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longer restricted to the month of
Muharram and the following month of Safar, but extended to other times throughout the year. In the beginning, there were only certain dates in the Shiite calendar when ta'ziyeh could be performed. For example, the ta'ziyeh of the martyrdom of Ali, the first Shiite Imam and the fourth caliph, was performed on the 21st of Ramadan, the day Ali died from a sword wound. Popular appreciation of this dramatic form encouraged the growth of the ta'ziyeh repertory. Other stories from the Islamic tradition as well as biblical stories and Iranian national legends were incorporated. Since staging a performance involved a great deal of effort, a ta'ziyeh group would usually perform in the same place for several days, mixing the Muharram repertory with what we can call the fringe ta'ziyeh plays. Among these plays, we finally come across comedies, or more accurately, satires, concerning various perceived enemies of the Shiites. In particular, these satires concentrated on Umar, Uthman, and Abu Bakr, the three caliphs who, according to popular Shiite belief, were instrumental in preventing Ali from becoming the first caliph/Imam after the death of Muhammad.
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ta'ziyeh plays without creating any technical or moral problems: guriz. The word guriz is the verbal noun of gurikhtan, which means, "to flee." In ta'ziyeh this word, combined with the aux-iliary verb zadan, acquired a very specific meaning: "to refer to the events of Kar-bala." In
English "guriz zadan", could be replaced by "flashback" or "flash forward," as the case may be. The authors of ta'ziyeh plays, by utilizing guriz, created an opening for the introduction of non-Shiite plays into the ta'ziyeh repertory. They simply employed this theatrical technique as a digression: in the secular ta'ziyeh there is usually a glance at one of the events of Karbala, often toward the end of the play, but this varies depending on the action of the play. The device of guriz provided a valid pretext for producers to use stories other than the Shiite martyrdom tragedies to entertain people. Through the guriz, all human conditions are directly or indirectly related to the suffering and tragic death of the "Martyrs of Karbala," regardless of whether the story takes place before or after the Karbala massacre. The Cerulli collection, housed in the
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1470:. Tekyehs (with the exception of the Tekyeh Dowlat) were almost always constructed for temporary use and then demolished at the end of Muharram. The Tekyeh Dowlat was a permanent space built in 1868, but was torn down 79 years later in 1947 due to lack of use and replaced by a bank. Its capacity was 4,000. They varied in size fitting anywhere between a dozen to thousands of spectators. Tekyehs were somewhat open-air, but almost always had awnings of sorts atop the building to shield the spectators and actors from sun and rain. All performers in a Ta'zieh ceremony never leave the stage. The stage is elevated between one and two feet from the ground and split into four areas: one for the protagonists, antagonists, smaller subplots, and props.
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Sunni opponents of Imam
Hussein. They are always dressed in red. The protagonists, family members of Hussein, were dressed in green if they were male characters. Anyone about to die was in white. Women were always portrayed by men in all black. One way to distinguish character besides the color of their costume is how they deliver their lines. The protagonists or family of Imam Hussein sing or chant their lines and the villains will declaim their lines. If a person is traveling in a circle on or around the stage, that meant they were going a long distance (usually represented the distance between Mecca and Karbala). Traveling in a straight line represented a shorter distance traveled.
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1327:, Jaber Anasori, Laleh Taghian, and Abdul-Ali Khalili, a Ta'zieh director and performer. They discuss various aspects of this sacred ritual drama, including its dramatic structure and performance techniques. The analysis focuses on the Imam-Hossain and his brother Hazrat-e Abbas Ta'zieh, performed and filmed in rural northern Iran, particularly in Shavy-Laasht village in the Mazandaran province. The film was selected for the 44th Festival dei Popoli in Florence, Italy and the First Iranian Festival in Berkeley, CA, both in late 2003, and the third annual Tiburon International Film Festival in Tiburon, CA in early 2004.
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scripts on stage with them so it was clear that they were not trying to depict another person that Allah did not create. The ritual was eventually banned by the authorities in Iran because the ritual was being exploited for political advances. Ta'zieh is not performed regularly in Iran and has not been seen at all in certain provinces of the region since 1920. France was the first non-Muslim country that ta'zieh was performed in 1991. Since then, the tradition has been seen in non-Iranian cities like
Avignon and Paris in France, Parma and Rome in Italy, and New York City.
1242:; the Sunni and the Shi'i. The Sunnis make up about 85-90% of Muslims, but the ta'zieh tradition is performed by Shia Muslims during the first month of the Muslim calendar, Muharram, one of the four sacred months of the Islam calendar. The ta'zieh is performed each year on the 10th day of Muharram, a historically significant day for the Shia Muslims because that was the day of Hussein's slaughter. Each year the same story is told, so the spectators know the story very well and know what to expect. However, this does not negatively affect audience levels.
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1405:, contains some 1,05,05 ta'ziyeh manuscripts collected by the Italian Ambassador, Enrico Cerulli, between the years 195o and 1955. These five mnuscripts are (I) The Majles-e Amir Teymour, (2) The Dervish of the Desert, (3) Mansar Halldj, Shams-e Tabriz and Mulla of Ram, (4) The Majles-e Shahanshah- Iran, Nasser al-Din Shah, and (5) Majles of Tax Collection by Muinolbu. These manuscripts shed a light on the process by which Ta'ziyeh gradually branched off into a would-be secular theatre.
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1424:, the glory and the importance of ta'ziyeh gradually diminished but its popularity was conserved. The professional troupes which were newly formed toured the cities all year round and performed". The rural population did not enjoy the sophistication (or perhaps the decadence) of the more advanced urban society. They were definitely more interested in the traditional ta'ziyeh and had no interest in comical developments in their yearly mourning ritual.
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performance from the boxes above the general viewing area. Generally the audience consisted of the more well-off families as they regarded Ta'zieh as entertainment, while the lower-class community members thought of it as an important religious ritual. The Ta'Zieh gained popularity during the 19th century and women painted scenes from Ta'Zieh performances on the stage on canvases and recorded history. This was a huge step in the history of
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for
Siavush) and Yadegar-e-Zariran or Memorial of Zarir. The ta'zieh tradition originated in Iran in the late 17th century. Mourning for Siavosh as reflected in literature is a manifestation of all the prominent characteristics of our Islamic Shabihkhani. "Some believe that Iman Hossein's tragedy as depicted in Taziah is the next recreation of the legend of Siavosh"
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1454:, were performed in a public arena, allowing large audiences to convene. They later moved to smaller spaces like courtyards and spaces within the homes of private citizens, but eventually ended up being performed in temporarily constructed performance spaces called tekyehs or husseiniyehs. The most famous tekyeh is called the
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Costumes for a Ta'zieh ritual are what is considered representational in terms of theater. They are not meant to present reality. The main goal of the costume design was not to be historically accurate, but to help the audience recognize which type of character they were looking at. Villains were the
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It is theoretically possible to incorporate any event, from the day of creation to the day of judgment, into the repertory of ta'ziyeh. This is possible through a very important theatrical device that played a crucial role in facilitating the importation of subjects foreign to the main topic into the
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created it, so all other creation was deemed disrespectful. Because of this, there are not many accounts-visually or otherwise- of this religious tradition. During the tradition it was very important that all spectators knew the actors were not disrespecting Allah, so most often, the actors had their
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began the preface of his book about Ta'ziyeh maintaining that "If the success of a drama is to be measured by the effects which it produces upon the people for whom it is composed, or upon the audiences before whom it is represented, no play has ever surpassed the tragedy known in the
Mussulman world
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tried to prevent it from forming, due to Tazia coinciding with a Hindu chariot procession. These Tazia processions have traditionally walked through the streets of a town, with mourning, flagellation and wailing, ultimately to a local lake, river or ocean where the Tazia procession would be immersed
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Ta'zieh as a kind of passion play is a kind of comprehensive indigenous form considered as being the national form of
Iranian theatre which have pervasive influence in the Iranian works of drama and play. It originates from some famous mythologies and rites such as Mithraism, Sug-e-Siavush (Mourning
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ritual that reenacts the death of
Hussein (the Islamic prophet Muhammad's grandson) and his male children and companions in a brutal massacre on the plains of Karbala, Iraq in the year 680 AD. His death was the result of a power struggle in the decision of control of the Muslim community (called the
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During the colonial-era in
British India, the ta'zieh (ta'zīya) tradition was not only practiced by Shia Muslims and other Muslims but joined by Hindus. Along with occasions for Shia Muslims and Hindus to participate in the procession together, the Tazia procession have also been historic occasions
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The artwork is a colorfully painted bamboo and paper mausoleum. This ritual procession is also observed by South Asian
Muslims throughout present-day India, Pakistan and Bangladesh, as well as in countries with large historical South Asian diaspora communities established during the 19th century by
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Unlike most other theater traditions, especially Western theater traditions, the Ta'zieh stage and its use of props were minimalist and stark. All tekyehs are designed so that the Ta'zieh performance happens in-the-round to create a more intense experience between the actors and the audience. This
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Women were not considered active members of the Ta'zieh performance ritual. Almost all women in these rituals were played by young males, however on some occasions little girls under the age of nine were able to fulfill small roles. Women were traditionally played by males who would wear all black
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The development of ta'ziyeh reached its peak during the Qajar period thanks, in particular, to the great interest shown by the Qajar Kings, especially Nasser al-Din Shah (1848-1896). A most important development during this period is that "due to popular demand," performances of ta'ziyeh were no
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Today, we know of 250 ta'zieh pieces. They were collected by an Italian ambassador to Iran, Cherulli, and added to a collection that can be found in the Vatican Library. Ta'zieh play texts were translated from Persian into French, by Aleksander Chodźko, the Polish orientalist, into Ukrainian by
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Often animals were used in the performance of a Ta'zieh. Often performers of Ta'zieh were on horseback. Most men from the time they were young would train to be able to ride a horse because it was an honor in Persian culture to be part of the Ta'zieh, especially to play a character who rode
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The decline of ta'ziyeh began in response to the interference and opposition of several elements and forces. To begin with, during the last years of the Qajar rule, although ta'ziyeh never lost its popularity, the support of the court and the well-to-do started to wane, causing the ta'ziyeh
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were lavishly decorated by the women of the community that the performance took place, with the prized personal possessions of the local community. Refreshments were prepared by women and served to the spectators by the children of well-off families. Society women were invited to watch the
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directed the documentary film Ta'zieh; Another Narration, exploring the mythological, religious, and ritual elements of Ta'zieh and its connection to Soug-e Siavash (Siavash's mourning) in the Shahnameh. The film features insights from prominent researchers and Ta'zieh experts such as
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Anvar, Iraj. “Peripheral Taʿziyeh: The Transformation of Taʿziyeh from Muharram Mourning Ritual to Secular and Comical Theatre.” Peripheral Taʿziyeh: The Transformation of Taʿziyeh from Muharram Mourning Ritual to Secular and Comical TheatrE, vol. 49, 2005, pp. 61–67. JSTOR,
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Anvar, Iraj. “Peripheral Taʿziyeh: The Transformation of Taʿziyeh from Muharram Mourning Ritual to Secular and Comical Theatre.” Peripheral Taʿziyeh: The Transformation of Taʿziyeh from Muharram Mourning Ritual to Secular and Comical TheatrE, vol. 49, 2005, pp. 61–67. JSTOR,
1310:, the noted film maker, held a series of three live ta'zieh plays in Rome in 2002. Kiarostami also made a documentary movie titled, "A Look to Ta'zieh" in which he explores the relationship of the audience to this theatrical form. Film director,
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horseback. There were often other animals used in the tradition as well. These other animals were: camels, sheep or sometimes even a lion. Usually the lion is not real, and is just represented by a man wearing a mask of some sort.
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enabled spectators to feel like they were part of the action on stage and sometimes encouraged them to become physically active members of the performance; it was also not unusual for combat scenes to occur behind the audience.
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Davoud Monchi-Zadeh, Taʿziya : Das persische Passionsspiel, mit teilweiser Übersetzung der von Litten gesammelten Stücke, Stockholm: Skrifter utgivna av K. Humanistiska Vetenskapssamfundet I Uppsala,
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in Shiraz, Iran prior to the Iranian Revolution of 1978-79, where he produced and directed several dramas from the ta'ziyeh cycle. He subsequently produced ta'ziyeh performances at the
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Beeman, William O.. (2003). The 'Taziyeh of Hor, The Taziyeh of the Children of Moslem, The Taziyeh of Imam Hussein'. Theatre Journal. 55. 359-362. 10.1353/tj.2003.0053. <
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Beeman, William O. "Theatre History #27: Learning about Ta'Ziyeh with Dr. William O. Beeman." Audio Blog Post. Theatre History. HowlRound. 27 Mar 2017.
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Shankar, Guha (2003) Imagining India(ns): Cultural Performances and Diaspora Politics in Jamaica. Ph.D. Dissertation, University of Texas, Austin
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6 August 1857. Also, Original Correspondence of the British Colonial Office in London (C.O. 884/4, Hamilton Report into the Carnival Riots, p.18)
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1197:(imitations of the mausoleums of Karbala, generally made of colored paper and bamboo) used in ritual processions held in the month of Muharram.
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Tazia carrying procession by Shia Muslims on Ashura in the Indian subcontinent (c. 1790-1800). The Tazia were immersed into the river or ocean.
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1614:. A group of believers celebrate the 10th day of Muharram and first month of the Islamic calendar in Plaine Verte within the capital city
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for communal conflicts between Sunni and Shia Muslims and between Hindu and Muslim communities since the 18th century, most notably the
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in France in 1992, and most notably at the Lincoln Center Festival in New York City in 2002 featuring performers from traditional
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to British, Dutch and French colonies. Notable regions outside of South Asia where such processions are performed include:
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troupes in Iran, to widespread critical praise. This production and its preparation was presented in a documentary film,
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Depending on the region, time, occasion, religion, etc. the word can signify different cultural meanings and practices:
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inspired by a historical and religious event, the tragic death of Hussein, symbolizing epic spirit and resistance.
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A strong belief in the Muslim community was that nothing created by regular people could be better than the way
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Chelkowski, Peter (2010). "Identification and Analysis of the Scenic Space in Traditional Iranian Theatre".
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is conveyed wholly or predominantly through music and singing. It dates from before the Islamic era and the
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Théâtre persan, choix de Téaziés ou drames traduits pour la première fois de persan par A. Chodźko
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adopted as the official sect, the state took interest in theater as a tool of propagating Shiism.
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Handbook of Religion and the Asian City: Aspiration and Urbanization in the Twenty-First Century
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In Iranian Ta'zieh, the space is very important. Originally, Ta'zieh dramas, like other Western
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Zarilli, Phillip B.; McConachie, Bruce; Williams, Gary Jay; Sorgenfrei, Carol Fisher (2006).
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organise a Ta'zieh (locally spelled as Ta'zīya, Tazia, Tabut or Taboot) procession on the
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1878 painting of Tazia immersion in the Bay of Bengal by Shia Muslims (Emile Bayard).
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1218:, Iranian Orientalist. Various other scripts can be found scattered throughout Iran.
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Traditional skills of building and sailing Iranian Lenj boats in the Persian Gulf
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The Evolution of Tradition Theatre and The Development of Modern Theatre in Iran
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1136:) means comfort, condolence, or expression of grief. It comes from the roots
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Beyond Hindu and Muslim: Multiple Identity in Narratives from Village India
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The appearance of the characteristic dramatic form of Persia known as the
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performers to seek sponsorship from the lower strata of society. 'After
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Hosay Trinidad: Muharram Performances in an Indo-Caribbean Diaspora
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doi:10.6084/m9.figshare.3511154 & doi:10.5281/zenodo.59379.svg
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made from bamboo, rattan and paper is a local manifestation of the
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Chogan, a horse-riding game accompanied by music and storytelling
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Caron, Nelly (1975). "The Ta'Zieh, the Secret Theatre of Iran".
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https://www.era.lib.ed.ac.uk/bitstream/handle/1842/7362/381673.
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Indian Secularism: A Social and Intellectual History, 1890-1950
2399:"THEATER; An Iranian Musical Spectacle That Draws Audiences In"
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have been influenced by the long tradition of ta'zieh in Iran.
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The Legality of making figurine effigy (Taziyah) of the shrine
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Peasants in the Pacific: a study of Fiji Indian rural society
2517:"Narrative Painting and Painting Representation in Qajar Iran"
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also made a documentary on titled, "Tamrin e Akhar". In 2001,
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2445:(Documentary), Laura Aswad, William Beeman, Mohammad Ghaffari
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Ahatanhel Krymsky, Ukrainian orientalist, and into German by
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While in the West the two major genres of drama have been
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Ta'zieh, primarily known from the Iranian tradition, is a
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by Peter Chelkowski, an article of Encyclopædia Iranica.
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whose army set fire to Imam Hussain's family tents, Iran
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In Iranian culture it refers to condolence theater and
2795:"'Tabuik' festival: From a religious event to tourism"
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Eternal Performance: Ta'ziyeh and Other Shiite Rituals
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who were stationed and later settled there during the
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and veil their faces. During the festival period, the
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Reza Masoudi Nejad (2015). Peter van der Veer (ed.).
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and was the first ever anti-British rebellion in the
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UNESCO Intangible Cultural Heritage elements in Iran
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Shia Islam ritual that reenacts the death of Hussein
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2723:"Truth and Justice Commission 2011 Report Volume 1"
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3072:Novruz, Nowrouz, Nooruz, Navruz, Nauroz, Nevruz
2319:"Time Out of Memory: Taʿziyeh, the Total Drama"
2163:. CreateSpace Independent Publishing Platform.
2062:"Time Out of Memory: Ta'ziyeh, the Total Drama"
890:Sermon of Zaynab bint Ali in the court of Yazid
3088:Traditional skills of carpet weaving in Kashan
2557:"Time Out of Memory: Ta'Zieh, The Total Drama"
2159:Alizadeh, Farideh; Hashim, Mohd Nasir (2016).
2126:Alizadeh, Farideh; Hashim, Mohd Nasir (2016).
1361:The development of ta'ziyeh as a dramatic form
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2963:Nasser Taghvaee's documentary: Tamrin e Akhar
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2946:an article by Encyclopædia Britannica online
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2374:"Feature: Abbas Kiarostami's theatre debut"
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2498:"Ta'ziyeh; Karbala Drag Kings and Queens"
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2103:"Shi'a Muslims Mourning Before a Ta'ziya"
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885:Casualties of Husayn's caravan in Karbala
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3129:Naqqāli, Iranian dramatic story-telling
2950:The passion (ta¿zia) of Husayn ibn 'Ali
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2243:
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2239:
2198:
2196:
1852:Ta'zieh in Iran, mourning of Muharram
1230:Shi'a Muslims Mourning Before Ta'zieh
1148:and its prior and subsequent events.
7:
2793:Bachyul Jb, Syofiardi (2006-03-01).
2088:
2086:
2084:
2082:
2055:
2053:
2051:
2049:
2002:The Miracle Play of Hasan and Husain
1458:. It was built by the King of Iran,
895:Sermon of Ali ibn Husayn in Damascus
3182:, a bowed string musical instrument
2534:. India: Seagull. pp. 92–105.
2032:. New York University. p. XV.
2005:. W. H. Allen and Co. p. III.
1986:"UNESCO - Intangible Heritage Home"
1495:
1478:Costumes and character distinctions
1462:and was situated in the capital of
1131:
1123:
1115:
30:UNESCO Intangible Cultural Heritage
3098:The ritual dramatic art of Ta‘zīye
2897:Ta'ziyeh: Ritual and Drama in Iran
2822:By Peter Gottschalk, Wendy Doniger
2207:. USA: Routledge. pp. 81–82.
2205:Theatre Histories: An Introduction
2029:Ta'ziyeh: Ritual and Drama in Iran
22:The ritual dramatic art of Ta'zīye
14:
3178:Art of crafting and playing with
2975:Ta'zieh, the Persian Passion Play
2462:Iranian Theater Propagates Shiism
1632:people in the coastal regions of
3103:Pahlevani and zoorkhaneh rituals
1900:
1881:
1869:
1857:
1845:
1829:
1815:
1803:
1791:
1771:
1752:
1736:
1724:
1712:
1409:Decline of Ta'zieh plays In Iran
1408:
774:
1798:Women Attending a Ta'Zieh 1800s
1415:Commemoration of Husayn ibn Ali
1357:, directed by Rabeah Ghaffari.
1210:) after the death of Muhammad.
1172:reference it is categorized as
2883:Iranian Performance Traditions
2185:Fadaie, Seyed Hossein (2007).
1640:, particularly in the city of
1599:from the Indian subcontinent.
1396:Guriz or flashbacks in Ta'zieh
1384:in 1501 and the Shiism of the
1193:it refers specifically to the
1:
2751:"Yamse festival in Mauritius"
2486:www.jstor.org/stable/4488681.
2473:www.jstor.org/stable/4488681.
2317:Chelkowski, Peter J. (2005).
2145:10.1080/23311983.2016.1190482
2026:Chelkowski, Peter J. (1979).
1281:is one of the best examples.
2989:Combining creed with culture
2834:Toleration through the ages
2372:Marshall, Lee (2003-07-14).
2132:Cogent Arts & Humanities
62:Near East, Asia, Australasia
2397:Jenkins, Ron (2002-07-07).
1810:Persian Tekyeh for Ta'Zieh
3270:
3067:The Radif of Iranian music
2969:Abbas Kiarostami on Tazieh
2555:Chelkowski, Peter (2003).
2335:10.1162/105420405774763050
2307:9th Symphony (BBC Persian)
2161:Ta'ziyeh-influenced Theate
2060:Chelkowski, Peter (2003).
1731:Ta'zieh in Tajrish, Tehran
1502:
1412:
1238:There are two branches of
1064:Category:Prophecy in Islam
2732:. Government of Mauritius
2107:Google Arts & Culture
1606:the practice is known as
1376:, in 963. As soon as the
37:
26:
2909:, Washington, D.C.: 2005
2678:Korom, Frank J. (2003).
2189:. Namayesh. p. 182.
1487:Animals in the tradition
1033:The Fourteen Infallibles
3164:, Katyrma, Jupka, Yufka
2982:by Peter Chelkowski in
2848:Shabnum Tejani (2008).
2586:Encyclopedia of Iranica
2582:"THE PASSION OF HOSAYN"
1626:Remembrance of Muharram
1460:Naser al-Din Shah Qajar
1446:Importance of the space
1341:to ta'ziyeh during the
1304:Iranian symphonic music
2885:, Costa Mesa, CA: 2011
1888:Ta'zieh (2003) in Iran
1876:Ta'zieh (2017) in Iran
1522:
1262:which are traditional
1231:
2280:Encyclopaedia Iranica
1999:Pelly, Lewis (1879).
1595:who arrived there as
1520:
1229:
2984:Encyclopædia Iranica
2836:By Kālīpada Mālākāra
2228:Emami, Iraj (1987).
1745:Shiraz Arts Festival
1681:which took place in
1616:Port Louis Mauritius
1597:indentured labourers
1543:indentured labourers
1343:Shiraz Arts Festival
1331:Mohammad B. Ghaffari
1269:genres in which the
1195:Miniature Mausoleums
900:Mourning of Muharram
2892:, Tehran: 1345/1966
2666:By Daurius Figueira
2496:Mottahedeh, Negar.
2301:Iranian performance
1719:Tazia in Bangladesh
1687:Indian subcontinent
1591:and was brought by
1573:Trinidad and Tobago
1380:was established in
1325:Peter J. Chelkowski
822:Part of a series on
748:Karagöz and Hacivat
67:Inscription history
3254:Iranian inventions
3180:Kamancheh/Kamancha
3011:2012-11-26 at the
2999:2012-11-26 at the
2955:2007-10-21 at the
2913:Aleksander Chodźko
2895:Peter Chelkowski,
2709:2008-12-19 at the
2652:By Adrian C. Mayer
2541:978-1-9064-9-751-4
2439:Ghaffari, Rabeah,
2403:The New York Times
2250:The World of Music
1822:Ta'azieh in Tehran
1679:Muharram Rebellion
1523:
1509:Muharram Rebellion
1427:
1422:Nasser al-Din Shah
1395:
1347:Festival d'Avignon
1296:in many respects.
1254:In Iranian culture
1232:
1174:Condolence Theater
940:Imam Husayn Shrine
921:Azadari in Lucknow
183:Azerbaijani carpet
3229:Theatrical genres
3211:
3210:
3195:Inscribed in 2019
3172:Inscribed in 2017
3154:Inscribed in 2016
3138:Inscribed in 2012
3117:Inscribed in 2011
3081:Inscribed in 2010
3060:Inscribed in 2009
2923:Ahatanhel Krymsky
2890:Namayesh dar Iran
2879:William O. Beeman
2861:978-0-253-22044-8
2689:978-0-8122-3683-5
2638:Trinidad Sentinel
2623:978-0-520-96108-1
2214:978-0-415-22727-8
2012:978-1-0152-8641-2
1216:Davud Monshizadeh
1146:Battle of Karbala
1105:
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945:Ziyarat of Ashura
857:Battle of Karbala
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1728:
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1654:10th of Muharram
1499:around the world
1428:Women in Ta'zieh
1308:Abbas Kiarostami
1170:Iranian cultural
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1028:The Twelve Imams
880:Maqtal al-Husayn
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3013:Wayback Machine
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2907:Theatre in Iran
2899:, New York 1979
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2873:Further reading
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1411:
1403:Vatican library
1398:
1378:Safavid dynasty
1370:Mu'izz ad-Dawla
1363:
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1312:Nasser Taghvaee
1277:of Saiawush in
1256:
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2929:, Kyjiw, 1925.
2927:Pers’kyj teatr
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1702:in the water.
1689:. Also in the
1608:Ghoon Festival
1602:Since 1790 in
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1550:British Guiana
1513:Hussaini Dalan
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2804:. Retrieved
2798:
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2777:. Retrieved
2766:
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2745:
2734:. Retrieved
2729:
2717:
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2589:. Retrieved
2585:
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2564:. Retrieved
2561:Asia Society
2560:
2550:
2531:
2525:
2510:
2502:Iran Chamber
2501:
2491:
2468:
2457:
2447:, retrieved
2441:
2434:
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2414:. Retrieved
2402:
2392:
2381:. Retrieved
2378:the Guardian
2377:
2367:
2329:(4): 15–27.
2326:
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2284:. Retrieved
2279:
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2110:. Retrieved
2106:
2097:
2069:. Retrieved
2066:Asia Society
2065:
2028:
2021:
2001:
1994:
1980:
1962:
1958:
1954:
1950:
1945:
1675:
1665:troops from
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1069:Islam portal
1022:Perspectives
1010:Rawda Khwani
974:
757:
670:Madih nabawi
233:Oriental rug
115:Indo-Islamic
101:Architecture
28:
2775:. Defimedia
2566:11 November
2305:Beethoven's
2256:(4): 3–10.
2071:11 November
1908:Iran portal
1759:Tazia from
1743:Ta'ziye in
1671:British Raj
1658:Shia Muslim
1630:Minangkabau
1440:islamic art
1335:Peter Brook
1222:The origins
1189:and in the
1153:as that of
874:Remembrance
852:Ahl al-Kisa
847:Ahl al-Bayt
842:Family tree
572:South Asian
472:Azerbaijani
404:Chaand Raat
263:Turkmen rug
193:Calligraphy
110:Azerbaijani
72:Inscription
3218:Categories
2806:2007-01-27
2779:2016-10-16
2757:2021-07-02
2736:2021-07-02
2591:2008-01-19
2449:2023-09-15
2442:The Troupe
2416:2023-09-15
2383:2022-01-29
2112:2021-11-30
1972:References
1699:Ganar Khan
1628:among the
1535:South Asia
1505:Chup Tazia
1503:See also:
1413:See also:
1355:The Troupe
1267:theatrical
1203:Shia Islam
1187:South Asia
1144:about the
995:Chup Tazia
950:Hussainiya
934:Pilgrimage
720:Tambourine
497:Indonesian
458:Literature
419:Imamat Day
203:Embroidery
120:Indonesian
2411:0362-4331
2343:1054-2043
1784:Indonesia
1638:Indonesia
1604:Mauritius
1585:Caribbean
1279:Shahnameh
1191:Caribbean
738:Bangsawan
715:Talempong
527:Malaysian
399:al-Ghadir
331:Jellabiya
321:Headscarf
228:Miniature
3009:Archived
2997:Archived
2953:Archived
2730:Page 174
2707:Archived
2359:57568526
2276:"TA'ZIA"
2262:43620726
1963:Ta'ziyeh
1931:Muharram
1894:See also
1780:Pariaman
1650:Pariaman
1642:Pariaman
1562:Suriname
1386:Twelvers
926:Arba'een
542:Nigerian
507:Kashmiri
501:Javanese
424:New Year
394:Arba'een
385:Holidays
346:Keffiyeh
282:Clothing
238:Paan dan
86:a series
84:Part of
2351:4488675
1955:Ta'zīya
1951:Ta'zïye
1706:Gallery
1652:on the
1583:In the
1578:Jamaica
1527:Muslims
1497:Ta'zīya
1435:tekyehs
1367:ta'zïye
1351:taziyeh
1290:tragedy
1275:tragedy
1264:Persian
1260:Naqqali
1120:Persian
1108:Ta'zieh
975:Ta'zieh
965:Maddahi
955:Marsiya
930:Ziyarat
758:Ta'zieh
729:Theatre
705:Qawwali
695:Nasheed
640:Gamelan
635:Dastgah
592:Turkmen
587:Turkish
557:Punjabi
552:Persian
517:Kurdish
487:Gambian
477:Bengali
449:Raghaib
444:Bara’at
439:Ramadan
429:al-Qadr
414:al-Adha
409:al-Fitr
366:Songkok
273:Zardozi
155:Swahili
135:Persian
130:Ottoman
125:Moorish
51:Country
3224:Ashura
3162:Lavash
2980:Ta'zia
2858:
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2515:Idem.
2409:
2357:
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1926:Tekyeh
1683:Sylhet
1646:tabuik
1622:Tabuik
1589:Tadjah
1558:Guyana
1556:( now
1511:, and
1468:Tehran
1382:Persia
1286:comedy
1208:caliph
1159:Husain
1112:Arabic
1051:Ashura
1000:Tatbir
980:Tabuik
916:Lohoof
862:Sayyid
828:Husayn
763:Wayang
650:Ghazal
602:Uyghur
567:Somali
562:Sindhi
547:Pashto
537:Malian
522:Kyrgyz
512:Kazakh
467:Arabic
434:Mawlid
371:Taqiya
361:Salwar
351:Kupiah
341:Kameez
336:Kaftan
326:Jilbab
311:Chador
301:Boubou
253:Suzani
248:Soumak
218:Khatam
198:Damask
160:Yemeni
140:Somali
59:Region
3203:Dotar
2726:(PDF)
2355:S2CID
2347:JSTOR
2258:JSTOR
2138:(1).
1961:, or
1959:Tazīa
1937:Notes
1916:Hosay
1765:Dhaka
1747:,1977
1695:Hindu
1667:India
1662:sepoy
1612:Yamsé
1525:Shia
1294:opera
1271:drama
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1240:Islam
1155:Hasan
1133:تعزیہ
1124:تعزیه
1116:تعزية
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685:Mugam
680:Maqam
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616:Music
607:Uzbek
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376:Thawb
356:Niqāb
316:Hijab
306:Burqa
291:Abaya
258:Tapis
223:Kilim
188:Batik
150:Tatar
2933:1967
2856:ISBN
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2007:ISBN
1568:Fiji
1560:and
1552:and
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1337:and
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1288:and
1157:and
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