His father was a tar player and his uncle was a tombak player. His grand father, Mirza Mehdi-ye Khoshnevis, was a famous calligrapher of Qajar's time. He started playing tombak at the early age of nine. At this time he regularly went to the local traditional zour-khāneh, not to watch the athletes, but to listen to the rhythms of the tombak used in training of the athletes. Later he studied tombak with the Mohammad Torkaman, Ostad Hossein Tehrani, Ostad Dr.
Nour Ali Boroumand and Ostad Abdollah Davami. His talent and knowledge in the art of tombak playing with his background of zourkhaneh's tombak made him a unique tombak player in his time. His followers have called his style sabk-e Ostad Farhangfar (the style of maestro Farhangfar). He performed widely and trained many students. His masterpiece in the art of tombak playing is his accompaniment of the tar of Ostad Mohammad Reza Lotfi in Dastgah-e Segah in the cassette of Parvaze Eshgh, which distributed for his remembrance by Ava-ye Shayda Company in Tehran. Farhangfar was also familiar with radif repertoire of Persian art music. He was also a poet and a calligrapher.
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