Jack's Old Crab Bow with an Inscription
Old bow.
Jack would you consider this bow that you just posted one that has not been used?
:lol: Thank you for your support and help offer, Jack .I hope that i dont look like proud man. I haevnt worry about criticizm.
I hope that i dont insult anyone, but i dont think that you or most of Atarns can help me now :D (Atarn help me 8 years ago..)
Like once i said , i am artist and like most artist i am more individualist than others.
If mi bows shoot like i planing- i show bows vith his results !
Once again- i dont understant why people show his composite starts models. How new bow pic help you Jack ? In pics looks bows like others (more or less...)You reply me somthing like "good job Dusan"... and ---How this bow working is important !!! Why we haevnt any results about this many bows shown in Atarn ? You can answer yourself.
I understand if somone was first - or second in the world( or ... in big country/like your subeixi f.ex/) and post his first composite - , but today , maybe every hour was born somwhere in the world new hornbow...
I think today was question about quality hornbows more than others ...
I hope that i dont insult anyone, but i dont think that you or most of Atarns can help me now :D (Atarn help me 8 years ago..)
Like once i said , i am artist and like most artist i am more individualist than others.
If mi bows shoot like i planing- i show bows vith his results !
Once again- i dont understant why people show his composite starts models. How new bow pic help you Jack ? In pics looks bows like others (more or less...)You reply me somthing like "good job Dusan"... and ---How this bow working is important !!! Why we haevnt any results about this many bows shown in Atarn ? You can answer yourself.
I understand if somone was first - or second in the world( or ... in big country/like your subeixi f.ex/) and post his first composite - , but today , maybe every hour was born somwhere in the world new hornbow...
I think today was question about quality hornbows more than others ...
Alan; You may be on to something. Why do you ask? -j-
Probably Alan is associating the high reflex of your bow with the lack of use, that's very reasonable. Modern day replica hornbows aren't so reflexed.
Jack, you have a very nice sample there. I really like the color. Could you please post a closer picture of the decoration? I'll appreciate it. Especially on the grip section, looks like it's the only section decorated.
Jack, you have a very nice sample there. I really like the color. Could you please post a closer picture of the decoration? I'll appreciate it. Especially on the grip section, looks like it's the only section decorated.
Exactly as Jose stated , but I have also seen some photos of older crab bows and they are not this reflexed, some are even opened up from use or misuse.
This tends to make me think ones like the one Jack posted is an unused bow, but then again I am new at this.
I am also with Jose in thinking that is a nice looking bow and would love to see further photos of it.
This tends to make me think ones like the one Jack posted is an unused bow, but then again I am new at this.
I am also with Jose in thinking that is a nice looking bow and would love to see further photos of it.
I was just looking at the crab bow in the Grayson collection on line and there is one in the very reflexed form like the photo that jack posted and they refer to it as unused.
Here is the text
"India
18th?19th centuries
The most common bow form of Mughal-period India is distinguished by the sharp angle at the knee that gives these bows their "crab-like" appearance. This unused crab bow displays this distinctive angled recurve. The limbs are covered on both sides with thin leather and varnished. Decoration includes a gold line-and-dot motif bordering the limbs and a floral pattern on the handle. The tips have horn inserts spliced in to prevent breakage and sinew wrapping under the varnish just below the nocks. There are three threads, of unknown material and function, underneath the varnish of the handle.
112.3 cm long , 4.0 cm wide at mid-limb, 1.1 cm thick at mid-limb."
Here is the text
"India
18th?19th centuries
The most common bow form of Mughal-period India is distinguished by the sharp angle at the knee that gives these bows their "crab-like" appearance. This unused crab bow displays this distinctive angled recurve. The limbs are covered on both sides with thin leather and varnished. Decoration includes a gold line-and-dot motif bordering the limbs and a floral pattern on the handle. The tips have horn inserts spliced in to prevent breakage and sinew wrapping under the varnish just below the nocks. There are three threads, of unknown material and function, underneath the varnish of the handle.
112.3 cm long , 4.0 cm wide at mid-limb, 1.1 cm thick at mid-limb."
Boys - dont tired your minds. If was bow used or not - thats haevnt matter. Important is how deep reflex he have in his born. If that bow was longer time not used and he was in good condition he always return to this "born" shape. Thats all.
Alan your future bow was nice - i like Lukas work- but this is "loong" bow- Somthing like modern construct variation- like Stephen say in another post- for more stability and less problem vith stringing -for modern archers. And comfortable long draw. Vith 110 -or115 cm "Not string dimension"
you will be in more problems :D
Jack your bow was beatifull . He show all fantastic crabs curvaturs. I like it.
Alan your future bow was nice - i like Lukas work- but this is "loong" bow- Somthing like modern construct variation- like Stephen say in another post- for more stability and less problem vith stringing -for modern archers. And comfortable long draw. Vith 110 -or115 cm "Not string dimension"
you will be in more problems :D
Jack your bow was beatifull . He show all fantastic crabs curvaturs. I like it.
These old crab bows have a very sharp bend at the kasan eye - 90 deg or even beyond that (I have one like it). This presents a problem for the bowyer, because of the tendency of the horn to separate when the bow is flexed (this is why Lucas's bow has a gentler curve in the area). The originals are heavily covered with sinew all around there (diagonal plus lengthwise) for that reason. The sinew is completely hidden under the decoration.
In some bows the section right below the bend is wrapped transversely with flat strands of sinew on top of the decoration with a piece of paper in between to protect it (this is what I found in my bow). Similar wrapping with sinew can be present at both sides of the grip as well, no doubt as an added protection later during use and is not disguised.
Adam
In some bows the section right below the bend is wrapped transversely with flat strands of sinew on top of the decoration with a piece of paper in between to protect it (this is what I found in my bow). Similar wrapping with sinew can be present at both sides of the grip as well, no doubt as an added protection later during use and is not disguised.
Adam
Adam what is your thought on the photo that Jack posted is this an unused bow?
Alan, the bow looks quite typical to me. It is hard to say if it was used or not. Perhaps Jack can find traces of abrasions at the arrow pass, indentations at the string knots or something like that. If a bow is exposed to warmth and high humidity it can reverse back to its original shape. These bows could have their tips crossed for seasoning for even greater unused reflex.
Adam
Adam
Not only does this bow retain its original shape, the nocks have never been cut in it. It is a virgin!
The decoration is important to a crab bow. They are ALL DECORATED. It says in the Danurveda to not shoot an undecorated bow. Every Mughal arrow is decorated. For authenticity one should practice this artform as one improves his/her bowmaking skill.
If this bow posted (one I have access to) were a rug, it would be described as a "city rug"; made in competition to other rug makers. The bow is covered in silver leaf, lacquered over and gold painted. The silver backlights the artwork giving illumination.
The tips have tribal markings in inscriptions placed in square blocks. This is a calligraphy form in India.
The decoration is important to a crab bow. They are ALL DECORATED. It says in the Danurveda to not shoot an undecorated bow. Every Mughal arrow is decorated. For authenticity one should practice this artform as one improves his/her bowmaking skill.
If this bow posted (one I have access to) were a rug, it would be described as a "city rug"; made in competition to other rug makers. The bow is covered in silver leaf, lacquered over and gold painted. The silver backlights the artwork giving illumination.
The tips have tribal markings in inscriptions placed in square blocks. This is a calligraphy form in India.
limb
grip
Jack,
Do you know what language this is? I have seen British reports and Moghul books on archery, but have not seen any mention of tribal people using composite bows. People like the Bhils used longbows of bamboo.
It is extremely rare to have inscriptions on the part of the tip where the string loops rub. Indian bows are usually signed on the tip above the nock or more rarely on the ridge.
The writing does not look like Devanagari or any of the other Indian scripts I have seen, even the southern ones. Since there are so many scripts, it is not surprising that I don't recognise it.
Do you know what language this is? I have seen British reports and Moghul books on archery, but have not seen any mention of tribal people using composite bows. People like the Bhils used longbows of bamboo.
It is extremely rare to have inscriptions on the part of the tip where the string loops rub. Indian bows are usually signed on the tip above the nock or more rarely on the ridge.
The writing does not look like Devanagari or any of the other Indian scripts I have seen, even the southern ones. Since there are so many scripts, it is not surprising that I don't recognise it.
Adam thank you for this explanation , this explains volumes to my simple mind. I am just a metalsmith wishing to understand these works of art . Love these bows in all their forms.
Jack thank you for the more detailed photos.
I have a question why would they complete the decoration before cutting in the nocks? It seems like this would be done before final decoration.
Jack thank you for the more detailed photos.
I have a question why would they complete the decoration before cutting in the nocks? It seems like this would be done before final decoration.
I was curious about that too. There are several possibilities. The least pleasant is that the paint job is more recent than the bow's manufacture. It is likely that in that case that the nocks would be covered by the replacement covering. There are companies like World Wide Arms which used to sell modern reproduction weapons including daggers and arrows, but as far as I know they sold them as reproductions though some people on-sold them as genuine. The second sellers may have simply been ignorant of the origin of the weapons because the quality of gold koftgari work was so high.
I think some of the bow makers here could comment on decorating a bow without cutting nocks. Inasmuch as that the tillering of a composite bow is not like a self bow where you might physically remove wood, there is a possibility that the reflexing nocks had been cut off and the bow prepared and painted. There are some chahar kham (Sind) bows with tiny nocks and some crab bows with disproportionately large nocks so there is the possibility that nocks were customised after purchase. In which case, there was probably a special tillering string with some kind of leather caps to fit over the ends of the tips. However, that seems a bit far fetched.
If you painted the bow before it was bent with a string, then you risked wasting your time if the horn or the sinew de-laminated. I don't think any professional craftsman would do something like that.
What makes me think that this might be a repaired bow is the sinew binding below where the nock should be. You would not put that there unless you intended the bow to be used. Tips do break on these bows occasionally. New pieces can be spliced into a tip without trouble. A repaired bow would not have to be retillered. Perhaps this bow was in the process of repair and refurbishment and for some reason the job was not completed. This would suggest it was a high quality bow that was worth fixing.
I think some of the bow makers here could comment on decorating a bow without cutting nocks. Inasmuch as that the tillering of a composite bow is not like a self bow where you might physically remove wood, there is a possibility that the reflexing nocks had been cut off and the bow prepared and painted. There are some chahar kham (Sind) bows with tiny nocks and some crab bows with disproportionately large nocks so there is the possibility that nocks were customised after purchase. In which case, there was probably a special tillering string with some kind of leather caps to fit over the ends of the tips. However, that seems a bit far fetched.
If you painted the bow before it was bent with a string, then you risked wasting your time if the horn or the sinew de-laminated. I don't think any professional craftsman would do something like that.
What makes me think that this might be a repaired bow is the sinew binding below where the nock should be. You would not put that there unless you intended the bow to be used. Tips do break on these bows occasionally. New pieces can be spliced into a tip without trouble. A repaired bow would not have to be retillered. Perhaps this bow was in the process of repair and refurbishment and for some reason the job was not completed. This would suggest it was a high quality bow that was worth fixing.
"Perhaps this bow was in the process of repair and refurbishment and for some reason the job was not completed."
It seems plausible. The "tribal markings" and the whole tip decorations are crude in comparison to the fine decoration on the back of bow. It is possible the tips were repaired to conceal a damage (by a dealer?) and the nocks were not cut, since there was no intention of use.
Note the cracks on the back of the bow - they are typical for painted bows and the limbs had to be flexed at one time. I think it is a used bow, crudely repaired to sell or display.
Adam
It seems plausible. The "tribal markings" and the whole tip decorations are crude in comparison to the fine decoration on the back of bow. It is possible the tips were repaired to conceal a damage (by a dealer?) and the nocks were not cut, since there was no intention of use.
Note the cracks on the back of the bow - they are typical for painted bows and the limbs had to be flexed at one time. I think it is a used bow, crudely repaired to sell or display.
Adam
Alan if you intersting more about Indian Crabs lok at this Andrew Hall post- its wonderfull Indians bow galery:
Posted: Sun Mar 21, 2010 9:31 am Post subject:
The database of the Simon Archery Collection at Manchester Museum is available here:
http://emu.man.ac.uk/mmcustom/SArchQuery.php
Posted: Sun Mar 21, 2010 9:31 am Post subject:
The database of the Simon Archery Collection at Manchester Museum is available here:
http://emu.man.ac.uk/mmcustom/SArchQuery.php
You chaps might find this totaly contradictory to all the rules of bow making,but has anyone considered that the bow might have been made for one man in particular,there is an obsession with virgins in india,why would it not pretain to swords and bows as well,maybee the bowyer was more accomplished than we think maybee the man the bow was intended for died before he held the bow,there are more myths and supersitions related to virgins than any bloody thing on gods earth,when we read all the mythycal texts about asian warriors and their weapons,it seems reddiculous but it is true,there are stories about holding their swords while the final edge was ground as well as the final polish,particularly in rajput states,I do know that the warriors in old days who had weapons comossioned would be there working with the craftsmen just to be able to say that I MADE IT or more to the effect that no man but I has touched it.
I think that the bow is an unused bow and the decoration adds to the value of the bow to encite a customes so as to say,A wealthy warrior would not buy a ugly bow or be attracted to a ugly bow no matter its preformance,For all we know these bows could have been the manequins for the craftsmen.
I think that the bow is an unused bow and the decoration adds to the value of the bow to encite a customes so as to say,A wealthy warrior would not buy a ugly bow or be attracted to a ugly bow no matter its preformance,For all we know these bows could have been the manequins for the craftsmen.
Thanks PJ. Right on. Your post just preceded mine.
This yellow bow is exactly what it looks to be, a never shot bow. It retains an unshot form. We all know well that crab bows, like all bows, loose this closed up shape after shooting. There are many examples. This is common knowledge.
The decoration is all done in the same materials. The silver leaf is complete and can be inspected on the dings.
We are failing to discuss the most likely scenario. The bow was made by a master, all the parts were gauged for size. The sinew was weighed and divided equally. The limbs are absolutely symmetrical. The notches would be cut and the bow conditioned for the client. The bow could be turned over for balance and heat bending could occur. The maker was entirely confident of his technique. It is what it is. A never strung bow.
The only crab bows I ever saw with sinew over the decoration are in the Grayson collection. Someone please alert me to another collection where this occurs.
This yellow bow is exactly what it looks to be, a never shot bow. It retains an unshot form. We all know well that crab bows, like all bows, loose this closed up shape after shooting. There are many examples. This is common knowledge.
The decoration is all done in the same materials. The silver leaf is complete and can be inspected on the dings.
We are failing to discuss the most likely scenario. The bow was made by a master, all the parts were gauged for size. The sinew was weighed and divided equally. The limbs are absolutely symmetrical. The notches would be cut and the bow conditioned for the client. The bow could be turned over for balance and heat bending could occur. The maker was entirely confident of his technique. It is what it is. A never strung bow.
The only crab bows I ever saw with sinew over the decoration are in the Grayson collection. Someone please alert me to another collection where this occurs.
Jack, you have a very special bow there. I never would imagine that asking for posting a closer picture of the decoration would start this debate. Very interesting and thanks again for the pictures.
About the inscription: I had poured over the inscription with a 10X loupe and could see that there was an inscription worked into the decoration. So I decided to take it to a Hindu temple in town on prayer night. Going early, I found a table outside with many grey hairs sitting around talking. I showed them the bow and they took an immediate interest. There was a discussion and one of the men made a phone call. After some time I asked if there was a decision. One man told me that they had called for a woman they knew to join them.
She arrived a few minutes later. The fellow I talked to then announced that at the table were speakers of ALL the languages of India. Each in turn looked at the bow; all agreed that there indeed was an inscription but none of them could read it. They concluded that these were tribal markings rather than a formal language and it may not be possible to decipher a message.
Furthermore, they agreed that the bow was not representative of Hindu art and did not feel that it was Indian in origin. I thanked them gratefully, waited around for the worship service and joined them inside. We took off our shoes and went inside and sat on the floor. Afterwards I accepted an invitation for food. It was just delicious. I have been back several times since.
In a way they probably are correct, it is Mughal art/ Islamic art, and the place of manufacture may be in present Pakistan. Jack
She arrived a few minutes later. The fellow I talked to then announced that at the table were speakers of ALL the languages of India. Each in turn looked at the bow; all agreed that there indeed was an inscription but none of them could read it. They concluded that these were tribal markings rather than a formal language and it may not be possible to decipher a message.
Furthermore, they agreed that the bow was not representative of Hindu art and did not feel that it was Indian in origin. I thanked them gratefully, waited around for the worship service and joined them inside. We took off our shoes and went inside and sat on the floor. Afterwards I accepted an invitation for food. It was just delicious. I have been back several times since.
In a way they probably are correct, it is Mughal art/ Islamic art, and the place of manufacture may be in present Pakistan. Jack
A very interesting journey this discussion has taken , all very interesting.
If it is in poetry-type urdu (not the same as current urdu) or mountains pashto I might be able to help.
If youd like to, please post a close picture and ill see what we can get from it.
Thanks---Im intrigued too.
If youd like to, please post a close picture and ill see what we can get from it.
Thanks---Im intrigued too.
Jack: I love this aspect of archery.
I think that the inscription is text; but each letter is enclosed in a symbolic cartouche. Please will you contact your friends at the temple and try out this theory: that the bow was made to be placed by a woman who was pregnant as part of a ritual to ensure the birth of a son? Other Asian societies have such traditions.
S
I think that the inscription is text; but each letter is enclosed in a symbolic cartouche. Please will you contact your friends at the temple and try out this theory: that the bow was made to be placed by a woman who was pregnant as part of a ritual to ensure the birth of a son? Other Asian societies have such traditions.
S
You know Stephen I too had thought of some ritual that it perchance was associated with.
I think that we are looking at the inscription upsidedown,If I may suggest more pictures to help solve this mystery.
Related to Stephen's theory, I know Japanese used broken yumi tsuru (bow string) to help a pregnant woman to give birth. I even think that the string that broke and still the arrow hit the target, that special broken string was saved for those situations as a talisman.
I have asked a language/culture expert in India. He is not aware of such rituals relating to pregnancy in South Asia. He is continuing to look at the language aspect. His view is that they are actual letters within squares. He has not given a view on exactly which language.
S
S
Am not sure my camera can do very much better. If you need I can try. Can anybody make out anything from what I posted?
There are three lines each side, two tips, twelve lines total. Could be an entire poem of Rumi.
There are three lines each side, two tips, twelve lines total. Could be an entire poem of Rumi.
With regard to
Posted: Wed Jun 02, 2010 12:33 am (last pic)
No, I am afraid I can not capture well the graphisms. Seems though, they are enclosed by an square of sorts.
Posted: Wed Jun 02, 2010 12:33 am (last pic)
No, I am afraid I can not capture well the graphisms. Seems though, they are enclosed by an square of sorts.
JJ
It is not Bengali or Punjabi either. Not urdu, not even close to urdu.
We cannot read very well, though to our eyes, it def'ly looks like some Hindi alphabet characters, need a closer look to, have other people take a look.
It is not Bengali or Punjabi either. Not urdu, not even close to urdu.
We cannot read very well, though to our eyes, it def'ly looks like some Hindi alphabet characters, need a closer look to, have other people take a look.
There appears to be only 11 characters on each line; 4 lines total. The rest is decoration, or is it?
Thanks Jack
lets take a look now and make some calls...
lets take a look now and make some calls...
next
another
lastly
To my eyes it looks to my eyes pure Nepali style sanscrit, you guys can duble chck if have some sources. Might be possible this bow was crafted up there...theres a long border on the North of Pak.
First character, second line, left is a 'sa', second looks like ?a, third a kha...
I need to confirm that im reading it well with my inlaws.
More to come.
Beutiful history mght keep hidden waiting for us to read...
First character, second line, left is a 'sa', second looks like ?a, third a kha...
I need to confirm that im reading it well with my inlaws.
More to come.
Beutiful history mght keep hidden waiting for us to read...
I am inclined to agree with you too outlaw,but after a closer look it seems like old gurmukhi to me,the 8th character resembles a 'la'and the 6th character resembles an "oo".
The decorarion on the bow also looks to me in character with mughal influenced punjab.
The decorarion on the bow also looks to me in character with mughal influenced punjab.
Regarding some earlier comments by Jack, I doubt there is a table big enough to contain speakers of ALL the languages in India. The number of scripts is impressive, but the number of languages is even larger.
There are other bows bound with sinew or rawhide over the decoration in European collections and in Indian ones. The Grayson Collection is not unique in possession of bows reinforced like this. The process is undoubtedly to reinforce bows that have demonstrated some problem in use. If the design required the binding, surely you would put it on before you decorated the bow.
While I agree that opened out bows have definitely been used, I am less sure that fully reflexed bows have not been used. The ones I own show traces in the decoration of cracking laterally that is consistent with bending. Aside from the normal return of reflex after unstringing a bow, bowyers knew how to return bows to greater reflex and the technique was witnessed by Marion Epperly and published in Klopsteg. Bows used in war, which would be strung for a long period, would probably have been reconditioned at the end of the campaign.
The standard technique was to expose the bow to the sun belly up over a period of several days. It could be gently heated through and tied into increased reflex if more was needed.
There are other bows bound with sinew or rawhide over the decoration in European collections and in Indian ones. The Grayson Collection is not unique in possession of bows reinforced like this. The process is undoubtedly to reinforce bows that have demonstrated some problem in use. If the design required the binding, surely you would put it on before you decorated the bow.
While I agree that opened out bows have definitely been used, I am less sure that fully reflexed bows have not been used. The ones I own show traces in the decoration of cracking laterally that is consistent with bending. Aside from the normal return of reflex after unstringing a bow, bowyers knew how to return bows to greater reflex and the technique was witnessed by Marion Epperly and published in Klopsteg. Bows used in war, which would be strung for a long period, would probably have been reconditioned at the end of the campaign.
The standard technique was to expose the bow to the sun belly up over a period of several days. It could be gently heated through and tied into increased reflex if more was needed.
JJ; I realize that I hijacked your thread. Sorry for that. Stephen could separate if you want.
PJ and Outlaw; Views 4 and 2 seem to be the same. Can correct that if it proves helpful. Since the number of characters in both full lines appears to be 11, maybe the four inscriptions are all the same? Any new information would be greatly appreciated.
Bede; Thanks for the info on European and Indian collections. Can these be viewed online? Collection names? Want to check this out and get to the bottom of the wrapping issue.
Thanks all.
PJ and Outlaw; Views 4 and 2 seem to be the same. Can correct that if it proves helpful. Since the number of characters in both full lines appears to be 11, maybe the four inscriptions are all the same? Any new information would be greatly appreciated.
Bede; Thanks for the info on European and Indian collections. Can these be viewed online? Collection names? Want to check this out and get to the bottom of the wrapping issue.
Thanks all.
A Sanskrit expert from India has emailed me over the weekend. He says that there is no chance that the letters on the bow are derived from the Sanskrit alphabet. He referred me to two experts in Bangalore; but he can only give phone numbers. I'll carry on trying to follow up.
Thats odd...hmmm, just removing the square surrounding it, it reads (more or less) like sanskrit...
I have send the link to the sanskrit university of Nepal to see if they can throw some light on this matter
I have send the link to the sanskrit university of Nepal to see if they can throw some light on this matter
Well folks; I am kind of embarrassed to say this but I have been staring at the "inscription" for some time, under magnification, and have come to the conclusion that it may just be a trefoil decoration repeated over again. The brush that it was done with was a bit wide for the size of the figure. The loops are variously closed, open and abbreviated leading to the illusion of strokes and diacritical marks etc.
It is sort of an illusion, a Rorshock inkblot test in which one can see what one wants to see. It is difficult to know if one is looking to the figure or ground for the information.
I apologize to everyone who has spent time with this. I am deeply disappointed, was hoping to crack some secret code, sorry guys. Here is my sample of the image.
It is sort of an illusion, a Rorshock inkblot test in which one can see what one wants to see. It is difficult to know if one is looking to the figure or ground for the information.
I apologize to everyone who has spent time with this. I am deeply disappointed, was hoping to crack some secret code, sorry guys. Here is my sample of the image.
Jack,
Thanks for the clarification. I think this kind of thing happens to all of us.
I am trying to get the references for you on the bound bows. I was sure there was one in the Simon Archery Foundation. I know there is one or two in Poland and I have seen some go through the Hermann Historica auctions in Germany. The Indian ones were in maharajahs' collections which were sometimes illustrated in books on Indian traditional life.
Thanks for the clarification. I think this kind of thing happens to all of us.
I am trying to get the references for you on the bound bows. I was sure there was one in the Simon Archery Foundation. I know there is one or two in Poland and I have seen some go through the Hermann Historica auctions in Germany. The Indian ones were in maharajahs' collections which were sometimes illustrated in books on Indian traditional life.
I've to tell i know that it's not an alphabetical model but with the long discussion here i've doubt if i was wrong.
in Persian paiting we call this design Khoshe or Barg.
in Persian paiting we call this design Khoshe or Barg.
all part of the fun.
When I saw the first pictures of that bow, I immediately thought that there could be an inscription, too ;-))
Anyway, it is a pretty decoration element...
hcspng, what means "barg" or "khoshe"; what is depicted, a sort of flower?
JJ
Anyway, it is a pretty decoration element...
hcspng, what means "barg" or "khoshe"; what is depicted, a sort of flower?
JJ
Barg means leaves of trees or flowers
Khoshe means ear of trees(fruits ear)
Khoshe means ear of trees(fruits ear)
This has turned into a very interesting journey.