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Muʿawiya

2019-08-27T13:36:39Z

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Ahl al-bayt

2019-08-27T12:20:49Z

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Taʿzia

2019-08-27T11:04:40Z

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ʿObaydallah b. Ziad

2019-08-27T11:03:46Z

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Muawiya

2019-08-27T11:01:54Z

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Moharram

2019-08-27T11:01:13Z

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Horr B. Yazid al-Riahi al-Yarbuʾi al-Tamimi

2019-08-19T06:25:55Z

T.ramezani:

{{Infobox companion of Imam (a)
| image = حرم حر بن یزید ریاحی.jpg
| image size =
| caption = Shrine of al-Hurr
| Full name = Al-Hurr b. Yazid al-Riyahi
| Companion of = Husayn b. ʿAli
| Kunya =
| Epithet =
| Well Known As =
| Religious Affiliation =
| Lineage = Tamim
| Well known relatives =
| Birth =
| Place of Birth =
| Place of Residence = Kufa
| Death/martyrdom = 61/680
| Cause of Death/martyrdom = Martyred in the Event of Ashura
| Burial place = Karbala, Iraq
| Professors =
| Students =
| Works =
| Activities =
}}
'''HORR-E RIAHI AL-HORR B. YAZID al-Riahi al-Yarbuʾi al-Tamimi''' (d. 61/ 680), a leading tribesman in [[Kufa]], who obeyed the orders of [[ʿUbayd-Allah b. Ziad]] by intercepting [[Husayn b. ʿAli]] and his party and leading them to [[Karbala]], but later repented and fought on Husayn’s side which led to Horr’s [[martyrdom]] on the 10th of [[Muharram]], [[Ashura]]. He is regarded as the symbol of hope in repentance which ensures his salvation.
==Encounter with Imam Husayn==
The first meeting between Horr and Imam Husayn was not hostile. However, Horr pressed upon Husayn to change his course and follow him, even after the latter had informed him of the letters of support, he had received from the Kufans, towards whom his party was heading. Horr further obeyed Ibn-e Ziad’s subsequent order to force the rebels to stop in a deserted area. Thus, Husayn was led to the plain of Karbala, where he was encircled by the troops dispatched by Ibn-e Ziad under the command of [[ʿOmar b. Saʿd]]. Once the latter had rejected Husayn’s final proposals and decided to fight him on the morning of [[Ashura]], 10 [[Muharram]] 61/10 October 680, Horr then repented and joined Husayn, who promised him God’s forgiveness.
==Horr’s Martyrdom==
According to most historians, many men from Husayn’s side were killed before Horr (see, e.g., Ṭabari, II, p. 350; tr. I. K. A. Howard, XIX, p. 144). However, Horr’s own words when he rallied behind Husayn imply that he might have been the first to be killed at Karbala. [[Shiʿite]] tradition has retained this sequence of events, apparently derived from the work of [[Shaykh al-Mofid]], who does not mention anyone having been killed before Horr, except Muslim b. ʿAwsaja (tr. Howard, 1981, pp. 356 f.). In Turco-Persian [[maqtal-nama]] narratives of the drama of Karbala, which were used extensively by Kashefi for his [[Rawzat al-Shuhada]] (see Calmard, 1996, p. 155), after having killed many enemies, Horr became the first martyr of the battle. His [[martyrdom]] was followed by those of his brother, Moṣʿab b. Yazid, his son ʿAli, and the latter’s slave (Kashefi, pp. 277 ff.; see Calmard, 1975, pp. 351 ff.).
==Legacy==
Horr’s courageous rallying behind Husayn and sacrificing himself to his cause are widely celebrated in [[Muharram]] rituals and related popular literature, such as [[marthias|marthia]] (elegies), [[nawḥas|nawha]] (dirges), and [[taʿzias|taʿziya]] (religious dramas). Many scenes dedicated to Horr are included in taʿzia collections, particularly in the Cerulli version (see Rossi and Bombaci, 1961, Index).
==Bibliography==

*M. Ayoub, Redemptive Suffering in Islam, The Hague, 1978, Index.

*J. Calmard, “Le Culte de l’Imam Husayn. Etude sur la commémoration du drame de Karbala dans l’Iran pré-safavide,” Ph.D. diss., University of Paris (Sorbonne), 1975.

*Idem, “Shií Rituals and Power, II. The Consolidation of Safavid Shi’ism: Folklore and Popular Religion,” in C. Melville, ed., SafavidPersia, Cambridge, 1996, pp. 139-90.

*P. J. Chelkowski, ed., Taʿziyeh: Ritual and Drama in Iran, New York, 1979, index. Ṣ. Homāyuni, Taʿzia dar Irān, Shiraz, 1368 Š./1989, Index.

*Husayn Wāʿeẓ Kāšefi, Rawżat al-šohadāʾ, ed. M. Ramażāni, Tehran, 1341 Š./1962.

*M. J. Kister, “al-Ḥurr b. Yazīd,” in EI2. Šayḵ al-Mofid, al-Eršād, tr. I. K. A. Howard, Kitāb al-Iršād: The Book of Guidance in the Livesof the Twelve Imams, London, 1981, Index.

*Mostawfi, Šarḥ-e zendagāni. E. Rossi and A. Bombaci, Elenco di drammi religiosipersiani (fondo mss. Vaticani Cerulli), Vatican City, 1961, Index.

*P. Ṣayyād, Matn-e taʿzia-e Ḥorr, mansub be-Moṣṭafā Kāšāni (Mir ʿAzā), Tehran, 1350 Š./1971.

*Ṭabari, II, index; Ṭabari tr., XIX, index. L. Veccia Vaglieri, “al-Ḥusayn b. ʿAlī b. Abī Ṭālib,” in EI². (Jean Calmard)

==Source==

*[http://www.iranicaonline.org/articles/horr-e-riahi Encyclopaedia Iranica]

[[Category: Historical Character]]
[[Category: Karbala Martyrs]]
[[Category: Battle of Karbala]]
[[Category: Husayn’s Followers]]

Ta'ziya

2019-08-19T06:11:05Z

T.ramezani:

{{Infobox performing art
| name = TAZIYA (TA`ZIYEH)
| image = Eternal Performance Taziyeh.jpg
| caption = '''Ta‘zīye (or Ta’azyeh)''' is a ritual dramatic art that recounts religious events, historical and mythical stories and folk tales.
| medium =
| types =
| ancestor =
| descendant =
| culture = [https://ich.unesco.org/en/RL/ritual-dramatic-art-of-taziye-00377 Inscribed in 2010 (5.COM) on the Representative List of the Intangible Cultural Heritage of Humanity]
| era = Asia and Australasia
}}
'''Ta'ziya''' is an Islamic Shi'ite ritual performed mainly in Iran. The Arabic term ta'ziya (Per., Ta'ziyeh) means to mourn or to offer one's condolences for a death. It is also sometimes called ta’ziya khani, or shabih khani. The term taʻziya has been used primarily in Iran to refer to a Shi'ite religious ritual consisting of a theatrical re-enactment of the tragic seventh century Battle of [[Karbala]]. This historic battle was fought between the followers of prophet [[Mohammad|Muhammad]]'s grandson, [[Imam Husayn]] and the troops of the second [[Umayyad]] caliph [[Yazid]]. While taʼziya performance rituals have been mostly restricted to Iran, the Shi'a of South Asia and Iraq use the term taʻziya to refer to a model or replica of Husayn's tomb, which they use in their ritual processions, after which they are ritually discarded.
==The Battle of Karbala==
Accounts of the Battle of Karbala can be summarized as follows. In the year 680 C.E., Husayn, who was also the third imam of the [[Shi'a]], was killed in the desert of southern Iraq along with over seventy of his family and close friends by troops loyal to the caliph Yazid. The women and children were taken prisoner and paraded in various cities, adding to the humiliation, but also providing opportunities for these women, particularly Husayn's sister [[Zaynab]], to speak out publicly against Yazid. Yazid is portrayed by the Shisa as notoriously corrupt, immoral, and oppressive. Hence, Husayn's rebellion and subsequent [[martyrdom]] is understood by the Shiʻa as an epic struggle between good and evil. For the Shisa this event has served as a vindication of the Shi'ite cause in the face of [[Sunni]] criticism, as well as constituting the central event in their understanding of human history.
==Historical Development==
[[File:A Ta'ziyeh company of Late Qajar era.jpg|thumb|438x438px|[http://www.iranchamber.com/cinema/articles/taziyeh_drag_kings_queens.php A Ta'ziyeh company of Late Qajar era.jpg]]]
Following the battle itself, popular elegies of the martyrs were composed. However, the earliest reliable account of the performance of public mourning rituals was recorded in 963 C.E. during the reign of Mu'izz al-Dawla, the [http://www.iranicaonline.org/articles/buyids Buyid] ruler of southern Iran and Iraq. When the [http://www.iranicaonline.org/articles/safavids Safavid] dynasty came to power in Iran a new type of ritual called [[rawza-khani]] emerged, consisting mainly of a ritual sermon recounting and mourning the tragedy of Karbala. This ritual was based on texts like Husayn Va'ez Kashfi's 1502 composition entitled [[Rawzat al-shuhada]] (The garden of martyrs). Kashfi's text was a synthesis of a long line of historical accounts of Karbala by religious scholars.
By the time the [https://www.britannica.com/topic/Qajar-dynasty Qajar] dynasty took power in Iran in 1796, the rawza-khani ritual had evolved into the much more elaborate ritual called shabih-khani or taʼziya. The ta’ziya, an elaborate theatrical performance of the Karbala story based on the same narratives used in the rawza-khani, involved a large cast of professional and amateur actors, a director, a staging area, costumes, and props.

The heyday of ta'ziya was the Qajar era (1796–1925). The most elaborate example of Qajar patronage of taʻziya was the [[Takiya Dawlat]], which was built in Tehran in 1873 by the order of the Iranian monarch [https://www.britannica.com/biography/Naser-al-Din-Shah Naser al-Din Shah]. This takiya was built on a very grand scale. Nevertheless, it was in most ways a typical takiya. It consisted of a large circular amphitheater with several entrances surrounding a large open area; a tent was used as a roof. Its primary purpose was to provide a staging area for the most elaborate ta’ziya performances. Lady Sheil, a European traveler, resident in Tehran in 1856, gives a brief account of the taʻziya performance in the Takiya Dawlat in 1856, concluding, “It is a sight in no small degree curious to witness an assemblage of several thousand persons plunged in deep sorrow, giving vent to their sorrow” (p. 127).
==Modern Trends==
Following the fall of the Qajar dynasty in the early twentieth century, the ta'ziya slowly declined until it was mostly abandoned in the large cities in the 1930s and 1940s. However, ta'ziyas have continued to exist in Iran on a smaller scale throughout the twentieth century, especially in traditional sectors. There were two reasons for this relative decline. The first Pahlavi king, [https://www.britannica.com/biography/Reza-Shah-Pahlavi Reza Shah], outlawed the ta’ziya. More importantly, as Iranian society changed modernized elites became less interested in sponsoring such traditional ritual events. Scholars of literature and drama as well as government agencies attempted to preserve this theatrical tradition in the 1970s, and again in the 1980s and 1990s. However, unlike the Qajar period, which was the heyday of the taʻziya ritual, the dominant public rituals since the 1930s have been the [[Muharram]] processions, and various forms of the rawza khani.
==Bibliography==

*Chelkowski, Peter, ed. Ta'ziyeh: Ritual and Drama in Iran. New York: New York University Press, 1979.

*Hegland, Mary Elaine. “The Majales-Shiʻa Women's Rituals of Mourning in Northwest Pakistan.”

*In A Mixed Blessing: Gender and Religious Fundamentalisin Cross Culturally. Edited by Judy Brink and Joan Mencher. New York and London: Routledge, 1997.

*Pelly, Sir Lewis. “The Miracle Play of Hasan and Husayn.” Collected from Oral Traditions. London: Wm. H. Allen and Co., 1879.

==Source==

*[https://www.worldcat.org/title/encyclopedia-of-islam-and-the-muslim-world/oclc/52178942 Kamran Aghaie (2004). Encyclopedia of Islam and Muslim World. Edited by Richard C. Martin. USA: Macmillan; P: 691.] ISBN 0-02-865912-0

[[Category: Shi’i Ritual]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Muslim b. Aqil b. Abi Talib

2019-08-17T16:18:41Z

T.ramezani:

{{Infobox companion of Imam (a)
| image = Shrine of Muslim b. Aqil.jpg
| image size =
| caption = The Tomb of Muslim b. 'Aqil next to the Mosque of Kufa
| Full name = Muslim b. 'Aqil b. Abi Talib
| Companion of = Imam Husayn
| Kunya =
| Epithet =
| Well Known As =
| Religious Affiliation =
| Lineage = Banu Hashim
| Well known relatives =
| Birth =
| Place of Birth = Medina
| Place of Residence = Medina
| Death/martyrdom = 60/680
| Cause of Death/martyrdom = Martyred by 'Ubayd Allah b. Ziyad
| Burial place = Kufa
| Professors =
| Students =
| Works =
| Activities =
}}
'''Muslim b. ʿAqil b. Abi Talib''' (d. 60/680) was a leading supporter of [[Imam Husayn]]. He was sent to [[Kufa]] as a representative of Imam Husayn in order to measure the extent of Kufan support for the Prophet’s grandson and to make sure that people of Kufa are truthful in their invitation of the Imam. In a report to the Imam, he confirmed that Kufans were prepared for the Imam's arrival.
Fearful of increasing Kufan supports of Imam Husayn, [[Yazid]] appointed [[Ubayd Allah b. Ziad]] as the new governor of Kufa to frighten people and force them to leave Muslim. Finally, Muslim was arrested and executed in the day of ‘Arafa. The story of Muslim being left alone and his [[martyrdom]] in Kufa is a recurring theme of [[Rawza]] recited by the Shi'as.
==Birth and Life Events==
There are unusually large discrepancies in the sources as regards his date of birth: the difference between the extreme figures is more than 30 years. According to one report, he fought in Safar 37/July 657 in the right wing (maymana) of [[Ali]]’s army at the battle of [https://www.britannica.com/event/Battle-of-Siffin Siffin], together with his cousins [[Hasan]], [[Husayn]] and ʿAbd Allah b. Jaʿfar (Ibn Aʿtham al-Kufi, K. al-Futuh, Haydarabad 1388-95/1968-75, iii, 32; Ibn Shahrashub, Manaqib, ii, 352). The report implies that Muslim was born no later than the early 20s/640s. An even earlier date is suggested by an account that during ʿOmar’s reign Muslim, took part in the conquest of al-Bahnasa [q.v.] (Ps.-Waqidi, Futuh al-Sham , Cairo 1354, ii, 136, 146, 153, 159, 160, 169, 181, 184, 185, 190), in the course of which two of his brothers, Jaʿfar and Ali, were killed (ibid., ii, 177). He is said to have been appointed as the first Muslim governor of the town, and to have retained this position until ʿUthman’s caliphate, when he returned to Medina, leaving his brothers and sons behind (ibid., ii, 193). Other accounts, in contrast, point to a date of birth in the late 30s/650s: according to these accounts, Muslim’s mother, an umm walad of Nabataean origin (cf. Muhammad b. Habib, al-Munammaq , 505) whose name is variously given as ʿUlayya, Khalila and Hilya, was bought by ʿAqil in Syria, with the help of [[Muʿawiya]]. This purchase probably took place after Ali’s assumption of the caliphate (in Dhu ’l-Hijja 35/June 656), which is the time usually given as the beginning of Aqil’s friendship with the Umayyad ruler.
==Departure to Kufa==
Muslim came into prominence, when he was sent to Kufa as Imam Husayn’s personal representative. His task was to measure the extent of Kufan support for the Prophet’s grandson. He set off from Mecca on 15 Ramaḍan 60/19 June 680 in the company of a number of Kufans who had come to al-Husayn with messages of support. His first destination was Medina, where he took leave of his family and hired the services of two Ḳaysis to guide him on his way. The guides lost their way in the desert and were too weakened by thirst to be able to proceed; they just managed to show Muslim the right direction before they both (or one of them) died. Muslim saw in this a bad omen, and wrote al-Husayn from al-Maḍiq asking to be relieved of his mission. Al-Husayn sent back a curt note accusing Muslim of cowardice and ordering him to continue.
==In Kufa==
On 5 Shawwal 60/9 July 680 Muslim reached Kufa. According to most sources, he went first to the house of [[al-Mukhtar b. Abi ʿUbayd al-Thaqafi]] [q.v.], later known as Dar Salim (or Salm or Muslim) b. al-Musayyab (cf. Muhsin al-Amin, Aʿyan al-Shiʿa , xxxiii, Beirut 1369/1950, 402). Other accounts (e.g. Muhammad al-Baqir, as reported in al-Tabari, ii, 228) maintain that Muslim proceeded first to the house of Muslim b. ʿAwsaja al-Asadi.
==The Kufan’s Pledge of Allegiance==
In his place of hiding, he received the oath of allegiance on behalf of al-Husayn; the number of men who gave the oath is put at between 12,000 and over 30,000. Muslim, encouraged by this response, sent a letter to al-Husayn urging him to come. The governor of Kufa, al-Nuʿman b. Bashir [q.v.], was told of Muslim’s arrival but refused to attack him. Some supporters (or spies) of [[Yazid]], regarding this as a dangerous sign of weakness, wrote to the caliph urging him to send a strong man to deal with the situation. Yazid thereupon had al-Nuʿman replaced by [[ʿUbayd Allah b. Ziyad]] [q.v.], then already governor of Basra, and ordered him to have Muslim killed or banished.
==Ubayd Allah b. Ziyad as the New Governor of Kufa==
When Muslim heard of ʿUbayd Allah’s arrival, he left the house in which he was staying and, under cover of darkness, went to the home of [[Haniʾ b. ʿUrwa al-Muradi]] [q.v.] Haniʾ, aware that Muslim was a wanted man, was at first reluctant to admit him yet subsequently treated him with all due hospitality. During his stay there, Muslim missed an opportunity to kill ʿUbayd Allah. According to one version, Haniʾ was behind the plot; he feigned sickness, knowing that ʿUbayd Allah would come to visit him, thus providing Muslim with a chance to strike. But at the crucial moment Muslim’s nerves failed him, and ʿUbayd Allah left unscathed (Ibn ʿAbd Rabbihi, ʿIqd , iv, 378; al-Bayhaqi, Mahasin , 60). A second version, more complimentary to Muslim, attributes the plot to Sharik b. al-Aʿwar al-Harithi, an ardent supporter of Ali who none the less enjoyed ʿUbayd Allah’s confidence and had arrived with him from Basra. Sharik, who had been taken ill, also stayed at Haniʾ’s home, and his plan similarly called for Muslim to kill ʿUbayd Allah when the governor came to pay him a sick call. ʿUbayd Allah came, but Muslim remained in the closet in which he was hiding. The reasons given by Muslim for his inaction are said to have been opposition by Haniʾ (or by one of his wives), as well as a Prophetic tradition forbidding the slaying without prior warning of someone who has been given an assurance of safety (cf. Lane, Lexicon , s.v. f-t-k). Sharik, who had hoped to deliver Basra to Muslim, died of his illness three days later.
==Searching for Muslim==
Meanwhile, ʿUbayd Allah was making strenuous efforts to discover Muslim’s hideout. He dispatched a mawla of his (called Maʿqil in some sources) with orders to ingratiate himself with al-Husayn’s followers by swearing allegiance to al-Husayn and by donating 3,000 dirhams for the cause. The mawla succeeded in infiltrating the inner circle of followers, finally gaining access to Muslim himself. When he found out where Muslim was staying, ʿUbayd Allah summoned Haniʾ, forced him to admit that he was harboring Muslim, and beat him on the face with an iron-tipped cane. One version has it that Haniʾ died on the spot from these blows. According to more widespread reports, he was badly wounded and then incarcerated in ʿUbayd Allah’s fortress; Haniʾ’s clansmen thought that he had been killed, and the qaḍi Shurayh was sent to allay their fears.
==Muslim’s Uprising==
When news of Haniʾ’s arrest reached Muslim, he decided to tarry no longer and to revolt openly. The uprising is dated to 2, 7, 8 or 9 Dhu ’l-Ḥijja 60/3, 8, 9 or 10 Sept. 680. Muslim is said to have initially disposed of 4,000 men (other numbers are also given); he arranged them in military formation and, placing himself at their head, marched on the governor’s fortress, where ʿUbayd Allah had locked himself with a small band of sympathizers. Although ʿUbayd Allah’s situation seemed desperate, he managed, by a combination of threats and blandishments, to induce many tribal leaders to abandon Muslim.
==Muslim at the House of Tawʿa==
By nightfall Muslim was left with only 30 men, and these too soon disappeared. He wandered despondently in the alleys of Kufa, until he finally found refuge with a woman from Kinda called Tawʿa, whose son Bilal was a mawla of Muhammad b. al-Ashʿath [q.v.]. When Bilal discovered the identity of his mother’s guest, he waited until morning and then notified Ibn al-Ashʿath, who in turn informed ʿUbayd Allah. Another version has it that the person whom Bilal informed (and who passed on the information) was Ibn al-Ashʿath’s son ʿAbd al-Raḥman. (This is one of several deeds for which ʿAbd al-Raḥman earned the title of “the most perfidious of the Arabs”; see Ibn Habib, al- Muhabbar , 244-6.)
==Muslim’s Arrest and Martyrdom==
ʿUbayd Allah sent Ibn al-Ashʿath (or his son ʿAbd al-Raḥman) at the head of 60 (or 70) men to Tawʿa’s house. Muslim, realizing that he was surrounded, came out with his sword in hand
and, true to his reputation as a fierce warrior, chased off his attackers, inflicting serious losses
on them. (One fanciful report has him kill 41 of them; cf. Ibn Shahrashub, Manaqib, iii, 244.) His attackers responded by pelting him from the roof-top of Tawʿa’s house with stones and burning missiles. At this point Ibn al-Ashʿath gave him a guarantee of safety ([[aman]]) and Muslim, wounded and exhausted, gave himself up. Another version has it that Muslim did not trust Ibn al-Ashʿath’s aman and continued fighting until he was finally overcome. According to some accounts, Ibn al-Ashʿath was sincere in his offer but was overruled by ʿUbayd Allah. Other reports maintain that Ibn al-Ashʿath acted in concert with the governor, and never meant to honor his pledge.
Muslim was brought before ʿUbayd Allah, and the two had a heated exchange. Muslim then received permission to give his final instructions (wasiyya). In most accounts he is said to have chosen for this purpose [[ʿUmar b. Saʿd b. Abi Waqqaṣ|ʿUmar b. Saʿd b. Abi Waqqas]] as the only member of his tribe (Quraysh) present. Muslim asked him to send a messenger to al-Ḥusayn to inform him of the treachery of the Kufans and to urge him not to come; he also asked him to pay a debt of his and take his corpse for burial to prevent its being mutilated. In other reports, Muslim is depicted as receiving a promise from Ibn al-Ashʿath (rather than ʿUmar) to inform al-Husayn. ʿUbayd Allah entrusted Muslim’s execution to Bakr b. Humran al-Aḥmari, whom Muslim had wounded before being taken prisoner. Bakr led Muslim to the top of the fortress, decapitated him in sight of the populace, and threw down first the head and then the rest of the body. Haniʾ was also executed, and the two bodies were dragged through the market-streets of Kufa. Muslim is said to have been posthumously crucified, and his head was sent to Yazid in Damascus and hoisted on a pole; he was the first [[Hashimite]] to be treated in this fashion (cf. al- Masʿudi, Muruj , § 1899). An elegy on the fate of Muslim and Haniʾ which is cited in the sources is variously attributed to al-Farazdaḳ, to ʿAbd Allah b. al-Zabir al-Asadi and to Sulayman (or Sulaym) b. Salam al-Hanafi. Muslim’s death, which followed his uprising by one day, is said to have coincided with al- Husayn’s departure for ʿIraq.
==Imam Husayn departs for Kufa==
Al-Ḥusayn was at Zubala (or Thaʿlabiyya, or Zarud, or Sharaf) when he received news of the tragedy. Shi’i authors maintain that al-Ḥusayn gave his entourage the option of withdrawing and that members of Muslim’s family were among those who chose to stay with him to the end. The lists of those killed at Karbala do indeed include Muslim’s brothers ʿAbd Allah, ʿAbd al-Raḥman and Jaʿfar; some say that in all five brothers died on the battlefield (Ibn Maʿsum al-Shirazi, al-Darajat al-rafiʿa , Najaf 1382/1962, 165). ʿAbd Allah, a son of Muslim from his marriage to ʿAli’s daughter [[Ruqayya]], was also reportedly killed in the battle; some sources refer to two sons who perished there (e.g. al-Safadi, al-Wafi , xii, ed. Ramadan ʿAbd al-Tawwab, Wiesbaden 1399/1979, 426). Two other sons (sometimes identified as Muhammad and Ibrahim) are said to have escaped from ʿUbayd Allah’s camp a year after Karbala only to be brutally murdered by a Kufan who expected to be rewarded by ʿUbayd Allah (but who was beheaded instead) (Ibn Babawayh, Amali , Najaf 1389/1970, 73-9). Their story, like that of their father, is re-enacted in the annual [[taʿziya]] plays (Pelly, The Miracle play, i, 190-206). In some versions of these plays, the two sons are said to have been decapitated at the same time as their father (e.g. Metin And, The Muharram observances in Anatolian Turkey , in P.J. Chelkowski (ed.), Taʿziyeh : ritual and drama in Iran , New York 1979, 251); and the text accompanying several pictorial renderings of this event identifies their executioner as al- Ḥarith b. Badr (R. Milstein, Miniature painting, 101, 102, 104).
==Legacy==
Although Muslim did not die at Karbala, he is counted among its martyrs (cf. al-Tabari, ii, 387), and is even referred to as the first shahid (al-Majlisi, Biḥar al-anwar , c, 428). The Shiʿis recommend visiting his grave in Kufa, and the text is preserved of a number of prayers to be recited there (ibid., 426-9). (E. Kohlberg)
==Bibliography==

*Ibn Saʿd, Ṭabaḳāt, ed. Beirut, iv, 42, ed. Turāt̲h̲unā, iii/1 (1408), 173-7, 185

*Muṣʿab b. ʿAbd Allah al-Zubayrī, K. Nasab Ḳurays̲h̲, ed. E. Lévi-Provençal, Cairo 1953, 84

*K̲h̲alīfa b. K̲h̲ayyāṭ, Taʾrīk̲h̲, Nad̲j̲af 1386/1967, 221, 225

*Ibn Ḥabīb, al-Muḥabbar, ed. I. Lichtenstaedter, Ḥaydarābād 1361/1942, index idem, al-Munammaḳ fī ak̲h̲bār Ḳurays̲h̲, Ḥaydarābād 1384/1964, 505-6

*Ibn Ḳutayba, Maʿārif, Beirut 1390/1970, 88

*ps.-Ibn Ḳutayba, al-Imāma wa ’l-siyāsa, Beirut 1401/1981, ii, 4-6

*Balād̲h̲urī, Ansāb al-as̲h̲rāf, ms. Süleymaniye, fols. 153a, 154b-156b, iii, ed. al-Maḥmūdī,

*Beirut 1397/1977, 159-60, 167-9, 188, 224, iv/2, ed. M. Schloessinger, Jerusalem 1938, 16, 77, 84, v, ed. S.D. Goitein, Jerusalem 1936, 214-15, 291

*Dīnawarī, al-Ak̲h̲bār al-ṭiwāl, ed. V. Guirgass, Leiden 1888, 244-5, 247-56, 258-60

*Yaʿḳūbī, Taʾrīk̲h̲, Beirut 1379/1960, ii, 242-3

*Saʿd b. ʿAbd Allah al-Ḳummī, al-Maḳālāt wa ’l-firaḳ, ed. Muḥammad D̲j̲awād Mas̲h̲kūr, Tehran 1963, 24

*Ṭabarī, index

*Bayhaḳī, al-Maḥāsin wa ’l-masāwī, ed. F. Schwally, Giessen 1902, 59-61

*Ibn ʿAbd Rabbihi, al-ʿIḳd al-farīd, Cairo 1359-72/1940-53, iv, 377-9

*Masʿūdī, Murūd̲j̲, ed. Pellat, index

*Abu ’l-Farad̲j̲ al-Iṣfahānī, Maḳātil al-Ṭālibiyyīn, ed. Aḥmad Ṣaḳr, Beirut n.d., 80, 95-110

*al-Mufīd, al-Irs̲h̲ād, Beirut 1399/1979, 200, 204-23, 249, tr. I.K. Howard, London 1981, 299, 305-33, 373

*idem, al-Ik̲h̲tiṣāṣ, Nad̲j̲af 1390/1971, 78

*al-S̲h̲arīf al-Murtaḍā, Amālī, ed. Muḥammad Abu ’l-Faḍl Ibrāhīm, 2nd ed., Beirut 1387/1967, i, 276

*Ibn Ḥazm, D̲j̲amharat ansāb al-ʿarab, ed. ʿAbd al-Salām Muḥammad Hārūn, Cairo 1382/1962, 69, 406

*Ibn al-ʿArabī, al-ʿAwāṣim min al-ḳawāṣim, D̲j̲udda 1378, 229-31

*Ṭabrisī (Ṭabarsī), Iʿlām al-warā, Nad̲j̲af 1390/1970, 204, 223-30, 238, 255

*Ibn ʿAsākir, al-Taʾrīk̲h̲ al-kabīr, iv, Damascus 1332, 332 = Taʾrīk̲h̲ ¶ Madīnat Dimas̲h̲ḳ, facs. ed. Cairo n.d. [1989], v, 68

*Ibn S̲h̲ahrās̲h̲ūb, Manāḳib āl Abī Ṭālib, Nad̲j̲af 1956, iii, 241-5, 259

*Ibn al-At̲h̲īr, al-Kāmil, iv, Beirut 1385/1965, 21-2, 25-36, 42-3

*Ibn Namā al-Ḥillī, Mut̲h̲īr al-aḥzān, Nad̲j̲af 1369/1950, 16, 20-26, 32, 50

*Ibn Ṭāwūs, Miṣbāḥ al-zāʾir, ms. Marʿas̲h̲ī, 69-72 idem, al-Luhūf ʿalā ḳatlā ’l-Ṭufūf, Tehran 1348 S̲h̲, 26, 36-8, 45-60, 73-5, 91

*Ibn al-ʿIbrī, Muk̲h̲taṣar taʾrīk̲h̲ al-duwal, Beirut n.d. [1978-9], 110

*Ibn al-Ṭiḳṭaḳā, al-Fak̲h̲rī, ed. H. Derenbourg, Paris 1895, 159-60

*Nuwayrī, Nihāyat al-arab, xx, Cairo 1395/1975, 387-8, 391-405, 413-5, 462, xxi, Cairo 1396/1976, 7

*D̲h̲ahabī, Taʾrīk̲h̲ al-Islām, ii, Cairo 1368, 316 idem, Siyar aʿlām al-nubalāʾ, iii, Cairo 1962, 206-8, 217

*Ibn Kat̲h̲īr, Bidāya, Cairo 1351-8/1932-9, viii, 152-9

*Ibn ʿInaba, ʿUmdat al-ṭālib fī ansāb āl Abī Ṭālib, Beirut 1390, 29

*Ṭurayḥī, al-Muntak̲h̲ab, Beirut n.d., 37, 372, 380-5, 421-9, 434, 437-8

*Mad̲j̲lisī, Biḥār al-anwār, Tehran 1956-74, xlii, 116-7, xliv, 334-7, 341-63, 369-70, 373-4, xlv, 32-3, 68, 96-8, 100-5

*S̲h̲abland̲j̲ī, Nūr al-abṣār fī manāḳib āl al-nabī al-muk̲h̲tār, Cairo 1399/1979, 142-4

*D̲j̲aʿfar al-Tustarī, al-K̲h̲aṣāʾiṣ al-ḥusayniyya, Nad̲j̲af 1375/1956, 124-5

*L, Pelly, The Miracle play of Ḥasan and Ḥusayn, i, London 1879, 171-206

*F. Wüstenfeld, Der Tod des Ḥusein ben ʿAlī, Göttingen 1883, 24-6, 30-46

*H. Lammens, Le califat de Yazīd I , Beirut 1921, 136-45, 150-1

*D.M. Donaldson, The Shīʿite religion, London 1933, 80-5

*Muḥsin al-Amīn, Aʿyān al-S̲h̲īʿa, iv/1, Beirut 1367/1948, 191-4, 199-210, 216, 221-3 idem, Miftāḥ al-d̲j̲annāt, Beirut n.d., ii, 90-3

*ʿAbbās Ḳummī, Tuḥfat al-aḥbāb, Tehran 1369, 359-60 idem, Nafas al-mahmūm, Ḳumm 1405, 82-7, 92-162

*Muḥammad ʿAlī ʿĀbidīn, Mabʿūt̲h̲ al-Ḥusayn, Ḳumm n.d.

*ʿAbd al-Razzāḳ al-Mūsawī al-Muḳarram, al-S̲h̲ahīd Muslim b. ʿAḳīl, Nad̲j̲af 1369/1950

*Parviz Mamnoun, Taʿzija: Schiʿitisch-Persisches Passionsspiel, Vienna 1967, 7, 30, 72-3, 127, 130

*J. Wellhausen, The Religio-political factions in early Islam, tr. Ostle and Walzer, Amsterdam and New York 1975, 105-9

*Mahmoud Ayoub, Redemptive suffering in Islām, The Hague 1978, 99-102 and index

*S.H.M. Jafri, The origins and early development of Shiʿa Islam, London and New York 1979, index

*Ibrāhīm al-Mūsawī al-Zand̲j̲ānī, D̲j̲awla fi ’l-amākin al-muḳaddasa, Beirut 1405/1985, 203-7

*R. Milstein, Miniature painting in Ottoman Baghdad, Costa Mesa 1990, 25-7, 101-6.

==Source==

*[https://referenceworks.brillonline.com/entries/encyclopaedia-of-islam-2/muslim-b-akil-b-abi-talib-SIM_5596?s.num=637&s.start=620 Encyclopaedia Iranica]

[[Category: Historic Character]]
[[Category: Karbala Martyrs]]
[[Category: Battel of Karbala]]
[[Category: Husayn’s Followers]]

Muslim b. Aqil b. Abi Talib

2019-08-17T16:15:25Z

T.ramezani:

{{Infobox companion of Imam (a)
| image = Shrine of Muslim b. Aqil.jpg
| image size =
| caption = The Tomb of Muslim b. 'Aqil next to the Mosque of Kufa
| Full name = Muslim b. 'Aqil b. Abi Talib
| Companion of = Imam Husayn
| Kunya =
| Epithet =
| Well Known As =
| Religious Affiliation =
| Lineage = Banu Hashim
| Well known relatives =
| Birth =
| Place of Birth = Medina
| Place of Residence = Medina
| Death/martyrdom = 60/680
| Cause of Death/martyrdom = Martyred by 'Ubayd Allah b. Ziyad
| Burial place = Kufa
| Professors =
| Students =
| Works =
| Activities =
}}
'''Muslim b. ʿAqil b. Abi Talib''' (d. 60/680) was a leading supporter of [[Imam Husayn]]. He was sent to [[Kufa]] as a representative of Imam Husayn in order to measure the extent of Kufan support for the Prophet’s grandson and to make sure that people of Kufa are truthful in their invitation of the Imam. In a report to the Imam, he confirmed that Kufans were prepared for the Imam's arrival.
Fearful of increasing Kufan supports of Imam Husayn, [[Yazid]] appointed [[Ubayd Allah b. Ziad]] as the new governor of Kufa to frighten people and force them to leave Muslim. Finally, Muslim was arrested and executed in the day of ‘Arafa. The story of Muslim being left alone and his [[martyrdom]] in Kufa is a recurring theme of [[Rawza]] recited by the Shi'as.
==Birth and Life Events==
There are unusually large discrepancies in the sources as regards his date of birth: the difference between the extreme figures is more than 30 years. According to one report, he fought in Safar 37/July 657 in the right wing (maymana) of [[Ali]]’s army at the battle of [https://www.britannica.com/event/Battle-of-Siffin Siffin], together with his cousins [[Hasan]], [[Husayn]] and ʿAbd Allah b. Jaʿfar (Ibn Aʿtham al-Kufi, K. al-Futuh, Haydarabad 1388-95/1968-75, iii, 32; Ibn Shahrashub, Manaqib, ii, 352). The report implies that Muslim was born no later than the early 20s/640s. An even earlier date is suggested by an account that during ʿOmar’s reign Muslim, took part in the conquest of al-Bahnasa [q.v.] (Ps.-Waqidi, Futuh al-Sham , Cairo 1354, ii, 136, 146, 153, 159, 160, 169, 181, 184, 185, 190), in the course of which two of his brothers, Jaʿfar and Ali, were killed (ibid., ii, 177). He is said to have been appointed as the first Muslim governor of the town, and to have retained this position until ʿUthman’s caliphate, when he returned to Medina, leaving his brothers and sons behind (ibid., ii, 193). Other accounts, in contrast, point to a date of birth in the late 30s/650s: according to these accounts, Muslim’s mother, an umm walad of Nabataean origin (cf. Muhammad b. Habib, al-Munammaq , 505) whose name is variously given as ʿUlayya, Khalila and Hilya, was bought by ʿAqil in Syria, with the help of [[Muʿawiya]]. This purchase probably took place after Ali’s assumption of the caliphate (in Dhu ’l-Hijja 35/June 656), which is the time usually given as the beginning of Aqil’s friendship with the Umayyad ruler.
==Departure to Kufa==
Muslim came into prominence, when he was sent to Kufa as Imam Husayn’s personal representative. His task was to measure the extent of Kufan support for the Prophet’s grandson. He set off from Mecca on 15 Ramaḍan 60/19 June 680 in the company of a number of Kufans who had come to al-Husayn with messages of support. His first destination was Medina, where he took leave of his family and hired the services of two Ḳaysis to guide him on his way. The guides lost their way in the desert and were too weakened by thirst to be able to proceed; they just managed to show Muslim the right direction before they both (or one of them) died. Muslim saw in this a bad omen, and wrote al-Husayn from al-Maḍiq asking to be relieved of his mission. Al-Husayn sent back a curt note accusing Muslim of cowardice and ordering him to continue.
==In Kufa==
On 5 Shawwal 60/9 July 680 Muslim reached Kufa. According to most sources, he went first to the house of [[al-Mukhtar b. Abi ʿUbayd al-Thaqafi]] [q.v.], later known as Dar Salim (or Salm or Muslim) b. al-Musayyab (cf. Muhsin al-Amin, Aʿyan al-Shiʿa , xxxiii, Beirut 1369/1950, 402). Other accounts (e.g. Muhammad al-Baqir, as reported in al-Tabari, ii, 228) maintain that Muslim proceeded first to the house of Muslim b. ʿAwsaja al-Asadi.
==The Kufan’s Pledge of Allegiance==
In his place of hiding, he received the oath of allegiance on behalf of al-Husayn; the number of men who gave the oath is put at between 12,000 and over 30,000. Muslim, encouraged by this response, sent a letter to al-Husayn urging him to come. The governor of Kufa, al-Nuʿman b. Bashir [q.v.], was told of Muslim’s arrival but refused to attack him. Some supporters (or spies) of [[Yazid]], regarding this as a dangerous sign of weakness, wrote to the caliph urging him to send a strong man to deal with the situation. Yazid thereupon had al-Nuʿman replaced by [[ʿUbayd Allah b. Ziyad]] [q.v.], then already governor of Basra, and ordered him to have Muslim killed or banished.
==Ubayd Allah b. Ziyad as the New Governor of Kufa==
When Muslim heard of ʿUbayd Allah’s arrival, he left the house in which he was staying and, under cover of darkness, went to the home of [[Haniʾ b. ʿUrwa al-Muradi]] [q.v.] Haniʾ, aware that Muslim was a wanted man, was at first reluctant to admit him yet subsequently treated him with all due hospitality. During his stay there, Muslim missed an opportunity to kill ʿUbayd Allah. According to one version, Haniʾ was behind the plot; he feigned sickness, knowing that ʿUbayd Allah would come to visit him, thus providing Muslim with a chance to strike. But at the crucial moment Muslim’s nerves failed him, and ʿUbayd Allah left unscathed (Ibn ʿAbd Rabbihi, ʿIqd , iv, 378; al-Bayhaqi, Mahasin , 60). A second version, more complimentary to Muslim, attributes the plot to Sharik b. al-Aʿwar al-Harithi, an ardent supporter of Ali who none the less enjoyed ʿUbayd Allah’s confidence and had arrived with him from Basra. Sharik, who had been taken ill, also stayed at Haniʾ’s home, and his plan similarly called for Muslim to kill ʿUbayd Allah when the governor came to pay him a sick call. ʿUbayd Allah came, but Muslim remained in the closet in which he was hiding. The reasons given by Muslim for his inaction are said to have been opposition by Haniʾ (or by one of his wives), as well as a Prophetic tradition forbidding the slaying without prior warning of someone who has been given an assurance of safety (cf. Lane, Lexicon , s.v. f-t-k). Sharik, who had hoped to deliver Basra to Muslim, died of his illness three days later.
==Searching for Muslim==
Meanwhile, ʿUbayd Allah was making strenuous efforts to discover Muslim’s hideout. He dispatched a mawla of his (called Maʿqil in some sources) with orders to ingratiate himself with al-Husayn’s followers by swearing allegiance to al-Husayn and by donating 3,000 dirhams for the cause. The mawla succeeded in infiltrating the inner circle of followers, finally gaining access to Muslim himself. When he found out where Muslim was staying, ʿUbayd Allah summoned Haniʾ, forced him to admit that he was harboring Muslim, and beat him on the face with an iron-tipped cane. One version has it that Haniʾ died on the spot from these blows. According to more widespread reports, he was badly wounded and then incarcerated in ʿUbayd Allah’s fortress; Haniʾ’s clansmen thought that he had been killed, and the qaḍi Shurayh was sent to allay their fears.
==Muslim’s Uprising==
When news of Haniʾ’s arrest reached Muslim, he decided to tarry no longer and to revolt openly. The uprising is dated to 2, 7, 8 or 9 Dhu ’l-Ḥijja 60/3, 8, 9 or 10 Sept. 680. Muslim is said to have initially disposed of 4,000 men (other numbers are also given); he arranged them in military formation and, placing himself at their head, marched on the governor’s fortress, where ʿUbayd Allah had locked himself with a small band of sympathizers. Although ʿUbayd Allah’s situation seemed desperate, he managed, by a combination of threats and blandishments, to induce many tribal leaders to abandon Muslim.
==Muslim at the House of Tawʿa==
By nightfall Muslim was left with only 30 men, and these too soon disappeared. He wandered despondently in the alleys of Kufa, until he finally found refuge with a woman from Kinda called Tawʿa, whose son Bilal was a mawla of Muhammad b. al-Ashʿath [q.v.]. When Bilal discovered the identity of his mother’s guest, he waited until morning and then notified Ibn al-Ashʿath, who in turn informed ʿUbayd Allah. Another version has it that the person whom Bilal informed (and who passed on the information) was Ibn al-Ashʿath’s son ʿAbd al-Raḥman. (This is one of several deeds for which ʿAbd al-Raḥman earned the title of “the most perfidious of the Arabs”; see Ibn Habib, al- Muhabbar , 244-6.)
==Muslim’s Arrest and Martyrdom==
ʿUbayd Allah sent Ibn al-Ashʿath (or his son ʿAbd al-Raḥman) at the head of 60 (or 70) men to Tawʿa’s house. Muslim, realizing that he was surrounded, came out with his sword in hand
and, true to his reputation as a fierce warrior, chased off his attackers, inflicting serious losses
on them. (One fanciful report has him kill 41 of them; cf. Ibn Shahrashub, Manaqib, iii, 244.) His attackers responded by pelting him from the roof-top of Tawʿa’s house with stones and burning missiles. At this point Ibn al-Ashʿath gave him a guarantee of safety ([[aman]]) and Muslim, wounded and exhausted, gave himself up. Another version has it that Muslim did not trust Ibn al-Ashʿath’s aman and continued fighting until he was finally overcome. According to some accounts, Ibn al-Ashʿath was sincere in his offer but was overruled by ʿUbayd Allah. Other reports maintain that Ibn al-Ashʿath acted in concert with the governor, and never meant to honor his pledge.
Muslim was brought before ʿUbayd Allah, and the two had a heated exchange. Muslim then received permission to give his final instructions (wasiyya). In most accounts he is said to have chosen for this purpose [[ʿUmar b. Saʿd b. Abi Waqqaṣ]] as the only member of his tribe (Quraysh) present. Muslim asked him to send a messenger to al-Ḥusayn to inform him of the treachery of the Kufans and to urge him not to come; he also asked him to pay a debt of his and take his corpse for burial to prevent its being mutilated. In other reports, Muslim is depicted as receiving a promise from Ibn al-Ashʿath (rather than ʿUmar) to inform al-Husayn. ʿUbayd Allah entrusted Muslim’s execution to Bakr b. Humran al-Aḥmari, whom Muslim had wounded before being taken prisoner. Bakr led Muslim to the top of the fortress, decapitated him in sight of the populace, and threw down first the head and then the rest of the body. Haniʾ was also executed, and the two bodies were dragged through the market-streets of Kufa. Muslim is said to have been posthumously crucified, and his head was sent to Yazid in Damascus and hoisted on a pole; he was the first [[Hashimite]] to be treated in this fashion (cf. al- Masʿudi, Muruj , § 1899). An elegy on the fate of Muslim and Haniʾ which is cited in the sources is variously attributed to al-Farazdaḳ, to ʿAbd Allah b. al-Zabir al-Asadi and to Sulayman (or Sulaym) b. Salam al-Hanafi. Muslim’s death, which followed his uprising by one day, is said to have coincided with al- Husayn’s departure for ʿIraq.
==Imam Husayn departs for Kufa==
Al-Ḥusayn was at Zubala (or Thaʿlabiyya, or Zarud, or Sharaf) when he received news of the tragedy. Shi’i authors maintain that al-Ḥusayn gave his entourage the option of withdrawing and that members of Muslim’s family were among those who chose to stay with him to the end. The lists of those killed at Karbala do indeed include Muslim’s brothers ʿAbd Allah, ʿAbd al-Raḥman and Jaʿfar; some say that in all five brothers died on the battlefield (Ibn Maʿsum al-Shirazi, al-Darajat al-rafiʿa , Najaf 1382/1962, 165). ʿAbd Allah, a son of Muslim from his marriage to ʿAli’s daughter [[Ruqayya]], was also reportedly killed in the battle; some sources refer to two sons who perished there (e.g. al-Safadi, al-Wafi , xii, ed. Ramadan ʿAbd al-Tawwab, Wiesbaden 1399/1979, 426). Two other sons (sometimes identified as Muhammad and Ibrahim) are said to have escaped from ʿUbayd Allah’s camp a year after Karbala only to be brutally murdered by a Kufan who expected to be rewarded by ʿUbayd Allah (but who was beheaded instead) (Ibn Babawayh, Amali , Najaf 1389/1970, 73-9). Their story, like that of their father, is re-enacted in the annual [[taʿziya]] plays (Pelly, The Miracle play, i, 190-206). In some versions of these plays, the two sons are said to have been decapitated at the same time as their father (e.g. Metin And, The Muharram observances in Anatolian Turkey , in P.J. Chelkowski (ed.), Taʿziyeh : ritual and drama in Iran , New York 1979, 251); and the text accompanying several pictorial renderings of this event identifies their executioner as al- Ḥarith b. Badr (R. Milstein, Miniature painting, 101, 102, 104).
==Legacy==
Although Muslim did not die at Karbala, he is counted among its martyrs (cf. al-Tabari, ii, 387), and is even referred to as the first shahid (al-Majlisi, Biḥar al-anwar , c, 428). The Shiʿis recommend visiting his grave in Kufa, and the text is preserved of a number of prayers to be recited there (ibid., 426-9). (E. Kohlberg)
==Bibliography==

*Ibn Saʿd, Ṭabaḳāt, ed. Beirut, iv, 42, ed. Turāt̲h̲unā, iii/1 (1408), 173-7, 185

*Muṣʿab b. ʿAbd Allah al-Zubayrī, K. Nasab Ḳurays̲h̲, ed. E. Lévi-Provençal, Cairo 1953, 84

*K̲h̲alīfa b. K̲h̲ayyāṭ, Taʾrīk̲h̲, Nad̲j̲af 1386/1967, 221, 225

*Ibn Ḥabīb, al-Muḥabbar, ed. I. Lichtenstaedter, Ḥaydarābād 1361/1942, index idem, al-Munammaḳ fī ak̲h̲bār Ḳurays̲h̲, Ḥaydarābād 1384/1964, 505-6

*Ibn Ḳutayba, Maʿārif, Beirut 1390/1970, 88

*ps.-Ibn Ḳutayba, al-Imāma wa ’l-siyāsa, Beirut 1401/1981, ii, 4-6

*Balād̲h̲urī, Ansāb al-as̲h̲rāf, ms. Süleymaniye, fols. 153a, 154b-156b, iii, ed. al-Maḥmūdī,

*Beirut 1397/1977, 159-60, 167-9, 188, 224, iv/2, ed. M. Schloessinger, Jerusalem 1938, 16, 77, 84, v, ed. S.D. Goitein, Jerusalem 1936, 214-15, 291

*Dīnawarī, al-Ak̲h̲bār al-ṭiwāl, ed. V. Guirgass, Leiden 1888, 244-5, 247-56, 258-60

*Yaʿḳūbī, Taʾrīk̲h̲, Beirut 1379/1960, ii, 242-3

*Saʿd b. ʿAbd Allah al-Ḳummī, al-Maḳālāt wa ’l-firaḳ, ed. Muḥammad D̲j̲awād Mas̲h̲kūr, Tehran 1963, 24

*Ṭabarī, index

*Bayhaḳī, al-Maḥāsin wa ’l-masāwī, ed. F. Schwally, Giessen 1902, 59-61

*Ibn ʿAbd Rabbihi, al-ʿIḳd al-farīd, Cairo 1359-72/1940-53, iv, 377-9

*Masʿūdī, Murūd̲j̲, ed. Pellat, index

*Abu ’l-Farad̲j̲ al-Iṣfahānī, Maḳātil al-Ṭālibiyyīn, ed. Aḥmad Ṣaḳr, Beirut n.d., 80, 95-110

*al-Mufīd, al-Irs̲h̲ād, Beirut 1399/1979, 200, 204-23, 249, tr. I.K. Howard, London 1981, 299, 305-33, 373

*idem, al-Ik̲h̲tiṣāṣ, Nad̲j̲af 1390/1971, 78

*al-S̲h̲arīf al-Murtaḍā, Amālī, ed. Muḥammad Abu ’l-Faḍl Ibrāhīm, 2nd ed., Beirut 1387/1967, i, 276

*Ibn Ḥazm, D̲j̲amharat ansāb al-ʿarab, ed. ʿAbd al-Salām Muḥammad Hārūn, Cairo 1382/1962, 69, 406

*Ibn al-ʿArabī, al-ʿAwāṣim min al-ḳawāṣim, D̲j̲udda 1378, 229-31

*Ṭabrisī (Ṭabarsī), Iʿlām al-warā, Nad̲j̲af 1390/1970, 204, 223-30, 238, 255

*Ibn ʿAsākir, al-Taʾrīk̲h̲ al-kabīr, iv, Damascus 1332, 332 = Taʾrīk̲h̲ ¶ Madīnat Dimas̲h̲ḳ, facs. ed. Cairo n.d. [1989], v, 68

*Ibn S̲h̲ahrās̲h̲ūb, Manāḳib āl Abī Ṭālib, Nad̲j̲af 1956, iii, 241-5, 259

*Ibn al-At̲h̲īr, al-Kāmil, iv, Beirut 1385/1965, 21-2, 25-36, 42-3

*Ibn Namā al-Ḥillī, Mut̲h̲īr al-aḥzān, Nad̲j̲af 1369/1950, 16, 20-26, 32, 50

*Ibn Ṭāwūs, Miṣbāḥ al-zāʾir, ms. Marʿas̲h̲ī, 69-72 idem, al-Luhūf ʿalā ḳatlā ’l-Ṭufūf, Tehran 1348 S̲h̲, 26, 36-8, 45-60, 73-5, 91

*Ibn al-ʿIbrī, Muk̲h̲taṣar taʾrīk̲h̲ al-duwal, Beirut n.d. [1978-9], 110

*Ibn al-Ṭiḳṭaḳā, al-Fak̲h̲rī, ed. H. Derenbourg, Paris 1895, 159-60

*Nuwayrī, Nihāyat al-arab, xx, Cairo 1395/1975, 387-8, 391-405, 413-5, 462, xxi, Cairo 1396/1976, 7

*D̲h̲ahabī, Taʾrīk̲h̲ al-Islām, ii, Cairo 1368, 316 idem, Siyar aʿlām al-nubalāʾ, iii, Cairo 1962, 206-8, 217

*Ibn Kat̲h̲īr, Bidāya, Cairo 1351-8/1932-9, viii, 152-9

*Ibn ʿInaba, ʿUmdat al-ṭālib fī ansāb āl Abī Ṭālib, Beirut 1390, 29

*Ṭurayḥī, al-Muntak̲h̲ab, Beirut n.d., 37, 372, 380-5, 421-9, 434, 437-8

*Mad̲j̲lisī, Biḥār al-anwār, Tehran 1956-74, xlii, 116-7, xliv, 334-7, 341-63, 369-70, 373-4, xlv, 32-3, 68, 96-8, 100-5

*S̲h̲abland̲j̲ī, Nūr al-abṣār fī manāḳib āl al-nabī al-muk̲h̲tār, Cairo 1399/1979, 142-4

*D̲j̲aʿfar al-Tustarī, al-K̲h̲aṣāʾiṣ al-ḥusayniyya, Nad̲j̲af 1375/1956, 124-5

*L, Pelly, The Miracle play of Ḥasan and Ḥusayn, i, London 1879, 171-206

*F. Wüstenfeld, Der Tod des Ḥusein ben ʿAlī, Göttingen 1883, 24-6, 30-46

*H. Lammens, Le califat de Yazīd I , Beirut 1921, 136-45, 150-1

*D.M. Donaldson, The Shīʿite religion, London 1933, 80-5

*Muḥsin al-Amīn, Aʿyān al-S̲h̲īʿa, iv/1, Beirut 1367/1948, 191-4, 199-210, 216, 221-3 idem, Miftāḥ al-d̲j̲annāt, Beirut n.d., ii, 90-3

*ʿAbbās Ḳummī, Tuḥfat al-aḥbāb, Tehran 1369, 359-60 idem, Nafas al-mahmūm, Ḳumm 1405, 82-7, 92-162

*Muḥammad ʿAlī ʿĀbidīn, Mabʿūt̲h̲ al-Ḥusayn, Ḳumm n.d.

*ʿAbd al-Razzāḳ al-Mūsawī al-Muḳarram, al-S̲h̲ahīd Muslim b. ʿAḳīl, Nad̲j̲af 1369/1950

*Parviz Mamnoun, Taʿzija: Schiʿitisch-Persisches Passionsspiel, Vienna 1967, 7, 30, 72-3, 127, 130

*J. Wellhausen, The Religio-political factions in early Islam, tr. Ostle and Walzer, Amsterdam and New York 1975, 105-9

*Mahmoud Ayoub, Redemptive suffering in Islām, The Hague 1978, 99-102 and index

*S.H.M. Jafri, The origins and early development of Shiʿa Islam, London and New York 1979, index

*Ibrāhīm al-Mūsawī al-Zand̲j̲ānī, D̲j̲awla fi ’l-amākin al-muḳaddasa, Beirut 1405/1985, 203-7

*R. Milstein, Miniature painting in Ottoman Baghdad, Costa Mesa 1990, 25-7, 101-6.

==Source==

*[https://referenceworks.brillonline.com/entries/encyclopaedia-of-islam-2/muslim-b-akil-b-abi-talib-SIM_5596?s.num=637&s.start=620 Encyclopaedia Iranica]

[[Category: Historic Character]]
[[Category: Karbala Martyrs]]
[[Category: Battel of Karbala]]
[[Category: Husayn’s Followers]]

Horr B. Yazid al-Riahi al-Yarbuʾi al-Tamimi

2019-08-17T16:09:55Z

T.ramezani:

{{Infobox companion of Imam (a)
| image = حرم حر بن یزید ریاحی.jpg
| image size =
| caption = Shrine of al-Hurr
| Full name = Al-Hurr b. Yazid al-Riyahi
| Companion of = Husayn b. ʿAli
| Kunya =
| Epithet =
| Well Known As =
| Religious Affiliation =
| Lineage = Tamim
| Well known relatives =
| Birth =
| Place of Birth =
| Place of Residence = Kufa
| Death/martyrdom = 61/680
| Cause of Death/martyrdom = Martyred in the Event of Ashura
| Burial place = Karbala, Iraq
| Professors =
| Students =
| Works =
| Activities =
}}
'''HORR-E RIAHI AL-HORR B. YAZID al-Riahi al-Yarbuʾi al-Tamimi''' (d. 61/ 680), a leading tribesman in [[Kufa]], who obeyed the orders of [[ʿUbayd-Allah b. Ziad]] by intercepting [[Husayn b. ʿAli]] and his party and leading them to [[Karbala]], but later repented and fought on Husayn’s side which led to Horr’s [[martyrdom]] on the 10th of [[Muharam|Muharram]], [[Ashura]]. He is regarded as the symbol of hope in repentance which ensures his salvation.
==Encounter with Imam Husayn==
The first meeting between Horr and Imam Husayn was not hostile. However, Horr pressed upon Husayn to change his course and follow him, even after the latter had informed him of the letters of support, he had received from the Kufans, towards whom his party was heading. Horr further obeyed Ibn-e Ziad’s subsequent order to force the rebels to stop in a deserted area. Thus, Husayn was led to the plain of Karbala, where he was encircled by the troops dispatched by Ibn-e Ziad under the command of [[ʿOmar b. Saʿd]]. Once the latter had rejected Husayn’s final proposals and decided to fight him on the morning of [[Ashura]], 10 [[Moharram|Muharram]] 61/10 October 680, Horr then repented and joined Husayn, who promised him God’s forgiveness.
==Horr’s Martyrdom==
According to most historians, many men from Husayn’s side were killed before Horr (see, e.g., Ṭabari, II, p. 350; tr. I. K. A. Howard, XIX, p. 144). However, Horr’s own words when he rallied behind Husayn imply that he might have been the first to be killed at Karbala. [[Shiʿite]] tradition has retained this sequence of events, apparently derived from the work of [[Shaykh al-Mofid]], who does not mention anyone having been killed before Horr, except Muslim b. ʿAwsaja (tr. Howard, 1981, pp. 356 f.). In Turco-Persian [[maqtal-nama]] narratives of the drama of Karbala, which were used extensively by Kashefi for his [[Rawzat al-Shuhada]] (see Calmard, 1996, p. 155), after having killed many enemies, Horr became the first martyr of the battle. His [[martyrdom]] was followed by those of his brother, Moṣʿab b. Yazid, his son ʿAli, and the latter’s slave (Kashefi, pp. 277 ff.; see Calmard, 1975, pp. 351 ff.).
==Legacy==
Horr’s courageous rallying behind Husayn and sacrificing himself to his cause are widely celebrated in Muharram rituals and related popular literature, such as [[marthias|marthia]] (elegies), [[nawḥas|nawha]] (dirges), and [[taʿzias|taʿzia]] (religious dramas). Many scenes dedicated to Horr are included in taʿzia collections, particularly in the Cerulli version (see Rossi and Bombaci, 1961, Index).
==Bibliography==

*M. Ayoub, Redemptive Suffering in Islam, The Hague, 1978, Index.

*J. Calmard, “Le Culte de l’Imam Husayn. Etude sur la commémoration du drame de Karbala dans l’Iran pré-safavide,” Ph.D. diss., University of Paris (Sorbonne), 1975.

*Idem, “Shií Rituals and Power, II. The Consolidation of Safavid Shi’ism: Folklore and Popular Religion,” in C. Melville, ed., SafavidPersia, Cambridge, 1996, pp. 139-90.

*P. J. Chelkowski, ed., Taʿziyeh: Ritual and Drama in Iran, New York, 1979, index. Ṣ. Homāyuni, Taʿzia dar Irān, Shiraz, 1368 Š./1989, Index.

*Husayn Wāʿeẓ Kāšefi, Rawżat al-šohadāʾ, ed. M. Ramażāni, Tehran, 1341 Š./1962.

*M. J. Kister, “al-Ḥurr b. Yazīd,” in EI2. Šayḵ al-Mofid, al-Eršād, tr. I. K. A. Howard, Kitāb al-Iršād: The Book of Guidance in the Livesof the Twelve Imams, London, 1981, Index.

*Mostawfi, Šarḥ-e zendagāni. E. Rossi and A. Bombaci, Elenco di drammi religiosipersiani (fondo mss. Vaticani Cerulli), Vatican City, 1961, Index.

*P. Ṣayyād, Matn-e taʿzia-e Ḥorr, mansub be-Moṣṭafā Kāšāni (Mir ʿAzā), Tehran, 1350 Š./1971.

*Ṭabari, II, index; Ṭabari tr., XIX, index. L. Veccia Vaglieri, “al-Ḥusayn b. ʿAlī b. Abī Ṭālib,” in EI². (Jean Calmard)

==Source==

*[http://www.iranicaonline.org/articles/horr-e-riahi Encyclopaedia Iranica]

[[Category: Historical Character]]
[[Category: Karbala Martyrs]]
[[Category: Battle of Karbala]]
[[Category: Husayn’s Followers]]

Horr B. Yazid al-Riahi al-Yarbuʾi al-Tamimi

2019-08-17T16:06:39Z

T.ramezani:

{{Infobox companion of Imam (a)
| image = حرم حر بن یزید ریاحی.jpg
| image size =
| caption = Shrine of al-Hurr
| Full name = Al-Hurr b. Yazid al-Riyahi
| Companion of = Husayn b. ʿAli
| Kunya =
| Epithet =
| Well Known As =
| Religious Affiliation =
| Lineage = Tamim
| Well known relatives =
| Birth =
| Place of Birth =
| Place of Residence = Kufa
| Death/martyrdom = 61/680
| Cause of Death/martyrdom = Martyred in the Event of Ashura
| Burial place = Karbala, Iraq
| Professors =
| Students =
| Works =
| Activities =
}}
'''HORR-E RIAHI AL-HORR B. YAZID al-Riahi al-Yarbuʾi al-Tamimi''' (d. 61/ 680), a leading tribesman in [[Kufa]], who obeyed the orders of [[ʿUbayd-Allah b. Ziad]] by intercepting [[Husayn b. ʿAli]] and his party and leading them to [[Karbala]], but later repented and fought on Husayn’s side which led to Horr’s [[martyrdom]] on the 10th of [[Muharam|Muharram]], [[Ashura]]. He is regarded as the symbol of hope in repentance which ensures his salvation.
==Encounter with Imam Husayn==
The first meeting between Horr and Imam Husayn was not hostile. However, Horr pressed upon Husayn to change his course and follow him, even after the latter had informed him of the letters of support, he had received from the Kufans, towards whom his party was heading. Horr further obeyed Ibn-e Ziad’s subsequent order to force the rebels to stop in a deserted area. Thus, Husayn was led to the plain of Karbala, where he was encircled by the troops dispatched by Ibn-e Ziad under the command of [[ʿOmar b. Saʿd]]. Once the latter had rejected Husayn’s final proposals and decided to fight him on the morning of [[Ashura]], 10 [[Moharram|Muharram]] 61/10 October 680, Horr then repented and joined Husayn, who promised him God’s forgiveness.
==Horr’s Martyrdom==
According to most historians, many men from Husayn’s side were killed before Horr (see, e.g., Ṭabari, II, p. 350; tr. I. K. A. Howard, XIX, p. 144). However, Horr’s own words when he rallied behind Husayn imply that he might have been the first to be killed at Karbala. [[Shiʿite]] tradition has retained this sequence of events, apparently derived from the work of [[Shaykh al-Mofid]], who does not mention anyone having been killed before Horr, except Muslim b. ʿAwsaja (tr. Howard, 1981, pp. 356 f.). In Turco-Persian [[maqtal-nama]] narratives of the drama of Karbala, which were used extensively by Kashefi for his [[Rawzat al-Shuhada]] (see Calmard, 1996, p. 155), after having killed many enemies, Horr became the first martyr of the battle. His [[martyrdom]] was followed by those of his brother, Moṣʿab b. Yazid, his son ʿAli, and the latter’s slave (Kashefi, pp. 277 ff.; see Calmard, 1975, pp. 351 ff.).
==Legacy==
Horr’s courageous rallying behind Husayn and sacrificing himself to his cause are widely celebrated in Muharram rituals and related popular literature, such as [[marthias|marthia]] (elegies), [[nawḥas|nawha]] (dirges), and [[taʿzias|taʿzia]] (religious dramas). Many scenes dedicated to Horr are included in taʿzia collections, particularly in the Cerulli version (see Rossi and Bombaci, 1961, Index).
==Bibliography==

*M. Ayoub, Redemptive Suffering in Islam, The Hague, 1978, Index.

*J. Calmard, “Le Culte de l’Imam Husayn. Etude sur la commémoration du drame de Karbala dans l’Iran pré-safavide,” Ph.D. diss., University of Paris (Sorbonne), 1975.

*Idem, “Shií Rituals and Power, II. The Consolidation of Safavid Shi’ism: Folklore and Popular Religion,” in C. Melville, ed., SafavidPersia, Cambridge, 1996, pp. 139-90.

*P. J. Chelkowski, ed., Taʿziyeh: Ritual and Drama in Iran, New York, 1979, index. Ṣ. Homāyuni, Taʿzia dar Irān, Shiraz, 1368 Š./1989, Index.

*HusaynWāʿeẓ Kāšefi, Rawżat al-šohadāʾ, ed. M. Ramażāni, Tehran, 1341 Š./1962.

*M. J. Kister, “al-Ḥurr b. Yazīd,” in EI2. Šayḵ al-Mofid, al-Eršād, tr. I. K. A. Howard, Kitāb al-Iršād: The Book of Guidance in the Livesof the Twelve Imams, London, 1981, Index.

*Mostawfi, Šarḥ-e zendagāni. E. Rossi and A. Bombaci, Elenco di drammi religiosipersiani (fondo mss. Vaticani Cerulli), Vatican City, 1961, Index.

*P. Ṣayyād, Matn-e taʿzia-e Ḥorr, mansub be-Moṣṭafā Kāšāni (Mir ʿAzā), Tehran, 1350 Š./1971.

*Ṭabari, II, index; Ṭabari tr., XIX, index. L. Veccia Vaglieri, “al-Ḥusayn b. ʿAlī b. Abī Ṭālib,” in EI². (Jean Calmard)

==Source==

*[http://www.iranicaonline.org/articles/horr-e-riahi Encyclopaedia Iranica]

[[Category: Historical Character]]
[[Category: Karbala Martyrs]]
[[Category: Battle of Karbala]]
[[Category: Husayn’s Followers]]

Horr B. Yazid al-Riahi al-Yarbuʾi al-Tamimi

2019-08-17T16:05:20Z

T.ramezani:

{{Infobox companion of Imam (a)
| image = حرم حر بن یزید ریاحی.jpg
| image size =
| caption = Shrine of al-Hurr
| Full name = Al-Hurr b. Yazid al-Riyahi
| Companion of = Husayn b. ʿAli
| Kunya =
| Epithet =
| Well Known As =
| Religious Affiliation =
| Lineage = Tamim
| Well known relatives =
| Birth =
| Place of Birth =
| Place of Residence = Kufa
| Death/martyrdom = 61/680
| Cause of Death/martyrdom = Martyred in the Event of Ashura
| Burial place = Karbala, Iraq
| Professors =
| Students =
| Works =
| Activities =
}}
'''HORR-E RIAHI AL-HORR B. YAZID al-Riahi al-Yarbuʾi al-Tamimi''' (d. 61/ 680), a leading tribesman in [[Kufa]], who obeyed the orders of [[ʿUbayd-Allah b. Ziad]] by intercepting [[Husayn b. ʿAli]] and his party and leading them to [[Karbala]], but later repented and fought on Husayn’s side which led to Horr’s [[martyrdom]] on the 10th of [[Muharam|Muharram]], [[Ashura]]. He is regarded as the symbol of hope in repentance which ensures his salvation.
==Encounter with Imam Husayn==
The first meeting between Horr and Imam Husayn was not hostile. However, Horr pressed upon Husayn to change his course and follow him, even after the latter had informed him of the letters of support, he had received from the Kufans, towards whom his party was heading. Horr further obeyed Ibn-e Ziad’s subsequent order to force the rebels to stop in a deserted area. Thus, Husayn was led to the plain of Karbala, where he was encircled by the troops dispatched by Ibn-e Ziad under the command of [[ʿOmar b. Saʿd]]. Once the latter had rejected Husayn’s final proposals and decided to fight him on the morning of [[Ashura]], 10 [[Moharram|Muharram]] 61/10 October 680, Horr then repented and joined Husayn, who promised him God’s forgiveness.
==Horr’s Martyrdom==
According to most historians, many men from Husayn’s side were killed before Horr (see, e.g., Ṭabari, II, p. 350; tr. I. K. A. Howard, XIX, p. 144). However, Horr’s own words when he rallied behind Husayn imply that he might have been the first to be killed at Karbala. [[Shiʿite]] tradition has retained this sequence of events, apparently derived from the work of [[Shaykh al-Mofid]], who does not mention anyone having been killed before Horr, except Muslim b. ʿAwsaja (tr. Howard, 1981, pp. 356 f.). In Turco-Persian [[maqtal-nama]] narratives of the drama of Karbala, which were used extensively by Kashefi for his [[Rawzat al-Shuhada]] (see Calmard, 1996, p. 155), after having killed many enemies, Horr became the first martyr of the battle. His [[martyrdom]] was followed by those of his brother, Moṣʿab b. Yazid, his son ʿAli, and the latter’s slave (Kashefi, pp. 277 ff.; see Calmard, 1975, pp. 351 ff.).
==Legacy==
Horr’s courageous rallying behind Husayn and sacrificing himself to his cause are widely celebrated in Muharram rituals and related popular literature, such as [[marthias]] (elegies), [[nawḥas|nawhas]] (dirges), and [[taʿzias]] (religious dramas). Many scenes dedicated to Horr are included in taʿzia collections, particularly in the Cerulli version (see Rossi and Bombaci, 1961, Index).
==Bibliography==

*M. Ayoub, Redemptive Suffering in Islam, The Hague, 1978, Index.

*J. Calmard, “Le Culte de l’Imam Husayn. Etude sur la commémoration du drame de Karbala dans l’Iran pré-safavide,” Ph.D. diss., University of Paris (Sorbonne), 1975.

*Idem, “Shií Rituals and Power, II. The Consolidation of Safavid Shi’ism: Folklore and Popular Religion,” in C. Melville, ed., SafavidPersia, Cambridge, 1996, pp. 139-90.

*P. J. Chelkowski, ed., Taʿziyeh: Ritual and Drama in Iran, New York, 1979, index. Ṣ. Homāyuni, Taʿzia dar Irān, Shiraz, 1368 Š./1989, Index.

*HusaynWāʿeẓ Kāšefi, Rawżat al-šohadāʾ, ed. M. Ramażāni, Tehran, 1341 Š./1962.

*M. J. Kister, “al-Ḥurr b. Yazīd,” in EI2. Šayḵ al-Mofid, al-Eršād, tr. I. K. A. Howard, Kitāb al-Iršād: The Book of Guidance in the Livesof the Twelve Imams, London, 1981, Index.

*Mostawfi, Šarḥ-e zendagāni. E. Rossi and A. Bombaci, Elenco di drammi religiosipersiani (fondo mss. Vaticani Cerulli), Vatican City, 1961, Index.

*P. Ṣayyād, Matn-e taʿzia-e Ḥorr, mansub be-Moṣṭafā Kāšāni (Mir ʿAzā), Tehran, 1350 Š./1971.

*Ṭabari, II, index; Ṭabari tr., XIX, index. L. Veccia Vaglieri, “al-Ḥusayn b. ʿAlī b. Abī Ṭālib,” in EI². (Jean Calmard)

==Source==

*[http://www.iranicaonline.org/articles/horr-e-riahi Encyclopaedia Iranica]

[[Category: Historical Character]]
[[Category: Karbala Martyrs]]
[[Category: Battle of Karbala]]
[[Category: Husayn’s Followers]]

Horr B. Yazid al-Riahi al-Yarbuʾi al-Tamimi

2019-08-17T16:02:26Z

T.ramezani:

{{Infobox companion of Imam (a)
| image = حرم حر بن یزید ریاحی.jpg
| image size =
| caption = Shrine of al-Hurr
| Full name = Al-Hurr b. Yazid al-Riyahi
| Companion of = Husayn b. ʿAli
| Kunya =
| Epithet =
| Well Known As =
| Religious Affiliation =
| Lineage = Tamim
| Well known relatives =
| Birth =
| Place of Birth =
| Place of Residence = Kufa
| Death/martyrdom = 61/680
| Cause of Death/martyrdom = Martyred in the Event of Ashura
| Burial place = Karbala, Iraq
| Professors =
| Students =
| Works =
| Activities =
}}
'''HORR-E RIAHI AL-HORR B. YAZID al-Riahi al-Yarbuʾi al-Tamimi''' (d. 61/ 680), a leading tribesman in [[Kufa]], who obeyed the orders of [[ʿUbayd-Allah b. Ziad]] by intercepting [[Husayn b. ʿAli]] and his party and leading them to [[Karbala]], but later repented and fought on Husayn’s side which led to Horr’s [[martyrdom]] on the 10th of [[Muharam|Muharram]], [[Ashura]]. He is regarded as the symbol of hope in repentance which ensures his salvation.
==Encounter with Imam Husayn==
The first meeting between Horr and Imam Husayn was not hostile. However, Horr pressed upon Husayn to change his course and follow him, even after the latter had informed him of the letters of support, he had received from the Kufans, towards whom his party was heading. Horr further obeyed Ibn-e Ziad’s subsequent order to force the rebels to stop in a deserted area. Thus, Husayn was led to the plain of Karbala, where he was encircled by the troops dispatched by Ibn-e Ziad under the command of [[ʿOmar b. Saʿd]]. Once the latter had rejected Husayn’s final proposals and decided to fight him on the morning of [[Ashura]], 10 [[Moharram|Muharram]] 61/10 October 680, Horr then repented and joined Husayn, who promised him God’s forgiveness.
==Horr’s Martyrdom==
According to most historians, many men from Husayn’s side were killed before Horr (see, e.g., Ṭabari, II, p. 350; tr. I. K. A. Howard, XIX, p. 144). However, Horr’s own words when he rallied behind Husayn imply that he might have been the first to be killed at Karbala. [[Shiʿite]] tradition has retained this sequence of events, apparently derived from the work of [[Shaykh al-Mofid]], who does not mention anyone having been killed before Horr, except Muslim b. ʿAwsaja (tr. Howard, 1981, pp. 356 f.). In Turco-Persian [[maqtal-nama]] narratives of the drama of Karbala, which were used extensively by Kashefi for his [[Rawzat al-Shuhada]] (see Calmard, 1996, p. 155), after having killed many enemies, Horr became the first martyr of the battle. His [[martyrdom]] was followed by those of his brother, Moṣʿab b. Yazid, his son ʿAli, and the latter’s slave (Kashefi, pp. 277 ff.; see Calmard, 1975, pp. 351 ff.).
==Legacy==
Horr’s courageous rallying behind Husayn and sacrificing himself to his cause are widely celebrated in Moharram rituals and related popular literature, such as [[marthias]] (elegies), [[nawḥas]] (dirges), and [[taʿzias]] (religious dramas). Many scenes dedicated to Horr are included in taʿzia collections, particularly in the Cerulli version (see Rossi and Bombaci, 1961, Index).
==Bibliography==

*M. Ayoub, Redemptive Suffering in Islam, The Hague, 1978, Index.

*J. Calmard, “Le Culte de l’Imam Husayn. Etude sur la commémoration du drame de Karbala dans l’Iran pré-safavide,” Ph.D. diss., University of Paris (Sorbonne), 1975.

*Idem, “Shií Rituals and Power, II. The Consolidation of Safavid Shi’ism: Folklore and Popular Religion,” in C. Melville, ed., SafavidPersia, Cambridge, 1996, pp. 139-90.

*P. J. Chelkowski, ed., Taʿziyeh: Ritual and Drama in Iran, New York, 1979, index. Ṣ. Homāyuni, Taʿzia dar Irān, Shiraz, 1368 Š./1989, Index.

*HusaynWāʿeẓ Kāšefi, Rawżat al-šohadāʾ, ed. M. Ramażāni, Tehran, 1341 Š./1962.

*M. J. Kister, “al-Ḥurr b. Yazīd,” in EI2. Šayḵ al-Mofid, al-Eršād, tr. I. K. A. Howard, Kitāb al-Iršād: The Book of Guidance in the Livesof the Twelve Imams, London, 1981, Index.

*Mostawfi, Šarḥ-e zendagāni. E. Rossi and A. Bombaci, Elenco di drammi religiosipersiani (fondo mss. Vaticani Cerulli), Vatican City, 1961, Index.

*P. Ṣayyād, Matn-e taʿzia-e Ḥorr, mansub be-Moṣṭafā Kāšāni (Mir ʿAzā), Tehran, 1350 Š./1971.

*Ṭabari, II, index; Ṭabari tr., XIX, index. L. Veccia Vaglieri, “al-Ḥusayn b. ʿAlī b. Abī Ṭālib,” in EI². (Jean Calmard)

==Source==

*[http://www.iranicaonline.org/articles/horr-e-riahi Encyclopaedia Iranica]

[[Category: Historical Character]]
[[Category: Karbala Martyrs]]
[[Category: Battle of Karbala]]
[[Category: Husayn’s Followers]]

Muharram

2019-08-17T16:01:47Z

T.ramezani:

'''Muharram,''' the first month of the Islamic year, is the focus of annual lamentation rituals performed especially by [[Shi’a]] Muslims in honor of [[Husayn b. Ali]], the prophet [[Muhammad]]'s grandson, who was martyred on 10th of Muharram, known as [[Ashura]], in the [[battle of Karbala]]. Both in pre-Islamic and Islamic cultures, Muharram is considered a sacred month. It is named Muharram (forbidden) because warfare is forbidden in this month.
==Origins in Pre-Islamic Calendar==
The name, Muharram, is originally not a proper name but an adjective qualifying [[Safar]]. In the pre-Islamic period, the first two months of the old Meccan year were Safar [q.v.] I and II, which is reflected in the dual a potiori of al-Safaran for al-Muharram and Safar; in the old Arab year, the first half year consisted of “Three months of two months each” (Wellhausen), as the two Safars were followed by two Rabiʿs and two Jumadas. <ref>[https://referenceworks.brillonline.com/entries/encyclopaedia-of-islam-2/al-muharram-SIM_5426. brill]</ref> The pre-Islamic Arabs held the lunar month of Muharram to be sacred during which warfare is forbidden.
==Month of Mourning==
All Muslims consider Muharram to be a sacred period, but it is the Shiʿa who have attached special significance to this month. For the Shiʿa, Muharram is a time to commemorate the [[martyrdom]] of the third Imam, Husayn ibn ʿAli, who was killed on the tenth day of the month ([[Ashura]]), at the battle of Karbala, Iraq, in 680 CE. The ritualized remembrance of Imam Husayn, his family, and his loyal supporters, who sacrificed their lives for the cause of Islam, extends far beyond Muharram to the months of Safar and al-Rabiʿ al-Awwal. These days of mourning (ayyam-e ʿaza) are a time for the Shiʿa to collectively remember and mourn Imam Husayn’s sacrifice and martyrdom, as well as to publicly affirm their loyalty to the family of the Prophet Muhammad ([[Ahl-e Bayt]]) and Islam. Over time, Muharram has come to refer to the collectivity of rituals performed to invoke Imam Husayn’s suffering and sacrifice, as well as to maintain the immediacy of Karbala in the Shiʿi collective conscience. <ref>[https://www.oxfordbibliographies.com/view/document/obo-9780195390155/obo-9780195390155-0136.xml#obo-9780195390155-0136-div1-0013.%20oxford%20bibliographies oxford bibliographies]</ref>
Muharram is also important in the Sunni tradition, and the ninth and tenth days are days of fasting commemorating when Noah left the ark and when Moses was saved in Egypt. In many parts of the Islamic world, including South Asia and South Africa, Sunnis also participate in Muharram mourning rituals for Imam Husayn and his family, which is considered a way of paying respects to the Prophet Muhammad. Likewise, Muharram has been an occasion for Sunni-Shiʿi violence in places such as Pakistan and Iraq, and for Hindu-Muslim violence in India. <ref>[https://www.oxfordbibliographies.com/view/document/obo-9780195390155/obo-9780195390155-0136.xml#obo-9780195390155-0136-div1-0013. oxford bibliographies]</ref>
==Mourning Rituals in Muharram==
During Muharram, the Shiʿa attend mourning assemblies (majles), where they listen to discourses ([[rawza- khwani]]) extolling the idealized qualities (faza’el) and tragic suffering (masa’eb) of Imam Husayn and his family. Memorializing poems of lament are recited ([[marthiya]], salam, and suz), and each majles concludes with the participants beating their chests (Arabic latam; Persian/Urdu matam) in time to rhythmic poems of mourning ([[nawha]]). In Iran and South Asia, replicas of Imam Husayn’s tomb (naql, [[taʿzia]]) are constructed and carried through the streets in processions (jolus). On 9 and 10 Muharram, men solemnly march through the streets performing various acts of bloodletting [[self-flagellation]], including striking the head with a sharp knife ([[tatbir]], qameh zani) or striking oneself on the back with chains or blades (shamshir zani, [[zanjir zani]]). Since the early 20th century, Shiʿi ulama have debated the permissibility of performing “bloody matam.” In 1994 [[Ayatollah ʿAli Khamenei]] issued a [http://www.iranicaonline.org/articles/fatwa fatwa] (legal opinion) prohibiting the performance of matam in which weapons are used to shed blood. Likewise, the leader of the Lebanese organization Hezbollah, Ayatollah Muhammad Hussein Fadlallah, has upheld Khamenei’s fatwa, urging Shiʿa to donate blood on Ashura. These legal opinions reflect the desire to deflect criticism away from Shiʿi Muharram rituals, which are often portrayed as excessively violent. Imam Husayn’s martyrdom is dramatically reenacted in Iran, India, Pakistan, Turkey and the Caucasus, Iraq, and Lebanon in the [[ ta’ziya]], where village men and professional actors assume the roles of the heroes and villains of Karbala. <ref>[https://www.oxfordbibliographies.com/view/document/obo-9780195390155/obo-9780195390155-0136.xml#obo-9780195390155-0136-div1-0013. oxford bibliographies]</ref>
==Reference==
[[Category: Months of Islamic Calendar]]
[[Category: Month of Mourning]]
[[Category: Shi’a Rituals]]
<references />

Muharram

2019-08-17T16:00:41Z

T.ramezani:

'''Muharram,''' the first month of the Islamic year, is the focus of annual lamentation rituals performed especially by [[Shi’a]] Muslims in honor of [[Husayn b. Ali]], the prophet [[Muhammad]]'s grandson, who was martyred on 10th of Muharram, known as [[Ashura]], in the [[battle of Karbala]]. Both in pre-Islamic and Islamic cultures, Muharram is considered a sacred month. It is named Muharram (forbidden) because warfare is forbidden in this month.
==Origins in Pre-Islamic Calendar==
The name, Muharram, is originally not a proper name but an adjective qualifying [[Safar]]. In the pre-Islamic period, the first two months of the old Meccan year were Safar [q.v.] I and II, which is reflected in the dual a potiori of al-Safaran for al-Muharram and Safar; in the old Arab year, the first half year consisted of “Three months of two months each” (Wellhausen), as the two Safars were followed by two Rabiʿs and two Jumadas. <ref>[https://referenceworks.brillonline.com/entries/encyclopaedia-of-islam-2/al-muharram-SIM_5426. brill]</ref> The pre-Islamic Arabs held the lunar month of Muharram to be sacred during which warfare is forbidden.
==Month of Mourning==
All Muslims consider Muharram to be a sacred period, but it is the Shiʿa who have attached special significance to this month. For the Shiʿa, Muharram is a time to commemorate the [[martyrdom]] of the third <nowiki>[[Imam]]</nowiki>, Husayn ibn ʿAli, who was killed on the tenth day of the month ([[Ashura]]), at the battle of Karbala, Iraq, in 680 CE. The ritualized remembrance of Imam Husayn, his family, and his loyal supporters, who sacrificed their lives for the cause of Islam, extends far beyond Muharram to the months of Safar and al-Rabiʿ al-Awwal. These days of mourning (ayyam-e ʿaza) are a time for the Shiʿa to collectively remember and mourn Imam Husayn’s sacrifice and martyrdom, as well as to publicly affirm their loyalty to the family of the Prophet Muhammad ([[Ahl-e Bayt]]) and Islam. Over time, Muharram has come to refer to the collectivity of rituals performed to invoke Imam Husayn’s suffering and sacrifice, as well as to maintain the immediacy of Karbala in the Shiʿi collective conscience. <ref>[https://www.oxfordbibliographies.com/view/document/obo-9780195390155/obo-9780195390155-0136.xml#obo-9780195390155-0136-div1-0013.%20oxford%20bibliographies oxford bibliographies]</ref>
Muharram is also important in the Sunni tradition, and the ninth and tenth days are days of fasting commemorating when Noah left the ark and when Moses was saved in Egypt. In many parts of the Islamic world, including South Asia and South Africa, Sunnis also participate in Muharram mourning rituals for Imam Husayn and his family, which is considered a way of paying respects to the Prophet Muhammad. Likewise, Muharram has been an occasion for Sunni-Shiʿi violence in places such as Pakistan and Iraq, and for Hindu-Muslim violence in India. <ref>[https://www.oxfordbibliographies.com/view/document/obo-9780195390155/obo-9780195390155-0136.xml#obo-9780195390155-0136-div1-0013. oxford bibliographies]</ref>
==Mourning Rituals in Muharram==
During Muharram, the Shiʿa attend mourning assemblies (majles), where they listen to discourses ([[rawza- khwani]]) extolling the idealized qualities (faza’el) and tragic suffering (masa’eb) of Imam Husayn and his family. Memorializing poems of lament are recited ([[marthiya]], salam, and suz), and each majles concludes with the participants beating their chests (Arabic latam; Persian/Urdu matam) in time to rhythmic poems of mourning ([[nawha]]). In Iran and South Asia, replicas of Imam Husayn’s tomb (naql, [[taʿzia]]) are constructed and carried through the streets in processions (jolus). On 9 and 10 Muharram, men solemnly march through the streets performing various acts of bloodletting [[self-flagellation]], including striking the head with a sharp knife ([[tatbir]], qameh zani) or striking oneself on the back with chains or blades (shamshir zani, [[zanjir zani]]). Since the early 20th century, Shiʿi ulama have debated the permissibility of performing “bloody matam.” In 1994 [[Ayatollah ʿAli Khamenei]] issued a [http://www.iranicaonline.org/articles/fatwa fatwa] (legal opinion) prohibiting the performance of matam in which weapons are used to shed blood. Likewise, the leader of the Lebanese organization Hezbollah, Ayatollah Muhammad Hussein Fadlallah, has upheld Khamenei’s fatwa, urging Shiʿa to donate blood on Ashura. These legal opinions reflect the desire to deflect criticism away from Shiʿi Muharram rituals, which are often portrayed as excessively violent. Imam Husayn’s martyrdom is dramatically reenacted in Iran, India, Pakistan, Turkey and the Caucasus, Iraq, and Lebanon in the [[ ta’ziya]], where village men and professional actors assume the roles of the heroes and villains of Karbala. <ref>[https://www.oxfordbibliographies.com/view/document/obo-9780195390155/obo-9780195390155-0136.xml#obo-9780195390155-0136-div1-0013. oxford bibliographies]</ref>
==Reference==
[[Category: Months of Islamic Calendar]]
[[Category: Month of Mourning]]
[[Category: Shi’a Rituals]]
<references />

Category:Historic Characters

2019-08-17T11:47:43Z

T.ramezani: Created blank page

Muslim b. Aqil b. Abi Talib

2019-08-17T11:47:19Z

T.ramezani: Created page with "'''Muslim b. ʿAqil b. Abi Talib''' (d. 60/680) was a leading supporter of Imam Husayn. He was sent to Kufa as a representative of Imam Husayn in order to measure the..."

'''Muslim b. ʿAqil b. Abi Talib''' (d. 60/680) was a leading supporter of [[Imam Husayn]]. He was sent to [[Kufa]] as a representative of Imam Husayn in order to measure the extent of Kufan support for the Prophet’s grandson and to make sure that people of Kufa are truthful in their invitation of the Imam. In a report to the Imam, he confirmed that Kufans were prepared for the Imam's arrival.
Fearful of increasing Kufan supports of Imam Husayn, [[Yazid]] appointed [[Ubayd Allah b. Ziad]] as the new governor of Kufa to frighten people and force them to leave Muslim. Finally, Muslim was arrested and executed in the day of ‘Arafa. The story of Muslim being left alone and his [[martyrdom]] in Kufa is a recurring theme of [[Rawza]] recited by the Shi'as.
==Birth and Life Events==
There are unusually large discrepancies in the sources as regards his date of birth: the difference between the extreme figures is more than 30 years. According to one report, he fought in Safar 37/July 657 in the right wing (maymana) of [[Ali]]’s army at the battle of [https://www.britannica.com/event/Battle-of-Siffin Siffin], together with his cousins [[Hasan]], [[Husayn]] and ʿAbd Allah b. Jaʿfar (Ibn Aʿtham al-Kufi, K. al-Futuh, Haydarabad 1388-95/1968-75, iii, 32; Ibn Shahrashub, Manaqib, ii, 352). The report implies that Muslim was born no later than the early 20s/640s. An even earlier date is suggested by an account that during ʿOmar’s reign Muslim, took part in the conquest of al-Bahnasa [q.v.] (Ps.-Waqidi, Futuh al-Sham , Cairo 1354, ii, 136, 146, 153, 159, 160, 169, 181, 184, 185, 190), in the course of which two of his brothers, Jaʿfar and Ali, were killed (ibid., ii, 177). He is said to have been appointed as the first Muslim governor of the town, and to have retained this position until ʿUthman’s caliphate, when he returned to Medina, leaving his brothers and sons behind (ibid., ii, 193). Other accounts, in contrast, point to a date of birth in the late 30s/650s: according to these accounts, Muslim’s mother, an umm walad of Nabataean origin (cf. Muḥammad b. ḤabIb, al-Munammaḳ , 505) whose name is variously given as ʿUlayya, Khalila and Hilya, was bought by ʿAqil in Syria, with the help of [[Muʿawiya]]. This purchase probably took place after Ali’s assumption of the caliphate (in Dhu ’l-Hijja 35/June 656), which is the time usually given as the beginning of Aqil’s friendship with the Umayyad ruler.
==Departure to Kufa==
Muslim came into prominence, when he was sent to Kufa as Imam Husayn’s personal representative. His task was to measure the extent of Kufan support for the Prophet’s grandson. He set off from Mecca on 15 Ramaḍan 60/19 June 680 in the company of a number of Kufans who had come to al-Husayn with messages of support. His first destination was Medina, where he took leave of his family and hired the services of two Ḳaysis to guide him on his way. The guides lost their way in the desert and were too weakened by thirst to be able to proceed; they just managed to show Muslim the right direction before they both (or one of them) died. Muslim saw in this a bad omen, and wrote al-Husayn from al-Maḍiq asking to be relieved of his mission. Al-Husayn sent back a curt note accusing Muslim of cowardice and ordering him to continue.
==In Kufa==
On 5 Shawwal 60/9 July 680 Muslim reached Kufa. According to most sources, he went first to the house of [[al-Mukhtar b. Abi ʿUbayd al-Thaqafi]] [q.v.], later known as Dar Salim (or Salm or Muslim) b. al-Musayyab (cf. Muhsin al-Amin, Aʿyan al-Shiʿa , xxxiii, Beirut 1369/1950, 402). Other accounts (e.g. Muhammad al-Baqir, as reported in al-Tabari, ii, 228) maintain that Muslim proceeded first to the house of Muslim b. ʿAwsaja al-Asadi.
==The Kufan’s Pledge of Allegiance==
In his place of hiding, he received the oath of allegiance on behalf of al-Husayn; the number of men who gave the oath is put at between 12,000 and over 30,000. Muslim, encouraged by this response, sent a letter to al-Husayn urging him to come. The governor of Kufa, al-Nuʿman b. Bashir [q.v.], was told of Muslim’s arrival but refused to attack him. Some supporters (or spies) of [[Yazid]], regarding this as a dangerous sign of weakness, wrote to the caliph urging him to send a strong man to deal with the situation. Yazid thereupon had al-Nuʿman replaced by [[ʿUbayd Allah b. Ziyad]] [q.v.], then already governor of Basra, and ordered him to have Muslim killed or banished.
==Ubayd Allah b. Ziyad as the New Governor of Kufa==
When Muslim heard of ʿUbayd Allah’s arrival, he left the house in which he was staying and, under cover of darkness, went to the home of [[Haniʾ b. ʿUrwa al-Muradi]] [q.v.] Haniʾ, aware that Muslim was a wanted man, was at first reluctant to admit him yet subsequently treated him with all due hospitality. During his stay there, Muslim missed an opportunity to kill ʿUbayd Allah. According to one version, Haniʾ was behind the plot; he feigned sickness, knowing that ʿUbayd Allah would come to visit him, thus providing Muslim with a chance to strike. But at the crucial moment Muslim’s nerves failed him, and ʿUbayd Allah left unscathed (Ibn ʿAbd Rabbihi, ʿIqd , iv, 378; al-Bayhaqi, Mahasin , 60). A second version, more complimentary to Muslim, attributes the plot to Sharik b. al-Aʿwar al-Harithi, an ardent supporter of Ali who none the less enjoyed ʿUbayd Allah’s confidence and had arrived with him from Basra. Sharik, who had been taken ill, also stayed at Haniʾ’s home, and his plan similarly called for Muslim to kill ʿUbayd Allah when the governor came to pay him a sick call. ʿUbayd Allah came, but Muslim remained in the closet in which he was hiding. The reasons given by Muslim for his inaction are said to have been opposition by Haniʾ (or by one of his wives), as well as a Prophetic tradition forbidding the slaying without prior warning of someone who has been given an assurance of safety (cf. Lane, Lexicon , s.v. f-t-k). Sharik, who had hoped to deliver Basra to Muslim, died of his illness three days later.
==Searching for Muslim==
Meanwhile, ʿUbayd Allah was making strenuous efforts to discover Muslim’s hideout. He dispatched a mawla of his (called Maʿqil in some sources) with orders to ingratiate himself with al-Husayn’s followers by swearing allegiance to al-Husayn and by donating 3,000 dirhams for the cause. The mawla succeeded in infiltrating the inner circle of followers, finally gaining access to Muslim himself. When he found out where Muslim was staying, ʿUbayd Allah summoned Haniʾ, forced him to admit that he was harboring Muslim, and beat him on the face with an iron-tipped cane. One version has it that Haniʾ died on the spot from these blows. According to more widespread reports, he was badly wounded and then incarcerated in ʿUbayd Allah’s fortress; Haniʾ’s clansmen thought that he had been killed, and the qaḍi Shurayh was sent to allay their fears.
==Muslim’s Uprising==
When news of Haniʾ’s arrest reached Muslim, he decided to tarry no longer and to revolt openly. The uprising is dated to 2, 7, 8 or 9 Dhu ’l-Ḥijja 60/3, 8, 9 or 10 Sept. 680. Muslim is said to have initially disposed of 4,000 men (other numbers are also given); he arranged them in military formation and, placing himself at their head, marched on the governor’s fortress, where ʿUbayd Allah had locked himself with a small band of sympathizers. Although ʿUbayd Allah’s situation seemed desperate, he managed, by a combination of threats and blandishments, to induce many tribal leaders to abandon Muslim.
==Muslim at the House of Tawʿa==
By nightfall Muslim was left with only 30 men, and these too soon disappeared. He wandered despondently in the alleys of Kufa, until he finally found refuge with a woman from Kinda called Tawʿa, whose son Bilal was a mawla of Muhammad b. al-Ashʿath [q.v.]. When Bilal discovered the identity of his mother’s guest, he waited until morning and then notified Ibn al-Ashʿath, who in turn informed ʿUbayd Allah. Another version has it that the person whom Bilal informed (and who passed on the information) was Ibn al-Ashʿath’s son ʿAbd al-Raḥman. (This is one of several deeds for which ʿAbd al-Raḥman earned the title of “the most perfidious of the Arabs”; see Ibn Habib, al- Muhabbar , 244-6.)
==Muslim’s Arrest and Martyrdom==
ʿUbayd Allah sent Ibn al-Ashʿath (or his son ʿAbd al-Raḥman) at the head of 60 (or 70) men to Tawʿa’s house. Muslim, realizing that he was surrounded, came out with his sword in hand
and, true to his reputation as a fierce warrior, chased off his attackers, inflicting serious losses
on them. (One fanciful report has him kill 41 of them; cf. Ibn Shahrashub, Manaqib, iii, 244.) His attackers responded by pelting him from the roof-top of Tawʿa’s house with stones and burning missiles. At this point Ibn al-Ashʿath gave him a guarantee of safety ([[aman]]) and Muslim, wounded and exhausted, gave himself up. Another version has it that Muslim did not trust Ibn al-Ashʿath’s aman and continued fighting until he was finally overcome. According to some accounts, Ibn al-Ashʿath was sincere in his offer but was overruled by ʿUbayd Allah. Other reports maintain that Ibn al-Ashʿath acted in concert with the governor, and never meant to honor his pledge.
Muslim was brought before ʿUbayd Allah, and the two had a heated exchange. Muslim then received permission to give his final instructions (wasiyya). In most accounts he is said to have chosen for this purpose [[ʿUmar b. Saʿd b. Abi Waqqaṣ]] as the only member of his tribe (Quraysh) present. Muslim asked him to send a messenger to al-Ḥusayn to inform him of the treachery of the Kufans and to urge him not to come; he also asked him to pay a debt of his and take his corpse for burial to prevent its being mutilated. In other reports, Muslim is depicted as receiving a promise from Ibn al-Ashʿath (rather than ʿUmar) to inform al-Husayn. ʿUbayd Allah entrusted Muslim’s execution to Bakr b. Humran al-Aḥmari, whom Muslim had wounded before being taken prisoner. Bakr led Muslim to the top of the fortress, decapitated him in sight of the populace, and threw down first the head and then the rest of the body. Haniʾ was also executed, and the two bodies were dragged through the market-streets of Kufa. Muslim is said to have been posthumously crucified, and his head was sent to Yazid in Damascus and hoisted on a pole; he was the first [[Hashimite]] to be treated in this fashion (cf. al- Masʿudi, Muruj , § 1899). An elegy on the fate of Muslim and Haniʾ which is cited in the sources is variously attributed to al-Farazdaḳ, to ʿAbd Allah b. al-Zabir al-Asadi and to Sulayman (or Sulaym) b. Salam al-Hanafi. Muslim’s death, which followed his uprising by one day, is said to have coincided with al- Husayn’s departure for ʿIraq.
==Imam Husayn departs for Kufa==
Al-Ḥusayn was at Zubala (or Thaʿlabiyya, or Zarud, or Sharaf) when he received news of the tragedy. Shi’i authors maintain that al-Ḥusayn gave his entourage the option of withdrawing and that members of Muslim’s family were among those who chose to stay with him to the end. The lists of those killed at Karbala do indeed include Muslim’s brothers ʿAbd Allah, ʿAbd al-Raḥman and Jaʿfar; some say that in all five brothers died on the battlefield (Ibn Maʿsum al-Shirazi, al-Darajat al-rafiʿa , Najaf 1382/1962, 165). ʿAbd Allah, a son of Muslim from his marriage to ʿAli’s daughter [[Ruqayya]], was also reportedly killed in the battle; some sources refer to two sons who perished there (e.g. al-Safadi, al-Wafi , xii, ed. Ramadan ʿAbd al-Tawwab, Wiesbaden 1399/1979, 426). Two other sons (sometimes identified as Muhammad and Ibrahim) are said to have escaped from ʿUbayd Allah’s camp a year after Karbala only to be brutally murdered by a Kufan who expected to be rewarded by ʿUbayd Allah (but who was beheaded instead) (Ibn Babawayh, Amali , Najaf 1389/1970, 73-9). Their story, like that of their father, is re-enacted in the annual [[taʿziya]] plays (Pelly, The Miracle play, i, 190-206). In some versions of these plays, the two sons are said to have been decapitated at the same time as their father (e.g. Metin And, The Muharram observances in Anatolian Turkey , in P.J. Chelkowski (ed.), Taʿziyeh : ritual and drama in Iran , New York 1979, 251); and the text accompanying several pictorial renderings of this event identifies their executioner as al- Ḥarith b. Badr (R. Milstein, Miniature painting, 101, 102, 104).
==Legacy==
Although Muslim did not die at Karbala, he is counted among its martyrs (cf. al-Tabari, ii, 387), and is even referred to as the first shahid (al-Majlisi, Biḥar al-anwar , c, 428). The Shiʿis recommend visiting his grave in Kufa, and the text is preserved of a number of prayers to be recited there (ibid., 426-9). (E. Kohlberg)
==Bibliography==

* Ibn Saʿd, Ṭabaḳāt, ed. Beirut, iv, 42, ed. Turāt̲h̲unā, iii/1 (1408), 173-7, 185

* Muṣʿab b. ʿAbd Allah al-Zubayrī, K. Nasab Ḳurays̲h̲, ed. E. Lévi-Provençal, Cairo 1953, 84

* K̲h̲alīfa b. K̲h̲ayyāṭ, Taʾrīk̲h̲, Nad̲j̲af 1386/1967, 221, 225

* Ibn Ḥabīb, al-Muḥabbar, ed. I. Lichtenstaedter, Ḥaydarābād 1361/1942, index idem, al-Munammaḳ fī ak̲h̲bār Ḳurays̲h̲, Ḥaydarābād 1384/1964, 505-6

* Ibn Ḳutayba, Maʿārif, Beirut 1390/1970, 88

* ps.-Ibn Ḳutayba, al-Imāma wa ’l-siyāsa, Beirut 1401/1981, ii, 4-6

* Balād̲h̲urī, Ansāb al-as̲h̲rāf, ms. Süleymaniye, fols. 153a, 154b-156b, iii, ed. al-Maḥmūdī,

* Beirut 1397/1977, 159-60, 167-9, 188, 224, iv/2, ed. M. Schloessinger, Jerusalem 1938, 16, 77, 84, v, ed. S.D. Goitein, Jerusalem 1936, 214-15, 291

* Dīnawarī, al-Ak̲h̲bār al-ṭiwāl, ed. V. Guirgass, Leiden 1888, 244-5, 247-56, 258-60

* Yaʿḳūbī, Taʾrīk̲h̲, Beirut 1379/1960, ii, 242-3

* Saʿd b. ʿAbd Allah al-Ḳummī, al-Maḳālāt wa ’l-firaḳ, ed. Muḥammad D̲j̲awād Mas̲h̲kūr, Tehran 1963, 24

* Ṭabarī, index

* Bayhaḳī, al-Maḥāsin wa ’l-masāwī, ed. F. Schwally, Giessen 1902, 59-61

* Ibn ʿAbd Rabbihi, al-ʿIḳd al-farīd, Cairo 1359-72/1940-53, iv, 377-9

* Masʿūdī, Murūd̲j̲, ed. Pellat, index

* Abu ’l-Farad̲j̲ al-Iṣfahānī, Maḳātil al-Ṭālibiyyīn, ed. Aḥmad Ṣaḳr, Beirut n.d., 80, 95-110

* al-Mufīd, al-Irs̲h̲ād, Beirut 1399/1979, 200, 204-23, 249, tr. I.K. Howard, London 1981, 299, 305-33, 373

* idem, al-Ik̲h̲tiṣāṣ, Nad̲j̲af 1390/1971, 78

* al-S̲h̲arīf al-Murtaḍā, Amālī, ed. Muḥammad Abu ’l-Faḍl Ibrāhīm, 2nd ed., Beirut 1387/1967, i, 276

* Ibn Ḥazm, D̲j̲amharat ansāb al-ʿarab, ed. ʿAbd al-Salām Muḥammad Hārūn, Cairo 1382/1962, 69, 406

* Ibn al-ʿArabī, al-ʿAwāṣim min al-ḳawāṣim, D̲j̲udda 1378, 229-31

* Ṭabrisī (Ṭabarsī), Iʿlām al-warā, Nad̲j̲af 1390/1970, 204, 223-30, 238, 255

* Ibn ʿAsākir, al-Taʾrīk̲h̲ al-kabīr, iv, Damascus 1332, 332 = Taʾrīk̲h̲ ¶ Madīnat Dimas̲h̲ḳ, facs. ed. Cairo n.d. [1989], v, 68

* Ibn S̲h̲ahrās̲h̲ūb, Manāḳib āl Abī Ṭālib, Nad̲j̲af 1956, iii, 241-5, 259

* Ibn al-At̲h̲īr, al-Kāmil, iv, Beirut 1385/1965, 21-2, 25-36, 42-3

* Ibn Namā al-Ḥillī, Mut̲h̲īr al-aḥzān, Nad̲j̲af 1369/1950, 16, 20-26, 32, 50

* Ibn Ṭāwūs, Miṣbāḥ al-zāʾir, ms. Marʿas̲h̲ī, 69-72 idem, al-Luhūf ʿalā ḳatlā ’l-Ṭufūf, Tehran 1348 S̲h̲, 26, 36-8, 45-60, 73-5, 91

* Ibn al-ʿIbrī, Muk̲h̲taṣar taʾrīk̲h̲ al-duwal, Beirut n.d. [1978-9], 110

* Ibn al-Ṭiḳṭaḳā, al-Fak̲h̲rī, ed. H. Derenbourg, Paris 1895, 159-60

* Nuwayrī, Nihāyat al-arab, xx, Cairo 1395/1975, 387-8, 391-405, 413-5, 462, xxi, Cairo 1396/1976, 7

* D̲h̲ahabī, Taʾrīk̲h̲ al-Islām, ii, Cairo 1368, 316 idem, Siyar aʿlām al-nubalāʾ, iii, Cairo 1962, 206-8, 217

* Ibn Kat̲h̲īr, Bidāya, Cairo 1351-8/1932-9, viii, 152-9

* Ibn ʿInaba, ʿUmdat al-ṭālib fī ansāb āl Abī Ṭālib, Beirut 1390, 29

* Ṭurayḥī, al-Muntak̲h̲ab, Beirut n.d., 37, 372, 380-5, 421-9, 434, 437-8

* Mad̲j̲lisī, Biḥār al-anwār, Tehran 1956-74, xlii, 116-7, xliv, 334-7, 341-63, 369-70, 373-4, xlv, 32-3, 68, 96-8, 100-5

* S̲h̲abland̲j̲ī, Nūr al-abṣār fī manāḳib āl al-nabī al-muk̲h̲tār, Cairo 1399/1979, 142-4

* D̲j̲aʿfar al-Tustarī, al-K̲h̲aṣāʾiṣ al-ḥusayniyya, Nad̲j̲af 1375/1956, 124-5

* L, Pelly, The Miracle play of Ḥasan and Ḥusayn, i, London 1879, 171-206

* F. Wüstenfeld, Der Tod des Ḥusein ben ʿAlī, Göttingen 1883, 24-6, 30-46

* H. Lammens, Le califat de Yazīd I , Beirut 1921, 136-45, 150-1

* D.M. Donaldson, The Shīʿite religion, London 1933, 80-5

* Muḥsin al-Amīn, Aʿyān al-S̲h̲īʿa, iv/1, Beirut 1367/1948, 191-4, 199-210, 216, 221-3 idem, Miftāḥ al-d̲j̲annāt, Beirut n.d., ii, 90-3

* ʿAbbās Ḳummī, Tuḥfat al-aḥbāb, Tehran 1369, 359-60 idem, Nafas al-mahmūm, Ḳumm 1405, 82-7, 92-162

* Muḥammad ʿAlī ʿĀbidīn, Mabʿūt̲h̲ al-Ḥusayn, Ḳumm n.d.

* ʿAbd al-Razzāḳ al-Mūsawī al-Muḳarram, al-S̲h̲ahīd Muslim b. ʿAḳīl, Nad̲j̲af 1369/1950

* Parviz Mamnoun, Taʿzija: Schiʿitisch-Persisches Passionsspiel, Vienna 1967, 7, 30, 72-3, 127, 130

* J. Wellhausen, The Religio-political factions in early Islam, tr. Ostle and Walzer, Amsterdam and New York 1975, 105-9

* Mahmoud Ayoub, Redemptive suffering in Islām, The Hague 1978, 99-102 and index

* S.H.M. Jafri, The origins and early development of Shiʿa Islam, London and New York 1979, index

* Ibrāhīm al-Mūsawī al-Zand̲j̲ānī, D̲j̲awla fi ’l-amākin al-muḳaddasa, Beirut 1405/1985, 203-7

* R. Milstein, Miniature painting in Ottoman Baghdad, Costa Mesa 1990, 25-7, 101-6.
==Source==
* [https://referenceworks.brillonline.com/entries/encyclopaedia-of-islam-2/muslim-b-akil-b-abi-talib-SIM_5596?s.num=637&s.start=620 Encyclopaedia Iranica]
[[Category: Historic Character]]
[[Category: Karbala Martyrs]]
[[Category: Battel of Karbala]]
[[Category: Husayn’s Followers]]

Horr B. Yazid al-Riahi al-Yarbuʾi al-Tamimi

2019-08-14T12:12:40Z

T.ramezani: Created page with "'''HORR-E RIAHI AL-HORR B. YAZID al-Riaḥi al-Yarbuʾi al-Tamimi''' (d. 61/ 680), a leading tribesman in Kufa, who obeyed the orders of ʿUbayd-Allah b. Ziad by inter..."

'''HORR-E RIAHI AL-HORR B. YAZID al-Riaḥi al-Yarbuʾi al-Tamimi''' (d. 61/ 680), a leading tribesman in [[Kufa]], who obeyed the orders of [[ʿUbayd-Allah b. Ziad]] by intercepting [[Husayn b. ʿAli]] and his party and leading them to [[Karbala]], but later repented and fought on Husayn’s side which led to Horr’s [[martyrdom]] on the 10th of [[Muharam]], [[Ashura]]. He is regarded as the symbol of hope in repentance which ensures his salvation.
==Encounter with Imam Husayn==
The first meeting between Horr and Imam Husayn was not hostile. However, Horr pressed upon Husayn to change his course and follow him, even after the latter had informed him of the letters of support, he had received from the Kufans, towards whom his party was heading. Horr further obeyed Ibn-e Ziad’s subsequent order to force the rebels to stop in a deserted area. Thus, Husayn was led to the plain of Karbala, where he was encircled by the troops dispatched by Ibn-e Ziad under the command of [[ʿOmar b. Saʿd]]. Once the latter had rejected Husayn’s final proposals and decided to fight him on the morning of [[Ashura]], 10 [[Moharram]] 61/10 October 680, Horr then repented and joined Husayn, who promised him God’s forgiveness.
==Horr’s Martyrdom==
According to most historians, many men from Husayn’s side were killed before Horr (see, e.g., Ṭabari, II, p. 350; tr. I. K. A. Howard, XIX, p. 144). However, Horr’s own words when he rallied behind Husayn imply that he might have been the first to be killed at Karbala. [[Shiʿite]] tradition has retained this sequence of events, apparently derived from the work of [[Shaykh al-Mofid]], who does not mention anyone having been killed before Horr, except Muslim b. ʿAwsaja (tr. Howard, 1981, pp. 356 f.). In Turco-Persian [[maqtal-nama]] narratives of the drama of Karbala, which were used extensively by Kashefi for his [[Rawzat al-Shuhada]] (see Calmard, 1996, p. 155), after having killed many enemies, Horr became the first martyr of the battle. His [[martyrdom]] was followed by those of his brother, Moṣʿab b. Yazid, his son ʿAli, and the latter’s slave (Kashefi, pp. 277 ff.; see Calmard, 1975, pp. 351 ff.).
==Legacy==
Horr’s courageous rallying behind Husayn and sacrificing himself to his cause are widely celebrated in Moharram rituals and related popular literature, such as [[marthias]] (elegies), [[nawḥas]] (dirges), and [[taʿzias]] (religious dramas). Many scenes dedicated to Horr are included in taʿzia collections, particularly in the Cerulli version (see Rossi and Bombaci, 1961, Index).
==Bibliography==
* M. Ayoub, Redemptive Suffering in Islam, The Hague, 1978, Index.

* J. Calmard, “Le Culte de l’Imam Husayn. Etude sur la commémoration du drame de Karbala dans l’Iran pré-safavide,” Ph.D. diss., University of Paris (Sorbonne), 1975.

* Idem, “Shií Rituals and Power, II. The Consolidation of Safavid Shi’ism: Folklore and Popular Religion,” in C. Melville, ed., SafavidPersia, Cambridge, 1996, pp. 139-90.

* P. J. Chelkowski, ed., Taʿziyeh: Ritual and Drama in Iran, New York, 1979, index. Ṣ. Homāyuni, Taʿzia dar Irān, Shiraz, 1368 Š./1989, Index.

* HusaynWāʿeẓ Kāšefi, Rawżat al-šohadāʾ, ed. M. Ramażāni, Tehran, 1341 Š./1962.

* M. J. Kister, “al-Ḥurr b. Yazīd,” in EI2. Šayḵ al-Mofid, al-Eršād, tr. I. K. A. Howard, Kitāb al-Iršād: The Book of Guidance in the Livesof the Twelve Imams, London, 1981, Index.

* Mostawfi, Šarḥ-e zendagāni. E. Rossi and A. Bombaci, Elenco di drammi religiosipersiani (fondo mss. Vaticani Cerulli), Vatican City, 1961, Index.

* P. Ṣayyād, Matn-e taʿzia-e Ḥorr, mansub be-Moṣṭafā Kāšāni (Mir ʿAzā), Tehran, 1350 Š./1971.

* Ṭabari, II, index; Ṭabari tr., XIX, index. L. Veccia Vaglieri, “al-Ḥusayn b. ʿAlī b. Abī Ṭālib,” in EI². (Jean Calmard)
==Source==
* [http://www.iranicaonline.org/articles/horr-e-riahi Encyclopaedia Iranica]
[[Category: Historical Character]]
[[Category: Karbala Martyrs]]
[[Category: Battle of Karbala]]
[[Category: Husayn’s Followers]]

Muharram

2019-08-13T13:33:03Z

T.ramezani: Created page with "'''Muharram,''' the first month of the Islamic year, is the focus of annual lamentation rituals performed especially by Shi’a Muslims in honor of Husayn b. Ali, the..."

'''Muharram,''' the first month of the Islamic year, is the focus of annual lamentation rituals performed especially by [[Shi’a]] Muslims in honor of [[Husayn b. Ali]], the prophet [[Muhammad]]'s grandson, who was martyred on 10th of Muharram, known as [[Ashura]], in the [[battle of Karbala]]. Both in pre-Islamic and Islamic cultures, Muharram is considered a sacred month. It is named Muharram (forbidden) because warfare is forbidden in this month.
==Origins in Pre-Islamic Calendar==
The name, Muharram, is originally not a proper name but an adjective qualifying [[Safar]]. In the pre-Islamic period, the first two months of the old Meccan year were Safar [q.v.] I and II, which is reflected in the dual a potiori of al-Safarān for al-Muharram and Safar; in the old Arab year, the first half year consisted of “Three months of two months each” (Wellhausen), as the two Safars were followed by two Rabiʿs and two D̲j̲umadas. <ref>https://referenceworks.brillonline.com/entries/encyclopaedia-of-islam-2/al-muharram-SIM_5426.</ref> The pre-Islamic Arabs held the lunar month of Muharram to be sacred during which warfare is forbidden.
==Month of Mourning==
All Muslims consider Muharram to be a sacred period, but it is the Shiʿa who have attached special significance to this month. For the Shiʿa, Muharram is a time to commemorate the [[martyrdom]] of the third Imam, Husayn ibn ʿAli, who was killed on the tenth day of the month ([[Ashura]]), at the battle of Karbala, Iraq, in 680 CE. The ritualized remembrance of Imam Husayn, his family, and his loyal supporters, who sacrificed their lives for the cause of Islam, extends far beyond Muharram to the months of Safar and al-Rabiʿ al-Awwal. These days of mourning (ayyam-e ʿaza) are a time for the Shiʿa to collectively remember and mourn Imam Husayn’s sacrifice and martyrdom, as well as to publicly affirm their loyalty to the family of the Prophet Muhammad ([[Ahl-e Bayt]]) and Islam. Over time, Muharram has come to refer to the collectivity of rituals performed to invoke Imam Husayn’s suffering and sacrifice, as well as to maintain the immediacy of Karbala in the Shiʿi collective conscience. <ref>https://www.oxfordbibliographies.com/view/document/obo-9780195390155/obo-9780195390155-0136.xml#obo-9780195390155-0136-div1-0013.</ref>
Muharram is also important in the Sunni tradition, and the ninth and tenth days are days of fasting commemorating when Noah left the ark and when Moses was saved in Egypt. In many parts of the Islamic world, including South Asia and South Africa, Sunnis also participate in Muharram mourning rituals for Imam Husayn and his family, which is considered a way of paying respects to the Prophet Muhammad. Likewise, Muharram has been an occasion for Sunni-Shiʿi violence in places such as Pakistan and Iraq, and for Hindu-Muslim violence in India. <ref>https://www.oxfordbibliographies.com/view/document/obo-9780195390155/obo-9780195390155-0136.xml#obo-9780195390155-0136-div1-0013.</ref>
==Mourning Rituals in Muharram==
During Muharram, the Shiʿa attend mourning assemblies (majles), where they listen to discourses ([[rawza- khwani]]) extolling the idealized qualities (faza’el) and tragic suffering (masa’eb) of Imam Husayn and his family. Memorializing poems of lament are recited ([[marthiya]], salam, and suz), and each majles concludes with the participants beating their chests (Arabic latam; Persian/Urdu matam) in time to rhythmic poems of mourning ([[nawha]]). In Iran and South Asia, replicas of Imam Husayn’s tomb (naql, [[taʿzia]]) are constructed and carried through the streets in processions (jolus). On 9 and 10 Muharram, men solemnly march through the streets performing various acts of bloodletting [[self-flagellation]], including striking the head with a sharp knife ([[tatbir]], qameh zani) or striking oneself on the back with chains or blades (shamshir zani, [[zanjir zani]]). Since the early 20th century, Shiʿi ulama have debated the permissibility of performing “bloody matam.” In 1994 [[Ayatollah ʿAli Khamenei]] issued a [http://www.iranicaonline.org/articles/fatwa fatwa] (legal opinion) prohibiting the performance of matam in which weapons are used to shed blood. Likewise, the leader of the Lebanese organization Hezbollah, Ayatollah Muhammad Hussein Fadlallah, has upheld Khamenei’s fatwa, urging Shiʿa to donate blood on Ashura. These legal opinions reflect the desire to deflect criticism away from Shiʿi Muharram rituals, which are often portrayed as excessively violent. Imam Husayn’s martyrdom is dramatically reenacted in Iran, India, Pakistan, Turkey and the Caucasus, Iraq, and Lebanon in the [[ ta’ziya]], where village men and professional actors assume the roles of the heroes and villains of Karbala. <ref>https://www.oxfordbibliographies.com/view/document/obo-9780195390155/obo-9780195390155-0136.xml#obo-9780195390155-0136-div1-0013.</ref>
==Reference==
[[Category: Months of Islamic Calendar]]
[[Category: Month of Mourning]]
[[Category: Shi’a Rituals]]

Hussainiya

2019-08-11T10:32:34Z

T.ramezani: Created page with "'''Hussainiya''' is a rather recent name for public buildings in Iran, Iraq and Lebanon that are used by the Shi'a for mourning ceremonies, especially during the months of..."

'''Hussainiya''' is a rather recent name for public buildings in Iran, Iraq and Lebanon that are used by the [[Shi'a]] for mourning ceremonies, especially during the months of [[Muharram]] and Safar (the first two months in the Muslim calender) wherein the [[martyrdom]] of [[Husayn b. Ali]], grandson of the Prophet, is mourned. Hussainiyas are mainly of austere architecture and generally built according to a similar design as that of a karvansara. “Their basic requirement is a large amount of space, open or covered, in which to perform the Muharram ceremonies, and lodgings for visiting participants. Thus, the lodgings are built around a courtyard (maydan), which contains the stage, in the form of a square or circular platform (saku)”. <ref>“Hosayniya”. Encyclopedia Iranica. March 23, 2012. Retrieved 9 March 2009. (http://www.iranicaonline.org/articles/%E1%B8%A4OSAYNIYA)</ref>
==Historical Development==
Although mourning ceremonies have been common since the [http://www.iranicaonline.org/articles/buyids Buyids] era, no definite date can be set for the emergence of the name hussainiya before the last part of eighteenth century. Until that time these ceremonies were held in royal palatial halls, spacious houses, in streets, and open spaces. Apparently, from the second half of the [http://www.iranicaonline.org/articles/safavids Safavid] era the [[tekkeyyeh]] and khaneqa (also khanakha), buildings that originally served as establishments of the dervishes, were gradually transformed into Hussainiyas, often assuming this name from the latter part of the [http://www.iranicaonline.org/articles/zand-dynasty Zand] and early [https://www.britannica.com/topic/Qajar-dynasty Qajar] periods onward.
Starting in the mid-1950s, buildings serving similar religious purposes have been named after other imams and [[Shi'ite]] saints. For instance, in 1996 there were 1358 hussainiya, 148 tekkiyeh, 34 fatimiyya, 32 [[mahdiyya]], and 57 zainabiyya in the Khorasan province. Scores of such buildings built during the last few decades of the twentieth century in the city of [https://www.britannica.com/place/Mashhad Mashhad] bear such names as sajjadiyya, baqiriyya, sadiqiyya, kazimiyya, radawiyya, jawwadiyya, naqawiyya, faskariyya, mahdiyya, fatimiyya, nargisiyya, and zaynabiyya.

Apparently, the religious influence of the Safavid era (1501-1736) led to the building of the ashurkhanas of the Deccan during the reign of the [[Shi'ite]] [https://www.britannica.com/topic/Qutb-Shahi-dynastyQutb-shahi] dynasty, and Mir Muhammad Mu'min Astarabadi (d. 1625), an eminent religious and political figure, is known to have built several of them in and around the city of Hyderabad, establishing a tradition that later spread to the north and other parts of India. The magnificent imambara of Asaf ad-Dawlah at Lucknow is perhaps the most impressive of this kind of structures ever built. <ref>Rasool Ja’fariyan (2004). “taʿziya”. Encyclopedia of Islam and Muslim World (ed. Richard Martin). New York: Macmillan.</ref>
==Different Variation==
The idea of building a special permeant place for Ashura rituals gradually spread far beyond Iran and Iraq to other Shi’i communities. As a result of its growing popularity and also adaptation to different Shi’i localities and cultures, it turn out to be known under various names, such as Takiya (place of piety), and Zaynabiyya (in honor of Hussayn’s sister, Zaynab) in Iran; Matam (funeral house) in Bahrain and Oman; and [[Imambareh]] (enclosure of the Imam), Imambargah (Imam building), Azakhana (mourning house), Ashurkhana (Ashura house), and Taaziyakhana (condolence house) in India, Bangladesh, and Pakistan. <ref>“Hosayniya”. Encyclopedia of Islam (2009), ed. Juan E. Campo. New York: Checkmark Books (https://www.amazon.com/Encyclopedia-Islam-World-Religions/dp/0816077452)</ref>
==Functions==
The ritual practices conducted at the hussainiya have varied, often depending on local community customs and needs. However, generally these practices involve the commemoration of events surrounding the martyrdom of Imam Husayn and his loyal followers. However, its practices have extended Muharram and Safar to include other activities such as Quran recitation, special ceremonies for Ramadan, charity activities and other religious programs. <ref>“Hosayniya”. Encyclopedia of Islam (2009), ed. Juan E. Campo. New York: Checkmark Books (https://www.amazon.com/Encyclopedia-Islam-World-Religions/dp/0816077452)</ref> Since hussainiya serves as a focal point for Shi’i gathering, it also plays a very significant role in consolidation of religious identity specially for Shi’i population in diaspora. <ref>Vermon James Schubel (1996). “Karbala as Sacred Space among North American Shi'a” in Making Muslim Space in North America and Europe, edited by Barbara Metcalf, 186-203. Berkeley: University of California Press. (https://www.ucpress.edu/book/9780520204041/making-muslim-space-in-north-america-and-europe)</ref>
The recent transformation of hussainiya into political focal points occurred in Iran during the constitutional revolution of 1905-11, a tendency which was later revived by opponents to the rule of Pahlavi. The most significant one is the hussainiya-e Irshad, founded in 1965 in Tehran. It engaged both Ulama and Laity alike and featured the lectures of [[Ali Shari'ati]] whose revolutionary interpretation of Shi’i Islam evoked many Iranians against the Pahlavi Monarchy. <ref>“Hosayniya”. Encyclopedia Iranica. March 23, 2012. Retrieved 9 March 2009. (http://www.iranicaonline.org/articles/%E1%B8%A4OSAYNIYA)</ref>
==List of Famous hussainiya==
1- [[hussainiya-e Mushir]]

2- [[hussainiya-e Irshad]]
==Reference==
[[Category: Places]]
[[Category: Islamic Architecture]]
[[Category: Shi’a Islam]]

Ta'ziya

2019-08-10T10:45:13Z

T.ramezani: Created page with "'''Ta'ziya''' is an Islamic Shi'ite ritual performed mainly in Iran. The Arabic term ta'ziya (Per., Ta'ziyeh) means to mourn or to offer one's condolences for a death. It is a..."

'''Ta'ziya''' is an Islamic Shi'ite ritual performed mainly in Iran. The Arabic term ta'ziya (Per., Ta'ziyeh) means to mourn or to offer one's condolences for a death. It is also sometimes called ta’ziya khani, or shabih khani. The term taʻziya has been used primarily in Iran to refer to a Shi'ite religious ritual consisting of a theatrical re-enactment of the tragic seventh century Battle of [[Karbala]]. This historic battle was fought between the followers of prophet [[Mohammad]]'s grandson, [[Imam Husayn]] and the troops of the second [[Umayyad]] caliph [[Yazid]]. While taʼziya performance rituals have been mostly restricted to Iran, the Shi'a of South Asia and Iraq use the term taʻziya to refer to a model or replica of Husayn's tomb, which they use in their ritual processions, after which they are ritually discarded.
==The Battle of Karbala==
Accounts of the Battle of Karbala can be summarized as follows. In the year 680 C.E., Husayn, who was also the third imam of the [[Shi'a]], was killed in the desert of southern Iraq along with over seventy of his family and close friends by troops loyal to the caliph Yazid. The women and children were taken prisoner and paraded in various cities, adding to the humiliation, but also providing opportunities for these women, particularly Husayn's sister [[Zaynab]], to speak out publicly against Yazid. Yazid is portrayed by the Shisa as notoriously corrupt, immoral, and oppressive. Hence, Husayn's rebellion and subsequent [[martyrdom]] is understood by the Shiʻa as an epic struggle between good and evil. For the Shisa this event has served as a vindication of the Shi'ite cause in the face of [[Sunni]] criticism, as well as constituting the central event in their understanding of human history.
==Historical Development==
Following the battle itself, popular elegies of the martyrs were composed. However, the earliest reliable account of the performance of public mourning rituals was recorded in 963 C.E. during the reign of Mu'izz al-Dawla, the [http://www.iranicaonline.org/articles/buyids Buyid] ruler of southern Iran and Iraq. When the [http://www.iranicaonline.org/articles/safavids Safavid] dynasty came to power in Iran a new type of ritual called [[rawza-khani]] emerged, consisting mainly of a ritual sermon recounting and mourning the tragedy of Karbala. This ritual was based on texts like Husayn Va'ez Kashfi's 1502 composition entitled [[Rawzat al-shuhada]] (The garden of martyrs). Kashfi's text was a synthesis of a long line of historical accounts of Karbala by religious scholars.
By the time the [https://www.britannica.com/topic/Qajar-dynasty Qajar] dynasty took power in Iran in 1796, the rawza-khani ritual had evolved into the much more elaborate ritual called shabih-khani or taʼziya. The ta’ziya, an elaborate theatrical performance of the Karbala story based on the same narratives used in the rawza-khani, involved a large cast of professional and amateur actors, a director, a staging area, costumes, and props.

The heyday of ta'ziya was the Qajar era (1796–1925). The most elaborate example of Qajar patronage of taʻziya was the [[Takiya Dawlat]], which was built in Tehran in 1873 by the order of the Iranian monarch [https://www.britannica.com/biography/Naser-al-Din-Shah Naser al-Din Shah]. This takiya was built on a very grand scale. Nevertheless, it was in most ways a typical takiya. It consisted of a large circular amphitheater with several entrances surrounding a large open area; a tent was used as a roof. Its primary purpose was to provide a staging area for the most elaborate ta’ziya performances. Lady Sheil, a European traveler, resident in Tehran in 1856, gives a brief account of the taʻziya performance in the Takiya Dawlat in 1856, concluding, “It is a sight in no small degree curious to witness an assemblage of several thousand persons plunged in deep sorrow, giving vent to their sorrow” (p. 127).
==Modern Trends==
Following the fall of the Qajar dynasty in the early twentieth century, the ta'ziya slowly declined until it was mostly abandoned in the large cities in the 1930s and 1940s. However, ta'ziyas have continued to exist in Iran on a smaller scale throughout the twentieth century, especially in traditional sectors. There were two reasons for this relative decline. The first Pahlavi king, [https://www.britannica.com/biography/Reza-Shah-Pahlavi Reza Shah], outlawed the ta’ziya. More importantly, as Iranian society changed modernized elites became less interested in sponsoring such traditional ritual events. Scholars of literature and drama as well as government agencies attempted to preserve this theatrical tradition in the 1970s, and again in the 1980s and 1990s. However, unlike the Qajar period, which was the heyday of the taʻziya ritual, the dominant public rituals since the 1930s have been the [[Muharram]] processions, and various forms of the rawza khani.
==Bibliography==
* Chelkowski, Peter, ed. Ta'ziyeh: Ritual and Drama in Iran. New York: New York University Press, 1979.

* Hegland, Mary Elaine. “The Majales-Shiʻa Women's Rituals of Mourning in Northwest Pakistan.”

* In A Mixed Blessing: Gender and Religious Fundamentalisin Cross Culturally. Edited by Judy Brink and Joan Mencher. New York and London: Routledge, 1997.

* Pelly, Sir Lewis. “The Miracle Play of Hasan and Husayn.” Collected from Oral Traditions. London: Wm. H. Allen and Co., 1879.
==Source==
* [Kamran Aghaie (2004). Encyclopedia of Islam and Muslim World. Edited by Richard C. Martin. USA: Macmillan; P: 691. ISBN 0-02-865912-0]
[[Category: Shi’i Ritual]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Mohsen mirza ali

2019-08-07T11:01:11Z

T.ramezani: Created page with "{{Infobox artist | name = Mohsen mirza ali | image = Mohsen mirza ali 6.jpg | image_size = | alt = | caption = | birth_d..."

{{Infobox artist
| name = Mohsen mirza ali
| image = Mohsen mirza ali 6.jpg
| image_size =
| alt =
| caption =
| birth_date = 1983
| birth_place = Tehran
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani and Naqqali
| patrons = Hassan Mirza Ali (his father)
}}

'''Mohsen Mirza Ali''' (born in 1983) is Iranian [[Pardekhan]] and [[Naqqal]] who began Pardekhani when he was 23 years old.
==Performance Method==
[[File:Mohsen mirza ali 5.jpg|thumb|]]
Mohsen Mirza Ali learned the bases of his art from the traditional curtain-tellers and his mode is influenced by his father, Morshed Hassan Mirza Ali. But the relationships and the conditions of the contemporary life and culture weren't uninfluenced in his performance style. His youth and his being placed between two kinds of contemporary and traditional culture separates his performance from the older performers: use of the cane and movement of the cane from one hand to the other and new forms of movements which involve variations in addition to exaggeration in facial mimics aren't familiar to the traditional curtain-narrators.
==Reciting Method==
{{Listen
| filename = 30- Mohsen mirza ali.mp3
| title = Mohsen Mirza Ali
}}

The picture-storytelling begins with a tone in Bayat-e Tork but the storyteller's emphasis and temporary pause on the words In parde (this curtain), the Segah tonality is evoked, this also not being permanent and the next Ist (final note) is on the Shahed of Shur or the third note of Segah Pishdong and there is no permanency on any tonality and only the Pardekhan's accents on certain notes corresponded to the equivalent Persian mode during a few moments .
However, in general, the tonality of Bayat-e Tork, <ref>The Shur mode has four subdivisions called Avaze Abuata, Avaze Bayat-e Tork, Avaze Afshari and Avaze Dashti, and Segah is the nearest mode and next to Shur and many similarities exist and may be heard when these are sung. However, the Shushtari Gushe is rather independent in Homayun and also has similarities with the above in terms of intervals, because it! has a Shahed in common with the Dastgah Segah, and a final tone is in common with the Dastgah Shur.</ref> is more used in this performance, drawing on sentences and phrases of Shur of which its Shahed is on the second note of Bayat - e Tork. During the performance, the singer's voice clearly moves a quarter note higher but the general acoustic atmosphere of curtain-storytelling is maintained.
Although enjoying of the variety forms of Iranian musical modes ([http://www.iranicaonline.org/articles/dastgah Dastgah]) and songs ([http://www.iranicaonline.org/articles/avaz Avaz]) is usual between some of the distinguished curtain-narrators, but in this case, the momentariness of each of these atmospheres is indication of the youth of the singer on one hand, and the complexity and difficulty of the Pardekhani melodies on the other .
In spite of this, the young Morshed, Mohsen Mirza Ali has been able to make himself known among Iran's curtain - storytellers. In order to understand the complexity and depth of the meanings and the stages of teaching the Pardekhans (curtain narrators) and the manners of picture-storytelling which is a kind of Ma'rekegiri, which fuses storytelling and lyrical poetry (Ghazalkhani), it is necessary to refer to authoritative sources.
==Narration==
[[File:Mohsen mirza ali 7.jpg|thumb|]]
Morshed Mohsen Mirza Ali tells the story of the meeting between Allahverdi and Shah Abbas. Allahverdi is a blind man devoted to [[Imam Rida]], 8th Imam of the [[Shi'ites]]. For years he has been wanting to visit his shrine. People know about this and gather some money for his pilgrimage. Allahverdi remains there devoted to Imam Rida in his shrine for 20 years, until one day Shah Abbas arrives there on pilgrimage. Shah Abbas gives Allahverdi his expensive rosary. However, Allahverdi does not accept it because of his gracious spirit since he understands the great value of it. Shah Abbas swelled with pride and said if you receive no healing for your sight after 20 years devotion I will order your death. Allahverdi sees Imam Rida in a dream and his blindness is healed. <ref>Va'ez Kashefi Sabzevari , Mowlana Hossein, Fotovatnameyeh Soltani, ed . Mohammad Jafar Manjub, Bonyade , Farhange Iran , 1350.</ref>
==Source==
* Ardalan, hamidreza (2008). Picture-storyteller masters of iran, the Iranian academy of the art, 2008, volume 30. ISBN: 978-964-2986-125(vol.30). 978-964-2986-002(set).
==Reference==
[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Rasoul mirza ali

2019-07-27T12:10:40Z

T.ramezani:

{{Infobox artist
| name = Rasoul mirza ali
| image = Rasoul mirza ali 4.jpg
| image_size =
| alt =
| caption =
| birth_date = 1967
| birth_place = Tehran
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani
| patrons = Hassan Mirza Ali (his father)
}}

'''Rasoul Mirza Ali''' (born in 1967) is an Iranian Pardekhan who started [[Pardekhani]] from his childhood. He was trained by Hassan Mirza Ali, his father.
==Performance Method==
{{Listen
| filename = 29- Rasoul Mirza Ali.mp3
| title = Rasoul Mirza Ali
}}

[[File:Rasoul mirza ali 3.jpg|thumb|]]
If for the Pardekhans (curtain-storytellers) in general, the three original modes of performances are taken into consideration, Morshed Rasoul Mirza Ali belongs to the second group. The aim in this kind of performance is not necessarily the conservation of the relation of the performer to the content of the performance, because the singing of Pardekhani is a kind of profession. Therefore, what is performed is more techniques which have become rational.
==Narration==
[[File:Rasoul mirza ali 2.png|thumb|]]
The narration is of the Deer Keeper. A hunter hunts a deer. A pure-hearted Seyyed releases the deer so it could give milk to its young. The hunter said, the deer may escape, then I will have lost my wife and children's bite to eat. The Seyyed gives him his camel, ring and other possessions in exchange for the freedom of the deer. The hunter ties the hands of the Seyyed to be sure of his prize. When the deer reaches its den, it sees a wolf. The wolf had fed the deer's children while the deer had been away. The period of freedom of the deer ends, and it returns with its two children to the hunter along with the wolf. The hunter is astonished when seeing the friendship between the animals and the Seyyed. The Seyyed suggests to the hunter to never hunt again, and the hunter is contemplating the possibility when he sees that the stones of the desert have turned into jewels, just as the Seyyed had said.
==Source==
* Ardalan, hamidreza (2008). Picture-storyteller masters of iran, the Iranian academy of the art, 2008, volume 29. ISBN: 978-964-2986-118(vol.29). 978-964-2986-002(set).
[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Rasoul mirza ali

2019-07-27T12:10:20Z

T.ramezani: Created page with "{{Infobox artist | name = Rasoul mirza ali | image = Rasoul mirza ali 4.jpg | image_size = | alt..."

{{Infobox artist
| name = Rasoul mirza ali
| image = Rasoul mirza ali 4.jpg
| image_size =
| alt =
| caption =
| birth_date = 1967
| birth_place = Tehran
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani
| patrons = Hassan Mirza Ali (his father)
}}

'''Rasoul Mirza Ali''' (born in 1967) is an Iranian Pardekhan who started [[Pardekhani]] from his childhood. He was trained by Hassan Mirza Ali, his father.
==Performance Method==
{{Listen
| filename = 29- Rasoul Mirza Ali.mp3
| title = Rasoul Mirza Ali
}}

[[File:Rasoul mirza ali 3.jpg|thumb|]]
If for the Pardekhans (curtain-storytellers) in general, the three original modes of performances are taken into consideration, Morshed Rasoul Mirza Ali belongs to the second group. The aim in this kind of performance is not necessarily the conservation of the relation of the performer to the content of the performance, because the singing of Pardekhani is a kind of profession. Therefore, what is performed is more techniques which have become rational.
==Narration==
[[File:Rasoul mirza ali 2.png|thumb|]]
The narration is of the Deer Keeper. A hunter hunts a deer. A pure-hearted Seyyed releases the deer so it could give milk to its young. The hunter said, the deer may escape, then I will have lost my wife and children's bite to eat. The Seyyed gives him his camel, ring and other possessions in exchange for the freedom of the deer. The hunter ties the hands of the Seyyed to be sure of his prize. When the deer reaches its den, it sees a wolf. The wolf had fed the deer's children while the deer had been away. The period of freedom of the deer ends, and it returns with its two children to the hunter along with the wolf. The hunter is astonished when seeing the friendship between the animals and the Seyyed. The Seyyed suggests to the hunter to never hunt again, and the hunter is contemplating the possibility when he sees that the stones of the desert have turned into jewels, just as the Seyyed had said.
==Source==
Ardalan, hamidreza (2008). Picture-storyteller masters of iran, the Iranian academy of the art, 2008, volume 29. ISBN: 978-964-2986-118(vol.29). 978-964-2986-002(set).
[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Seyyed hossein havaeji

2019-07-26T17:28:44Z

T.ramezani: Created page with "{{Infobox artist | name = Seyyed hossein havaeji | image = Seyyed hossein havaeji 5.jpg | image_size = | alt = | caption..."

{{Infobox artist
| name = Seyyed hossein havaeji
| image = Seyyed hossein havaeji 5.jpg
| image_size =
| alt =
| caption =
| birth_date = 1967
| birth_place = Hamedan
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani, Naqqali and Maddahi
| patrons = Naqi Sabbaq Hamedani, Darvish Qadir and Hossein Jalali
}}

'''Seyyed Hossein Havaeji''' (born in 1967) is a distinguished Iranian [[Pardekhan]] and [[T’aziyakhan]]. Morshed Seyyed Hossein Havaeji is acknowledged, master of both curtain-storytelling and Zurkhaneh (palestra). His understanding of actions of gymnasium (Zurkhaneh) helps him in performing specific movements with variety in visual expression. In his performance the hands and in general the body are extremely active, and for most concepts a body activity and movement can be seen.
==Performance Method==
{{Listen
| filename = 28- Seyyd Hoseein Havaeji.mp3
| title = Seyyed Hossein Havaeji
}}

[[File:Seyyed hossein havaeji 4.jpg|thumb|]]
Some of his theatrical motions involved are:
- emphasis on indicating portraits, events and places with the index finger.
- combination of hand and cane to show the shooting and spear and mace-throwing and indicating the farthest points of the curtain or the real world.
- showing the spaciousness of time and space by opening the arms and opening the hands facing front.
- bowing in the battle scenes. -bowing forward and leaning on the cane for moments of thought and rest during the beginning of scenes.
– planned movements specially towards the audience and the curtain to evoke attention, fear, surprise, compassion.
==Reciting Method==
[[File:Seyyed hossein havaeji 6.jpg|thumb|]]
In this performance, in the hemistich Ey amiri ke alamdar e shah e [[Karbobala]] ... he sings the intervals that evoke Chahargah atmosphere (the third and fourth notes of first Dong to the third note of the second Dong) and ends on the Shahed note.
This note is due to the structural space constantly in juxtaposition to the Shahed but in this section it is not performed and so a complete cadence in Chahargah is not evoked.

Chahargah final note and Shahed
In this section Morshed Havaeji sometimes sings on a lower pitch which consequently he reaches the Shur mode and descending on its Shahed note.
From the Saqqa nashenid az ... section the third note of the Chahargah Pishdong is completely lowered a quarter tone in the performance and the Pardekhan's tone finds the intervals of Shur [http://www.iranicaonline.org/articles/dastgah Dastgah] (mode) and ends on a Shur characterized by a Shahed on the second note of the Pishdong of Chahargah. The verses continue with similar melodies. The third note of Pishdong is performed in a varied manner and in the ... Mohit e adab... hemistich the Pishdong of the Chahargah Dastgah changes to the first Dong of Shur Dastgah and it descends on the Shahed note of Shur.
In the Cho shod moseme harb e al e nabi ... hemistich the notes of the first Dong of Homayun Dastgah (mode) have been used with emphasis on the second note along with Rajaz <ref>Rajaz is a kind of recitation of poetry with the same metre as Shahnameh. In Chargah Dastgah there is a Gusheh called Rajaz with the same rhythm and metre.</ref> rhythm.
The verse of Arteshbod-e sultan-e din...is performed in the intervals which because of the melodic modulation is near to Segah Dastgah. But from the Ham az emam... hemistich the intervals used by the singer-narrator become extended and descends in the Homayun Dastgah. <ref>Pishdong intervals of Segah mode correspond to the intervals preceding the first Dong of Homayun but their Dongs do not correspond to each other.</ref> <ref>Some of the Gushes in Dastgahs and Avazes are common to each other and only in one ending does the identity of the Dastgah become revealed.</ref>
Temporary Ist (end note) - in some cases in various performances of Homayun Dastgah, especially in vocal pieces, this is used for a complete cadence. The present curtain-storytelling is one of these cases.
==Source==
Ardalan, hamidreza (2008). Picture-storyteller masters of iran, the Iranian academy of the art, 2008, volume 28. ISBN: 978-964-2986-101(vol.28). 978-964-2986-002(set).
==Reference==
[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Ali maddahi

2019-07-25T09:02:36Z

T.ramezani: Created page with "{{Infobox artist | name = Ali maddahi | image = Ali maddahi 4.jpg | image_size = | alt = | caption = | birth_da..."

{{Infobox artist
| name = Ali maddahi
| image = Ali maddahi 4.jpg
| image_size =
| alt =
| caption =
| birth_date = 1959
| birth_place = Ahar, Tabriz province
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani (picture-storyteller), Maddahi (encomum) and Naqqali (epic-narrator)
| patrons = Ashraf Maddahi (his father), Baba Shakiba (Nateq) and Haj Jalil Darvish Yekta'i
}}

'''Darvish Ali Maddahi''' (born in 1959) is a prominent [[Pardekhan]], [[Maddah]], and [[Naqqal]] who started [[Pardekhani]] when he was seven years old. Darvish Ali is an acknowledged master in performance of Pardekhani activities and movement and in the performance of postures based on the words and is one of the rare examples in Pardekhani of the Turkish region. In the performance of his body movements a flowing and forceful dynamics is seen, his body members, specially the hands and head and neck have balance and rhythm either while he moves in front of the curtain or when he is motionless.
==Performance Method==
[[File:Ali maddahi 5.jpg|thumb|]]
His motions follow the known patterns of Pardekhani (picture-storytelling). In this method, the totality of movements occurs at the service of the spoken narration and the sung poetry which are based on the meaning and the contexts of the curtain.
In the rational analysis, this method arises out of specific agreements, but in the Gnostic interpretation the unity in the curtain-storyteller's actions reach towards the unity in meaning of spoken word and song which are matters of the language. These figures are specific and known gestures and their only distinguishing mark among the various Pardekhans is the skillfully performance corresponding to the content of what is said and sung. Therefore, the originality of the Pardekhani motions arises out of the truth of language and its objectification in words.
==Reciting Method==
{{Listen
| filename = 27- Ali Madahi .mp3
| title = Ali Maddahi
}}

Darvish Ali follows the sequence of singing and spoken word in curtain-storytelling. His singing has two sources of inspiration, 1- Religious music in the form of [[Nowhe]] (mournful songs), [[Rawza]] (religious lamentation), Muthibat (passion), Shahadat ([[martyrdom]]) and [https://referenceworks.brillonline.com/entries/encyclopaedia-of-islam-2/khutba-SIM_4352 Khutba]-khani (sermon), which have some differences with sections of Pardekhani 2- Music based on the poetry and language of Turkish region. In the first section, the singers of religious music who are not Pardekhans are more dependent on limited forms with strictly lamentational characteristics and content in their style. If anyone of them turns into picture-storytelling, his intonation and singing feed with limitation in the non-lamented sections. Darvish Ali is a skillful master of the music related to Pardekhani, even with his constant presence among the encomiasts or [[Maddah]]s. Darvish Ali is confident in using enough knowledge and technique in performing the different sections of Pardekhani, such as the remembrance of the name of God, the prayer, [http://www.iranicaonline.org/articles/monajat Monajat], moment preceding he event, Muthibat, Nowhe, the [http://www.iranicaonline.org/articles/gazal-1-history Qazal] and etc. After a part with the spoken word in the [http://www.iranicaonline.org/articles/azari-the-ancient-language-of-azerbaijan Azari] Language the music begins again and the pardekhan sings a melody which can be compared with reservations to the [http://www.iranicaonline.org/articles/avaz Avaz]-e Isfahan. This part is made up of a few rhythmic sentences with a common theme. Again, the intonation of curtain-narrator takes the form of declamation and then, the Shur Notes can be heard in a mode similar to the Gushe Dobeyti. The last sentences of Pardekhani refer back to the same intervals. The To'e gathering is performed with the spoken word and only a short sentence in Shur intervals and an atmosphere of Abuata can be head. Yusef the grocer's gathering like the To'e gathering beings with spoken words and then the Pardekhan sings a Nowhe (lamentation) in Shur [http://www.iranicaonline.org/articles/dastgah Dastgah] (mode). This Nowhe is made up of four sentences and has one beat and is emphatic. The Nowhekhan performs with his own inner feeling and at times might miss a beat or add one. This is a particularity of Nowhe which is done consciously by the Nowhe singers and this technique increases the influence of the lamentation. The mentioned melody is performed and continued to the end of the section. These sentences have no defined tempo, and do not retain qualities of a Nowhe.
==Narration==
[[File:Ali maddahi 6.jpg|thumb|]]
Darvish Maddahi introduces the gatherings of the curtain first, and continues to narrate. the story of Mared ibn Sodeif, a famous strongman who is killed by [[Abbas ibn Ali]]. The second gathering is the story of To'e gathering, To'e is a pious old woman from Hejaz who lives in [[Kufa]]. She is the only person that hides [[Muslim Ibn Aqil]], representative and first soldier of [[Imam Husayn]]. The people of Kufa by sending written messages and people know themselves to be his followers, on the verge of his entry to Kufa, they break their path of solidarity and Muslim is thrown down from Darolkhalafe during this upheaval to be martyred.
Another gathering is that of Yusef e Baqqal. Yusef divorces his wife because of disagreement with her brothers. She who is pregnant is treated disgracefully and Abbas goes to her aid and gives testimony of her child's being lawfully born.
==Source==
Ardalan, hamidreza (2008). Picture-storyteller masters of iran, the Iranian academy of the art, 2008, volume 27. ISBN: 978-964-2986-538(vol.27). 978-964-2986-002(set).
[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Ezzatollah farokhi

2019-07-24T11:08:34Z

T.ramezani: Created page with "{{Infobox artist | name = Ezzatollah farokhi | image = Ezzatollah farokhi 4.jpg | image_size = | alt = | caption..."

{{Infobox artist
| name = Ezzatollah farokhi
| image = Ezzatollah farokhi 4.jpg
| image_size =
| alt =
| caption =
| birth_date = 1958
| birth_place = Aligoudarz
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani, Maddahi and Ta'ziyekhani
| patrons = Morshed Mohammad Ahadi and Haj Taghi Mirza Ali
}}

'''Ezatollah Farrokhi''' (born in 1958) is [[Pardekhan]], [[Maddah]], and Ta’ziyakhan who started his career when he was 18 years old. He had several mentors including [[Morshed Mohammad Ahadi]] and Haj Taghi Mirza Ali.
==Performance Method==

Morshed Farrokhi adopts Ta'ziyekhan (sung-player) motions in his picture-storytelling performance. Before performing Pardekhani he worked in [[Ta'ziya]] groups for years which perform another type of religious theatre of Iran. In Ta'ziya, movements are composed of allegorical interpretations and actions become symbolic. Capabilities, skills and talent of the [[Shabihkhans]] (sung-players) are objectified within a specific Ta'ziya structure and in each new type of creation there is limitation and even prohibition.
In Ta'ziya, people sit around the performance and the Shabihkhans are the virtual figures of the saints and the evil personages; but in Pardekhani (curtain-narrating), a part of the surroundings of the audience belongs to the position of the curtain, so the figures are a continuation of the people and the Pardekhan singer does not resemble the saints or evil characters but is only narrator of their actions . In Pardeh-khani (curtain-storytelling), it is usual to maintain the distance between [[Shabih]] and [[Shamayel]] which are denoted to the painted faces of the curtain, and in this case the narrator seems extremely sensitive and subtle. The Ta'ziyekhans who go on to Pardekhani at times minimize this distance, and these
days this style has become known as one of the styles of Pardekhani. Morshed Farrokhi belongs to this group of Pardekhans.
===gallery===
<gallery>
Ezzatollah farokhi 7.jpg|
Ezzatollah farokhi 6.jpg|
Ezzatollah farokhi 9.jpg|
Ezzatollah farokhi 8.jpg|
Ezzatollah farokhi 11.jpg|
Ezzatollah farokhi 10.jpg|
</gallery>
==Narration==
{{Listen
| filename = 26- Ezzatollah Farokhi.mp3
| title = Ezzatollah Farokhi
}}

[[File:Ezzatollah farokhi 5.jpg|thumb|]]
The gathering of [[Hurr]] Ibn Riahi who is one of the leaders of the army of [[Yazid]], is narrated. Hurr, on reviewing inwardly and with attention to the sacred lineage of [[Imam Husayn]] who belongs to the Prophet's dynasty, leaves the army of Yazid and joins the army of Imam Husayn. Hurr is martyred at the Battle of [[Karbala]]. Because of Hurr's inner conflict, this gathering is much developed with many ups and downs. The story of Hurr is an inner struggle between the refutation of this worldly interests and the preference towards spiritual transcendence of the eternal world.
==Source==
* Ardalan, hamidreza (2008). Picture-storyteller masters of iran, the Iranian academy of the art, 2008, volume 26. ISBN: 978-964-2986-521(vol.26). 978-964-2986-002(set).
[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Qasem hemmati moqadam

2019-07-23T19:59:48Z

T.ramezani: Created page with "{{Infobox artist | name = Qasem hemmati moqadam | image = Qasem hemmati moqadam 5.jpg | image_size = | alt = |..."

{{Infobox artist
| name = Qasem hemmati moqadam
| image = Qasem hemmati moqadam 5.jpg
| image_size =
| alt =
| caption =
| birth_date = 1957
| birth_place = Kashmar
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani
| patrons = Darvish Hossein Hemmati (his father) and his brother
}}

'''Qasem Hemmati''' (born in 1957) is a prominent Pardekhan who started [[Pardekhani]] when he was 10 years old. He had several mentors including his father, Darvish Hossein Hemmati, and his brother.
==Performance Method==
{{Listen
| filename = 25- Qasem Hemati.mp3
| title = Qasem Hemmati Moqadam
}}

[[File:Qasem hemmati moqadam 4.jpg|thumb|]]
Use of quick and various motions and indicating all the postures of the content of the story, such as showing respect, prayer, indicating to a far place or other directions, getting on a horse and horse riding, shooting an arrow from a bow, leaning on a cane, countless references to the curtain and audience contact, are all the principle characteristics of Morshed Qasem Hemmati's performance . It seems that in his movements he innovates a new interpretation which is a combination of earlier postures of the traditional Pardekhans (curtain-storytellers) and his own mental personal conceptions of today.
In general, contrary to some of the Pardekhans who concentrate on singing performance and this causes their performance to become internal- as [[Ta'ziya]] singers (sung-players) who sing Pardekhani- Morshed Hemmati tends to perform with objective outer adjectives.
==Reciting Method==
[[File:Qasem hemmati moqadam 6.jpg|thumb|]]
The Pardekhan transmits the story of the gathering of Jasem the Arab with a mixture of pitches of Shur mode and using melodies of Avaz e Abuata, Dashti, and Dahtestani tones. The accents of the phrases is on the first and second notes of the second notes of the second tetrachord and the ending are on the Shahed of Shur. This Pardekhani does not completely correspond to Radif music in terms of method of performance, poetic emphasis, melodic, movement and relation of intervals even though it resembles it, and sometimes in the singing of Pardekhani the intervals heard move outside the range of Dastgah (mode) music. However, in general the musical space is inspired by Shur Dastgah.
==Narration==
[[File:Qasem hemmati moqadam 2.png|thumb|]]
Jasim e Arab marries the girl just become Muslim, the new bride accepted marriage on condition that they visit [[Karbala]] and the girl is kidnapped by robbers and Jasim, not knowing what to do goes to [[Abbas]]'s grave side to ask his aid. At the same time he enters the mausoleum of Abbas ibn Ali, the Iranian [http://www.iranicaonline.org/articles/nader-shah Nader Shah] (The king) is there on pilgrimage, so the armies stop Jasim from entering until on the insistence of the young Arab the army takes pity and he enters ... the king promises him his wife back, but he asks for time. Jasim is worried about the fate of the new bride and asks the aid of Abbas. Abbas ibn Ali takes the bride back from the robbers and gives her back to Jasim.
==Source==
* Ardalan, hamidreza (2008). Picture-storyteller masters of iran, the Iranian academy of the art, 2008, volume 25. ISBN: 978-964-2986-512(vol.25). 978-964-2986-002(set).
[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Mohammad ali darvishi

2019-07-22T10:29:18Z

T.ramezani: Created page with "{{Infobox artist | name = Mohammad ali darvishi | image = Mohammad ali darvishi 5.jpg | image_size = | alt = | caption =..."

{{Infobox artist
| name = Mohammad ali darvishi
| image = Mohammad ali darvishi 5.jpg
| image_size =
| alt =
| caption =
| birth_date = 1956
| birth_place = Neishabur
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani and Ma'rekegiri
| patrons = Gholam Reza Darvishi (his father)
}}

'''Mohammad Ali Darvishi''' (born in 1956) is a prominent Pardekhan and Ma’rekegir. Darvish Mohammad Ali learned [[Pardekhani]] with abstract performance from his father who is one of the known curtain-storytellers. Apparent indications to the portraits of the curtain, the earth, the sky, the audience and himself and the creation of the sequence of repeated indications in order to attend God remembrance, makes up the general structure of the performance method of this singer narrator.
==Performance Method==
The deep look at the close points and towards the curtain and connecting this look along with a look at the far horizon and joining the sequence of apparent indications to esoteric indications complete his performance.
A combination of hands and body motions, or taking thought-provoking postures make up a technique of passages from the self to the curtain, from curtain to the audience, from audience to the exoteric or esoteric meanings of the curtain. Therefore, the curtain - storytelling takes us with a hermeneutic method using repeated gestures indicating the past, a place where the time and place of the events take on the same direction as our knowledge because we are aware of everything. At the same time the events happen again, the violence of the suffering flows through us and inexpressible compassion attracts us. Such influence on the audience is only possible with mastery of complicated abstract techniques. The Pardekhan (curtain-storyteller) in the process is a symbol of untainted beliefs of the people and reference to which is made possible through Pardekhani.
[[File:Mohammad ali darvishi 1.png|thumb|]]
==Reciting Method==
{{Listen
| filename = 24- Mohammad Darvishi(Mazloumi).mp3
| title = Mohammad Ali Darvishi
}}

Darvish Mohammad Ali uses both free metre and a specific metre in performing. Most often he uses a prayer-like tone, and similar sounding sentence to carry on in performance. Repetitive rhythmic motifs constitute the characteristic of this performance. Finally some reference to known Iranian songs completes his narration. According to the technical survey the first part of the Pardekhani is performed with the intervals of Shur and the Pardekhan uses the notes of the first tetrachord up to the second note of the second tetrachord. There is no correspondence between Ali Darvishi's performance and the Shur [http://www.iranicaonline.org/articles/dastgah Dastgah] (mode) in terms of the melodic movement and even some of the notes (like the second note which the Pardekhani rises to a somewhat higher pitch).
However, there is a correspondence in the total lack of using Pishdong of this Dastgah which belongs to the method of some of the [https://www.britannica.com/art/dastgah#ref132167 Radifs], and even in the steplike, movement in his singing towards the higher pitches .
The next section is performed with a prose narration after which the Pardekhan maintains the notes creating an atmosphere similar to Nava Dastgah (mode) .
In this section the accents and the pauses are on the fourth note of Shur mode and the range of melodies goes beyond one tetrachord (up to the octave of Shur) and the pauses are transferred gradually to the first Shur tetrachord and resting on the second note of Shur and a melody similar to [http://www.iranicaonline.org/articles/avaz Avaz]-e Abuata is heard. The performance continues with the prose-narration and Abu-ata song (avaz) can be heard once again in a higher pitch.
==Narration==
[[File:Mohammad ali darvishi 4.png|thumb|]]
Darvish Mohammad Ali narrates the gathering of [[Saqqakhane]] (cistern) of Ismail Talai. The story takes place in the sacred city of [https://www.britannica.com/place/Mashhad Mashhad], location of the [[martyrdom]] of [[Imam Rida]]. The young Ismail goes to buy oil and bread at his mother's request. On the way he decides to pay a pilgrim's visit to the shrine of Imam Rida and then do the shopping.
There he sees a darvish who narrates the tale of the martyrdom and being stranger in a foreign land of the saints in a Pardekhani performance. The goodhearted Ismail gives the money for the oil and the bread to the darvish.
Asking for the aid of Imam Rida, he succeeds in overcome his mother's hesitations about him and the gifts that a stranger gave him (bread and gold coins). Ismail builds a cistern in Imam Rida's shrine with the gold coins.
==Source==
* Ardalan, hamidreza (2008). Picture-storyteller masters of iran, the Iranian academy of the art, 2008, volume 24. ISBN: 978-964-2986-507(vol.24). 978-964-2986-002(set).
[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Rajab ali salehi

2019-07-21T10:49:14Z

T.ramezani: Created page with "{{Infobox artist | name = Rajab ali salehi | image = Rajab ali salehi 4.jpg | image_size = | alt = | caption = | birth_da..."

{{Infobox artist
| name = Rajab ali salehi
| image = Rajab ali salehi 4.jpg
| image_size =
| alt =
| caption =
| birth_date = 1955
| birth_place = Torbat e Heydariye
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani
| patrons = Forefathers-Karbalai Mohammad Salehi, Karbalai Mohammad Mashhad Ali, Karbalai Shokrollah Norolahi and Haj Akbar Mohammadzade
}}

'''Rajab Ali Salehi''' (born in 1955) is a prominent [[Pardekhan]]. Morshed Rajab Ali Salehi in addition to Pardekhani is one of the acknowledged master of [[Ta'ziya-khani]] too. His manner of performing Pardekhani is influenced by Ta'ziya-khani methods. In this method sung phrases appears as type - melodies, so such a vocal structure is predictable for the people who are familiar with this kind of music. This matter causes people to review the totality of the song and even the poetry previously in their minds and therefore to find the need for external expression. In fact the narrations of the Morsheds is a continuation of the thought of people in the word, in this way variety and innovation in performances depends on the peculiarities and sensitivities of each singer.
==Reciting Method==
{{Listen
| filename = 23- Rajab Ali Salehi.mp3
| title = Rajab Ali Salehi
}}

[[File:Rajab ali salehi 5.jpg|thumb|]]
Morshed Rajab Ali has a good voice and is masterful in singing of the good characters (Owlia khans) in [[Ta'ziya]] music (sung playing) and by taking up a melody similar to that of [[Abbas ibn Ali]] which is in the atmosphere of the intervals of Bayat e Tork and Segah, and with attention to the curtain which involves Abbas ibn Ali, the most dominant melody, is in Segah and [http://www.iranicaonline.org/articles/avaz Avaz] -e Bayat e Tork, Pishdong and First Dong of Mahur and Afshari intervals create surrounding atmospheres.
==Narration==
[[File:Rajab ali salehi 6.jpg|thumb|]]
The narrative is of the war of Mared ibn Sodeif with Abbas ibn Ali in revenge of Mared's father in the [http://oxfordislamicstudies.com/article/opr/t125/e2206 Siffin] or [https://www.britannica.com/topic/Battle-of-Nahrawan Nahrawan] war by [[Imam Ali]]. Mared who has four names among the Arabs, Yalyal e Shami, Jahan Pahlevan, Azraq Cheshmrekabi and Mared ibn Sodeif, one day kills two innocent young men. An old man who witnessed the event is upset while telling Mared you unchivalrous one! Go see who your father is and who killed him and take his revenge. Mared goes to his mother, the mother tells him of the murder of his father Borqaye Shami by Imam Ali.
He asks about Ali. His mother informs him of Ali's [[martyrdom]]. Mared goes to [[Kabala]] with the intention of killing Abbas in revenge of his father. Abbas who is leader of [[Imam Husayn]]'s army now is at war with the army of [[Sa'd]]'s son. But the story in a tangent to leads to Mared's dealing Abbas three blows of the sword which have no effect and Abbas cuts him in half with one blow of sword. This is the most important scene of the Picture-storytelling.
==Source==
* Ardalan, hamidreza (2008). Picture-storyteller masters of Iran, the Iranian academy of the art, 2008, volume 23. ISBN: 978-964-2986-491(vol.23). 978-964-2986-002(set).
[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Naghi sabbaq hamedani

2019-07-20T12:08:06Z

T.ramezani:

{{Infobox artist
| name = Naghi sabbaq hamedani
| image = Naghi sabbaq hamedani 5.jpg
| image_size =
| alt =
| caption =
| birth_date = 1952
| birth_place = Hamedan
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani, Naqqali and Curtain Painter
| patrons = Pardekhani: Qadir Maddahi, Darvish Qorban Jalali, Darvish Jalil Khaksar, Musa Darvishi and Darvish Roshan Jalali. Naqqali: Morshed Abdol Hossein Esmati, Mahammad Jahanian and Afshar Ne'mati
}}

'''Naqi Sabbaq Hamedani''' (born in 1952) is [[Pardekhan]], [[Naqqal]], Curtain Painter who started Pardekhani at the age of fifteen. The painted curtain used by Naghi Sabaq is closest to the modern style of painting called Coffeehouse Painting. Some similar elements such as perspective in the sequence of faces and places, composition of colors and type of coolers account for this closeness. In this curtain, the symbolic paintings, forms and spaces become earthly and the abstract look becomes de-emphasized.
==Performance Method==
{{Listen
| filename = 22- Naghi Sabaq Hamedani.mp3
| title = Naghi Sabbaq Hamedani
}}

[[File:Naghi sabbaq hamedani 1.png|thumb|]]
In this type of curtain-storytelling, two curtain-masters narrate the curtain. Morshed Naghi Sabbaq along with Seyyed Hossein Havaeji perform in a particular fashion which is slightly different from the other kinds.
In some sections, each of them take on the narration with the calm theatrical motions, and long songs all along with the same theme, and conversational narrations.
This thoughtful calm follows through to the end of the narration of one gathering for a curtain. In the epic and battle scenes the motions suddenly pick up in speed in upheaval. In general, the performance includes walking along the length of the curtain, moving towards the audience, usage of the total space, indicating the painted faces, scenes of places and events while introducing the themes of the curtain. The most important distinguishing feature in this mode of performance is the continuity of one type of action or song and specific speech. Perhaps this kind of performance is more modern than the others, because it introduces a level of regularity in the constituting parts, and use of actions and speech and improvisation in song can be seen much less. The next point is the similarity of the costumes of the Morsheds which remind us of those residents of the Soffeh orders which in previous centuries lived in Hamedan as one of their centers, and is also the hometown of these Morsheds.
==Narration==
[[File:Naghi sabbaq hamedani 4.png|thumb|]]
After the narration of side events, the story of the Convent of the Monk (Deir-e Raheb) is sung, the caravan of prisoners of the Battle of [[Karbala]] with [[Zeynab]], Umm Kolsum, [[Fatima al-Soghra]], [[Imam Sajad]], and the cut heads of the 72 martyrs of Karbala on the spears, led by [[Shimr]] taken to [[Ibn Ziad]] to prove the victory of evildoers , and also Shimr receives a prize from the cruel ruler Saleh. On the way to [http://www.iranicaonline.org/articles/basra Basra], there is a monk deep in worship who comes out disturbed by the uproar of the cries of women and children and the evildoers. He sees the heads on the spears with light flowing from them. However, among the shining, the light of one of the heads attracts his attention. He asks the evildoers about the fate of the caravan. Shimr introduces himself. The monk asks in exchange for a sack of gold to take the head into the convent for one hour. Shimr accepts. The monk washes the head with rosewater and puts it on the alter. Then he asks the head, "Oh Holy one, who are you?" The lips of the severed head spoke and said, “[[Imam Husayn]], the son of [[Ali]] and my ancestor is [[Mohammad]]”.
==Source==
* Ardalan, hamidreza (2008). Picture-storyteller masters of Iran, the Iranian academy of the art, 2008, volume 22. ISBN: 978-964-2986-095(vol.22). 978-964-2986-002(set).
[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Naghi sabbaq hamedani

2019-07-20T12:07:41Z

T.ramezani: Created page with "{{Infobox artist | name = Naghi sabbaq hamedani | image = Naghi sabbaq hamedani 5.jpg | image_size = | alt = | caption =..."

{{Infobox artist
| name = Naghi sabbaq hamedani
| image = Naghi sabbaq hamedani 5.jpg
| image_size =
| alt =
| caption =
| birth_date = 1952
| birth_place = Hamedan
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani, Naqqali and Curtain Painter
| patrons = Pardekhani: Qadir Maddahi, Darvish Qorban Jalali, Darvish Jalil Khaksar, Musa Darvishi and Darvish Roshan Jalali. Naqqali: Morshed Abdol Hossein Esmati, Mahammad Jahanian and Afshar Ne'mati
}}

'''Naqi Sabbaq Hamedani''' (born in 1952) is [[Pardekhan]], [[Naqqal]], Curtain Painter who started Pardekhani at the age of fifteen. The painted curtain used by Naghi Sabaq is closest to the modern style of painting called Coffeehouse Painting. Some similar elements such as perspective in the sequence of faces and places, composition of colors and type of coolers account for this closeness. In this curtain, the symbolic paintings, forms and spaces become earthly and the abstract look becomes de-emphasized.
==Performance Method==
{{Listen
| filename = 22- Naghi Sabaq Hamedani.mp3
| title = Naghi Sabbaq Hamedani
}}

[[File:Naghi sabbaq hamedani 1.png|thumb|]]
In this type of curtain-storytelling, two curtain-masters narrate the curtain. Morshed Naghi Sabbaq along with Seyyed Hossein Havaeji perform in a particular fashion which is slightly different from the other kinds.
In some sections, each of them take on the narration with the calm theatrical motions, and long songs all along with the same theme, and conversational narrations.
This thoughtful calm follows through to the end of the narration of one gathering for a curtain. In the epic and battle scenes the motions suddenly pick up in speed in upheaval. In general, the performance includes walking along the length of the curtain, moving towards the audience, usage of the total space, indicating the painted faces, scenes of places and events while introducing the themes of the curtain. The most important distinguishing feature in this mode of performance is the continuity of one type of action or song and specific speech. Perhaps this kind of performance is more modern than the others, because it introduces a level of regularity in the constituting parts, and use of actions and speech and improvisation in song can be seen much less. The next point is the similarity of the costumes of the Morsheds which remind us of those residents of the Soffeh orders which in previous centuries lived in Hamedan as one of their centers, and is also the hometown of these Morsheds.
==Narration==
[[File:Naghi sabbaq hamedani 4.png|thumb|]]
After the narration of side events, the story of the Convent of the Monk (Deir-e Raheb) is sung, the caravan of prisoners of the Battle of [[Karbala]] with [[Zeynab]], Umm Kolsum, [[Fatima al-Soghra]], [[Imam Sajad]], and the cut heads of the 72 martyrs of Karbala on the spears, led by [[Shimr]] taken to [[Ibn Ziad]] to prove the victory of evildoers , and also Shimr receives a prize from the cruel ruler Saleh. On the way to [http://www.iranicaonline.org/articles/basra Basra], there is a monk deep in worship who comes out disturbed by the uproar of the cries of women and children and the evildoers. He sees the heads on the spears with light flowing from them. However, among the shining, the light of one of the heads attracts his attention. He asks the evildoers about the fate of the caravan. Shimr introduces himself. The monk asks in exchange for a sack of gold to take the head into the convent for one hour. Shimr accepts. The monk washes the head with rosewater and puts it on the alter. Then he asks the head, "Oh Holy one, who are you?" The lips of the severed head spoke and said, “[[Imam Husayn]], the son of [[Ali]] and my ancestor is [[Mohammad]]”.
==Source==
Ardalan, hamidreza (2008). Picture-storyteller masters of Iran, the Iranian academy of the art, 2008, volume 22. ISBN: 978-964-2986-095(vol.22). 978-964-2986-002(set).
[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Aziz mohammad darvishi

2019-07-17T08:29:17Z

T.ramezani: Created page with "{{Infobox artist | name = Aziz mohammad darvishi | image = Aziz mohammad darvishi 01.png | image_size = | alt = | caption..."

{{Infobox artist
| name = Aziz mohammad darvishi
| image = Aziz mohammad darvishi 01.png
| image_size =
| alt =
| caption =
| birth_date = 1952
| birth_place = Arak
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani and Maddahi
| patrons = Morshed Safdar Darvishi (his father)
}}

'''Aziz Mohammad Darvishi''' (born in 1952) is a prominent Iranian [[Pardekhan]] and [[Maddah]] who started Pardekhani when he was six years old.
==Performance Method==
[[File:Aziz mohammad darvishi 5.jpg|thumb|]]
The movement of his body, hands and face is stylized and while being limited is very well adapted to the original mode of performance. Clapping, opening and closing of the fists are used for indicating different meanings such as place and fighting and power washing, kneeling to indicate the faces of those present on the bottom of the curtain are the other particularities of the performances of Morshed Aziz Mohammad Darvishi. The most important quality of his performance is the perfection in adaptation of the narration, chanting and body movement.
==Reciting Method==
{{Listen
| filename = 21- Aziz Mohammad Darvishi.mp3
| title = Aziz Mohammad Darvishi
}}

Aziz Mohammad Darvishi uses traditional methods of singing. While narrating the epic he recites war melodies, in the explanation of the adjectives of the Ashqiya (evil characters), he has a tone full of fury and in the description of the condition of the martyrs or prisoners he takes on a lyrical tone.
In the darvish curtains the portraits of the two children of [[Muslim ibn Aqil]] are always together. Other than these two the images, the illustration of [[Imam Hasan]] and [[Imam Husayn]] are depicted together in some of the gatherings. The painting of these faces evoke a common culture and destiny. Both the two children and Hasan and Husayn are martyred. In another aspect, some of the angels such as [https://referenceworks.brillonline.com/entries/encyclopaedia-of-islam-2/munkar-wa-nakir-SIM_5522 Munkar wa Nakir] also are next to each other. Based on their common or parallel duties they need to be shown together.
Some others which are shown together or accompanying each other in the curtains are the portraits of the Five, [[Mohammad the prophet]], [[Imam Ali]], [[Fatima]], [[Imam Hasan]], and [[Imam Husayn]]. Such congregation may be applicable in other groups, but those mentioned possess historical identity and known reasons for being together on the curtains.
==Narration==
[[File:Aziz mohammad darvishi 4.png|thumb|]]
The story is famous narrative of Do Tiflan-e Muslim, the two children of Muslim who are martyred after great trials and tribulations. The father of the children, Muslim is one of the ambassadors and followers of Imam Husayn (third Imam of [[Shi'ite]]) who leads his caravan to [[Kufa]] and is killed in the intrigue of the rulers opposing the [[Imam]].
==Source==
* Ardalan, hamidreza (2008). Picture-storyteller masters of iran, the Iranian academy of the art, 2008, volume 21. ISBN: 978-964-2986-088(vol.21). 978-964-2986-002(set).
[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Mohammad ahadi

2019-07-16T10:39:23Z

T.ramezani: Created page with "{{Infobox artist | name = Mohammad ahadi | image = Mohammad ahadi 001.png | image_size = | alt = | caption = | birth_date..."

{{Infobox artist
| name = Mohammad ahadi
| image = Mohammad ahadi 001.png
| image_size =
| alt =
| caption =
| birth_date = 1952
| birth_place = Tehran
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani, Ta'ziyekhani and Ma'rekegiri
| patrons = Mohammad Reza Ahadi (his father), Heidar Kazeruni, Mohammad Ali Mobarak, Ali Najaf Abadi and Haj Mohammad Khandan
}}

'''Darvish Mohammad Ahadi''' (born in 1952) is a distinguished Iranian [[Pardekhan]] and [[T’aziyakhan]]. Patience and dignity, command over the melodies, stories, actions and movements of curtain-storytelling, the appropriateness of his face and stature, all are reasons for Morshed Ahadi becoming known as one of the most prominent picture-storytellers of Iran.
==Performance Method==
[[File:Mohammad ahadi 5.jpg|thumb|]]
At times his movements quicken along with his words, while he patiently paces out the pauses and silences with self-confidence. His piercing regards to the audience with his slow pace of performance, his fusion of different fast and slow rhythms in motion add to the lasting influence of his presence and reveals a magnificent composition of his performance.
His command of the master's wand (metraq , ta'limi or mantasha') in his theatrical performance is effective in his use of hand , face and body sign language which help transmit concepts , along with use of costume , the painted curtain and authentic objects in harmony with the stories , are all particularities of his performance .
==Singing Method==
{{Listen
| filename = 20- Mohammad Ahadai.mp3
| title = Mohammad Ahadi
}}

Morshed Ahadi usually chant in Mahur and [http://www.iranicaonline.org/articles/avaz Avaz] e Bayat e Tork'.In this collection, he begins in the name of Allah with the Avaz e Bayat e Tork and in these same intervals he sings the first verse. Then, he goes to the fourth note of the first Dong, concluding on the Goshayesh' note (second note of the first Dong) , and ends with the verse Haqqa ke adab... in Daramad of Mahur. In continuing he remains within these same intervals (first Dong to the second note of the second Dong). In continuing after the spoken declamation section, he recites the hemistich Del ke ranjid az kasi ... with an accent on the fourth and fifth notes of Mahur mode (the most important notes in Feyli Gushe) and in continuation he chants the poem with the emphasis in the first Dong based on meaning of the poem.
The mentioned examples show Morshed Mohammad Ahadi's mastery in expressing the melodies with picture - storytelling techniques. This method is not based on the frequency of melodies. The Morshed or performer, lets his chanting be guided, such as to correspond the general needs of the interpretation of the song, in relation to the narrated words, the painted images and the main goal, that is, the content and subject of the picture-storytelling.

1. Bayat e Tork the first tetrachords of Bayat e Tork and Mahur can be compared if they have the same Shahed note.

2. Goshavesh means introduction. In the past Mahur used to begin with this Gushe but today this Gushe has become secondary in importance and has retained but its name.
The figure of the martyred [[Ali Akbar]] is usually lying down with his head on the knee of [[Imam Husayn]]. On the unique curtain painted by Mohammad Farahani with which Darvish Ahadi works and sings, Ali Akbar is illustrated in a sitting position. The curtain is more than a few decades old. The faces are distinguished and the gatherings are painted in the traditional ways. The only other difference separating this curtain from the other curtains is the gathering and face replacement which is a normal difference found in all curtains.

Since in the curtains of Darvish Farahani only four large faces have been depicted of which the changes in position of the figure of Ali Akbar is very noticeable and raises a question. This scene of seated Ali Akbar is only found in two of the hundreds of curtains made by Mohammad Farahani. One of the reasons for the request is perhaps to create some difference with other curtains and another reason rises perhaps from the belief in the martyrs being alive. The open eyes of most of the martyrs on the darvish curtains are related to the same interpretation.
==Narration==
[[File:Mohammad ahadi 6.jpg|thumb|]]
Jacob, the prophet, loses his wife after Yusef ([https://www.britannica.com/biography/Joseph-biblical-figure Joseph]) was born. He buys a bondswoman from the bazaar so that she would feed Yusef beside her own babies. One day Jacob understands that the bondswoman is unkind to Yusef, for this reason got angry and took her boy and sells him in the bazaar. The mother's heart is broken, and cries for help to her God to keep Yusef away from his father. Yusef (Joseph) the son of Jacob the prophet, because of the envy of his brothers was thrown into a well. A caravan passing by saves him. Yusef arrives at the city and is sold at the marketplace, and since he is very handsome, he is bought by the royalty. His fame for beauty attracts Zuleikha who is the king of Egypt's wife. Finally, a miracle ends the tragedy and the love of Yusef and Zuleikha is materially realized. After 40 years Yusef gives his shirt as a sign that he is alive on God's order. The messenger is the bondswoman son who is now strong youth.
==Source==
* Ardalan, hamidreza (2008). Picture-storyteller masters of iran, the Iranian academy of the art, 2008, volume 20. ISBN: 978-964-2986-064(vol.20). 978-964-2986-002(set).
[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Mirza ali shafai

2019-07-15T10:55:42Z

T.ramezani: Created page with "{{Infobox artist | name = Mirza ali shafai (Mirza Aslan) | image = Mirza ali shafai 7.jpg | image_size = | alt = | cap..."

{{Infobox artist
| name = Mirza ali shafai (Mirza Aslan)
| image = Mirza ali shafai 7.jpg
| image_size =
| alt =
| caption =
| birth_date = 1948
| birth_place = Khoshknab Village-Heris
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani, Ta'ziyekhani, Naqqali and Curtain Painter
| patrons = From the old Pardekhans
}}

'''Mirza Ali Shafai''' (born in 1948) is a distinguished [[Pardekhan]], [[Ta’ziyakhan]], [[Naqqal]] and Curtain painter. Mirza Ali has studied religious sciences and is aware of religious and historical events. He is dependent on expression and narration in performance through technical knowledge. So, a rich expressivity based on the texts and acquired understanding act as the main pillars of his performance. The presential aspects of his performance becomes clear during his singing in general and during [http://www.iranicaonline.org/articles/monajat Monajat], Goriz, <ref>Even these non-Moḥarram plays, however, retain a connection to the tragedy at Karbala through a dramatic device known as goriz, or digression. Within a particular play, the goriz may be a direct verbal reference to Ḥosayn’s martyrdom or a brief scene depicting an aspect of his tragedy, or both. Through the goriz, all ta‘zia drama expands beyond spatial and time constraints to merge the past and present into one unifying moment of intensity which allows the spectators to be simultaneously in the performance space and at Karbala. http://www.iranicaonline.org/articles/tazia.</ref> [[Nowha]], Pandiyat, and [[Du’a]]. <ref>Monajat, Goriz, Nowhe, Pandiyat and Do'a are parts of Pardekhani. </ref>
==Performance Method==
Perhaps the acquisitive aspects are related to religious duties and presential understanding arises out of the way of everyday activities and his life style. Therefore, his theatrical movements are separately inspired by two kinds of behavior in the field of presential and acquisitive understanding.
In the presential part, motions are influenced by the ritual particularities and in the second part the usual rational characters common among most Pardekhans before activating their individual qualities can be seen. Perhaps the border between the ritual manner of curtain-storytelling performance, and other acquisitive methods can be found in these two subjects: following the ritual communal gathering of the Pardekhan and the people in comparison to Pardekhani as a profession, the knowledge of which belongs to the Pardekhan.
Pardekhans who live in the village without following acquisitive studies, are mostly involved in ritual and Ommi (illiterated) behavior. Mirza Ali sings with a fusion of these two kinds of performance.
<gallery>
Mirza ali shafai 8.jpg|
Mirza ali shafai 9.jpg|
Mirza ali shafai 1.png|
Mirza ali shafai 01.png|
Mirza ali shafai 001.png|
</gallery>
==Reciting Method==
{{Listen
| filename = 19- Mirza Ali Shafai.mp3
| title = Mirza Ali Shafai
}}

Mirza Ali Shafai follows ancient traditional styles in picture-storytelling. His performance is circular in meaning and in outer aspect is full of variation and variety. The remembrance of the name of God, the prayer, Monajat, the moments preceding the Event, and etc. is a sequence to which he refers, each part performed with his Own qualities. In ancient times Besmellah at first was sung with a sure tone and at the same time one which attracted attention because its being the beginning point could be the cause of dignity for songs and speeches up to the end of the storytelling. When Mirza Ali performs the different kinds of the poetry such as [http://www.iranicaonline.org/articles/gazal-1-history Qazal], [https://referenceworks.brillonline.com/entries/encyclopaedia-of-islam-2/mathnawi-COM_0709 Mathnawi], [http://www.iranicaonline.org/articles/bahr-e-tawil-type-of-persian-verse Bahr-e-tawil] and [https://www.britannica.com/art/qasidah Qasidah] pays attention to their contents and their general forms. He also has this attention in the Nowhas, Muthibat-khani, and Shahadat-khani and Mirza Ali is one of the few Pardekhans who knows the time and reason of forgotten sections such as the call to prayer ([https://www.britannica.com/topic/adhan adhan]), various tangents, and advice. He depends less on personal particularities in the sung sections and is more performer of the old melodies. This is why one can see, the traces of curtain-storytelling traditions of the Turkish speakers to a great extent. On the correspondence of his songs with the music of Iranian [https://www.britannica.com/art/dastgah#ref132167 Radif] the following points can be mentioned: The beginning is in the atmosphere of Bayat e Tork and in continuation, it approaches to the Segah [http://www.iranicaonline.org/articles/dastgah Dastgah] (mode). The Pardekhani continues with a combination of spoken declamation and the notes of Segah Dastgah. In the end of the section the Pardekhan narrates in the [http://www.iranicaonline.org/articles/azari-the-ancient-language-of-azerbaijan Azari] language in the atmosphere of Shur and this continues to be, dominant in the following rhythmic sections.
==Curtain-Storytelling Cycles==
[[File:Mirza ali shafai 10.jpg|thumb|]]
Morshed Mirza Ali performs with understanding and knowledge of the [https://www.britannica.com/art/maqam-music maqams], the degrees and orders of Curtain - storytelling and the hidden and apparent cycles of the curtain in the traditional way. In his performance of the curtain is necessary. Pardekhani is a circular and meaningful process which comes into being as a spiral feature. Its main and subsidiary circles are fused into special combinations by the narrators, and each Pardekhani shows the main circle taken from the symbolic and eternal interpretation of the five maqams (modes) in the dimension of the descending of the names and the plurality of the names which lead to the events of the story:
- Remembrance of the Highest Name in its most original manifestation is Besmellaholrahamanolrahim (In the Name of God), which is the point of contact between the physical world with Being camouflaged within it.
-First prayer is allegory and the extension of the Highest Name in relation to humans in general and present. Within all picture- storytelling performances in particular. In the first prayer the objective existence of the congregation is potential.
==Pardekhani in the Past and Present==
[[File:Mirza ali shafai 11.jpg|thumb|]]
Mirza Ali lives in a village, is responsible for religious ceremonies, solving people's conflicts, curtain-storytelling, [[Maddahi]] (spiritual praising), [[Naqqali]] (epic narrative), Azan (call to prayer), and Ta'ziya-khani (sung playing) in his social and religious life. Mirza Ali knows curtain-storytelling to be his duty he tries to guide himself and others through it. These characteristics have become less pronounced among city-dwellers who with abstract spaces and new ways of life in the social lives of people with strong class contrasts, look at Pardekhani (curtain-storyteling) as a profession and a means of survival. In its ideal aspect, Pardekhani is symbol of traditional performances, which will be able to survive in this untrue form depending upon their protection by cultural institutions. With a comparison of the work and lives of curtain-narrators of the city and villages we can, to some extent, distinguish the difference between the past and present of Pardekhani traditions. The importance of surveying Mirza Ali's storytelling is in the fact that his main profession is farming and animal husbandry and so is not economically dependent on Pardekhani and in principle villages people do not look on ritual performances as a profession. Through this subject we can look at the origins of Ma'rekegiri (Juggler displaying) and street performances with this question: Are these a product of city life and cities, or are their origins in the ancient rituals and non-urban life?
==Parde (Curtain)==
The curtains of Mirza Ali Shafai are painted by himself. The curtain he uses at present in his performances is 13 meters long and 2 meters high. In it 33 gatherings and hundreds of portraits have been illustrated. The depicted gatherings are showing many details in various situations. The style and kind of paintings technically belong to the various situations. The style and kind of paintings technically belong to the past and dates back to Mohammad Modaber and Ghullar Aqasi. The faces just as the curtain paintings express general characteristics distinguishing the good from evil characters. The saints possess beautiful, dignified, dependable faces full of faith, and the evil ones are ugly, enraged, and devilish.
Some of the images such as Mared ibn Sodeif who is cut in two is shown as a plurality to indicate other sinners who are all stained with one blow of the saints. There are many place changes of the gatherings with respect to other normal curtains because of the large size of the curtain. Mirza Ali's curtains are distinguished from others in the use of high contrast in color, excess use of contour lines, extreme attention to the facial expression instead of the style of the curtain design, variety in color spectrum and innovative techniques which are unusual with respect to other curtains. At the same time the curtain has marvelous connection with very modern painting which is surprising, perhaps it is the same link which the European modernists have long since discovered and used some of its elements in their works.
==Narration==
[[File:Mirza ali shafai 6.png|thumb|]]
It is the martyrdom gathering of Ali Akbar son of [[Imam Husayn]]. The young [[Ali Akbar]] who is also the first martyr from the Prophet's family in [[Karbala]] goes to the battle of the enemies and conquers one after another.
==Source==
* Ardalan, hamidreza (2008). Picture-storyteller masters of iran, the Iranian academy of the art, 2008, volume 19. ISBN: 978-964-2986-484(vol.19). 978-964-2986-002(set).
==Reference==
[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Zabihollah bahari

2019-07-14T10:46:10Z

T.ramezani: Created page with "{{Infobox artist | name = Zabihollah bahari | image = Zabihollah bahari 5.jpg | image_size = | alt = | caption = | birth..."

{{Infobox artist
| name = Zabihollah bahari
| image = Zabihollah bahari 5.jpg
| image_size =
| alt =
| caption =
| birth_date = 1947
| birth_place = Borujerd
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani
| patrons = Khan Ali Bahari (his father) and Morad Ali Bahari (his grandfather)
}}

'''Zabihollah Bahari''' (born in 1947) is a distinguished [[Pardekhan]] who started Pardekhani since the age of seven. He was trained by Khan Ali Bahari (his father) and Morad Ali Bahari (your grandfather). His performance is based on sung poetry and spoken prose.
==Performance Method==
{{Listen
| filename = 18-Zabiollah Bahari.mp3
| title = Zabihollah Bahari
}}

[[File:Zabihollah bahari 6.jpg|thumb|]]
He uses detailed but limited play movements which are the specific characteristic of curtain-storytellers; therefore, the theatrical actions in his performance are more abstract and symbolic in proportion to traditional performance. Picture-storytelling includes the greeting, advice and sermon, explanation of the curtain (pardeh), narration of the story, tangent (goriz) .... and these can be found in his performance in a determined way. These movements can be divided into two categories: general and particular motions. The first one includes turns in different directions, towards the curtain for the narration, towards the audience to gain attention, respect and exchange of emotion, towards the sky to express non-terrestrial concepts and towards the earth to remind of transitory life.
The second one is the particular motions such as indicating the far distance, clapping or putting the hand behind the ear, use of the cane and hand to indicate different characters, places, times, feelings and situations, etc. The most important characteristic of Zabihollah' Bahari's performance is his being able in his transformations of emotions with the fewest movements by which the variety, mastery and knowledge of his performance can be seen.
==Reciting Method==
[[File:Zabihollah bahari 7.jpg|thumb|]]
His singing at first creates the general atmosphere of Bayat e Tork with words Besmellah ... <ref>The curtain-narrator recites the second note of the first Dong a quarter tone lower than the Avaz e Bayat e Tork which causes the appearance of intervals which are unfamiliar to Iranian Dastgah music, but in terms of the melodic modulation and performance method it can be associated with Avaz e Bayat e Tork. </ref> and this becomes extreme with Dishab be saram baz ...
The singer narrator, in the hemistich of Har kas ke bar in selseleye pak ... keeping within the same beginning maqam or mode, ascends a few notes and based on the meaning of the Sung poetry, he approaches the Gushe ye Hesar. <ref>Hesar (which means a restraining with which one is challenged) is performed in the Chargah and Mahur mode. The performance of this Gushe is different in terms of intervals and the Shahed note in the mentioned Dastgahs, and is similar in terms of musicality and rhythmic figures and expression. What is intended by Hesar in the performance of Zabihollah Bahari is the second meaning of this Gushe.</ref> He continues in the same way and then in repeated performing of Ba al e Ali... he pauses on the last note of the first maqam (which we supposed was near [http://www.iranicaonline.org/articles/avaz Avaz] -e Bayat-e Tork).
==Transition out of Physical Time==
[[File:Zabihollah bahari 8.jpg|thumb|]]
Morshed Zabihollah Bahari indicates the life before death and afterlife of the curtain portraits such as Nasrani girl, [[Shimr]] and the old man who lives off usury. A little later the audience sees the result of actions of the evil doers. The Nasrani girl who falls in love with [[Imam Ali]] in her dream is illustrated in a heavenly frame. The usurer is shown with a snake coming out of his stomach. The pious believers are never in doubt about the compensation of the actions of this world in the other world. This is made possible with a transition beyond present and physical time. Creating the belief that it is possible to enter a distant time in an objective way is one of the important tools of curtain-storytelling.
==Source==
Ardalan, hamidreza (2008). Picture-storyteller masters of Iran, the Iranian academy of the art, 2008, volume 18. ISBN: 978-964-2986-057(vol.18). 978-964-2986-002(set).
==Reference==
[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Hassan mirza ali

2019-07-13T11:20:10Z

T.ramezani: Created page with "{{Infobox artist | name = Hassan mirza ali | image = Hassan mirza ali 5.jpg | image_size = | alt = | caption = | birth_da..."

{{Infobox artist
| name = Hassan mirza ali
| image = Hassan mirza ali 5.jpg
| image_size =
| alt =
| caption =
| birth_date = 1946
| birth_place = Tehran
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani and Ta'ziyekhani
| patrons = Haj Taqi Mirza Ali (his father-Grandson of Haj Reza Mirza Ali)
}}

'''Hassan Mirza Ali''' (born in 1946) is a prominent [[Pardekhan]] and Ta’ziyakhan. Morshed Mirza Ali is quick and agile in movements, his speech causes quickness in motion and leads to the appearance of epic performance. Years of reciting sung-plays ([[Ta'ziya]]) has increased his ability in curtain-storytelling and his performance is influenced by this genre of sung-playing. The connection with the audience, control and self-confidence, powers of improvisation in the needed correspondences relating to contemporary subjects, and faith in the truth of the told stories are his other particularities.
==Performance Method==
[[File:Hassan mirza ali 4.jpg|thumb|]]
Hassan Mirza Ali has reached the status of Morshed (acknowledged master) <ref>Morshed: distinguished master in curtain-storytelling. </ref> in Curtain-Storytelling <ref>Pardekhani: Kind of traditional theatre based on the picture narration.</ref> speech and motion. His performance has the following characteristics:

- Having a thorough knowledge of stories based on the illustrated curtains

- Having of the linguistic terms in the sections of the prologue, Monajat (rogation), [https://referenceworks.brillonline.com/entries/encyclopaedia-of-islam-2/khutba-SIM_4352 Khutba] (sermon), [https://referenceworks.brillonline.com/entries/encyclopaedia-of-islam-2/manakib-COM_0660 Manaqib] (Praise), lamentation, tangent, story and prayer) <ref>Monajat, Khotbe, Manqabat and story: parts of Pardekhani.</ref>

- Having of the traditional and known (figures, fixed and mobile) of picture- storytelling.

-Having of the historical, political and ethical particularities of the characters in the curtains (protagonists and antagonists)

- Performance of various roles following the rules of patterns (figure and intonation) and changing of roles.
==Reciting Method==
{{Listen
| filename = 17 -Hassan Mirza Ali.mp3
| title = Hassan Mirza Ali
}}

Morshed Mirza Ali due to his familiarity with a great many sung play (Ta'ziya) melodies is very successful in curtain-storytelling. For example, in this song series, he begins with the intervals of the prelude (Daramad <ref>Daramad (prelude)-the name of the introductory melody or melodies of Iranian traditional music. </ref> / Pishdong) <ref>The basis of Iranian music mode are composed of a number of linked tetrachord. The most important note in each Gushe known as the Shahed note constitutes the beginning point of the first tetrachord. Also the notes preceding the Shahed note which can make up a tetrachord or pentatonic are termed Pishdong. </ref> of Mahuro. <ref>The Iranian music modes (Dastgah) are made up of a continuous series of six tetrachorder Dongs . Concentrating on one Dong and emphasis on a certain note leads to the change in function of the notes. The two initial Dongs, Pishdong and the first Dongs, in each Dastgah in which the Daramad is performed, yield the main concept of the Dastgah.</ref> This happens while the melody modulation is not corresponded with what we know as the Mahur acoustic space.
==Narration==
[[File:Hassan mirza ali 6.jpg|thumb|]]
Nezameddin Qasab with his wife and children are followers of [[Imam Ali]] and each time, they bring the name of Ali to their lips the oppressive government bothers them. The ruler becomes seriously ill and his physicians deem the blood of the faithful [[Shi'ite]] Ali to be the one and only cure. In the meanwhile, Imam Ali is guest of Nezameddin, the son of Nezameddin martyrs himself so his father could host his guests. The son with head cut off is miraculously brought back to life by Imam Ali.
==Source==
* Ardalan, hamidreza (2008). Picture-storyteller masters of iran, the Iranian academy of the art, 2008, volume 17. ISBN: 978-964-2986-040(vol.17). 978-964-2986-002(set).
==Reference==
[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Akbar dabbaghiyan Isfahani

2019-07-12T20:56:02Z

T.ramezani: Created page with "{{Infobox artist | name = Akbar dabbaghiyan Isfahani (Akbar hossein mahrokh) | image = Akbar dabbaghiyan Isfahani 3.jpg | image_size = | alt..."

{{Infobox artist
| name = Akbar dabbaghiyan Isfahani (Akbar hossein mahrokh)
| image = Akbar dabbaghiyan Isfahani 3.jpg
| image_size =
| alt =
| caption =
| birth_date = 1946
| birth_place = Isfahan
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani, Naqqali and Ta'ziyekhan
| patrons = Morshed Hossein Dabbaghiyan (his father)
}}

'''Morshed Akbar Dabbaghiyan Isfahani''' (born in 1946) is a distinguished [http://www.iranicaonline.org/articles/dastan-sarai Naqqal] and [[Pardekhan]] who started his career at the age of five. Morshed Dabaghiyan's performance method of Pardekhani is very innovative and is different from the older one. In his method each gesture is broken into smaller gestures. For example, his performance of shooting an arrow is not limited to the moment of showing the gesture of shooting the arrow, rather it shows taking the arrow out of the case and placing it in the bow and then shooting it.
==Performance Method==
{{Listen
| filename = 16- Akbar Dabaghian Esfahani.mp3
| title = Akbar Dabbaghiyan Isfahani
}}
The diversity of transforming a word or phrase into signs is another thing of his accomplishments. From the earlier times the most important postures were the signs of the crown, the veiling, posture of listening, prayer, drinking and eating, indicating a far or near location, donning armor and helmet, clapping, bludgeoning, blows of the sword and dagger and movements with the cane. Morshed Dabaghiyan adds dozens of gestures to the usual ones, according to the different narrations, this amount would be either decreased or increase.
==Narration==
[[Imam Husayn]] gathers all his followers and notifies them of their [[martyrdom]] on the day of battle. The young [[Qasim]], son of [[Imam Hasan]], asks his uncle whether he would be martyred or not? Imam Husayn predicates that he also would be martyred. [[Ibn Sa'd]] wants to send the Syrian Azraq, the famous hero, to fight the youth Qasim. Azraq at first underestimates the opponent and thinks it is under him to fight this opponent, however, at last Qasem kills him. But before this Azraq sends his son to fight Qasim and each time Qasim throws the severed head in front of Azraq. At last, Qasem who is surrounded by the enemy, is martyred.
[[File:Akbar dabbaghiyan Isfahani 4.jpg|thumb|]]
==Source==
* Ardalan, hamidreza (2008). Picture-storyteller masters of iran, the Iranian academy of the art, 2008, volume 16. ISBN: 978-964-2986-477(vol.16). 978-964-2986-002(set).
[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Nabiollah bahari

2019-07-11T10:58:54Z

T.ramezani:

{{Infobox artist
| name = Nabiollah bahari
| image = Nabiollah bahari 1.png
| image_size =
| alt =
| caption =
| birth_date = 1943
| birth_place = Arak
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani and Ma'rekegiri
| patrons = Morshed Khan Ali (his father)
}}
[[fa:نبی الله بهاری]]
'''Nabiollah Bahari''' (born in 1943) is a prominent Iranian [[Pardekhan]] whose style is characterized by austere theatrical movements. He was trained under supervision of Morshed Khan Ali (his father).
==Performance Method==
[[File:Nabiollah bahari 5.jpg|thumb|]]
He uses a simple style in comparison with other curtain-storytellers, who use quick movements and variation in rhythm in their performance, with the aid of hands, head and neck and legs. In this mode, optimal use is made of energy and time to express the intention to the audience.
==Singing Method==
{{Listen
| filename = 15- Nabiollah Bahari .mp3
| title = Nabiollah Bahari
}}
In the performance of Morshed Bahari, due to his simple theatrical movement, the singing plays a less important role, and for this reason, the non-melodic recitation and rhythmic narration is used more. At the beginning, of the melodic sections, the tone of voice of the singer narrator has an atmosphere of Mahur mode ([http://www.iranicaonline.org/articles/dastgah Dastgah] <ref>Mahur Dastgah only in terms of the intervals within the first two Dongs is comparable with the major scale in European music and the Avaz-e Bayat-e Isfahan is a melody near to the minor scale in European music .</ref> ) with a hint of the [http://www.iranicaonline.org/articles/avaz Avaz] - e Isfahan <ref>The word 'Avaz' has two meanings: 1- Song or verses performed by a singer 2-A kind of general form in Iranian music which can have smaller subsidiary forms within it (with a specific metre or free metre), with or without a singer. The five Avazes of Iranian music repertoire are: Abuata, Bayat e Tork (which is also called Bayate-Zand or Bayate-Qajar), Afshari, Dashti, and Bayate-Isfahan. These are not independent, and on account of their figure-melodies, intervals and final notes and...are related to one another, Abuata, Bayat e Tork, Afshari and Dashti are related to Shur Dastgah and Avaz-e Bayat-e Isfahan is related to Homayun Dastgah. Avazes in terms of extension are smaller than the Dastgahs, and are made up of two or three tetrachords . </ref> <ref>In Iranian music, Alinaghi Vaziri for the first time introduced the accidentals: Koronp for interval between the natural and the flat, and Sori for an interval between the natural and the sharp. It should be noted that in theory in Iranian music these accidentals are considered as quarter tones but in practice they are usually more or less than this amount. Here, to simplify matters we show the lesser intervals with-sign and those exceeding the quarter tone with+. </ref> (in the second Dong) .
Since then after the declamation of the Har ke darad havas e Karbobala (Whoever is longing for [[Karbala]]) section the melody refers to Shur Dastgah <ref>In Mirza Abdollah's Radif, the Pishdong of Shur Dastgah is performed with omission of the first and second pitches but in other vocal and instrumental Radifs like Aqahosseinqolis Radif, Saba's Radif and Abdollah Davami's vocal Radif, and ... the Pishdongs are completely performed . </ref> (Avaz e Abuata) <ref>Among the four Avazes related to Shur Dastgah,the Abuata Avaz is nearest in terms of similarities . For this reason, during the performance of Morshed Nabiollah, the possibility of distinguishing between the Shur Dastgah and Abuata Avaz is lost. </ref> and in the Magar nashnidi to hokm e sardar section because of the epic topic of the poem, the curtain-storyteller stays on one pitch for the first hemistich, and in this way he rightfully expresses the content of the poetry and in the second hemistich the melodies develop and in terms of the performed intervals it establishes an atmosphere of Homayun Dastgah (mode).
The singing approaches the Segah Dastgah in Har ke darad havase Karbobala (Whoever is longing for Karbala) the song moves into Shur intervals which remind one of Abuata .The singing approaches the Segah Dastgah in Mara ma'zur dar az dastbusi... (using the third note of the first Dong up to the Shahed). However, the most important particularity of his method is the creation of rapid transitory spaces which evoke the intervals of some [https://www.britannica.com/art/dastgah#ref132167 Radif] music Dastgah without getting away from the declamation of words which from a kind of expression for introducing a specific stable pattern. <ref>The type-melodies which with development and expansion make up the units called Gushes having a central note called Shaned . In the first Gushe in each Dastgan the final note is the same as Shahed note. However, in the next Gushes , for technical reasons this can be changed according to rules.</ref> <ref>The last note in each Gushe is called Ist. In the beginning Gushes (Daramad) that are most important in each Dastgan the is! note is the same as the Shahed note. Those Gushes which themselves have a separate Shahed generally have a common ist note with the Daramads . Sometimes depending on the melodies movement this can be changed. 8. The basis of Iranian Dastgah music are related to tetrachords called Dongs. The most important note is called Shahed. This! note is the starting point of one tetrachord. Also, the notes preceding the Shahed note which are generally the size of one tetrachord are called Pishdong.</ref>
==Narration==
[[File:Nabiollah bahari 6.jpg|thumb|]]
[[File:Nabiollah bahari 4.png|thumb|]]
After performing the sections expressing the Holy name, advice, sermon, Morshed Bahari goes on to the explanation of the curtain and the story of the old lady pilgrim and Abbasid caliph, [https://www.britannica.com/biography/al-Mutawakkil Mutawakkil]. The cruel Caliph of Baghdad prevents the pilgrimage of the old woman to the shrine of [[Imam Husayn]], third [[Imam]] of the [[Shi'ites]] who was martyred in [[Karbala]]. Mutawakkil orders that the old woman be thrown into the Tigris river. The woman's prayer to Imam Husayn causes [[Abbas ibn Ali]] to rush to her aid to complete her pilgrimage to her Imam.
==Source==
* Ardalan, hamidreza (2008). Picture-storyteller masters of iran, the Iranian academy of the art, 2008, volume 15. ISBN: 978-964-2986-033(vol.15). 978-964-2986-002(set).
==Reference==
[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Nabiollah bahari

2019-07-11T10:53:29Z

T.ramezani: Created page with "{{Infobox artist | name = Nabiollah bahari | image = Nabiollah bahari 1.png | image_size = | alt = | caption = | birth_d..."

{{Infobox artist
| name = Nabiollah bahari
| image = Nabiollah bahari 1.png
| image_size =
| alt =
| caption =
| birth_date = 1943
| birth_place = Arak
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani and Ma'rekegiri
| patrons = Morshed Khan Ali (his father)
}}

'''Nabiollah Bahari''' (born in 1943) is a prominent Iranian [[Pardekhan]] whose style is characterized by austere theatrical movements. He was trained under supervision of Morshed Khan Ali (his father).
==Performance Method==
[[File:Nabiollah bahari 5.jpg|thumb|]]
He uses a simple style in comparison with other curtain-storytellers, who use quick movements and variation in rhythm in their performance, with the aid of hands, head and neck and legs. In this mode, optimal use is made of energy and time to express the intention to the audience.
==Singing Method==
{{Listen
| filename = 15- Nabiollah Bahari .mp3
| title = Nabiollah Bahari
}}
In the performance of Morshed Bahari, due to his simple theatrical movement, the singing plays a less important role, and for this reason, the non-melodic recitation and rhythmic narration is used more. At the beginning, of the melodic sections, the tone of voice of the singer narrator has an atmosphere of Mahur mode ([http://www.iranicaonline.org/articles/dastgah Dastgah] <ref>Mahur Dastgah only in terms of the intervals within the first two Dongs is comparable with the major scale in European music and the Avaz-e Bayat-e Isfahan is a melody near to the minor scale in European music .</ref> ) with a hint of the [http://www.iranicaonline.org/articles/avaz Avaz] - e Isfahan <ref>The word 'Avaz' has two meanings: 1- Song or verses performed by a singer 2-A kind of general form in Iranian music which can have smaller subsidiary forms within it (with a specific metre or free metre), with or without a singer. The five Avazes of Iranian music repertoire are: Abuata, Bayat e Tork (which is also called Bayate-Zand or Bayate-Qajar), Afshari, Dashti, and Bayate-Isfahan. These are not independent, and on account of their figure-melodies, intervals and final notes and...are related to one another, Abuata, Bayat e Tork, Afshari and Dashti are related to Shur Dastgah and Avaz-e Bayat-e Isfahan is related to Homayun Dastgah. Avazes in terms of extension are smaller than the Dastgahs, and are made up of two or three tetrachords . </ref> <ref>In Iranian music, Alinaghi Vaziri for the first time introduced the accidentals: Koronp for interval between the natural and the flat, and Sori for an interval between the natural and the sharp. It should be noted that in theory in Iranian music these accidentals are considered as quarter tones but in practice they are usually more or less than this amount. Here, to simplify matters we show the lesser intervals with-sign and those exceeding the quarter tone with+. </ref> (in the second Dong) .
Since then after the declamation of the Har ke darad havas e Karbobala (Whoever is longing for [[Karbala]]) section the melody refers to Shur Dastgah <ref>In Mirza Abdollah's Radif, the Pishdong of Shur Dastgah is performed with omission of the first and second pitches but in other vocal and instrumental Radifs like Aqahosseinqolis Radif, Saba's Radif and Abdollah Davami's vocal Radif, and ... the Pishdongs are completely performed . </ref> (Avaz e Abuata) <ref>Among the four Avazes related to Shur Dastgah,the Abuata Avaz is nearest in terms of similarities . For this reason, during the performance of Morshed Nabiollah, the possibility of distinguishing between the Shur Dastgah and Abuata Avaz is lost. </ref> and in the Magar nashnidi to hokm e sardar section because of the epic topic of the poem, the curtain-storyteller stays on one pitch for the first hemistich, and in this way he rightfully expresses the content of the poetry and in the second hemistich the melodies develop and in terms of the performed intervals it establishes an atmosphere of Homayun Dastgah (mode).
The singing approaches the Segah Dastgah in Har ke darad havase Karbobala (Whoever is longing for Karbala) the song moves into Shur intervals which remind one of Abuata .The singing approaches the Segah Dastgah in Mara ma'zur dar az dastbusi... (using the third note of the first Dong up to the Shahed). However, the most important particularity of his method is the creation of rapid transitory spaces which evoke the intervals of some [https://www.britannica.com/art/dastgah#ref132167 Radif] music Dastgah without getting away from the declamation of words which from a kind of expression for introducing a specific stable pattern. <ref>The type-melodies which with development and expansion make up the units called Gushes having a central note called Shaned . In the first Gushe in each Dastgan the final note is the same as Shahed note. However, in the next Gushes , for technical reasons this can be changed according to rules.</ref> <ref>The last note in each Gushe is called Ist. In the beginning Gushes (Daramad) that are most important in each Dastgan the is! note is the same as the Shahed note. Those Gushes which themselves have a separate Shahed generally have a common ist note with the Daramads . Sometimes depending on the melodies movement this can be changed. 8. The basis of Iranian Dastgah music are related to tetrachords called Dongs. The most important note is called Shahed. This! note is the starting point of one tetrachord. Also, the notes preceding the Shahed note which are generally the size of one tetrachord are called Pishdong.</ref>
==Narration==
[[File:Nabiollah bahari 6.jpg|thumb|]]
[[File:Nabiollah bahari 4.png|thumb|]]
After performing the sections expressing the Holy name, advice, sermon, Morshed Bahari goes on to the explanation of the curtain and the story of the old lady pilgrim and Abbasid caliph, [https://www.britannica.com/biography/al-Mutawakkil Mutawakkil]. The cruel Caliph of Baghdad prevents the pilgrimage of the old woman to the shrine of [[Imam Husayn]], third [[Imam]] of the [[Shi'ites]] who was martyred in [[Karbala]]. Mutawakkil orders that the old woman be thrown into the Tigris river. The woman's prayer to Imam Husayn causes [[Abbas ibn Ali]] to rush to her aid to complete her pilgrimage to her Imam.
==Source==
* Ardalan, hamidreza (2008). Picture-storyteller masters of iran, the Iranian academy of the art, 2008, volume 15. ISBN: 978-964-2986-033(vol.15). 978-964-2986-002(set).
==Reference==
[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Ali akbar javanbakht

2019-07-10T10:43:11Z

T.ramezani: Created page with "{{Infobox artist | name = Ali akbar javanbakht | image = Ali akbar javanbakht 6.jpg | image_size = | alt = | caption = |..."

{{Infobox artist
| name = Ali akbar javanbakht
| image = Ali akbar javanbakht 6.jpg
| image_size =
| alt =
| caption =
| birth_date = 1942
| birth_place = Arak
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani
| patrons = Hassan Javanbakht (his father), Darvish Fathollah, Darvish Qolam Hossein, Darvish Roshan, Darvish Ali, Darvish Javad, Darvish Abbas, Zia Shirazi, Darvish Ebrahim, Ali Agha, Haji Kur, Ibrahim Hassan, Haj Ali, Mehdi Arab, Hossein Karam Nurollah, Haj Motahhar, Agha Seyyed Isfahani, Darvish Nad Ali and Morshed Khan Ali
}}

'''Ali Akbar Javanbakht''' (born in 1942) is a prominent Pardekhan who began Pardekhani at the age of fifteen. The [[Pardekhani]] and [[Rawza-Khani]] (narrative about martyred imams) of Morshed Javanbakht is inherited. This is why he has learned from his father and other Morsheds having styles in all the details of curtain-storytelling including the narration of all the gatherings and knowledge of all the faces, the melodies and the theatrical movements.
==Performance Method==
{{Listen
| filename = 14- Ali Akbar Javanbakht.mp3
| title = Ali Akbar Javanbakht
}}
The composition of theatrical actions includes the putting up the curtain, the introduction and the beginning poem with Holy reference, techniques using body, facial expression and narration, for prayer, anger, blows of the sword, shooting the arrow, holding up the shield and final prayer.
The most prominent characteristic of his theatrical motions in storytelling is his lack of exaggeration. With the least indication of the body he conveys meanings. In this way the Pardekhans use methods of the larger cities which use a bigger variety of parts.
[[File:Ali akbar javanbakht 1.png|thumb|]]
==Place and Time of Performance==
Pardekhani generally is performed in a square where people are present. The curtain is attached to a wall using a few nails or to two pillars or trees and the singer stands next to it. However each Pardekhan knows the choice of time and place influences the number of audience. The best places are at intersections, near small squares, and near sacred places and [[Imamzadehs]] (shrines).
Morshed Javanbakht set up his curtain in an open space of Mashhad Migan in the present performance. At the same time there was [[Ta'ziya]] (sung plays) being performed in the shrine commemorating the [[martyrdom]] of Ali. The time of performance is just as the place very influential in the overall situation of the performance. The singer must not perform during prayer or call to prayer ([http://www.oxfordislamicstudies.com/article/opr/t125/e49 Azan]) or during the rush hours, these events are not in accordance with Pardekhani or Ma'rekegiri (Juggler playing).
==Narration==
The Snake of Qashiye gathering is the description of the scene of hell. It shows how sinners are punished. The snake of Qashiye is the one with a big wide mouth which swallows the sinners. The illustration of it doing this to many of the dwellers of hell is usually painted on the left at the bottom of the curtain.
The second scene is the Curse of the Parents. The Parent's Curse conveys the concept of children not being grateful and the curse of parents. When a child is ungrateful for having a mother, the grave of the child burns in fire. She or he with interference of the saints is saved and the mother lifts her curse. The name of [[Imam Husayn]] mediates the saving of the child.
The singer narrator in the third gathering narrates the story of Hende, the wife of [[Yazid]], who was raised in [[Imam Ali]]'s house and became Yazid's wife through his trickery. Hende even though living in the house of the enemy of Imam Ali, still loves this family. After the [[Karbala]] event, the caravan of prisoners stops by a ruins near Yazid's castle, among them is [[Zaynab]], sister of Imam Husayn.
Hende goes to them after viewing the crying and weeping of the young children, compassionate and wailing for righteousness.
The image of Hende is one of the eight images of the heavenly ones illustrated on the left side and upper part of the curtain. This set of faces belongs to the believers all of whom have reached faith through their relation with the saints. The images of the other gatherings are the Armenian Doctor, Salman al-Farsi, [[Hurr]], Habib ibn Mazaher, Hende Imam Ali's Kaniz(maid), Yazid's wife and the Christian girl.
===gallery===
<gallery>
Ali akbar javanbakht 7.jpg
Ali akbar javanbakht 9.jpg
Ali akbar javanbakht 8.jpg
</gallery>
==Source==
* Ardalan, hamidreza (2008). Picture-storyteller masters of iran, the Iranian academy of the art, 2008, volume 14. ISBN: 978-964-2986-460(vol.14). 978-964-2986-002(set).
[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Qasem daneshpajouh

2019-07-09T19:56:03Z

T.ramezani: Created page with "{{Infobox artist | name = Qasem daneshpajouh | image = Qasem daneshpajouh 2.png | image_size = | alt = | caption = | birt..."

{{Infobox artist
| name = Qasem daneshpajouh
| image = Qasem daneshpajouh 2.png
| image_size =
| alt =
| caption =
| birth_date = 1942
| birth_place = khalilabad-kashmar
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani, Chavoshikhani, Maddahi and Manqebatkhani
| patrons = Morshed Mohammad Ali (his father), Habibollah Chavoshi, Arefi, Karbalai Akbar Mohammadzadeh and Haji Morshed
}}

'''Karbalai Qasem Daneshpajouh''' (born in 1942) is an Iranian [[Pardekhan]], Chavoshikhan, [[Maddah]], [https://referenceworks.brillonline.com/entries/encyclopaedia-of-islam-2/manakib-COM_0660 Manaqib-khan]. He had several masters including Morshed Mohammad Ali (his father, Habibollah Chavoshi, Arefi, Karbalai Akbar. He started Pardekhani when he was only six years old.
==Performance Method==
Karbalai Qasem narrates the events in declamation. The chanting comes in at points of climax of the performance. His narration has a simple predictable tone which is comprehensible to indigenous people. With regard to his small curtain-frame, it is impossible to manifest the usual figures such as: fighting, festivity, and using cane (as a performance object). Even so, Karbalai Qasem is very successful with his unassuming, simple and fluent mode in his narrations.
[[File:Qasem daneshpajouh 5.jpg|basic]]

==Reciting Method==
{{Listen
| filename = 13- Qasem Danesh pajouh.mp3
| title = Qasem Daneshpajouh
}}

The singing of Karbalai Qasem is made up of short composed phrases. He usually narrates his sung stories based on one of the known Iranian melodies. In the music of [https://www.britannica.com/place/Neyshabur Neyshabur's] Old Woman and [https://www.britannica.com/biography/al-Mutawakkil Mutawakkil], [[‘Abbasid]] Caliph, Morshed Karbalai Qasem starts with the second Dong of Mahur (second note of the second Dong). The section of Har ke darad havas e karbobala ..., moves into the first Dong and with the hemistich of Har ke darad havas e noql o hana... descends on the Shahed note.
The repeated cutting off of the singing and then limited and mixed narrations with the spoken prose, causes the unexpected referral to different Gushes on the spur of the moment, and consequently some of the compositions of the melodies or notes cannot be corresponded with known intervals of the [http://www.iranicaonline.org/articles/dastgah Dastgah] (mode) or Gushes of Mahur. For example, in Chavosh man az va'ez shenidam, we cannot definitively say whether the intervals are related to the Mahur Dastgah or not, especially when the role of the spoken speech becomes more emphasized than the melodies.
==Ghabpardeh (Small Framed Curtains)==
[[File:Qasem daneshpajouh 6.jpg|thumb|]]
One of the painted curtains of Karbalai Qasem which he uses on long trips is one of dimensions 40 by 70 CMS. The main curtains are usually depicted in dimensions around 2 by 4 M. or 1.5 by 3 M. On trips, because of the weight of the huge curtains, sometimes curtain frames or Ghabpardehs are used. The number of faces on the Ghabpardehs are much limited compared with those on the main curtains, and consist of main characters such as [[Abbas ibn Ali]] and the story that is to be narrated.
==Narration==
[[File:Qasem daneshpajouh 7.jpg|thumb|]]
It is said that 72 stories are narrated in a picture-storytelling, which probably is connected to the fact that those accompanying [[Imam Husayn]] in [[Karbala]] were also 72. The subject of the narrated story concerns an old weaving woman of Neishabur and Mutawakkil, the ruling Abbasid Caliph. The old weaving woman from Neishabur (in the east of Iran) goes on pilgrimage to Karbala in Iraq to the grave of Imam Husayn. Mutawakkil-e Abbasi, who opposed to Imam Husayn, were ordered to his executors to throw the old woman into the Euphrates river. With prayers and the shouts of the old woman, Abbas who was one of Imam Husayn's followers rushes to her help. The old woman is saved and reaches her goal in pilgrimage and visits the shrine of Imam Husayn and Abass ibn Ali.
==Source==
Ardalan, hamidreza (2008). Picture-storyteller masters of Iran, the Iranian academy of the art, 2008, volume 13. ISBN: 978-964-2986-071(vol.13). 978-964-2986-002(set).
[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Soleiman heidari

2019-07-08T10:37:32Z

T.ramezani: Created page with "{{Infobox artist | name = Soleiman heidari | image = Soleiman heidari 3.png | image_size = | alt = | caption = | birth_d..."

{{Infobox artist
| name = Soleiman heidari
| image = Soleiman heidari 3.png
| image_size =
| alt =
| caption =
| birth_date = 1941
| birth_place = Bagh village of Zanjan
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani
| patrons = Nouh Ali Heidari (his father), Haj Molla Aqajan, Haj Nateq Tabrizi and Haj Darvish
}}

'''Darvish Suleiman Heidari''' (born in 1941) is a prominent [[Pardekhan]] who started his career at the age of fourteen. Living among Turkish Iranians who bear various traditional Ashiq music, performances and dance has caused his picture-storytelling to be under the influence of this art.
==Performance Method==
[[File:Soleiman heidari 7.jpg|thumb|]]
The character of his performance is a general translation of Ashiqi behaviors. Use of foot poses for changing position and standing in a same place, use of parallel or complementary positions with the hands and his facial emotions, and turning the head and neck, all are some of the theatrical movements of Darvish Suleiman. The difference between the performance method of Darvish Suleiman and the other Pardekhans is the tendency towards relatively rhythmic and lyrical movements maintaining epic quality.
==Reciting Method==
{{Listen
| filename = 12- Soleyman Heydari.mp3
| title = Soleiman Heidari
}}
Darvish Suleiman begins the Pardekhani with mention of the holy name Besmellaherahmanrahim <ref>"In the name of God, the Most Gracious, the Most Merciful"</ref> and then uses the spoken word for the encomium saints and then in [http://www.iranicaonline.org/articles/azari-the-ancient-language-of-azerbaijan Azari] language invites the audience to repeat the [https://referenceworks.brillonline.com/entries/encyclopaedia-of-islam-2/salawat-DUM_3121 Salawat] (salute to the saints).
In continuation, he sings in the Pishdong of Homayun [http://www.iranicaonline.org/articles/dastgah Dastgah] (mode) intervals ke ruze qiamat shavad ashekar... resting on the Shahed of Homayun.
He describes the curtain in the Azari language in a spoken fashion, and in this same relation recites poems in Farsi and so introduces the main characters of the curtain in this way.
He uses the intervals of Chahargah mode to chant the Shartim ghabule...Abu Taleb e an zaman... section choosing a range of about two tetrachords (the second dong up to the third note of the third dong). In this section the accents of the Pardekhan is on the third note of the second dong (sixth note of Chahargah) and its cadence is on the first note of the second dong (the fourth note of Chahargah).
Then again with a spoken voice, and in the middle in the section of Javani... on a tangent he comes near the musical intervals of Abuata, and then continues again in his previous voice. In the hemistich of Chon verdi gulakh nale teflan e Abolfazl... again he moves on to the intervals of the Chahargah mode (the second and third tetrachords with the same Shahed and pause) and in the second hemistich he returns back to the spoken word.
The singer narrator at times uses the kind of notes that are not corresponded to Dastgah music and only can be said to be like a harmonic riff which quickly changes to spoken words such as Sasladi ... Ali ... Ali and also at times takes on the pitches of Azari musical [https://www.britannica.com/art/maqam-music maqams] such as does religious and funeral music ([[Nowha-khani]]). A combination of narrative and rhetorical voice and use of techniques of a kind of music called Ashiqi or Deishme; specially, in the spoken sections and the Ashiqi singing method is what makes up the performance of this curtain-storyteller.
The dominance of religious feeling finally creates a kind of contilation which is specific to the Turkish region: strong sonority, varied dynamic, preciseness in the performance of the intervals, well thought out pauses and spoken sections and singing and use of Turkish language phonetics create his particularities.
==Semiology of Four Central Portraits==
[[File:Soleiman heidari 8.jpg|basic|]]
In the Darvish curtains four of the faces are painted larger than the others: [[Imam Husayn]], [[Ali Akbar]] and [[Abbas]] on the right side of the curtain and in the line of saints and Mared ibn Sodeif on the left side and in the line of the evil characters. The figures of Abbas and Mared are located in the middle of the curtain. Abbas cuts Mared into two from the middle of the head down with one blow of the sword. The line of red blood is drawn from his face to his stomach which is the continuation of the sword's cut in movement. In contrast, Abbas is riding on his white horse calmly and with certainly however deep in thought.
On the right side of Imam Husayn lying Ali Akbar with head on his knee and his body is full of arrows. Ali Akbar the martyr's eyes are open ... we do not rightly know whether this is the temporary or eternal world. The face of Imam Husayn resembles that of Abbas as if the curtain's painters intended a spiritual and similar content to be in the faces of the saints. All three of the saints on the right side have a Hashemi mole, an aura around their heads and green headband which again emphasizes their unique and spiritual essence.
==Narration==
[[File:Soleiman heidari 9.jpg|thumb|]]
Besmellaholrahmanolrahim, the introduction of the curtain, is the background for the entrance of the heroes into the main story, the side stories and finally the main story make up the Pardekhani performance. The main part of the narration is allocated to the characteristics of Ali and is a sign of the saint's influence on the Turkish-speaking Pardekhan singers. The main story is narrated after the encomium.
Abbas at age 14 is victorious over Ibn Shahrzad, and his nine sons. These are army [[Muawiya]]’s heroes ... After that the scene of Abbas' battle with Mared ibn Sodeif begins. Mared is cut in two by the sword of Abbas which is a symbolic image of the saint's war strength.
==Source==
* Ardalan, hamidreza (2008). Picture-storyteller masters of Iran, the Iranian academy of the art, 2008, volume 12. ISBN: 978-964-2986-453(vol.12). 978-964-2986-002(set).
==Reference==
[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Shokrollah karimi kamare

2019-07-07T10:36:57Z

T.ramezani:

{{Infobox artist
| name = Shokrollah karimi kamare
| image = Shokrollah karimi kamare 4.jpg
| image_size =
| alt =
| caption =
| birth_date = 1938
| birth_place = Arak
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani and Maddahi
| patrons = His Mother, Ruhollah Karimi (his brother) and Haj Rahim Esfahani
}}

'''Shokrollah Karimi Kamare''' (born in 1938) is an Iranian [[Pardekhan]] who began his career when he was only six years old. The method of Morshed Karimi is a combination of encomiastic motions and those of the curtain-storytellers. The encomiasts recite their praises sitting on a podium and the narrator singers stand in front of the curtain and sit only for short moments. Morshed Karimi brings about a beautiful fusion of methods of encomiasts and curtain-narrators tending mostly towards movements of the hands, head and neck in standing position.
==Performance Method==
He transforms his body movement from subtle into a very rich gesture style, with the help of his rough sound which is a specialty of encomiasts. The audience has to wait for him to perform an innovative movement on correspondence with the content of the gathering being described. In contrast to the tradition method of curtain-storytellers which use many subtle movements, Morshed Karimi introduces a stylized special method of Pardekhani.
==Reciting Method==
{{Listen
| filename = 11- Shokrollah Karimi Kamareh.mp3
| title = Shokrollah Karimi Kamareh
}}[[File:Shokrollah karimi kamare 5.jpg|thumb|307x307px]]Morshed Karimi learned curtain-storytelling and encomium from his Mother and brother when he was a child. His chanting is composed of encomium and storytelling. Enough knowledge, a strong memory, and mastery of the religious melodies gives him the capability of singing the whole scene mainly poetry. In the recitation of his gathering, he uses from the poems of Asef who is one of the religious Qaside singers (odist) and the above-mentioned quality is manifested in his recitation.
The general atmosphere in this Pardekhani is near to the Homayun [http://www.iranicaonline.org/articles/dastgah Dastgah] (mode) but the created melody is foreign to the Dastgah music in terms of Pishdong intervals, melodic movement, and also the melody models and accents. This atmosphere roughly continues with the same melody up to the end of the curtain-storytelling and even in the spoken words of the curtain-narrator singer, the musical sounds play a major role and the musical atmosphere is not lost. The Pardekhan does not keep a constant tempo in reciting the poems and text of the Pardekhani (curtain-storytelling) and we witness a change in tempo based on the meanings of the story and at times it quickens up or slows down.
However, another change also happens during the curtain-storytelling and that is rough change of tonality to a higher pitch and then lower in the last minute of the Pardekhani. Since then the singer being influenced by the sung intervals during the whole performance and rises the tonality of his voice and gradually reaches the previous intervals.
==Narration==
[[File:Shokrollah karimi kamare 6.jpg|thumb|447x447px]]
Before the battle, the war hero [[Hurr]] falls into doubt about the army which he has joined and being on the side of truth. The spirituality dominant in the army of [[Imam Husayn]] draws him as he remembers Imam Husayn's past and joins his army with a profound faith, he moves on to [[martyrdom]].
==Source==

*Ardalan, hamidreza (2008). Picture-storyteller masters of iran, the Iranian academy of the art, 2008, volume 11. ISBN: 978-964-2986-446(vol.11). 978-964-2986-002(set).

[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Shokrollah karimi kamare

2019-07-07T10:35:38Z

T.ramezani: Created page with "{{Infobox artist | name = Shokrollah karimi kamare | image = Shokrollah karimi kamare 4.jpg | image_size = | alt = | caption..."

{{Infobox artist
| name = Shokrollah karimi kamare
| image = Shokrollah karimi kamare 4.jpg
| image_size =
| alt =
| caption =
| birth_date = 1938
| birth_place = Arak
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani and Maddahi
| patrons = His Mother, Ruhollah Karimi (his brother) and Haj Rahim Esfahani
}}

'''Shokrollah Karimi Kamare''' (born in 1938) is an Iranian [[Pardekhan]] who began his career when he was only six years old. The method of Morshed Karimi is a combination of encomiastic motions and those of the curtain-storytellers. The encomiasts recite their praises sitting on a podium and the narrator singers stand in front of the curtain and sit only for short moments. Morshed Karimi brings about a beautiful fusion of methods of encomiasts and curtain-narrators tending mostly towards movements of the hands, head and neck in standing position.
==Performance Method==
He transforms his body movement from subtle into a very rich gesture style, with the help of his rough sound which is a specialty of encomiasts. The audience has to wait for him to perform an innovative movement on correspondence with the content of the gathering being described. In contrast to the tradition method of curtain-storytellers which use many subtle movements, Morshed Karimi introduces a stylized special method of Pardekhani.
[[File:Shokrollah karimi kamare 5.jpg|thumb|]]
==Reciting Method==
{{Listen
| filename = 11- Shokrollah Karimi Kamareh.mp3
| title = Shokrollah Karimi Kamareh
}}

Morshed Karimi learned curtain-storytelling and encomium from his Mother and brother when he was a child. His chanting is composed of encomium and storytelling. Enough knowledge, a strong memory, and mastery of the religious melodies gives him the capability of singing the whole scene mainly poetry. In the recitation of his gathering, he uses from the poems of Asef who is one of the religious Qaside singers (odist) and the above-mentioned quality is manifested in his recitation.
The general atmosphere in this Pardekhani is near to the Homayun [http://www.iranicaonline.org/articles/dastgah Dastgah] (mode) but the created melody is foreign to the Dastgah music in terms of Pishdong intervals, melodic movement, and also the melody models and accents. This atmosphere roughly continues with the same melody up to the end of the curtain-storytelling and even in the spoken words of the curtain-narrator singer, the musical sounds play a major role and the musical atmosphere is not lost. The Pardekhan does not keep a constant tempo in reciting the poems and text of the Pardekhani (curtain-storytelling) and we witness a change in tempo based on the meanings of the story and at times it quickens up or slows down.
However, another change also happens during the curtain-storytelling and that is rough change of tonality to a higher pitch and then lower in the last minute of the Pardekhani. Since then the singer being influenced by the sung intervals during the whole performance and rises the tonality of his voice and gradually reaches the previous intervals.
==Narration==
[[File:Shokrollah karimi kamare 6.jpg|thumb|]]
Before the battle, the war hero [[Hurr]] falls into doubt about the army which he has joined and being on the side of truth. The spirituality dominant in the army of [[Imam Husayn]] draws him as he remembers Imam Husayn's past and joins his army with a profound faith, he moves on to [[martyrdom]].
==Source==
* Ardalan, hamidreza (2008). Picture-storyteller masters of iran, the Iranian academy of the art, 2008, volume 11. ISBN: 978-964-2986-446(vol.11). 978-964-2986-002(set).
[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Ebrahim dehdashti

2019-07-06T11:20:35Z

T.ramezani:

{{Infobox artist
| name = Ebrahim dehdashti
| image = Ebrahim Dehdashti 10.jpg
| image_size =
| alt =
| caption =
| birth_date = 1938
| birth_place = Bam-Kerman
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani
| patrons = Darvish Namak Bami
}}

'''Ebrahim Dehdashti''' (born in 1938) is an Iranian Pardekhan who began [[Pardekhani]] at the age of fifteen. Morshed Ebrahim follows a ritual way in curtain-storytelling. In this method the expression of the text is the pivot of the changes of situation, movements and indications. Control over the Pardekhani manners lead his performance to become almost as a ceremony.
==Performance Method==
In Ebrahim Dehdashti's performance, before the proceeding to sections and parts of the performance, he takes the audience to a brief summary of the events of [[Karbala]] related stories so that with this general look they can relate to the portraits of the curtain.
What is meant by brief generalities is the connecting of things and matters throughout history and even before and after that. The parts are transformed into movement, expression and thought and so are no more counted as being parts. So in the general atmosphere of ceremony at times the singer, narrator and audience come to witness a part of the whole. In the general atmosphere of ceremony attention to the parts is never intended. Only when the Pardekhan has for any reason no skill or knowledge, the audience shows their protest in the simplest way by getting up and leaving the performance and therefore damaging the gathering.[[File:Ebrahim Dehdashti 7.jpg|815x815px]]
==Reciting Method==
{{Listen
| filename = 10- Ebrahim Dehdashti.mp3
| title = Ebrahim Dehdashti
}}

Corresponding to the performance of the movements, postures, spoken prose and sung poetry, Morshed Ebrahim Dehdashti uses set patterns in voice tone, melody and intervals. The lyrical and rhythm tendencies of some of the melodies show his influence from the music of Shiraz and its lyrical songs.
==Narration==
[[File:Ebrahim_Dehdashti_11.jpg|368.963x368.963px]]
Morshed Dehdashti narrates the story of Darvish Kaboli. Darvish Kaboli hears the voice of children of [[Imam Husayn]]'s family in the desert of Karbala crying for thirst. Darvish goes to the Euphrates and fills his Kashkul with water and goes to Imam Husayn to present it to him. Imam Husayn does not accept his gift and asked the Darvish to leave [[Najaf]] to save his own life while telling the news of his and his followers' [[martyrdom]] to [[Imam Ali]] his father whose grave is there. The good and faithful Darvish does not accept the suggestion of the Imam because he wants to join the battlefield. After this, he is martyred having killed dozens of the enemy.
==Source==

*Ardalan, hamidreza (2008). Picture-storyteller masters of iran, the Iranian academy of the art, 2008, volume 10. ISBN: 978-964-2986-439(vol.10). 978-964-2986-002(set).

[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Ebrahim dehdashti

2019-07-06T11:18:55Z

T.ramezani:

{{Infobox artist
| name = Ebrahim dehdashti
| image = Ebrahim Dehdashti 10.jpg
| image_size =
| alt =
| caption =
| birth_date = 1938
| birth_place = Bam-Kerman
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani
| patrons = Darvish Namak Bami
}}

'''Ebrahim Dehdashti''' (born in 1938) is an Iranian Pardekhan who began [[Pardekhani]] at the age of fifteen. Morshed Ebrahim follows a ritual way in curtain-storytelling. In this method the expression of the text is the pivot of the changes of situation, movements and indications. Control over the Pardekhani manners lead his performance to become almost as a ceremony.
==Performance Method==
In Ebrahim Dehdashti's performance, before the proceeding to sections and parts of the performance, he takes the audience to a brief summary of the events of [[Karbala]] related stories so that with this general look they can relate to the portraits of the curtain.
What is meant by brief generalities is the connecting of things and matters throughout history and even before and after that. The parts are transformed into movement, expression and thought and so are no more counted as being parts. So in the general atmosphere of ceremony at times the singer, narrator and audience come to witness a part of the whole. In the general atmosphere of ceremony attention to the parts is never intended. Only when the Pardekhan has for any reason no skill or knowledge, the audience shows their protest in the simplest way by getting up and leaving the performance and therefore damaging the gathering.[[File:Ebrahim_Dehdashti_7.jpg|190x190px]]
==Reciting Method==
{{Listen
| filename = 10- Ebrahim Dehdashti.mp3
| title = Ebrahim Dehdashti
}}

Corresponding to the performance of the movements, postures, spoken prose and sung poetry, Morshed Ebrahim Dehdashti uses set patterns in voice tone, melody and intervals. The lyrical and rhythm tendencies of some of the melodies show his influence from the music of Shiraz and its lyrical songs.
==Narration==
[[File:Ebrahim Dehdashti 11.jpg|thumb|]]
Morshed Dehdashti narrates the story of Darvish Kaboli. Darvish Kaboli hears the voice of children of [[Imam Husayn]]'s family in the desert of Karbala crying for thirst. Darvish goes to the Euphrates and fills his Kashkul with water and goes to Imam Husayn to present it to him. Imam Husayn does not accept his gift and asked the Darvish to leave [[Najaf]] to save his own life while telling the news of his and his followers' [[martyrdom]] to [[Imam Ali]] his father whose grave is there. The good and faithful Darvish does not accept the suggestion of the Imam because he wants to join the battlefield. After this, he is martyred having killed dozens of the enemy.
==Source==

*Ardalan, hamidreza (2008). Picture-storyteller masters of iran, the Iranian academy of the art, 2008, volume 10. ISBN: 978-964-2986-439(vol.10). 978-964-2986-002(set).

[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Ebrahim dehdashti

2019-07-06T11:17:37Z

T.ramezani:

{{Infobox artist
| name = Ebrahim dehdashti
| image = Ebrahim Dehdashti 10.jpg
| image_size =
| alt =
| caption =
| birth_date = 1938
| birth_place = Bam-Kerman
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani
| patrons = Darvish Namak Bami
}}

'''Ebrahim Dehdashti''' (born in 1938) is an Iranian Pardekhan who began [[Pardekhani]] at the age of fifteen. Morshed Ebrahim follows a ritual way in curtain-storytelling. In this method the expression of the text is the pivot of the changes of situation, movements and indications. Control over the Pardekhani manners lead his performance to become almost as a ceremony.
==Performance Method==
In Ebrahim Dehdashti's performance, before the proceeding to sections and parts of the performance, he takes the audience to a brief summary of the events of [[Karbala]] related stories so that with this general look they can relate to the portraits of the curtain.
What is meant by brief generalities is the connecting of things and matters throughout history and even before and after that. The parts are transformed into movement, expression and thought and so are no more counted as being parts. So in the general atmosphere of ceremony at times the singer, narrator and audience come to witness a part of the whole. In the general atmosphere of ceremony attention to the parts is never intended. Only when the Pardekhan has for any reason no skill or knowledge, the audience shows their protest in the simplest way by getting up and leaving the performance and therefore damaging the gathering.[[File:Ebrahim_Dehdashti_7.jpg|frameless]]
==Reciting Method==
{{Listen
| filename = 10- Ebrahim Dehdashti.mp3
| title = Ebrahim Dehdashti
}}

Corresponding to the performance of the movements, postures, spoken prose and sung poetry, Morshed Ebrahim Dehdashti uses set patterns in voice tone, melody and intervals. The lyrical and rhythm tendencies of some of the melodies show his influence from the music of Shiraz and its lyrical songs.
==Narration==
[[File:Ebrahim Dehdashti 11.jpg|thumb|]]
Morshed Dehdashti narrates the story of Darvish Kaboli. Darvish Kaboli hears the voice of children of [[Imam Husayn]]'s family in the desert of Karbala crying for thirst. Darvish goes to the Euphrates and fills his Kashkul with water and goes to Imam Husayn to present it to him. Imam Husayn does not accept his gift and asked the Darvish to leave [[Najaf]] to save his own life while telling the news of his and his followers' [[martyrdom]] to [[Imam Ali]] his father whose grave is there. The good and faithful Darvish does not accept the suggestion of the Imam because he wants to join the battlefield. After this, he is martyred having killed dozens of the enemy.
==Source==

* Ardalan, hamidreza (2008). Picture-storyteller masters of iran, the Iranian academy of the art, 2008, volume 10. ISBN: 978-964-2986-439(vol.10). 978-964-2986-002(set).

[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]

Ebrahim dehdashti

2019-07-06T11:15:56Z

T.ramezani: Created page with "{{Infobox artist | name = Ebrahim dehdashti | image = Ebrahim Dehdashti 10.jpg | image_size = | alt = | caption = | birth..."

{{Infobox artist
| name = Ebrahim dehdashti
| image = Ebrahim Dehdashti 10.jpg
| image_size =
| alt =
| caption =
| birth_date = 1938
| birth_place = Bam-Kerman
| death_date =
| death_place =
| nationality = Iranian
| known_for = Pardekhani
| patrons = Darvish Namak Bami
}}

'''Ebrahim Dehdashti''' (born in 1938) is an Iranian Pardekhan who began [[Pardekhani]] at the age of fifteen. Morshed Ebrahim follows a ritual way in curtain-storytelling. In this method the expression of the text is the pivot of the changes of situation, movements and indications. Control over the Pardekhani manners lead his performance to become almost as a ceremony.
==Performance Method==
[[File:Ebrahim Dehdashti 7.jpg|thumb|]]
In Ebrahim Dehdashti's performance, before the proceeding to sections and parts of the performance, he takes the audience to a brief summary of the events of [[Karbala]] related stories so that with this general look they can relate to the portraits of the curtain.
What is meant by brief generalities is the connecting of things and matters throughout history and even before and after that. The parts are transformed into movement, expression and thought and so are no more counted as being parts. So in the general atmosphere of ceremony at times the singer, narrator and audience come to witness a part of the whole. In the general atmosphere of ceremony attention to the parts is never intended. Only when the Pardekhan has for any reason no skill or knowledge, the audience shows their protest in the simplest way by getting up and leaving the performance and therefore damaging the gathering.
==Reciting Method==
{{Listen
| filename = 10- Ebrahim Dehdashti.mp3
| title = Ebrahim Dehdashti
}}

Corresponding to the performance of the movements, postures, spoken prose and sung poetry, Morshed Ebrahim Dehdashti uses set patterns in voice tone, melody and intervals. The lyrical and rhythm tendencies of some of the melodies show his influence from the music of Shiraz and its lyrical songs.
==Narration==
[[File:Ebrahim Dehdashti 11.jpg|thumb|]]
Morshed Dehdashti narrates the story of Darvish Kaboli. Darvish Kaboli hears the voice of children of [[Imam Husayn]]'s family in the desert of Karbala crying for thirst. Darvish goes to the Euphrates and fills his Kashkul with water and goes to Imam Husayn to present it to him. Imam Husayn does not accept his gift and asked the Darvish to leave [[Najaf]] to save his own life while telling the news of his and his followers' [[martyrdom]] to [[Imam Ali]] his father whose grave is there. The good and faithful Darvish does not accept the suggestion of the Imam because he wants to join the battlefield. After this, he is martyred having killed dozens of the enemy.
==Source==
Ardalan, hamidreza (2008). Picture-storyteller masters of iran, the Iranian academy of the art, 2008, volume 10. ISBN: 978-964-2986-439(vol.10). 978-964-2986-002(set).
[[Category: Artist]]
[[Category: Contemporary Artist]]
[[Category: Performing Art]]
[[Category: Ritual Dramatic Art]]