

A fine talwar blade with a shape that gently widens from base to tip. It has two prominent grooves that meet in the tip section. The upper groove starts wide and gracefully narrows to accommodate a sharp back edge, with the edge itself slightly hollow-ground due to sharpening techniques involving emery-covered wheels in India.

The erotic scene at the reverse may perhaps be interpreted as the girl's daydream. It shows two female angels, heavenly beings that are normally repulsed by mankind's desire of sexual pleasure, engaged in lesbian affection. Affection between two women in the Persia of the 19th century was fairly common and well documented. They could even formalize their relations in an act called khahar khandegi (sisterhood-by-oath). Angels in Islam were thought to depart from people as soon as these people engaged in impure actions, which included, among others, sex, nudity, and also telling lies. In an angel's absence, the bad deeds were still noted, but the good deeds are no longer recorded for God. That is until this person ritually purified themselves. Another interesting layer is that Islamic scholarship generally sees angels are messengers of God without free will, and thus incapable of diverging from God's will.

An emerald-inlaid and gem-set gold push-dagger or katar, formerly in the famous Al-Thani Collection, India, 18th century. The katar was popular throughout India. Also known as jamadhar (death tooth), they were used in close combat, their thick points indicating that they were designed to puncture armour.