwar, the wedding sword continues to captivate and inspire grooms who seek to blend tradition with modernity. As wedding customs evolve, the wedding sword remains a cherished symbol of strength, valor, and honor—a lasting tribute to the groom’s role in marriage and family.

[kultofathena]

Embrace the elegance of the scimitar! This distinctively curved sword with a single-edged blade has a rich history originating in the Middle East. From the Persian shamshir to the Indian talwar, the scimitar has been embraced by various cultures. Discover the beauty and power of this iconic weapon at Kultofathena.com.

[hvpma]

Traditional sports and games: A journey through India's rich cultural heritage

India is a land of diverse cultures and traditions, and this diversity is reflected in its rich sporting heritage. Traditional sports and games have been played in India for centuries, and they continue to be popular today. These sports and games are not only fun and challenging, but they also offer a glimpse into India's unique culture and history.

Mallakhamb

Mallakhamb is a traditional Indian sport that involves performing acrobatic feats on a wooden pole. The pole is typically made of teak or coconut wood and is about 12 feet tall. Mallakhamb practitioners perform a variety of poses and tricks on the pole, including inversions, twists, and balances.

Mallakhamb is believed to have originated in ancient India and is mentioned in several Hindu scriptures. It was originally used as a form of training for warriors, but it is now practiced by people of all ages and genders. Mallakhamb is a physically demanding sport, but it is also very rewarding. It requires strength, flexibility, balance, and coordination.

Danpatta

Danpatta is a traditional Indian martial art that originated in the state of Maharashtra. It is a form of stick fighting that involves using a long bamboo stick called a dandi. Danpatta practitioners use the dandi to strike, block, and disarm their opponents.

Danpatta is a very dynamic and exciting martial art. It is fast-paced and requires a high level of skill and athleticism. Danpatta practitioners must be able to move quickly and think on their feet.

Vita-fek

Vita-fek is a traditional Indian martial art that originated in the state of Kerala. It is a form of hand-to-hand combat that involves using a variety of strikes, locks, and throws. Vita-fek practitioners also use a variety of weapons, including knives, swords, and sticks.

Vita-fek is a very effective martial art. It is designed to be used in real-world self-defense situations. Vita-fek practitioners are trained to be aware of their surroundings and to be able to defend themselves against any type of attack.

Dhal Talwar (Shield & Sword)

Dhal Talwar is a traditional Indian martial art that originated in the state of Punjab. It is a form of sword fighting that involves using a shield called a dhal and a sword called a talwar. Dhal Talwar practitioners use the dhal to defend themselves from their opponents' attacks and the talwar to attack their opponents.

Dhal Talwar is a very versatile martial art. It can be used for both offensive and defensive purposes. Dhal Talwar practitioners are trained to be able to move quickly and to be able to attack and defend simultaneously.

Torches Marching

Torches Marching is a traditional Indian sport that originated in the state of Kerala. It is a team sport that involves marching while carrying torches. The torches are typically made of bamboo and are filled with oil and cloth.

Torches Marching is a very challenging sport. It requires a high level of fitness and endurance. Torches Marching teams must be able to march long distances while carrying heavy torches.

Lezim

Lezim is a traditional Indian dance that originated in the state of Maharashtra. It is a group dance that is performed by women. Lezim dancers wear colorful costumes and jewelry and perform a variety of acrobatic feats.

Lezim is a very energetic and exciting dance. It is a celebration of women's strength and power. Lezim dancers are trained to be able to move in perfect synchronicity and to perform complex acrobatic feats.

Dand Baithak

Dand Baithak is a traditional Indian exercise that involves squatting up and down while holding a stick. The stick is typically made of wood and is about 6 feet long. Dand Baithak is a very effective exercise for strengthening the legs and core muscles.

Dand Baithak is a very popular exercise in India. It is often performed by children and adults alike. Dand Baithak is a simple but effective exercise that can help people to improve their fitness and overall health.

Dumbbell drills

Dumbbell drills are a traditional Indian form of weight training. Dumbbells are typically made of iron or steel and come in a variety of weights. Dumbbell drills involve performing a variety of exercises with dumbbells, such as curls, presses, and rows.

Dumbbell drills are a very effective way to build muscle and strength. Dumbbell drills can be performed by people of all ages and fitness levels. Dumbbell drills are a simple and effective way to improve your overall fitness.

Kushti (Wrestling)

Kushti is a traditional Indian form of wrestling. It is a very physical sport that involves grappling and takedowns.

Madu

Madu is a traditional Indian martial art that originated in the state of Tamil Nadu. It is a form of unarmed combat that involves using a variety of strikes, locks, and throws. Madu practitioners also use a variety of weapons, including sticks, knives, and swords.

Madu is a very effective martial art. It is designed to be used in real-world self-defense situations. Madu practitioners are trained to be aware of their surroundings and to be able to defend themselves against any type of attack.

Baneti

Baneti is a traditional Indian stick fighting game that originated in the state of Karnataka. It is played with a pair of sticks called banets. The banets are typically made of bamboo and are about 3 feet long.

Baneti is a very fast-paced and exciting game. It requires a high level of skill and athleticism. Baneti players must be able to move quickly and to strike and defend simultaneously.

Marshal Arts - Thangta

Thangta is a traditional Indian martial art that originated in the state of Manipur. It is a form of unarmed combat that involves using a variety of strikes, locks, and throws. Thangta practitioners also use a variety of weapons, including spears, swords, and shields.

Thangta is a very effective martial art. It is designed to be used in real-world self-defense situations. Thangta practitioners are trained to be aware of their surroundings and to be able to defend themselves against any type of attack.

Bhala

Bhala is a traditional Indian sport that involves throwing a spear at a target. The spear is typically made of wood or metal and is about 6 feet long. Bhala throwers aim to hit the target from a distance of about 30 feet.

Bhala is a very challenging sport. It requires a high level of strength, accuracy, and coordination. Bhala throwers must be able to generate a lot of power in their throw and to aim accurately at the target.

Yoga

Yoga is a traditional Indian practice that involves physical postures, breathing exercises, and meditation. Yoga is believed to have originated in ancient India and is mentioned in several Hindu scriptures.

Yoga is a very beneficial practice for both the body and the mind. Yoga can help to improve flexibility, strength, balance, and coordination. Yoga can also help to reduce stress, anxiety, and depression.

Conclusion

Traditional sports and games are an important part of India's rich cultural heritage. These sports and games offer a glimpse into India's unique culture and history. Traditional sports and games are also a great way to stay fit and healthy.

If you are interested in learning more about traditional Indian sports and games, there are many resources available online and in libraries. You can also find many traditional Indian sports and games clubs and organizations in India and around the world.

I hope this blog post has helped you to learn more about traditional Indian sports and games. I encourage you to explore these sports and games and to experience the rich cultural heritage of India.

[india7d]

A banker who stood firm against the pressure of the Central Government and Sanjay Gandhi during the time of Emergency

In relation to a restructuring proposal from a cement company borrower, SBI had made it a requirement for further financial support that a change in promoters be implemented. Importantly, this decision was not solely made by Talwar. The promoters, attempting to have this condition waived, sought assistance from Sanjay Gandhi. However, upon examining the files, Talwar firmly believed that the Bank's decision was the correct course of action. The Union Finance Minister, C. Subramanian, contacted Talwar to convey that he had received instructions from "the highest authority in the land" to alter SBI's position. However, Talwar remained steadfast and resolute. Sanjay Gandhi, finding amusement in encountering someone who dared to defy him, requested a meeting with Talwar. Yet, the SBI Chairman declined, citing his lack of constitutional authority and emphasizing that he was "accountable" solely to the Government. Sanjay Gandhi directed the Finance Minister to dismiss the SBI Chairman. However, the SBI Act of 1955 did not contain any provision for the Chairman to be removed from office. Moreover, Talwar had established an impressive reputation for his unwavering integrity. Undeterred, the Finance Minister made another attempt by proposing that if Talwar were to step aside, he would be appointed as the Chairman of a proposed Banking Commission. Nonetheless, Talwar respectfully declined the offer. Following the Government's amendment to the SBI Act, Talwar received a message on August 4, 1976, granting him an unsolicited 13-month leave that coincided with the remainder of his tenure. Additionally, he was instructed to transfer his responsibilities to the Managing Director. Vaghul's depiction of the Bank's esteemed leader departing State Bank Bhavan that day carries a poignant tone. "Talwar left the Bank promptly at 5.30 pm, his customary time of departure. There was scarcely anyone to bid him farewell. Fear had gripped everyone, deterring any association with him." On that day, the remarkable individual departed in a manner reminiscent of Walter Scott's poignant phrase—unwept, unhonoured, and unsung. In the evening, Vaghul, Talwar's neighbor and former junior colleague, visited him and offered words of consolation, saying something along the lines of accepting the Divine Will with humility, as a gesture of sympathy. Talwar responded in a manner befitting his character, stating, "Where is the question of accepting or not accepting? You have to learn to enjoy all the time the Divine play." This response exemplified the quintessential nature of Talwar. In echoing the immortal spirit of Aurobindo Ghosh's Uttarpara speech, the revolutionary-mystic who, in his later life, collaborated with Mirra Alfassa (the Mother) from Paris to establish a spiritual community in Pondicherry, Talwar embodied a similar mindset. Within the financial sector, State Bank of India (SBI), an esteemed institution, has embodied values and ethics that may truly be recognized and appreciated in hindsight. Throughout its history, SBI has been led by individuals who have steadfastly upheld core values, thereby preserving this national symbol. The former and current leaders of SBI command immense respect in their field, not only for their expertise but also for their unwavering commitment to specific principles. Among the notable leaders in the history of SBI, none surpasses the legendary stature of RK Talwar. Taking charge as Chairman of SBI at the young age of 47 in 1969, he exerted a dominant influence over the Indian banking landscape for nearly two decades, spanning the 1960s to the mid-1970s. Remarkably, he was also the first career banker from SBI to ascend to the position of Chairman. His journey began in 1943 when he joined the Imperial Bank of India, the precursor to SBI, as a Probationary Assistant (Officer), shortly after completing his postgraduate degree in Mathematics from Lahore University. During his tenure as Chairman, Talwar played a pioneering role in streamlining procedures for financing small-scale industries and introduced innovative schemes to support smaller entrepreneurs, small businesses, and agriculturists. He implemented systems to ensure thorough analysis of corporate balance sheets long before the Reserve Bank mandated such norms for assessing large advances. Additionally, Talwar's visionary approach led to the initiation of the first-ever organizational restructuring of State Bank in 1971, a framework that stood strong for more than three decades. Notably, State Bank Bhavan, the current Corporate Centre of SBI located in Mumbai, was constructed under his leadership. Talwar exemplified a commitment to values and fearlessly expressed his opinions, regardless of the individuals he interacted with. A notable instance of his principled stance occurred during his tenure as Superintendent of the Advances Department in Kolkata, where he took a firm position on the financing of the jute industry. Despite facing the disapproval of Ramnath Goenka, a highly influential media owner with vested interests in the jute industry and a longstanding grudge against Talwar, the banker remained unaffected by such pressures and stood unwavering in his beliefs. Talwar's approach and inner resilience were deeply influenced by his spiritual beliefs. One particularly significant incident that deserves mention is his encounter with Sanjay Gandhi, the second son of Mrs. Indira Gandhi, who wielded unconstitutional authority during the Emergency period from 1975 to 1977. Talwar had embraced the influence of Aurobindo and the Mother long before. Following his successful tenure at the helm of SBI, he chose to retire to the Aurobindo Ashram in Pondicherry at the age of 54. With the exception of a brief period as Chairman of IDBI from 1979 to 1980, he refrained from active involvement in public service. Talwar passed away in 2002 at the age of 80. "Values in Leadership" is an essential read for anyone responsible for managing individuals or navigating complex situations. Article based on the book 'values in leadership ' by MR N Vaghul Read the full article

[marwahstudios]

Seminar on Second Day of IFFI Brought New Ideas on Table

Noida: The second day of IFFI- Irish Film Festival of India saw the deep discussions on different subjects related to creative arts including the respective films shown during the festival and history of Irish Film Industry by the dignities present on the occasion.

We are pleased to sanction a radio program on Radio Noida, and another program on MSTV on monthly basis for full one year which will not only highlight but will also promote relations between the two countries India & Ireland. We are also starting the preparation for the next edition of Irish Film Festival of India,” said Sandeep Marwah President of Marwah Studios.

The Irish film industry has grown somewhat in recent years thanks partly to the promotion of the sector by Screen Ireland and the introduction of heavy tax breaks. According to the Irish Audio-visual Content Production Sector Review carried out by the Irish Film Board and PricewaterhouseCoopers, this sector, has gone from 1,000 people employed six or seven years ago, to well over 8,000 people in that sector now. Most films are produced in English as Ireland is largely Anglophone, though some productions are made in Irish either wholly or partially informed Siraj Zaidi Producer, Director Actor from Ireland.

Some of the most successful Irish films include The Wind That Shakes The Barley (2006), Intermission (2003), Man About Dog (2004), Michael Collins (1996),Angela’s Ashes (1999), The Commitments (1991), Once (2007) and Notorius (2017). Mrs Brown’s Boy D’ Movie (2014) holds the record for the biggest gross on the opening day of an Irish film in Ireland. Notorious (2017) on the other hand holds the record for highest grossing Irish documentary of all time.

Siraj Zaidi from Dublin Ireland, Atul Tiwari renowned Actor & Writer from Mumbai, Nilesh Malhotra Actor, Producer & Director from Mumbai, Minu Talwar former Presenter Doordarshan, Ministry of Information and Broadcasting and Sandeep Marwah answered many questions raised by the audience on Cinema. The event was supported by International Chamber of Media and Entertainment Industry, Indo Ireland Film and Cultural Forum and AAFT University.

[demigod-of-the-agni]

finished doodle featuring desi cloud's tiny ass arm

sorry baby boy </3 hopefully this concept can actually come out as something fully polished :(((

anyway some lore. for the desi version of final fantasy 7 that i cooked up in my little brain. final fandesi 7, if you will. anyway read below. please read if you wish <3 thank you and goobnight

been thinking of zapping ff7 with some mythic elements but honestly i haven't delved too far into it !! obviously summons and materia and magic-adjacent stuff could be referencing south asian mythology and things but i am not too sure what exactly i'd want... like, black materia/meteor could maybe translate into rudra? seven suns of rudra? howling storms and universal destruction? maybe

- the armour for SOLDIERs is actually really similar to armour used as props in desi films and in history and art (i've been mainly drawing from the armour portrayed in the mahabharata,,, them sexy pauldrons and chest pieces? mwah. absolutely gorgeoys). the SOLDIER pants translate well into dhotis. turtleneck and pauldron roughly stays the same.

-now, for sephiroth's sword, instead of masamune, it's a talwar- a very long, but nicely curved blade. for maximum stabby. very good stuff. it's also just elegantly forged yk yk

-and the buster sword? i think probably the most recognisable broadsword in india is the khanda, nice flat but broad blade, beautifully gilded hilt (i did not draw the handguard i am sorry) and just- i think the design of the khanda really translates well. materia could literally /meld/ within the engravings of the blade instead of sliding into materia slots

-also this was the first thing i thought up when thinking of how to desify the ff7 cast: cloud (and by extension tifa) should be north eastern indians. we don't get a lot of them in media, and besides, ne indians live pretty close to the mountains (like a certain cloud and tifa) so it makes SENSE. TO ME. DO YOU GET THE VISION.

-also yes cloud dyed his hair bc he is a little brat and he wants to stand out. let him dye his hair. let him be confident in himself. king you dropped this (it's a crown but when i put it on his head it transforms into a straw chocobo hairdo) oh good lawd he a giant chicken

-also i think making sephiroth a little more darker skinned just seems... right. making him a southie seems.... very right. i'll explain more once i get to drawing desi aerith, it will make sense i promise, but frankly it's 2am and i drank coffee three hours ago and photoshop is still ever elusive soand im thinking about. diverticular disease. yes. i will talk about it some day <3 much love my little fireflies

can i call you guys that? fireflies? because i'm agni and i'm a fire god so it makes sense to call you my little fire bugs? lightning bugs? lightning flies? yooo

some doodle bc i miss drawing :(

[barbucomedie]

Talwar from India dated to the Late 18th Century on display at the Queen’s Gallery in Edinburgh

This talwar forged entirely of watered crucible steel giving the blade a very fine dark watered pattern and it is inlaid with gold with a dedication in Persian to the Prince of Wales (Edward VII) from Maharaja Mangal Singh of Alwar and the name of the bladesmith, Muhammad Ibrahim. The hilt forged with a knuckleguard in the form of a lion's head is blued and overlaid with gold inscriptions in Persian and poppies and butterflies. The inscriptions on the hilt refer to a previous Maharaja of Alwar, Bakhtawar Singh (1779-1815) and to 'Zulfiqar', the legendary sword that the Prophet Muhammed presented to his son-in-law, Ali ibn Ali Talib. The inscriptions suggest that the hilt predates the blade.

This sword is an exceptional example of watered crucible steel made by melting iron with carbon-rich vegetable material, such as leaves, in a crucible for a prolonged period. Then cooled into ingots that would be worked to form blades or hilts. This process of making steel not only resulted in an exceptionally sharp and strong blade, but also created a fine rippling water-like pattern that was revealed by acid etching.  This method is thought to have originated in South India and spread to other parts of the Indian subcontinent and Central Asia.

Photographs taken by myself 2017

[peashooter85]

Ornate Indian talwar, 19th century.

from Peter Dekker’s Mandarin Mansion

[maka1aure]

My references for Elven weapons: Swords and Spears

I need to stop spamming my friends with images of swords, so here are all the photos together (under cut because this post is incredibly long with the images)

- Fighting knives, daggers, and Telerin blades will have to go in separate posts.

Swords of Valinor: This group includes the weapons brought out of the West into Middle Earth, as well as the swords created in Middle Earth inspired by those original blades. They tend to be lightly curved, particularly at the tip, and the guards tend to be small. 

Visual references: dao (particularly 雁毛刀), kampilan, dha

Swords of Middle Earth: The style of Middle Earth, crafted for practical defense from the beginning. They had straight blades and were used by the Sindar and Men. Mannish swords and rare elven swords sometimes sported full crossguards. (The Nandor and Avari forego swords entirely, preferring bows, spears, and traps, though the Green Elves’ daggers eventually evolved to imitate swords. The Silvans have their own swordlike weapons apart from their knives, which I will talk about later.)

Visual references: jian, any Middle Ages sword

Experimental Swords: Egalmoth’s famous curved sword: Kamakura period katana

Anglachel and Anguirel: keris (made in the shape of dwarvish weapons, but longer and straighter at the point)

Spears: Elven spears are very similar to human spears, save for the styles of craftsmanship. There’s a wide variation in these weapons; whatever spear that existed in our history, the elves have almost definitely used it.

No visual references provided here because literally any image of any spear from anywhere around the world could work for at least one Elven culture.

Battle spears: A subcategory of the above, used only in open warfare. They developed quickly in Middle Earth following the arrival of the Exiles, and were used by Sindar and Noldor alike. I was looking through elfdict dot com and found there isn’t a word for halberds, meaning they did not use them.. so here is a category of spears with similar functions because I cannot let this go. 

Visual references: this specific French halberd, some more French weapons I don’t know the name of, and fauchards and glaives

Curved swordlike knives (scimitars): There is a Sindarin word for a cutlass, “lang”, which means they either used or were aware of such weapons. I suggest that the cutlass is a weapon developed as a multipurpose weapon for sailors, and scimitars were developed in parallel by elves from a combination of Silvan knives and manuscripts describing Egalmoth’s sword. As such, the weapon did not exist until the Second Age. A scimitar could be called cimithil (moon blade) in Sindarin. They were mostly used by Silvans, but some Sindar also used them.

Visual references: talwar, kilij

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This article is about the greatest swords of Indian history

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Tales of Glory: [ Weapon ]

Now this will be brain rotting over the weapon I have Murata wield a lot in battle!

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History and Background

The Tizona; Tizona was the name of the sword carried by the Castillian (Iberian ~ Spanish) commander Rodrigo Díaz de Vivar. El Cid, as he is otherwise known, wielded the Tizona in his campaigns to drive the Islamic Moors from the Iberian Peninsula during the late 11th century. It is one of the two swords used by El Cid, the other being the Colada. The sword is 103 cm long and weighs 1.1 kg.

The broad blade is of type XIII, typical of c. the 12th century, with a narrow fuller running along less than half of the blade's length. The hilt is later, added in the time of the Catholic Monarchs, with the elaborate curved crossguard typical of the "Hispano-Moorish" style of the period. Its blade carries acid etched inscriptions in the fullers on either side:

YO SOY LA TIZONA ~ FUE : FECHA ~~ ENLAERA : DE : MILE : QVARENTA (Yo soy la Tizona [que] fue hecha en la era de mil e quarenta, "I am the Tizona, who was made in the year 1040")

AVE : MARIA GRATIA ~~ PLENA DOMINVSSMECVN (Ave Maria gratia plena; dominus mecum , "Hail Mary, full of grace; the Lord be with me")

The date "1040" given in the description is traditionally identified as given in the Hispanic Era (38 BC), i.e. designating the year AD 1002.

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Appearance and Design

Now the actual Tizona looks more regal like the usual long swords. Murata’s tizona is altered to be used more like a heavy armed gladiator arm aka claymore class.

It looks more a scimitar; single-edged sword with a convex curved blade. It is associated with Middle Eastern, South Asian, and North African cultures. These swords include the Persian shamshir (the origin of the word scimitar), the Arab saif, the Indian talwar, the North African nimcha, and the Turkish kilij.

Causing the weight and length of this Tizona to be the following: 95.5 cm and 1.4 kg.

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Song: Talwar Movie: Ik Onkar (2017) [Punjabi] - wikipedia Starring: Harpreet Singh, Gajendra Chauhan, Shivender Mahal, Sukhdeep Singh Music/Singer: Sukshinder Shinda -- Talwar | Ik Onkar | Sukshinder Shinda | Latest Punjabi Songs 2017 | Yellow Music | 10th Nov(via Yellow Music)