Karbala

-The term “Ta’ziyeh” refers to an Iranian dramatic genre which might be compared to the Western Passion Play and is the only indigenous drama of the entire Islamic world. This ritual drama has both an Islamic and a Persian heritage, the central theme of which is the tragic and heroic martyrdom of Imam Husayn, the grandson of the Prophet Mohammed and the third Imam of Shi’ite in the desert of Karbala in 680 A.D. Shiites believe that Imam Husayn sacrificed his life to be their Intercessor on the Day of Judgment. The history of Ta’ziyeh did not begin with the events at Karbala rather it dates back to pre-Islamic culture as well as the dramatic expressions of both the Memorial of Zarer, a religious epic from the Sassanid era, (226-652 A.D.), and the Tragedy of Siyavush, a work from ancient Iran, which precedes the Ta’ziyeh play by 1,200 years. The tradition continued from an early processional form to the Magtal-Khani (a recital of martyrdom stories), until it took a dramatic shape. Further, both the playwrights and the structure of the Takiyeh performance building, its performance site, contributed to the evolution of Ta’ziyeh. In this paper, the emphasis is to demonstrate the character of Ta’ziyeh, its foundation and, the development of its various elements. It also attempts to reveal, from an objective stance, its value to a people who embrace it as a kind of ritual, both a holy and national art form. Ta’ziyeh is a kind of ritual drama which has fascinated some of the world’s most famous theatre historians, critics, and performers, who view in it some elements of the postmodern theatre.

Shia, as one of the main components of Islamic society, has always had a revolutionary attitude towards other religions throughout history. The Shi'ite school has been the promoter of movements that have stood up to oppression, and this political thought has shaped Shia political and social movements throughout history. Historically, the turning point of the Shia revolution and the formation of Shia protest movements is the Ashura incident in the year 61 AH. And the land of Karbala as the Shias holy shrine of and the place of Imam Hussein martyrdom (a.s.) has always, at all times and places, conveyed the ideological burden of the Ashura event to Shia communities. Thus, the formation and activity of Shia movements can be traced well after the Karbala event and examined in terms of the effects that Karbala has had on their structure and continuity in different categories. The present study aimed to investigate the role of Karbala in the formation and continuation of Shia movements in the context of political geography based on Gatman's theory of iconography. To this aim, Descriptive-analytical methods and library and document studies are used. Based on the results, this influence has not always been the same at different times, and in each period, it has manifested itself in different ways depending on the temporal and spatial requirements and the degree of Shia community readiness. That can investigate the type and extent of this effect on dual format in the Imamiyyah and the Zaydiyyah method. So, the categorization of Shi'ite movements is as following: Imam Hussein's revenge and revenge revolts, Zaydiyya uprisings, movements that led to the formation of the government, and contemporary Shi'ite movements.

The mythical characters with the names of God or angels with multiple hands are seen in different cultures. In a number of religious buildings of Gilan and Mazandaran, there is an iconographic image with upright hands, depicted with inscription, Angel of Rain. In the Iranian mythology, Anahita is a special angel of water, and Tishtar, is the angel of rain. The purpose of this study is to examine the function of multi-handed humanoid characters and motifs in Iranian, Hindu and Buddhist cultures. In all of these cultures, numerous hands indicate helping and hands rising to signify prayer for divine mercy. The purpose of this study is to investigate the function of multi-faceted human characters and motifs in Iranian, Hindu and Buddhist cultures.