Artistic Persian Warriors
INTRODUCTION
The art of metalwork in general and weapon-making in particular has a very long tradition in Iran, dating back to pre-historic times. In ancient Persian myths, one finds a number of splendid tales about the study and working of metal. In his epic “Shahname,” the great Persian poet Ferdowsi recounts the story of King Jamshid, a forger of iron weapons. Even in the holy book of the “Avesta” (the holy book of the Zoroastrians), four different metals, namely gold, silver, iron, and steel alloy are discussed.
Pur Davood [1] (1969/1347:15) states that although the Avesta is a religious book, it contains many accounts of arms and armor testifying to the long warrior tradition in Iran. The consequential long tradition of creating arms and armor enabled Iranian artisans and weapon makers to reach an extremely high level of mastery. They made swords and other edged weapons which became legendary not only in neighboring countries such as Ottoman Turkey[2], Moghul India [3], and the Arab region [4], but in addition, their beauty and legendary efficiency were also known to Russians, Poles, and other Europeans.
The same is true of the reputation of Iranian armor which became legendary in the region. Today Iranian swords and their beauty are highly appreciated by collectors and curators of arms alike, and many hold that the quality of steel is unprecedented. Iranian swords set the standard of quality for other regional sword makers and smiths, a quality standard which many attempted to emulate, although hardly anyone was able to achieve the level of beauty or reach the perfection of Iranian blades. As will be seen later in this book, this led to the establishment of a strong international trade in Iranian blades. Iranian blades were purchased and mounted in Ottoman, Indian, and Arab mountings. Iranian trade blades were even mounted with Indonasian Piso Pedang and Caucasian sword fittings. [5]
The cartouches “toranj” [6] of legendary Iranian swordsmiths, such as “Assadollah” and “Kalbe-Ali” were counterfeited and put on other blades to enhance their value. In spite of the international fame of Iranian blades, research and publications on the subject are scant in Iran. There is hardly any useful published material dedicated to the history and development of edged weapons in Iran. However, by sifting through historical chronicles, one finds useful materials concerning the development of steel and edged weapons, although this must be collected piecemeal from diverse sources. On the other hand, published materials on Iranian arms and armor in the West are either dedicated to the study of bronze weapons from Gilan (Marlik) and Luristan or they appear as a subcategory under the general term of “Islamic arms and armor.”
The purpose of this book is to research the development of arms and armor in Iran throughout history. The book investigates the development of arms and armor in Iran throughout the centuries in both the pre-Islamic and Islamic eras. In the past, some researchers and students of arms and armor and, above all, collectors who are not familiar with the cultural background of Middle Eastern and North African countries, have tended to make overgeneralizations about these countries and virtually ignore the cultural element.
The latter group, namely collectors, despite their intense interest and perhaps even obsession with weapons, is apt to make even broader generalizations regarding these weapons and consider these countries “en bloque.” Some publications on arms and armor refer to the Iranian poet Ferdowsi as al Ferdowsi and refer to him as an Islamic poet! It is quite astounding to see the name of the Iranian poet, who spent his life penning the great epic of Shahname in Farsi, written in the Arabic manner.
Separating the study of arms and armor into the pre-Islamic and Islamic eras often prevents researchers from taking a comprehensive approach towards the study of arms and armor. This approach leads to a one-sided view that ends in amassing all countries of the region into one bloc, thereby attempting to pinpoint similarities while ignoring the peculiarities and individual characteristics of each individual country or culture.
This view can at times go so far as to consider all Muslim countries as parts of Dar-al Islam, which were in constant warfare with non-Muslim countries as parts of Dar-al Harb. This, of course, leads to a flawed view, ignoring the fact that the countries in the region were in constant warfare with one another; for example following the Arab conquest of Iran, Iranians never ceased to give up their national identity and language and were in constant warfare with the Caliphate powers first in Damascus and, then, in Baghdad to regain their independence.
Later on, some of the dynasties in Iran forged alliances with European powers to fight against other regional powers, such as Safavid kings, who were allies of European powers against the power of the mighty Ottoman Empire. Safavid Iran allied itself with European nations such as Poland to contain the Ottomans’ expansion policies. Therefore, any separation of the cultural and historical backgrounds within the study of weapons leads to overgeneralization that frequently result in considering the countries of the region as one bloc.
Authors such as Allan and Gilmour (2000) have collaborated with Iranian scholars and have thus contributed significantly to this field, analyzing the history of Iranian steel over the centuries. Generalizations and misconceptions are not just restricted to the development of arms and armor but also occur within their related martial arts and usage as well. Regrettably, there are some scholars and collectors who appear to be unfamiliar not only with martial arts and swordsmanship traditions but also they seem not to understand the military heritage and culture of the respective country.
For example, comments that classical shamshirs were only meant for hunting due to their extreme curvature demonstrates exactly how some Western scholars judge the Iranian sword in their own terms. Their argument is either that, due to its extreme curvature, the point of shamshir is useless or a one-handed sword does not generate much power to be efficiently used. The first argument shows a lack of knowledge regarding Iranian swords and its function and also reveals how those who neglect the research of individual cultures can fall into the trap of judging a sword by their own terms and standards. The Iranian shamshir was never meant to be used as a thrusting or stabbing weapon. Iranian warriors used their spears, lances, kards, and peshqabzs for that purpose.
Additionally, since Iranians were wrestlers by tradition, their strategy was to get close in combat and use their shamshirs for draw-cutting, meaning that they hit the target with the edge of their shamshir first and, then, drew the blade towards themselves. The shamshir’s design is unique and excellent for using such a technique. The second argument, being that the shamshir was not a useful weapon since it was only used one-handed, is even more outrageous. First, this argument clearly shows how some people believe the fallacy that two-handed (or one-and-a-half-handed) swords were superior in battle. These people do not understand the mechanics of using a sword in combination with a shield, resulting in flexibility and an ability to defend and attack at the same time.[7]
Additionally, one should take into consideration the fact that many Iranian kings, such as Shah Ismail I, Shah Abbas I, Nader Shah, and Karim Khan Zand were excellent swordsmen themselves, and the historical accounts of the efficiency of Iranian shamshirs on the battlefield all attest to the capabilities of this type of sword. Bearing this in mind, it is also highly unlikely that Iranian kings who were warriors themselves would be satisfied with a sword which was only meant for show or hunting.
This book endeavors to provide a comprehensive overview of the development of arms and armor in Iran. Thanks to the kind permission of the Iranian Army and Iranian Cultural Heritage Organization, I was granted permission to examine the magnificent inventory of arms and armor in Iranian Military Museums as well as other museums under the auspices of the Iranian Cultural Heritage Organization, which displays arms and armor. The first part of this book gives an overview of many international publications on Iranian arms and armor as well as the Iranian publications on the subject.
Additionally, I have attempted to use published materials on the analysis of weapons from Parthian and Sassanian rock reliefs as well as, later, on miniatures and other art objects and cross-reference the same. Additionally, I have reviewed the historical biographies of various Iranian kings to find more useful information on this subject. Unfortunately, time was short, and I was unable to fully complete that exercise to my total satisfaction. I hope that another study will follow this book dealing with the topic in more detail.
The art of metalwork in general and weapon-making in particular has a very long tradition in Iran, dating back to pre-historic times. In ancient Persian myths, one finds a number of splendid tales about the study and working of metal. In his epic “Shahname,” the great Persian poet Ferdowsi recounts the story of King Jamshid, a forger of iron weapons. Even in the holy book of the “Avesta” (the holy book of the Zoroastrians), four different metals, namely gold, silver, iron, and steel alloy are discussed.
Pur Davood [1] (1969/1347:15) states that although the Avesta is a religious book, it contains many accounts of arms and armor testifying to the long warrior tradition in Iran. The consequential long tradition of creating arms and armor enabled Iranian artisans and weapon makers to reach an extremely high level of mastery. They made swords and other edged weapons which became legendary not only in neighboring countries such as Ottoman Turkey[2], Moghul India [3], and the Arab region [4], but in addition, their beauty and legendary efficiency were also known to Russians, Poles, and other Europeans.
The same is true of the reputation of Iranian armor which became legendary in the region. Today Iranian swords and their beauty are highly appreciated by collectors and curators of arms alike, and many hold that the quality of steel is unprecedented. Iranian swords set the standard of quality for other regional sword makers and smiths, a quality standard which many attempted to emulate, although hardly anyone was able to achieve the level of beauty or reach the perfection of Iranian blades. As will be seen later in this book, this led to the establishment of a strong international trade in Iranian blades. Iranian blades were purchased and mounted in Ottoman, Indian, and Arab mountings. Iranian trade blades were even mounted with Indonasian Piso Pedang and Caucasian sword fittings. [5]
The cartouches “toranj” [6] of legendary Iranian swordsmiths, such as “Assadollah” and “Kalbe-Ali” were counterfeited and put on other blades to enhance their value. In spite of the international fame of Iranian blades, research and publications on the subject are scant in Iran. There is hardly any useful published material dedicated to the history and development of edged weapons in Iran. However, by sifting through historical chronicles, one finds useful materials concerning the development of steel and edged weapons, although this must be collected piecemeal from diverse sources. On the other hand, published materials on Iranian arms and armor in the West are either dedicated to the study of bronze weapons from Gilan (Marlik) and Luristan or they appear as a subcategory under the general term of “Islamic arms and armor.”
The purpose of this book is to research the development of arms and armor in Iran throughout history. The book investigates the development of arms and armor in Iran throughout the centuries in both the pre-Islamic and Islamic eras. In the past, some researchers and students of arms and armor and, above all, collectors who are not familiar with the cultural background of Middle Eastern and North African countries, have tended to make overgeneralizations about these countries and virtually ignore the cultural element.
The latter group, namely collectors, despite their intense interest and perhaps even obsession with weapons, is apt to make even broader generalizations regarding these weapons and consider these countries “en bloque.” Some publications on arms and armor refer to the Iranian poet Ferdowsi as al Ferdowsi and refer to him as an Islamic poet! It is quite astounding to see the name of the Iranian poet, who spent his life penning the great epic of Shahname in Farsi, written in the Arabic manner.
Separating the study of arms and armor into the pre-Islamic and Islamic eras often prevents researchers from taking a comprehensive approach towards the study of arms and armor. This approach leads to a one-sided view that ends in amassing all countries of the region into one bloc, thereby attempting to pinpoint similarities while ignoring the peculiarities and individual characteristics of each individual country or culture.
This view can at times go so far as to consider all Muslim countries as parts of Dar-al Islam, which were in constant warfare with non-Muslim countries as parts of Dar-al Harb. This, of course, leads to a flawed view, ignoring the fact that the countries in the region were in constant warfare with one another; for example following the Arab conquest of Iran, Iranians never ceased to give up their national identity and language and were in constant warfare with the Caliphate powers first in Damascus and, then, in Baghdad to regain their independence.
Later on, some of the dynasties in Iran forged alliances with European powers to fight against other regional powers, such as Safavid kings, who were allies of European powers against the power of the mighty Ottoman Empire. Safavid Iran allied itself with European nations such as Poland to contain the Ottomans’ expansion policies. Therefore, any separation of the cultural and historical backgrounds within the study of weapons leads to overgeneralization that frequently result in considering the countries of the region as one bloc.
Authors such as Allan and Gilmour (2000) have collaborated with Iranian scholars and have thus contributed significantly to this field, analyzing the history of Iranian steel over the centuries. Generalizations and misconceptions are not just restricted to the development of arms and armor but also occur within their related martial arts and usage as well. Regrettably, there are some scholars and collectors who appear to be unfamiliar not only with martial arts and swordsmanship traditions but also they seem not to understand the military heritage and culture of the respective country.
For example, comments that classical shamshirs were only meant for hunting due to their extreme curvature demonstrates exactly how some Western scholars judge the Iranian sword in their own terms. Their argument is either that, due to its extreme curvature, the point of shamshir is useless or a one-handed sword does not generate much power to be efficiently used. The first argument shows a lack of knowledge regarding Iranian swords and its function and also reveals how those who neglect the research of individual cultures can fall into the trap of judging a sword by their own terms and standards. The Iranian shamshir was never meant to be used as a thrusting or stabbing weapon. Iranian warriors used their spears, lances, kards, and peshqabzs for that purpose.
Additionally, since Iranians were wrestlers by tradition, their strategy was to get close in combat and use their shamshirs for draw-cutting, meaning that they hit the target with the edge of their shamshir first and, then, drew the blade towards themselves. The shamshir’s design is unique and excellent for using such a technique. The second argument, being that the shamshir was not a useful weapon since it was only used one-handed, is even more outrageous. First, this argument clearly shows how some people believe the fallacy that two-handed (or one-and-a-half-handed) swords were superior in battle. These people do not understand the mechanics of using a sword in combination with a shield, resulting in flexibility and an ability to defend and attack at the same time.[7]
Additionally, one should take into consideration the fact that many Iranian kings, such as Shah Ismail I, Shah Abbas I, Nader Shah, and Karim Khan Zand were excellent swordsmen themselves, and the historical accounts of the efficiency of Iranian shamshirs on the battlefield all attest to the capabilities of this type of sword. Bearing this in mind, it is also highly unlikely that Iranian kings who were warriors themselves would be satisfied with a sword which was only meant for show or hunting.
This book endeavors to provide a comprehensive overview of the development of arms and armor in Iran. Thanks to the kind permission of the Iranian Army and Iranian Cultural Heritage Organization, I was granted permission to examine the magnificent inventory of arms and armor in Iranian Military Museums as well as other museums under the auspices of the Iranian Cultural Heritage Organization, which displays arms and armor. The first part of this book gives an overview of many international publications on Iranian arms and armor as well as the Iranian publications on the subject.
Additionally, I have attempted to use published materials on the analysis of weapons from Parthian and Sassanian rock reliefs as well as, later, on miniatures and other art objects and cross-reference the same. Additionally, I have reviewed the historical biographies of various Iranian kings to find more useful information on this subject. Unfortunately, time was short, and I was unable to fully complete that exercise to my total satisfaction. I hope that another study will follow this book dealing with the topic in more detail.
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