Everybody has said whatever I said
Everyone has entered the knowledge garden
What has previously happened……
I, Mir Jamal Irajpour, was born in 1976 in Isfahan. My father came to Isfahan from Urmia in 1968 and my mother came from Abadan to Isfahan, the origin of Iranian art.
Based on the reminiscence of my dear father’s life, my life was full of music and painting from adolescence. During my guidance school years, I became interested in woodwork and started latticework at home on my own. This work continued until 1993 until I accidentally found and bought the book (Setar Instrument) by the late master (Chaichi) from a bookshop, and started producing setar instruments with regards to the patterns and guidelines in the book.
In this respect, I was accompanied by my younger brother and the support of my parents, who were kind to me.
During this time, about 6 setars were made and I also did a lot of latticework. Because music was always heard in the house, I became very interested in the tar instrument but buying it was postponed until after my high school certificate examinations.
With the purchase of tar by my late father, my tar instruction class began.
I refuse to mention the names of the dear masters with whom I have practiced, for reasons that everyone is aware of, and I apologize to every one of them).
The training courses of tar class always faced many problems and sometimes postponed up to two years, but what should be said apart from the topic of instrument making, is ethics and character of the dear masters, such that the art students taking steps in that way easily understand this issue. None of the masters of music, singers, or producers of instruments agree with the others in terms of work, art, training, and according to old people, they are bitter enemies, and this is unfortunate.
I started making tar in 2001 with one of the old masters of Isfahan (Master Goli) for a few months but I received many instructions in this work from valuable masters such as Master Goodarzi, Master Shojaei, Master Azizi, Master Rezvan, Master Borjian, Master Sabet, Master Mohammadi, and Master Ghorbanpour.
I always regret that the time and atmosphere of music and the weakness in teaching this art in my country, Iran, never allowed me to continuously use the presence of precious instrument-making masters, some of whom are no longer alive. I sincerely hope that the great masters who are working in this field will be more open-minded about training for the next generations.
It is necessary to mention the book of instrument-making art written by the great master Hossein Masoud, who has always been with me like a precious reference.
In addition to the work of making tar, I also continue latticework and mosaic work.
In 2013, I succeeded in receiving the national certificate of quality and excellence of Iranian handicrafts in the field of tar production.
One day, my son Mehrdad caused my mind to spark and I started drawing a gazelle. This led to the birth of an Iranian gazelle that was more loving and kind than the others. It is when, in addition to making tar, and when I am bored of making the instruments, I start carving gazelles. It is worth mentioning that all the works that you observe have been cut with a jigsaw and a cutter.
It is necessary to mention that the design of this site is only due to the necessity that has occurred and as mentioned before, I do not have any claims in the field of instrument making and I hope the dear singers who have this text in front of them to look at this content with forgiveness.
Finally, I would like to thank my dear friend and artist, Mr. Meysam Rudbarani (Iran Handicrafts Company), who was my friend and helper in designing and launching this site.
Up to the end of the world, there is a boundary between knowing and not knowing
It has been so, from the beginning of the world