# Communities > Antique Arms & Armour Community > Middle-East, India & Africa (MEIA) >  A Moghul Indian Tabarzin

## Manouchehr M.

This is really a beautiful piece with excellent crucible steel pattern.  The following is taken from the site of Oriental Arms:

The heavy blade is 3 inches wide, 5 inches tall, forged from very fine high contrast wootz steel. The 21 inches long handle is covered with heavily gilded copper. The blade is very richly decorated with gold koftgari work.

Any input and your ideas on the decoration style of this axe are highly appreciated.  Or any other ideas and opinions.  Thanks.

Kind regards

Manouchehr Moshtagh Khorasani

By courtesy of Oriental Arms

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## Manouchehr M.

More pictures

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## Kaveh Farrokh

It would be interesting to see how this weapon would be deployed in cavalry warfare. The Sassanian Savaran elite cavalry (esp. from the period of Shapur II) often used maces and to break the opponent's armor, just as battle-axes would. It would be interesting to see (a) how infantry and cavalry used this weapon and (b) modes of training with the weapon.

Kaveh Farrokh

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## Manouchehr M.

> It would be interesting to see how this weapon would be deployed in cavalry warfare. The Sassanian Savaran elite cavalry (esp. from the period of Shapur II) often used maces and to break the opponent's armor, just as battle-axes would. It would be interesting to see (a) how infantry and cavalry used this weapon and (b) modes of training with the weapon.
> 
> Kaveh Farrokh



Kaveh jan,

Welcome to SFI and we are all happy to have you here.  Indeed it will be very nice to find out about th techniques.  As you know there are a number of similar tabars in Iranian museums as well.  They are all massive and very well-crafted.  Some miniatures show them in warfare as well.  I am sure we can find out more about their usage in period manuscripts.

Kind regards

Manouchehr

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## A. Ko

Dr. Kaveh, welcome to SFI!  We're very pleased to have you.

Manouchehr, congratulations on the acclaim your book has earned.  We're very proud of your achievements!

Regarding this splendid piece, I've always been curious as to how typically deep gold decals run.  I understand in some cultures that gold was ground into a powdered form, and then a kind of lacquer would seal the gold to the surface.  However, is the receiving area typically pre-shaped on pieces like this where the gold powder (if such was used) filled depressions into the metal?

Further, if there were preparatory depressions made, how were their specific shapes so well defined?  Was it by hand carving or by etching?

Thank you!

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## Manouchehr M.

Hi Adrian,

Thank you very much for your kind words and support.  I really appreciate it.   As you know there are different methods to apply gold to the surface of the metal for decoration purposes.  One of them is gold-overlaying. I think this piece has gold-overlaying technqiue.  Just look at the raker areas in the corner.  This is done via hatching the surface like criss cosses, then the gold wire is applied to the surface and the polished and the gold sticks.  Obviously, this is the easier and cheaper method to true gold-inlaying which requires cutting grooves into the metal and applying gold into it.  First the workers engraved a design on steel with a fine engraving tool, slightly undercutting the surface.  In the next step they hammered fine gold wire into the groove There is also gilding the surface of the metal.  In this case the surface was gilded leaving the inscriptions or decoration blank where one could see the steel.  The contrast is of course very beautiful.

Kind regards

Manouchehr





> Dr. Kaveh, welcome to SFI!  We're very pleased to have you.
> 
> Manouchehr, congratulations on the acclaim your book has earned.  We're very proud of your achievements!
> 
> Regarding this splendid piece, I've always been curious as to how typically deep gold decals run.  I understand in some cultures that gold was ground into a powdered form, and then a kind of lacquer would seal the gold to the surface.  However, is the receiving area typically pre-shaped on pieces like this where the gold powder (if such was used) filled depressions into the metal?
> 
> Further, if there were preparatory depressions made, how were their specific shapes so well defined?  Was it by hand carving or by etching?
> 
> Thank you!

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## Manouchehr M.

Talking about gold-overlaying, or koftegari, look at this marvellous Indian tabar with gold-overlaid decoration.  What is very interesting and unique about this piece is that its handle is covered with layers of rhino horn.  Really unique.  Read the text below please:

By courtesy of Oriental Arms

"This short and heavy battle axe is of Indian origin, with the 3 ž X 4 inches blade richly decorated with gold koftgari work and inscriptions all around. The blade is fixed to a haft made of four sectors of dark Rhino horn with clear fibrous structure, riveted to the reinforcement central steel strip with steel rosettes and also decorated with gold koftgari work. Gold rings are mounted above the connection lines between the horn sectors to conceal it. Total length 19 inches.  The gold rings are later to the haft."

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## Manouchehr M.

More pictures

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## Manouchehr M.

Could someone please identify the deity depicted on teh axe?  Thanks.

Kind regards

Manouchehr

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## A. Ko

Regarding the first set of photos, I can't tell from the photographs how the details on the handle were formed.  In the case of some kukri, they used sheet metal and hammered it against hard metal templates -- instead of engraving.  

The photos of the grip detail are blurry.  Do you think they formed the details against templates, or did they typically do engraving for the grips?

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## A. Ko

> It would be interesting to see how this weapon would be deployed in cavalry warfare. The Sassanian Savaran elite cavalry (esp. from the period of Shapur II) often used maces and to break the opponent's armor, just as battle-axes would. It would be interesting to see (a) how infantry and cavalry used this weapon and (b) modes of training with the weapon.
> 
> Kaveh Farrokh


Dr. Kaveh,



Would axes with this level of decoration have been used in cavalry warfare, or is this more a ceremonial piece?  I would imagine that if the piece represented in the first set of photos were used in combat against armor that there would be more wear on the gold pattern in the edge.

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## Manouchehr M.

> Regarding the first set of photos, I can't tell from the photographs how the details on the handle were formed.  In the case of some kukri, they used sheet metal and hammered it against hard metal templates -- instead of engraving.  
> 
> The photos of the grip detail are blurry.  Do you think they formed the details against templates, or did they typically do engraving for the grips?


Hi Adrian,

I think I misunderstood you.  Do you mean the handle?

Kind regards

Manouchehr

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## Manouchehr M.

Hi Adrian

I did not inspect this piece.  I think the handle is gilded copper and chased.

KInd regards

Manouchehr

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## Manouchehr M.

> Dr. Kaveh,
> 
> 
> 
> Would axes with this level of decoration have been used in cavalry warfare, or is this more a ceremonial piece?  I would imagine that if the piece represented in the first set of photos were used in combat against armor that there would be more wear on the gold pattern in the edge.


Hi Adrian

You raise up a very good question.  There is no doubt that the axe above could cause serious damage.  These axeheads with crucible steel are extremely sturdy and well-made.  You are right that the majority of soldiers did not have and could not afford decorated items.  But a number of high-ranking officers used decorated swords and weapons in war.  You can read about the descriptions given in the period manuals.  I will report on this later.  I think back then it was not only a symbol of rank but a way to show their standing.

Kind regards

Manouchehr

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## Carlo Giuseppe Tacchini

Hi Manouchehr. Great pics and item. 
Are the remains of insrciptions on this  Kolah Khud made the same way ?

http://www.webalice.it/tsubame1/images/IMG_0523.JPG

It seems that to have such a well preserved gold work on this axe would
mean not much involving into battles...

EDIT : I'm really interested in the pattern put on the board of the helmet, just around the holes for
the chainmail rings. It resemble Higaki-yasuri of japanese swords and the making of such pattern is
intriguing for me. Suggestions about its making (filing?) welcomed.

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## Kaveh Farrokh

Adrian raised an excellent point. The weapon is highly decorated and at first glance appears to be ceremonial. Romano-Byzantine sources do report the Sassanian commanders and elite Sassanian cavalry (and Dailamite infantry later) appearing on the battlefield with decorated weapons. The sword of Emperor Heracles was in fact captured during the initial Sassanian expansions into the Byzantine Near East - it is reputed to have resided in Ctesiphon until its fall to the Arabs after 637 AD who captured Heracles' sword. The broad-sword of Khosrow II (which was also captured by the Arabs) was by then a purely ceremonial weapon as its battlefield utility had been surpassed by the 6-7th centuries AD by the Turco-Avar style locket-suspension sword. 

Regards
Kaveh Farrokh

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## A. Ko

> Adrian raised an excellent point. The weapon is highly decorated and at first glance appears to be ceremonial. Romano-Byzantine sources do report the Sassanian commanders and elite Sassanian cavalry (and Dailamite infantry later) appearing on the battlefield with decorated weapons. The sword of Emperor Heracles was in fact captured during the initial Sassanian expansions into the Byzantine Near East - it is reputed to have resided in Ctesiphon until its fall to the Arabs after 637 AD who captured Heracles' sword. The broad-sword of Khosrow II (which was also captured by the Arabs) was by then a purely ceremonial weapon as its battlefield utility had been surpassed by the 6-7th centuries AD by the Turco-Avar style locket-suspension sword. 
> 
> Regards
> Kaveh Farrokh



Kaveh, thank you.  I would imagine that a surface application of gold powder and binder (be it laquer or some kind of glue -- or ancient equivalent to modern epoxy) would be much easier to apply from a restoration standpoint.  Let's say decorated weapons were used and were scuffed or suffered edge damage.  After grinding, polishing and re-establishing the surfaces, it would be easier to redecorate if there was no depressed receiving areas.  

So then comes certain questions:

1.  How common is it to find such weapons with actual battle damage, or did the smiths endeavor to restore them after battle.

2.  Was the gold decorations done purely by eye, or was a template used (e.g. paper cutouts) that would ensure the consistency of the artwork such that the restored art was contiguous and flowed with the original?

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## Manouchehr M.

Hi Carlo,

Hard to tell from the picture.  I do not see a cross hatching.  Maybe traces of gilding?  I need a magnifying glass to see that.  Could you do that and check whether you see such a hatched surface?

Yes this battle could not have been used or the decorations were put later on the blade.

Kind regards

Manocuhehr





> Hi Manouchehr. Great pics and item. 
> Are the remains of insrciptions on this  Kolah Khud made the same way ?
> 
> http://www.webalice.it/tsubame1/images/IMG_0523.JPG
> 
> It seems that to have such a well preserved gold work on this axe would
> mean not much involving into battles...
> 
> EDIT : I'm really interested in the pattern put on the board of the helmet, just around the holes for
> ...

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## Manouchehr M.

Kave,

Thank you very much for your kind input.  Really nice.

Kind regards

Manouchehr

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## A. Ko

Pursuant to my question regarding the restoration of the gold artwork after use on the battlefield...

http://forums.swordforum.com/attachm...9&d=1170371277

This image in particular (from the first post) shows the wear of the gold artwork on the cutting surface.  Now one might say that the wear is the result of handling over the years, but if so why this area specifically while the rest of the axehead's artwork remains so well preserved?

If we examine the cutting surface: the artwork may have originally formed an internal track tracing the shape of the axehead, but here the "wear" might be consistent with an efforf of a re-establishing the edge and working surface of the axe if it had seen battle..  

Or if the axe had some kind of sheath whereupon only the working surface was sheathed while the opposite end of the edge was left exposed.  Any confirmation of how these were sheathed or worn would be most welcomed.

If you then look at:

http://forums.swordforum.com/attachm...8&d=1170371269

... the cutting surface of the axe is smooth.  If never used in battle, there is no reason that regular handling over the years would have resulted in that specific a loss or wear of the artwork.

http://forums.swordforum.com/attachm...0&d=1170371282

The above here is a special shot, I think, because it shows a lenticular edge.  The flow of lines and the surface suggest to me that if indeed the axe was once used in battle and that restoration was required to remove chips or damage to the edge, the person working on the restoration did a remarkable job of re-esablishing the surfaces.

Thoughts?

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## Greg T. Obach

just a additional thought... i've made quite a few axes and the Poll on these axes is massive..  .. i definitely believe it is on purpose...    you could use the poll on these like a war hammer..   

excellent post.. 
Greg

please continue  :Wink:   :Big Grin:

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## josh stout

A friend who is a scholar of Indian religions helped me with the iconography of the axe.  
.......
"Josh,
It is almost certainly Durga in the form when she is
killing Mahisasura (the buffalo demon) though it is
possible that she is killing the twins Sumbha Nisumbha
but usually she is only holding a kind of club in that
latter image. The multiple weapons harken back to the
story when all the gods gather and each give her their
weapons so that she is all powerful. The story is the
basis of the Devi Mahatmya (the best translation is in
Thomas Coburn, Encountering the Goddess) which is a
hymn in praise of Durga. In this image she is the
great goddess (rather than the more localized versions
of Durga). Below her feet are the demon/demons. In the
photo I couldn't see if there was a lion there. If so,
that is her mount who she rides into battle
(occasionally it is a tiger). "
.........

My friend also mentioned that with good pictures she might be able to decipher the inscription.
Josh

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## Carlo Giuseppe Tacchini

> A friend who is a scholar of Indian religions helped me with the iconography of the axe. ...OMISSIS...
> My friend also mentioned that with good pictures she might be able to decipher the inscription.
> Josh


Hi Josh. Any chance to have your friend regiostered here on SFI ?
He should be a great addition.

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## Ian Hutchison

> This is really a beautiful piece with excellent crucible steel pattern.  The following is taken from the site of Oriental Arms:
> 
> The heavy blade is 3 inches wide, 5 inches tall, forged from very fine high contrast wootz steel. The 21 inches long handle is covered with heavily gilded copper. The blade is very richly decorated with gold koftgari work.
> 
> Any input and your ideas on the decoration style of this axe are highly appreciated.  Or any other ideas and opinions.  Thanks.
> 
> Kind regards
> 
> Manouchehr Moshtagh Khorasani
> ...



Sir, 
Every time you post pictures of a weapon I constantly find myself drawn to the fine patterns and designs of the inlay and other furnishings rather than the blade or functional aspects of the piece. You have a habit of finding the most beautiful pieces, I find them more a kin to pieces of art than tools of man. It is impossible to imagine them being used for something as crude as killing. 

I hold you responsible for my budding interest in Middle Eastern and South Asian weapons.

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## Manouchehr M.

Thank you very much Ian for your kind words and your interest in middle eastern weapons.

Kind regards

Manouchehr





> Sir, 
> Every time you post pictures of a weapon I constantly find myself drawn to the fine patterns and designs of the inlay and other furnishings rather than the blade or functional aspects of the piece. You have a habit of finding the most beautiful pieces, I find them more a kin to pieces of art than tools of man. It is impossible to imagine them being used for something as crude as killing. 
> 
> I hold you responsible for my budding interest in Middle Eastern and South Asian weapons.

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## Thomas Powers

Is any of that work done by fire gilding  a common renaissance western way of gilding on steel.  You make an amalgam of gold and mercury and "paint" it on and then heat it to drive off the mercury and burnish.  (we call it "the expendable apprentice method" due to the hazards of vapourized mercury.)

Thomas

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## Manouchehr M.

> Is any of that work done by fire gilding  a common renaissance western way of gilding on steel.  You make an amalgam of gold and mercury and "paint" it on and then heat it to drive off the mercury and burnish.  (we call it "the expendable apprentice method" due to the hazards of vapourized mercury.)
> 
> Thomas



Thomas,

I think they are done via gold-overlaying Koftegari technique.

Kind regards

Manouchehr

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## Wim Durinx

Maybe a bit late to chime in on tabarzin gilding methods. A few pictures from an axe in my collection,  by Lat'f Ali .  I  believe (wishing is believing?) it is an original (see Melikian-Chirvani) . The steel (quite hard) is deeply cut, with an irregular bottom in the runs. The gilding is pressed in , and doesn't stay proud of the cuts, like in the koftgari technique.

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## Carlo Giuseppe Tacchini

A very nice one, perfect as Avatar.  :Smilie:

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## Greg T. Obach

that is a beauty

excellent chiseling on it....  and very sweet inlay
is the handle socket round in shape?  and does it taper

you have a real gem !
thank you for the pictures

Greg :Wink:

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## Wim Durinx

No, the opening doesn't taper and is round. The handle is I believe original (no pics, away for restoration) and a bit special. It is a wooden stave covered with a thin rope on the grip part, covered with modeled shrunk-on leather, and painted black and gold. The part between the axe head and the grip is covered with greenish rayskin or similar, damaged in the head area. The grip area was intact.
Some years ago, I replaced the head while chatting to a visitor. A bit distracted,  I applied too much force, and - horror of horrors- the handle split and ripped in two. To my amazement, a simple short sword turned out to be concealed in the handle! It seems to have been a "last resort" weapon, as you would have to ruin the handle to get at it.
While I'm aware of Zaghnals, and other Indian stave weapons with concealed swords or daggers, I've never heard of any Tabarzins with this feature, but maybe somebody has a different view...

Kind regards, Wim

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## Greg T. Obach

Hi Wim
thank you very much

it is very good to hear about the handle construction...     I have made many axes and hammers my self and i'm alway curious about the different shapes used... 
especially the type of hole drifted through the axe body...     i have some hammers with a round hole that i've made... and they work well...   
-- some people seem to think that you need an oval shape  or such to have a secure mount... 

thanks again......you've provided very good description of an ancient handle... and i'm glad you found the hide away weapon...    thats excellent news !

it would be interesting to start a post on other hide away weapons....  to see other concealed last resorts..

take care
Greg

ps..  wonderful tabar   :Wink:

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## Melisande B.

Dear all, 

Thank you for sharing this amazing tabarzin, Wim ! I am a PhD student and I am working about afsharid art, notably works of Lotf Ali. It really looks like an original. May I ask you to explain what is the decoration behind the axe, and on the two small part on the top and the bottom ?

Concerning the stiletto in the haft, I know another axe with it : http://collections.vam.ac.uk/item/O67805/axe-unknown/

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## Wim Durinx

> Dear all, 
> 
> Thank you for sharing this amazing tabarzin, Wim ! I am a PhD student and I am working about afsharid art, notably works of Lotf Ali. It really looks like an original. May I ask you to explain what is the decoration behind the axe, and on the two small part on the top and the bottom ?
> 
> Concerning the stiletto in the haft, I know another axe with it : http://collections.vam.ac.uk/item/O67805/axe-unknown/


Thank you for the info on the handle.
I can't take anymore photos just now (very difficult glass case to open) of the tabarzin. But the back has a square head with a gold inlay border and two birds in the middle (heron and hawk?). The upper and lower part has arabesque inlay.
The axe head is very similar to the one of Lat'f Ali in the Wallace collection (OA1550). A Lat'f Ali axe head turned up at an auction a while ago (notice the difference between estimate and sale price...):
https://www.ragoarts.com/auctions/20...es-auction/603
Thank you for the interest!

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## Melisande B.

Thank you for the information and the sale I didn't know ! 
I now know 10 axes signed by Lotf 'Ali and at least 2 armour, and there is some which are really similar. The corpus could be huge. Karim zadeh Tabrizi also mentions a mirror case.

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## Wim Durinx

> Thank you for the information and the sale I didn't know ! 
> I now know 10 axes signed by Lotf 'Ali and at least 2 armour, and there is some which are really similar. The corpus could be huge. Karim zadeh Tabrizi also mentions a mirror case.


Check out, if you didn't already did that, Dr. Melikian-Chirvani's 1979 (?) study on the Lotf'Ali tabarzin. From (failing...) memory, , he mentioned about 15 extant tabarzin.

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## Melisande B.

Thanks ! He described 4 tabarzin in his article (Milan, Wallace Coll., V&A and one without localization), but in fact, it does exist really more tabarzins signed by him and a lot very similar. Mayer mentioned him also.

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## eric t

> This is really a beautiful piece with excellent crucible steel pattern.  The following is taken from the site of Oriental Arms:
> 
> The heavy blade is 3 inches wide, 5 inches tall, forged from very fine high contrast wootz steel. The 21 inches long handle is covered with heavily gilded copper. The blade is very richly decorated with gold koftgari work.
> 
> Any input and your ideas on the decoration style of this axe are highly appreciated.  Or any other ideas and opinions.  Thanks.
> 
> Kind regards
> 
> Manouchehr Moshtagh Khorasani
> ...


Here is a well worn relative of the tabar originally posted here.

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## eric t

> Concerning the stiletto in the haft, I know another axe with it : http://collections.vam.ac.uk/item/O67805/axe-unknown/


Indian (Sind) tabar battle axe, late 18th century or earlier, crescent shape 5 inch long head with a square hammer opposite of the blade, 22 inch long steel haft, the end of the haft unscrews to reveal a 5 inch slim blade.

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## Edward C.

What is the weight of these axes?  The heads look very substantial!

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## Gene Wilkinson

> Here is a well worn relative of the tabar originally posted here.


This would be a nice Tabarzin if cleaned. It's almost certainly a wootz blade.

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## Gene Wilkinson

> What is the weight of these axes?  The heads look very substantial!


I have one of the ones with a wootz blade and copper alloy over wood handle (as opposed to the all steel one with the screw-in dagger above your post).
Mine weighs 890g

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## Gene Wilkinson

> No, the opening doesn't taper and is round. The handle is I believe original (no pics, away for restoration) and a bit special. It is a wooden stave covered with a thin rope on the grip part, covered with modeled shrunk-on leather, and painted black and gold. The part between the axe head and the grip is covered with greenish rayskin or similar, damaged in the head area. The grip area was intact.
> Some years ago, I replaced the head while chatting to a visitor. A bit distracted,  I applied too much force, and - horror of horrors- the handle split and ripped in two. To my amazement, a simple short sword turned out to be concealed in the handle! It seems to have been a "last resort" weapon, as you would have to ruin the handle to get at it.
> While I'm aware of Zaghnals, and other Indian stave weapons with concealed swords or daggers, I've never heard of any Tabarzins with this feature, but maybe somebody has a different view...
> 
> Kind regards, Wim


Hi Wim,

That's interesting. Usually the shafts containing daggers are the screw-in type with tubular steel shafts. I've never encountered a shaft as you describe with a concealed dagger. 
My Tabarzin has the wound string with parchment/paper shrunk onto it then painted. Sort of reminiscent of rexine!
Having read your post, I've just tried a strong neodinium magnet on the shaft and there is no attraction. So mine does not contain any secrets!

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## Gene Wilkinson

> Dear all, 
> 
> Thank you for sharing this amazing tabarzin, Wim ! I am a PhD student and I am working about afsharid art, notably works of Lotf Ali. It really looks like an original. May I ask you to explain what is the decoration behind the axe, and on the two small part on the top and the bottom ?
> 
> Concerning the stiletto in the haft, I know another axe with it : http://collections.vam.ac.uk/item/O67805/axe-unknown/



In th V&A Publication: Islamic arms by TL Anthony North on page 40 there is Tabarzin with the description:
"chiselled steel inlaid with gold
Inscribed as having been made at Lahore, and bearing the spurious signature of the craftsman Lotf'Ali
Hindustan 19th Century"

ISBN 0 11 290384 3

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## Melisande B.

It is one of the Melikian's tabarzin. Thanks !

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## Gene Wilkinson

> It is one of the Melikian's tabarzin. Thanks !


I can't see a collection attribution.

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## Melisande B.

Sorry, I was not clear, it is not a collector, it is the scholar who wrote the paper about Lotf Ali tabarzins in 1979. He demonstrates that this tabarzin was probably made in Lahore to copy Lotf Ali works.

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## Gene Wilkinson

The V&A publication offers no further information.
I note though that the description of this axe say that it is "inscribed as having been made at Lahore".
It would be interesting to see the inscription.

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## eric t

> My Tabarzin has the wound string with parchment/paper shrunk onto it then painted. Sort of reminiscent of rexine!
> Having read your post, I've just tried a strong neodinium magnet on the shaft and there is no attraction. So mine does not contain any secrets!


Gene, do you have any photos of your tabar?

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## Melisande B.

> The V&A publication offers no further information.
> I note though that the description of this axe say that it is "inscribed as having been made at Lahore".
> It would be interesting to see the inscription.


It is a North's mistake. This is the inscription. 

'Amal-e Lotf Ali Golham 1150
(Better picture here : http://media.vam.ac.uk/media/thira/c...474_jpg_ds.jpg)

The one inscribed "made in Lahore" is this one : Because of similarities in form and technique, Malikian ascribed the first one to Lahore too. 

The one who bears the inscription "made in Lahore" is this one :

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## Gene Wilkinson

> Gene, do you have any photos of your tabar?


I find it difficult to get the photos the right size!

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## eric t

> I find it difficult to get the photos the right size!


Nice one Gene, thanks!!

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## M Forde

That's lovely.

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