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[[File:Nakhl fig 1.jpg|thumb|1. Drawing of a nakhl (by Goga Chelkowski) from the Yazd area ready to be carried in procession. Parts and ornamentation: 1. Four legs (paya, one shown), making a stand; 2. Poles for the bearers, forming a base for the nakhl. They represent the bier of Hossain; 3. Mirrors (aʾina); 4. Representation of a cypress tree (sarv); 5. Sadda (see text), a standard from which hang; 6. Colorful fabrics; 7. Ensigns of Hossain]]'''Nakhl''' is one of the principal objects related to the mourning rituals commemorating the suffering and [[martyrdom]] of [[Hussain ibn Ali|Imam Hussain b. ʿAli]], the grandson of the Prophet [[Muhammad]]. It is described as a wooden structure resembling a bridal pavilion and decorated with colorful silk shawls, precious fabric, mirrors, lanterns, etc.; flowers and green branches are also added for ornamentation (picture 1). It is further described as a large, tall bier to which daggers, swords, luxurious fabric, and mirrors are attached. Sometimes such a coffin is also fashioned for a young man who has met an untimely death <ref>Dehkhoda, s.v. nakhl; Moʿin, Farhang-e farsi IV, Tehran, 1968, p. 4691</ref>. The nakhl (or nakhl-e tabut) is so called because of its resemblance to the date palm tree (nakhl), which has a tall, slender, straight trunk.[[File:Nakhl fig 2.jpg|thumb|2. The nakhl carriers awaiting the order to lift the nakhl (Photo by K. Bayegan, Mehriz, 1977).]] | [[File:Nakhl fig 1.jpg|thumb|1. Drawing of a nakhl (by Goga Chelkowski) from the Yazd area ready to be carried in procession. Parts and ornamentation: 1. Four legs (paya, one shown), making a stand; 2. Poles for the bearers, forming a base for the nakhl. They represent the bier of Hossain; 3. Mirrors (aʾina); 4. Representation of a cypress tree (sarv); 5. Sadda (see text), a standard from which hang; 6. Colorful fabrics; 7. Ensigns of Hossain|272x272px]]'''Nakhl''' is one of the principal objects related to the mourning rituals commemorating the suffering and [[martyrdom]] of [[Hussain ibn Ali|Imam Hussain b. ʿAli]], the grandson of the Prophet [[Muhammad]]. It is described as a wooden structure resembling a bridal pavilion and decorated with colorful silk shawls, precious fabric, mirrors, lanterns, etc.; flowers and green branches are also added for ornamentation (picture 1). It is further described as a large, tall bier to which daggers, swords, luxurious fabric, and mirrors are attached. Sometimes such a coffin is also fashioned for a young man who has met an untimely death <ref>Dehkhoda, s.v. nakhl; Moʿin, Farhang-e farsi IV, Tehran, 1968, p. 4691</ref>. The nakhl (or nakhl-e tabut) is so called because of its resemblance to the date palm tree (nakhl), which has a tall, slender, straight trunk.[[File:Nakhl fig 2.jpg|thumb|2. The nakhl carriers awaiting the order to lift the nakhl (Photo by K. Bayegan, Mehriz, 1977).|277x277px]] | ||
==Nakhl-Gardani== | ==Nakhl-Gardani== | ||
nakhl-gardani is the ritual ceremony of carrying the nakhl, as a symbolic representation of the Imam’s coffin, in the procession of the ʿ[[Ashura|Ashura]]ʾ (i.e., 10 [[Muharram|Moharram]], the date of the martyrdom). On the day of ʿAshura, the nakhl is carried to a place where [[Rawza-Khani|rawza-kani]] (mourning sessions commemorating the tragedy at [[Karbala]]) or passion play ([[Ta'ziya|taʿzia]]) is being performed. Sometimes, the nakhl is so colossal and heavy that it requires several hundred men to lift it up and carry it (pictures 2 & 3). | nakhl-gardani is the ritual ceremony of carrying the nakhl, as a symbolic representation of the Imam’s coffin, in the procession of the ʿ[[Ashura|Ashura]]ʾ (i.e., 10 [[Muharram|Moharram]], the date of the martyrdom). On the day of ʿAshura, the nakhl is carried to a place where [[Rawza-Khani|rawza-kani]] (mourning sessions commemorating the tragedy at [[Karbala]]) or passion play ([[Ta'ziya|taʿzia]]) is being performed. Sometimes, the nakhl is so colossal and heavy that it requires several hundred men to lift it up and carry it (pictures 2 & 3). | ||
[[File:Nakhl fig 3.jpg|thumb|3. The nakhl carriers awaiting the order to lift the nakhl (Photo by J. Ghazbanpour, Mehriz, 1997).]] | [[File:Nakhl fig 3.jpg|thumb|3. The nakhl carriers awaiting the order to lift the nakhl (Photo by J. Ghazbanpour, Mehriz, 1997).|371x371px]] | ||
[[File:Nakhl fig 4.jpg|thumb|4. The famous nakhl of Yazd, called the Amir Chakhmaq nakhl, resting unclad in front of the Takiya Amir Chakhmaq (Photo by Tara Bahrampour, 1997).]] | [[File:Nakhl fig 4.jpg|thumb|4. The famous nakhl of Yazd, called the Amir Chakhmaq nakhl, resting unclad in front of the Takiya Amir Chakhmaq (Photo by Tara Bahrampour, 1997).|234.8x234.8px]] | ||
[[File:Nakhl fig 5.jpg|thumb|5. Amir Chakhmaq nakhl in front of the Takiya Amir Chakhmaq (Photo by Tara Bahrampour).]] | [[File:Nakhl fig 5.jpg|thumb|5. Amir Chakhmaq nakhl in front of the Takiya Amir Chakhmaq (Photo by Tara Bahrampour).|384x384px]] | ||
As ritual objects for the ʿAshura, nakhls are built from wood in various sizes, from simple constructions that can be carried by two persons to colossal structures about three stories high that have to be supported by hundreds of men. In Yazd and the surrounding towns and villages, a nakhl is often referred to as a naql “conveying, carrying, transferring.” This large wooden structure is carried on the day of ʿAshura from one place to another. According to some, the edifice is called nakhl during the entire year except on ʿAshura, when it is referred to as naql (since on that day it is moved in procession), but this opinion is not universal. It is interesting to note that on the dedication plaque attached to the biggest and most famous nakhl, which stands in front of [[Takia Amir Chakhmaq]] in the square of the same name in Yazd (pictures 4 & 5), the word naql is used. It bears the date 20 Rajab 1229/9 February 1882 and measures 8.50 m in each of its three dimensions.<ref>Afšār, II, pp. 709, 1194-96, pl. 167</ref> | As ritual objects for the ʿAshura, nakhls are built from wood in various sizes, from simple constructions that can be carried by two persons to colossal structures about three stories high that have to be supported by hundreds of men. In Yazd and the surrounding towns and villages, a nakhl is often referred to as a naql “conveying, carrying, transferring.” This large wooden structure is carried on the day of ʿAshura from one place to another. According to some, the edifice is called nakhl during the entire year except on ʿAshura, when it is referred to as naql (since on that day it is moved in procession), but this opinion is not universal. It is interesting to note that on the dedication plaque attached to the biggest and most famous nakhl, which stands in front of [[Takia Amir Chakhmaq]] in the square of the same name in Yazd (pictures 4 & 5), the word naql is used. It bears the date 20 Rajab 1229/9 February 1882 and measures 8.50 m in each of its three dimensions.<ref>Afšār, II, pp. 709, 1194-96, pl. 167</ref> | ||
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===Nakhl Ritual=== | ===Nakhl Ritual=== | ||
Sometimes the front and back log-poles of the lattice are laid across the side poles, and sometimes the side poles are laid on top of the front and back ones. The logs thus form a grid pattern. The men carrying the nakhl at the front and rear have it on their shoulders, while those on the sides carry it resting on the biceps of their bent arms. The distance between the poles on each side is less than one meter. The nakhl of Mehriz requires 156 men to carry it; there are thirty-nine places on each side of the structure for them to stand.<ref>Torayya</ref> | Sometimes the front and back log-poles of the lattice are laid across the side poles, and sometimes the side poles are laid on top of the front and back ones. The logs thus form a grid pattern. The men carrying the nakhl at the front and rear have it on their shoulders, while those on the sides carry it resting on the biceps of their bent arms. The distance between the poles on each side is less than one meter. The nakhl of Mehriz requires 156 men to carry it; there are thirty-nine places on each side of the structure for them to stand.<ref>Torayya</ref> | ||
[[File:Nakhl fig 7.jpg|thumb|7. A modern covering of the nakhl features paintings of various Shiʿite personalities (Photographer unknown).]] | [[File:Nakhl fig 7.jpg|thumb|7. A modern covering of the nakhl features paintings of various Shiʿite personalities (Photographer unknown).|397x397px]] | ||
Several days before the ʿAshura, the wooden structure of the nakhl is dressed from top to bottom. The predominant colors of the fabric covering the skeleton are black, symbolizing mourning, and green, representing the family of the Prophet. The ceremony decorating the nakhl is referred to as nakhl-bandi. Everyone is welcome to help in this process: some contribute their efforts as the result of private vows; others do it as an expression of their love for Imam Hussain (picture 7). During this process, one can hear constantly invocations for God’s blessing such as Allah-omma salla ʿala Mohammad wa Al Mohammad “O God, praise Mohammad and his descendents.” | Several days before the ʿAshura, the wooden structure of the nakhl is dressed from top to bottom. The predominant colors of the fabric covering the skeleton are black, symbolizing mourning, and green, representing the family of the Prophet. The ceremony decorating the nakhl is referred to as nakhl-bandi. Everyone is welcome to help in this process: some contribute their efforts as the result of private vows; others do it as an expression of their love for Imam Hussain (picture 7). During this process, one can hear constantly invocations for God’s blessing such as Allah-omma salla ʿala Mohammad wa Al Mohammad “O God, praise Mohammad and his descendents.” | ||
[[File:Nakhl fig 8.jpg|thumb|8. The nakhl at Mehriz seen from the front, covered with mirrors (Photo by Judith L. Goldstein).]] | [[File:Nakhl fig 8.jpg|thumb|8. The nakhl at Mehriz seen from the front, covered with mirrors (Photo by Judith L. Goldstein).]] | ||
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At the apex of the nakhl, front and back, is a shadda, a vertical pole surmounted by metal rings. This name might be used with its meaning “fringe,” which the attachments to the ring form around the pole, or with analogy to the open, ring-like shape of the Arabic diacritic sign shadda. Hanging from these rings are colorful fabrics donated by local people, and each one is large enough from which to make a dress. According to tradition, after Imam Hussain and his seventy-two companions were killed on the plain of Karbala, the enemy plundered their tents and looted whatever they could carry away before setting fire to the encampment. These fabrics symbolically represent the cloth from which the women of Karbalaʾ could fashion their garments. In the middle of the roof of the nakhl, between the two shaddas, stands the ensign of the Imam, called [[Alam|'alam]]. The ʿalam is a huge, sometimes three-meters high metal blade attached to a wooden shaft. ʿAlams come in three sections. The wooden shaft has a horizontal metal crossbar; on this crossbar are several small metal blades. Various metal animals are attached to the crossbar, including lions, peacocks, and doves, and precious shawls also are suspended from it. ʿAlams are usually carried separately in the procession. | At the apex of the nakhl, front and back, is a shadda, a vertical pole surmounted by metal rings. This name might be used with its meaning “fringe,” which the attachments to the ring form around the pole, or with analogy to the open, ring-like shape of the Arabic diacritic sign shadda. Hanging from these rings are colorful fabrics donated by local people, and each one is large enough from which to make a dress. According to tradition, after Imam Hussain and his seventy-two companions were killed on the plain of Karbala, the enemy plundered their tents and looted whatever they could carry away before setting fire to the encampment. These fabrics symbolically represent the cloth from which the women of Karbalaʾ could fashion their garments. In the middle of the roof of the nakhl, between the two shaddas, stands the ensign of the Imam, called [[Alam|'alam]]. The ʿalam is a huge, sometimes three-meters high metal blade attached to a wooden shaft. ʿAlams come in three sections. The wooden shaft has a horizontal metal crossbar; on this crossbar are several small metal blades. Various metal animals are attached to the crossbar, including lions, peacocks, and doves, and precious shawls also are suspended from it. ʿAlams are usually carried separately in the procession. | ||
[[File:Nakhl fig 9.jpg|thumb|9. Nakhl in Mehriz, 1974. A view from the rear of the nakhl shows golden thread on a black canvas in the shape of the mausoleum of Hossain at Karbalaʾ (Photo by Judith L. Goldstein).]] | [[File:Nakhl fig 9.jpg|thumb|9. Nakhl in Mehriz, 1974. A view from the rear of the nakhl shows golden thread on a black canvas in the shape of the mausoleum of Hossain at Karbalaʾ (Photo by Judith L. Goldstein).|276x276px]] | ||
When the entire back panel in the rear of the Amir Chakhmaq nakhl is dressed, it represents the Imam’s tomb shrine at Karbala. The characteristic and easily recognizable architectural features of his mausoleum are woven with golden thread into the black canvas (picture 9). In this fashion, the nakhl symbolically represents not only Imam Hussain’s stature and his coffin, but his tomb as well. The Amir Chakhmaq nakhl, though no longer in use, is decorated for the ʿAshura day with this canvas.<ref>Chelkowski</ref> | When the entire back panel in the rear of the Amir Chakhmaq nakhl is dressed, it represents the Imam’s tomb shrine at Karbala. The characteristic and easily recognizable architectural features of his mausoleum are woven with golden thread into the black canvas (picture 9). In this fashion, the nakhl symbolically represents not only Imam Hussain’s stature and his coffin, but his tomb as well. The Amir Chakhmaq nakhl, though no longer in use, is decorated for the ʿAshura day with this canvas.<ref>Chelkowski</ref> | ||
[[File:Nakhl fig 10.jpg|thumb|10. The lifting of the nakhl. Mehriz, 1977 (Photo by K. Bayegan).]] | [[File:Nakhl fig 10.jpg|thumb|10. The lifting of the nakhl. Mehriz, 1977 (Photo by K. Bayegan).|311x311px]] | ||
Many rituals are performed in large communities of central Persia, where the big nakhls are employed on the day of ʿAshura. Once these rituals are finished, all attention turns to the nakhl. Barefoot men dressed in black shirts and pants take up their positions around the poles protruding from underneath the nakhl’s lattice. Four guides stand on each side facing the nakhl, holding green shawls. On the top of the nakhl, next to the shaddas, are men with cymbals. Dirges are sung while bags of sugarplums are tossed to the cymbal players, who in turn shower the heads of the crowd below with the sweets. Even those bags of sugarplums that are not caught by the cymbal players but nevertheless have touched the nakhl, are believed to bring good luck (tabarrok). People collect rocks and pebbles along the path of the nakhl so that the nakhl carriers won’t hurt their bare feet. Finally, it is the decisive moment to lift the nakhl. The man in charge, called baba, invokes the Imam by crying “Ya Hussain,” and, with a clash of the cymbals, the nakhl is raised. This action is called nakhl-bardari (picture 10). | Many rituals are performed in large communities of central Persia, where the big nakhls are employed on the day of ʿAshura. Once these rituals are finished, all attention turns to the nakhl. Barefoot men dressed in black shirts and pants take up their positions around the poles protruding from underneath the nakhl’s lattice. Four guides stand on each side facing the nakhl, holding green shawls. On the top of the nakhl, next to the shaddas, are men with cymbals. Dirges are sung while bags of sugarplums are tossed to the cymbal players, who in turn shower the heads of the crowd below with the sweets. Even those bags of sugarplums that are not caught by the cymbal players but nevertheless have touched the nakhl, are believed to bring good luck (tabarrok). People collect rocks and pebbles along the path of the nakhl so that the nakhl carriers won’t hurt their bare feet. Finally, it is the decisive moment to lift the nakhl. The man in charge, called baba, invokes the Imam by crying “Ya Hussain,” and, with a clash of the cymbals, the nakhl is raised. This action is called nakhl-bardari (picture 10). | ||
[[File:Nakhl fig 11.jpg|thumb|11. Nakhl-gardani, Mehriz, 1977 (Photo by K. Bayegan).]] | [[File:Nakhl fig 11.jpg|thumb|11. Nakhl-gardani, Mehriz, 1977 (Photo by K. Bayegan).|296x296px]] | ||
The procession of the nakhl, called nakhl-gardani, follows (picture 11). The nakhl, guided by four men (sometimes, in the case of a very big nakhl, additional guides stand on the protruding poles), moves majestically on a circular path in an anti-clockwise direction. It is surrounded by a crowd of softly treading men clad in black who parade their ritualized grief and sense of mourning (matam) by striking their heads with their hands. Soon the nakhl comes to a stop so that the nakhl-carriers can rest. During the pause, dirges are sung and a chest-beating matam is performed. In a town square location like that of the Amir Chakhmaq, the nakhl can be carried around the square as many as seven times.<ref>Chelkowski</ref> | The procession of the nakhl, called nakhl-gardani, follows (picture 11). The nakhl, guided by four men (sometimes, in the case of a very big nakhl, additional guides stand on the protruding poles), moves majestically on a circular path in an anti-clockwise direction. It is surrounded by a crowd of softly treading men clad in black who parade their ritualized grief and sense of mourning (matam) by striking their heads with their hands. Soon the nakhl comes to a stop so that the nakhl-carriers can rest. During the pause, dirges are sung and a chest-beating matam is performed. In a town square location like that of the Amir Chakhmaq, the nakhl can be carried around the square as many as seven times.<ref>Chelkowski</ref> | ||
In other places, such as Qamṣar of Khasan, the nakhl-gardani has a linear structure. The nakhls of several districts file one after the other as they traverse the town. In Qamṣar, the nakhls are preceded by ʿalams and followed by chain-beaters. Women line the entire path of the nakhl-gardani on sidewalks and on the flat roofs of houses. Even the bystanders are drawn into this ritual by joining in various matams.<ref>Chelkowski</ref> | In other places, such as Qamṣar of Khasan, the nakhl-gardani has a linear structure. The nakhls of several districts file one after the other as they traverse the town. In Qamṣar, the nakhls are preceded by ʿalams and followed by chain-beaters. Women line the entire path of the nakhl-gardani on sidewalks and on the flat roofs of houses. Even the bystanders are drawn into this ritual by joining in various matams.<ref>Chelkowski</ref> | ||
==Source== | ==Source== | ||
*[http://www.iranicaonline.org/articles/nakl-object-in-the-mourning-rituals Encyclopaedia Iranica] | *[http://www.iranicaonline.org/articles/nakl-object-in-the-mourning-rituals Encyclopaedia Iranica] | ||
==Reference== | ==Reference== | ||
<references /> | <references /> | ||