The late Ostad Haj Hossein

Farajian in front of his forge.

Hossein Farajian (Iran) was a famed late Iranian smith who was born in Zanjan, Iran. He

died on Saturday 26 of Esfand [17 March 2007]. He learned his craft as an apprentice to the

late famed master smith Mr. Yahya Yaghubi. It is important to know that the pieces made by

the late Ostad Haj Hossein Farajian are displayed in the Muzeye Sanaye Dasti Iran (The

Museum of Handicraft) in Tehran. Many artisans from different fields present their items for

display in this important museum, and few can pass the strict requirements of this museum to

present their items there. Next to an Isfahani smith, the late Ostad Haj Hossein Farajian and

Ostad Mohammad Reza Farajian are the only smiths who could fulfill these requirements so far.

The late Ostad Hossein Farajian and Mohammad Reza Farajian

The late Ostad Haj Hossein Farajian was very fascinated by the story of Ramses II fighting the

Hittites at the Battle of Kadesh. Certainly, there was significant interaction and trade between

ancient Egypt and ancient Iran during the Late Bronze Age; some artifacts in the National

Museum of Iran have inscriptions in both Old Persian cuneiform and Egyptian hieroglyphs. But

when I look back, I hardly think that this kind of historical interaction was the true reason for

the admiration that Ostad Haj Hossein Farajian held for Ramses II. For Ostad Haj Hossein

Farajian, Ramses II represented more than just a historical figure. He was a symbol of bravery

and kingship. Perhaps the figure of Ramses even symbolized something to him that he never

explained to me. Perhaps words alone were not enough to describe his deep-seated fascination

for Ramses II. Maybe that was the reason that he decided, one day, to make an Egyptian

kopesh, to demonstrate that, at times, words are not enough to show one’s true feelings and

that, at certain times, one must take action. So Ostad Haj Hossein took action to show his

admiration for Ramses. I remember that day when I first showed him the sketches of the

Egyptian kopesh sword that I had designed. I copied and pasted parts of the hieroglyphs

describing the battle of Rameses II from the

inscriptions at Abu Simbel temple.

The handle is made of ebony. The whole blade is engraved with hieroglyphs from the temple of

Abu Simbel. The scabbard is made of

maple wood and covered with sheets of brass. Some battle scenes of the Battle of Kadesh at

Abu Simbel temple are engraved on the brass sheets. The inscriptions on the blade read:

“It was the ninth day of the third month of the inundation season in the fifth year under the

majesty of Rameses II, given life. And His Majesty was in Syria with his second victorious

military expedition. There was a perfect awakening with life, prosperity, and health in the tent

of his Majesty on the ridge south of Kadesh, and His Majesty appeared in splendor like Ra

rising. He assumed the panoply of his father Mont and the Lord set out, proceeding

northwards. His Majesty approached the south of the town of Shabtwn. Two Bedouins came to

say to His Majesty from those brethren who were great men in the household of the land of

Khatti: We are sent to say to His Majesty “We will act as the servants of Pharaoh (alive,

prosperous and healthy) and when we do we will depart from The Enemy of Khatti. Further,

The Enemy of Khatti is sitting in Khyrbw to the north of Twni and he is too afraid of Pharaoh

(alive, prosperous and healthy) to come southwards.

"But the Bedouin falsely spoke those words they spoke to His Majesty, for He of Khatti had

caused them to come to see where His Majesty was and to prevent the preparation of His

Majesty’s soldiers for fighting against The Enemy of Khatti. In fact, The Enemy of Khatti had

come with all the nobles of all the foreign lands, and all the infantry and chariotry he had

brought with him in strength and stood drawn up and and prepared behind Kadesh the Evil.

And His Majesty did not know they were there.”

Now when I look back at it, I realize how time flies. Ostad Haj Hossein Farajian is not among

us anymore. He departed forever, close to Nowruz time. It is very sad to say that the city of

Zanjan has lost one of its major assets, and it looks empty now. But, then again, when I think

about it, I realize that the spirit of Ostad Haj Hossein Farajian is everywhere in the heart of

people who were fortunate enough to meet him in person, to hold the blades he made, and to

appreciate his art. This way, Ostad Haj Hossein Farajian has become an eternal figure for his

country of Iran. He was an eternal figure who rose from ashes, lived his glorious life, and

departed, leaving his pieces of art for generations to come. He was a gentleman who was as

much interested in feeding sparrows as in pounding steel, he was a kind man who was as much

fond of the story of ghognos as he was interested in gold inlaying, and he was a good man who

loved the story of the legendary bird simorgh as much as he loved the stories of Iranian

pahlavanan.

For years, I had a dream to have a reconstruction of a royal akenakes (the Achaemenian short

sword). There are different types of akenakes. Some of them that were given as royal

presents by the king to his satraps and high military commanders were made of pure gold (see

Moshtagh Khorasani, 2006:406-407, plate 49). The majority of them had blades made of iron

(see Moshtagh Khorasani, 2006:408, plate 50). However, there are still examples that were

cast from bronze (one of these examples is kept in the Museum of Cultural Institute of

Bonyad). I designed the whole akenakes on a piece of paper and based it on the prototypes

made of gold. Then, I copied the royal inscriptions of King Xerxes in Persepolis and glued the

sentences on the paper model. I knew that the only artisan who could fulfill such a complicated

project was Ostad Haj Hossein Farajian. I still remember the day when I showed him the

design on paper. He smiled and said that he always respected King Xerxes a lot, and he was a

figure who had been always misrepresented.

The making of the blade was a hard process. The blade needed to be fullered, and the casting

had become a difficult process. However, Ostad Farajian cast the blade of the akenakes from

bronze, and the final result was a breathtaking beauty. He, then, filed the corners to give it

smooth lines and chiseled the royal inscriptions of King Xerxes in Persepolis on both sides of the

blade. The chiseling was a painstaking process, and it was very difficult as the inscriptions

needed to be written in cuneiform. The final result was a breathtaking beauty. The inscriptions

in Old Persian in Cuneiform read:

[1-6] A great god is Ahuramazda, who created this earth, who created heaven, who created

man, who created happiness for man, who made Xerxes king, one king of many kings,

commander of many commanders.

[6-11] I am Xerxes, the great king, the king of kings, the king of all countries and many men,

the king in this great earth far and wide, the the son of Darius, an Achaemenian.

[11-17] King Xerxes says: by the favor of Ahuramazda this Gate of All Nations I built. Much else

that is beautiful was built in this Persepolis (Pârsâ), which I built and my father built. Whatever

has been built and seems beautiful - all that we built by the favor of Ahuramazda.

[17-20] King Xerxes says: may Ahuramazda preserve me, my kingdom, what has been built by

me, and what has been built by my father. That, indeed, may Ahuramazda preserve.

In the next step, Haj Hossein Farajian made the handle scales of buffalo horn and filed them

into the shapes of two lion heads. That was also a very difficult process. The eyes were made

of bronze, and the teeth were made of horse bone. The scabbard was made of maple wood.

The scabbard mouth and the scabbard chape were made of

brass. Then, Ostad Haj Hossein Farajian chiseled the scabbard mouth and the chape with

images from Persepolis and Apadana. The surface of the wooden parts between the scabbard

mouth and chape parts were carved in and later filled in with figures of ibexes that were made

of a light-colored wood. These figures were also based on Persepolis prototypes. The end

result is a sword with a mesmerizing beauty.

Unfortunately, I was so busy giving lectures and interviews during my last visit to Iran and,

therefore, could not go to see Ostad Haj Hossein Farajian. After the conference Acquaintance

with Nanotechnology during Safavid Period, many students of the University of Cultural Heritage

came to me and kindly offered their help for my further research. One of them was Ms. Shadi

Taherkhani, a student of Ms. Etezadi, who kindly offered to interview and take pictures of new

pieces of Ostad Haj Hossein Farajian. When I came back to Germany, I received an email from

Ms. Taherkhani, who wrote:

Dear Mr. Moshtagh,

Thanks for contacting me. I do not know whether you have been informed about the sad news

as it really made me sad. Yesterday on Sunday when I went to see Mr. Farajian, I saw an

announcement informing that he has passed away on Saturday 26 of Esfand [17 March 2007].

I am extremely sorry to inform you about this. The destiny did not want me to meet Ostad Haj

Hossein Farajian. I am really sorry. The funeral service will be held in the Masjed Chaqusazan

(Mosque of Knifemakers). I hope you are O.K. and will pursue your precious work. I am not

sure whether I can take pictures at this moment. If you need anything else, let me know

please.

Kind regards

Shadi Taherkhani

First I felt so bad for Ms. Taherkhani, who took all her camera equipment to take pictures for

my new articles because I could not visit Ostad Haj Hossein Farajian during my last trip. I felt

very bad for her as I could imagine and feel the shock she must have gone through, standing in

front of the shop of Ostad Farajian, seeing the announcement of his death. I still remember

that I felt my hands were getting colder and colder, and I could not believe that our country had

lost such an important cultural asset. I could not believe that I could not see the nice and

gentle smile of Ostad Haj Hossein Farajian anymore. I knew that I was not going to sit in front

of his forge and watch the games of fire when he told me the stories about ancient Iranians,

ancient cities, and all those proud warriors who had defended the national integrity of Iran. I

knew that I was not going to hear how he pounded steel to shape anymore. I knew that I could

not see him shaping silver threads into filigree anymore. I was aware that I could not listen to

his stories about javanmardi, about love, about friendship, and about values anymore. I still

remember that I had a sore throat. I felt as if someone was strangling me. I thought how

brutal it was when someone died during Nowruz time. Then, I remembered what Ostad

Farajian had told me once. He said that life was like climbing up a ladder, and we climb it up,

going one rung after the other, only to meet God (Pelle pelle ta molaghat ba hoda).

And climbing up the last rung can happen any time. I looked up at the big picture of the

akenakes he made, which was hanging on the wall, and I could swear that the blade was

shining very bright, much brighter than it used to. It looked as if the spirit of Ostad Haj Hossein

Farajian was transferred into it.

The late Ostad Haj Hossein

Farajian

In the following, I will introduce three qames and a qaddare made by the late Ostad Haj

Hossein Farajian. In today’s Iran, qame is used to describe a double-edged, straight weapon.

The blade of this weapon is generally fullered. The majority of antique qames have offset fullers

(one fuller on each side), yet there are also varieties with multiple fullers. There are also rare

examples with no fullers (see Moshtagh-Khorasani, 2006:579, cat. 207). On the other hand,

qaddare is used to describe a weapon that has a straight, single-edged blade. Both qame and

qaddare lack a handguard and have the same shape as far as the handle is concerned.

According to the late Hossein Farajian, the techniques of usage of qames and qaddares vary.A s

a double-edged weapon, a qame's slashing strength is distributed to two edges. Therefore, a

qame does not cut as well as the qaddare. Regarding the origin of the words qame and

qaddare, Pur Davood (1969/1347:43) states that the origins of the term qame is not clear, and

he could not find it in the Shahname. This is the same for the term qaddare that cannot be

found in the Shahname. However, Pur Davood (1969/1347:44) states that this word has its

roots in Sanskrit and found its way to Iran from India. In Sanskrit, this weapon is called

kathara. The Digital Lexicon of Dehkhoda describes kattare as a straight and wide sword,

carried by people in India. In the manuscript Adab al Harb va al Shojae (The Customs of War

and Bravery), written during the Saljuq period, a weapon called kattare was used by Indians

and the fearless (see Matufi, 1999/1378:438). The Digital Leixon of Dehkhoda describes kattare

as a straight and wide sword, carried by people in India. It further states that this word went

into a shift where 'k' was transformed to 'gh' and 't' to 'd,' creating the word qaddare. On the

other hand, Dehkhoda describes qame as a short sword with a wide, straight blade and states

that qame is Turkish in origin. Unfortunately, neither Dehkhoda nor Pur Davood explain the

shape of these two weapons.

1) Qame with etched inscriptions from the holy Qur’an: The first qame has a very solid

blade with multiple fullers.Examples of antique qame with multiple fullers can also be seen in

the Military Museum Tehran (see Moshtagh Khorasani, 2006:575, cat. 198). The blade has a

strengthened tip. In spite of the fact that the blade has a strong blade of weighing 771 grams, it

handles very well and has very good balance and harmonics. It is heavier and longer when

compared to many antique examples that are kept in the Military Museums of Iran and selected,

private collections.T he following table shows the statistical dimensions of the qame:

Total Length: 63 cm

Width of the blade at the forte: 5 cm

Width of the blade in the middle: 5 cm

Weight without scabbard: 771 grams

Weight with scabbard: 1185 cm

The corners of the blade, close to the edge on both sides, are etched with inscriptions from the

holy Qur’an. On the obverse side, the inscriptions are the ayats 1-3 from the sura al-Nasr (see

Al-Qur’an, 1993:557):

"In the name of Allah, most benevolent, ever-merciful. 1. WHEN THE HELP of God arrives and

victory, 2. And you see men enter God’s discipline horde on horde, 3. Then glorify your Lord

and seek His forgiveness.Verily He is relenting."

Further, there are inscriptions ayat 1-3 from the sura al-Asr (see Al-Qur’an, 1993:550) on the

obverse side:

"In the name of Allah, most benevolent, ever-merciful. 1. TIME AND AGE are witness, 2. Man is

certainly in loss, 3. Except those who believe, and do good and enjoin truth on one another, and

enjoin one another to bear with fortitude (the trials that befall)."

Close to the handle there are two further inscriptions: La Elaha Ellah Allah (There is no God but

Allah) and Mohammad Rasool Allah (Mohammad is his messenger).The reverse side of the blade

is also etched with inscriptions from the holy Qur’an.These inscriptions are the ayats 1-6 from

the sura An-Nas (Men) (see Al-Qur’an, 1993:561):

"In the name of Allah, most benevolent, ever-merciful.SAY: “I SEEK refuge with the Lord of

men, 2. the King of men, 3. The God of men, 4. From the evil of him who breathes temptations

into the minds of men, 5. Who suggests evil thoughts to the hearts of men – 6. From among

the jinns and men."

There are also inscriptions ayats 1-5 from the sura al-Falaq (see Al-Qur’an, 1993:560): In the

name of Allah, most benevolent, ever-merciful. SAY: “I SEEK refuge with the Lord of rising day,

2. From the evil of what He has created, 3. And the evil of evening darkness when it

overspreads, 4. From the evil of sorceresses who blow the incantations on knots, 5. From the

evil of the envier when he envies. Close to the handle, there are inscriptions revealing the

maker’s name, Hossein Farajian, and Yadollahi fogho Aydahum (There is no hand above God’s

hand). Following the tradition, the handle is made of two horn scales riveted to the tang. The

wooden scabbard is covered with leather. The scabbard fittings are made of brass.

2) Qame with gold-inlaid inscriptions

The second qame made by Ostad Haj Hossein Farajian has also a steel blade.There are gold-

inlaid inscriptions on the forte of the blade on both sides.Close to the tip, there is further gold

inlaying.The blade is multi-fullered.The wooden scabbard is covered in leather, and the

scabbard fittings are made of brass.On the obverse side, close to the forte, there is the

following gold-inlaid inscription: Amal-e Hossein Farajian Zanjan (The work of Hossein Farajian

[from] Zanjan).On the same side, close to the tip of the blade, there is the following gold-inlaid

inscription:Hag, Hag, Ali, Ali (Justice, Justice, Ali, Ali).On the reverse side, close to the handle,

there is the following gold-inlaid inscription: Yadollahi fogho Aydahum (There is no hand above

God’s hand).Close to the tip on the same side, there is the following gold-inlaid inscription:

Enna Fatahna Lakka Fathan Mobina (We have given you a splendent victory).This is the first

ayat of the sura al-Fath (Victory) (see Al-Qur’an, 1993:439).

The following table shows the statistical measurements of this short sword:

Qame with gold-inlaid inscriptions made by Ostad Farajian as mentioned above

Total Length: 70 cm

Width of the blade at the forte: 4.5 cm

Width of the blade in the middle: 4.4 cm

Weight without scabbard: 593 grams

Weight with scabbard: 893 cm

3) Qame with bronze blade

The late Ostad Haj Hossein Farajian had cast a number of bronze blades, such as an

Achaemenian akenakes and an Egyptian kopesh. Although qames with bronze blades do not

have a historical provenance, I would like to introduce this qame made by Ostad Haj Hossein

Farajian as it is truly a piece of art. The blade is cast from bronze and is chiseled in beautiful

inscriptions in Persian. On the obverse side of the blade, there is the following inscription in

Persian:

"This sword which [is meant] to hunt the celestial lion, is the shamshir of the Vakhil, the king

who conquers countries. He will always keep the key to victory in his hand [only if] one holds

the handle of this shamshir in his hand."

Note that the above inscriptions are the same that are gold inlaid on the steel blades of the two

swords of Karim Khan Zand (one is kept in the Military Museum of Tehran, and the other in Pars

Museum in Shiraz; see Moshtagh Khorasani, 2006:492-494, Cat 122, Cat. 123). Note that Vakil

(representative) is the title that was used by Karim Khan Zand. Further inscriptions on the

obverse side are taken from the nohekhani (mourning for Imam Hossein) during Moharram or

the taziye (Shiite passion ceremony).

"On the day of Ashura, the thirsty king [referring to Imam Hossein] said, “Sacrificing oneself for

one’s friend is not difficult; [yes,] I am thirsty [but] thirsty for justice and freedom. Otherwise,

I am not thirsty at all).”

Close to the forte of the blade, there are engraved inscriptions in Arabic: Yadollahi fogho

Aydahum (There is no hand above God’s hand). On the reverse side of the blade, there are the

following engraved inscriptions in Persian:

"(Yesterday, Ahmad broke the idols with the help of Ali, and he destroyed the blasphemy for the

justice of Ali)"

"(The person who with his sword made loyal Gabriel lose his shield is the Sword of God, Ali)"

"The whole world is made of drops, and Hossein is the sea; all the good people are slaves, and

Hossein is the lord"

"I am afraid that he even forgives his killer because Hossein is so forgiving and generous."

Close to the forte of the blade, there are engraved inscriptions in Persian: Sakht-e Hossein

Farajian Zanjan (Made by Hossein Farajian [in] Zanjan). The wooden scabbard is covered in

leather and has iron fittings. Qame with bronze blade and engraved inscriptions made by Ostad

Farajian

Total length: 63.5 cm

Width of the blade at the forte: 4.4 cm

Width of the blade in the middle: 4.4 cm

Weight without scabbard: 607 grams

Weight with scabbard: 762 grams

4) Qame with filigree decorations

The forte of the blade on the obverse side is blued and has multiple fullers. The scabbard is

made of wood and covered with leather. The handle studs are decorated with beautiful silver

filigree as well as the scabbard fittings. On the obverse side, there are the gold inlaid-

inscriptions "We have given you a splendent victory" that is the first ayat of the sura al-Fath

(Victory) (see Al-Qur’an, 1993:439) and Amal-e Hossein Farajian (The work of Hossein

Farajian). The following table shows the dimensions of the qame:

Total length: 44.2 cm

Width of the blade at the forte: 3.8 cm

Width of the blade in the middle: 3.7 cm

Weight without scabbard: 365 grams

Weight with scabbard: 529 grams

5) Qaddare

The following qaddare has a beautiful fullered blade and is very sturdy. The inscription on the

reverse side of the qaddare is ayat 115 from the sura al-Mum’minun (The True Believers):

"In the name of Allah, most benevolent, ever-merciful. 115. Do you think We created you for

nothing, and that you will not return to us?"

On the reverse side, there is also ayat 1 from the sura al-Fath (Victory) (see Al-Qur’an,

1993:439):

"We have given you a splendent victory".

There is also the maker’s name on this side: Farajian.

On the obverse side, there are the following etched inscriptions: "In the name of Allah, most

benevolent, ever-merciful" and "Help from God and early victory", part of the ayat 13 from sure

al-Saff (Formations), see Al-Qur’an (1993:482-483). There is also

an etched inscription of the name Hossein Farajian.

A beautiful shamshir with chevron pattern and tears of the wounded blade and scabbard fittings

and handle decorated with enameling made by Ostad Haj Hossein Farajian

A shamshir made by Ostad Haj Hossein Farajian

Some daggers made by Haj Hossein Farajian

© M.Khorasani Consulting