Tazia is the icon of Muharram ceremonies but not much is known about it in general. Renowned culturist Prof. Naqvi calls it an example of unique craft with deep roots in the historical and cultural milieu of India shedding light on the making of tazia and the history behind.

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Tazia, the most important icon of Muharram ceremonies, is also an example of a unique craft with deep roots in the historical and cultural milieu of India. Prepared as a replica of Imam Hussain’s shrine at Karbala, thousands of tazias in various shapes and sizes are taken out as an integral part of Muharram processions.

History behind

The word "tazia" is a derivative of an Arabic word "taziat" meaning 'condolence.' According to Hollister 'the custom of carrying these models of Hussain's tomb is said to date from the time of Timur (d. 808 A.H./1405 A.D.), who brought such a miniature tomb back from Karbala, later called the tazia.' Scholars agree on the origin of the tazia rituals in India, but differ on whether Timur had the zarih (the miniature model) built on order, or had it brought from Karbala.

The practice and rituals of commemorating the tragedy of Karbala spread with the expansion of Islam in India. As the people adopted Islam and started to commemorate the martyrdom of Imam and his companions at  Karbala, they established their own traditions of azadari (performances of all the Muharram rituals in general in which taziadari is one of the most significant aspects ) according to their diverse cultures.

(PHOTO BY: Rahul Karan)

Indian touch

The influence of local cultures on the Muharram rituals became inevitable. Even during the Mogul Empire “Taziadari” was common. In due course, the Hindu practices strongly influenced the paraphernalia of .the Muharram rituals as a whole. The liberalized religious policy of Qutb shahi rulers popularized azadari among muslims and non- muslims alike.

Oudh rulers did the likewise in Lucknow during their regime. Hindu states of Baroda, Indore, Gwalior, Patiala and Rajasthan also patronized taziadari, considering it as the true notion of tolerance (Rawadari).The royal patronage encouraged many artisans to take up Tazia making as a full- time profession.

Their imagination, backed by the emotional appeal of the martyrs of Karbala, developed Tazia making into a unique craft surrounded by multi cultural and multi religious traditions.

Tazia tower, a major tourist attraction of Jaisalmer, illustrates the creativity of Tazia makers at its best. . The exquisite design and fine carvings on the walls and ceilings of each floor of the Tazia Tower reflects the rich artistic skills of the local craftsmen of the bygone era.

The art of making tazia somewhat retains its original form in India. Tazias made of paper and bamboo are for one time use and buried under the soil, but many of wood crafted tazias are of permanent nature and some of them are more than a century old.

Art of Tazia craft

Any kind of religious or sacred art deals with the faith of its practitioners, so the artist is free from restrictions and margin of innovativeness in its execution is given. In Nawabi Lucknow, artists created Tazias, using material from their professions. For instance, ‘ghisiarahs’ (grass-cutters) made tazias of grass,banjarahs (grain merchant) with bamboo; kite-makers with paper; bazaz (drapers) with cloth; green-grocers with vegetables; fruit-sellers with fruits; potters with clay; minhars (bangle-sellers) with bangles; Carpenters with wood; thatheras (makers of hardware or metal pots) with brass or bronze; malis(gardeners) with flowers; bharbhonjas (men who parch grains) with barley; patolas (makers of fringe or tape) with colored threads; mat-makers with mat and shama saz( Candle makers) with wax..

Tazias are also made of different materials, like Lead, Brass, Copper, precious stones. "Nageeney Ki Tazia" of Varanasi is a masterpiece handicraft and very costly also. An eco- friendly (Green) tazia is also taken out in Sambhar, a town of 22,000 people some 80 kms from Jaipur. Fondly called “Sarson Ka Tazia”, speaks volumes of cordial relations between the Hindus and Muslims.

The plan is usually square, or octagonal. The skeleton is made of wood and if required, reinforced with steel. In the front, to the centre is the main arched door, on the right of which is a miniature mazaar, marking the place where Imam Hussein was martyred. Another element is a row of concave arched niches called mehrabs by the craftsperson. Sometimes calligraphy is also featured.

The tapering technique and use of minarets are the distinguishing features used by the artist to enhance the grandeur and the beauty of the form in the construction of Tazias. In drawing the plan, the principal feature of the tazia is based on two basic geometric shapes, the square and the circle.

(PHOTO BY: Rahul Karan)

The base on which the tazia stands is called takht. It is cubical in form with hollow interior in order to reduce weight of the construction; it goes up to the starting point of manzils (storeys or shaft). However, the pista is always solid. The takht is placed on a structure of the traditional charpai (bed).

Next to the takht there is a supplementary body comprising of four units called manzils or storeys (shaft), which also provide foundation and height to the super-structure. The placement of manzils in the tazias is similar to the bhumi (Storey or stage) and amla (flat fluted melon-shaped member usually at the summit of the Indo-Aryan type of shikhara or spire) in the chhapra (the middle portion) of the storeys in the Orissan temples.

The top portion of the  tazia comprises of palki (palanquin), saiwan (canopy),gumbad (dome) and chand-tara (moon and star) called capital or super-structure in the top portion comprising of shikhara or amla(Spire or tower) and kalasa (a vase or an ornamental pot found in finials and capital) in the Orissan temples. The gumbad is placed on the shaft and is projected with the traditional model of palki, however, saiwan(canopy) protect the palki.

The saiwan may be in black or green, whereas the palki must be in red, relating to Hussain. The saiwan andtaj (crown) is provided as a covering and to raise the grandeur of the palki. The gumbad. palki and saiwanare given an extra projection also called palki ka saiwan (projection of palki); it may be in black or red and embroidered in golden or silver thread. It rests on the saroo (pillars) that transform into chhai (capital) at the top level.There is no prescribed size of Tazias. Factors such as material, affordability, influences of regional architecture, competition among the artists and material determine the size, decoration and height of tazias. Hence, one witnesses tazias of varying sizes i.e. from tiny to monumental during Muharram processions.

Artists take the work very seriously and consider it sacred; some even perform ablutions before starting work. The sacred aspect of the art instills the urge in them to create incredible and immense tazias. Most of the tazias are created with two conceptual principles namely ‘jamal (beauty), and 'jalal' (grandeur)'.

(PHOTO BY: Rahul Karan)

Color Code

The art of tazia-making does not reflect any special color preference. There is however always an urge to embellish the tazia and different means are adopted to adorn it. Sometimes its embellishments depend on the materials used in its creation. It is a symbol of the spiritual, the family and the most precious riches and material.A tazia is usually candy-colored: vibrant magenta, turquoise, red, green, silver and gold. Fluorescent colors are much in vogue. The facade is heavily embellished in paper: kite paper, cardboard and the much favored foil, or panni.

Traditionally, the artists have used four colors, namely black, red, green and gold. It is said that the Arabs wear black turbans only when they are on mission of revenge for honor. Black has acquired a political significance; also it has been the color of mourning since Islamic times in Iran. Black is also the color ofalams(Standards). They were green in the battle of Karbala, but later black alams were made on the Sham-e Ghareeban (Evening of Ashura dedicated to the destitute of Karbala).

There was a tradition amongst the Arabs that the widows put black flags on top of their houses, which symbolized the absence of the males. Islam's standard is green and is the Muslim's emblem of salvation.

In Islam green is the color of knowledge. Green is also considered as the most appropriate color for the mystery of mysteries.It is narrated that  Bibi Fatima, the  beloved daughter of Prophet , asked her sons Hassan and Hussain which colors would they like to wear on the day of Eid (Muslim festival)? They replied green and red respectively. Since then, Green and red are associated with Imam Hassan and Imam Hussain respectively. Red is used for Imam Hussain metaphorically, and it represents resistance in Tazias. This centrifugal red helps in stimulating the activities that deal with the mysteries of life.

The abundant use of golden color in the tazias mark the importance of the martyr's cause; the shining light denotes divinity as according to the Quran nur stands for the attribute of light meaning God.

About the author:

Prof (Dr) MA Naqvi, a historian and culture expert, has been involved in providing business, entrepreneurial and communication solutions in different parts of the world and has more than two decades of experience in the field of management education, research and training.

He is a prolific writer and contributes regularly to leading newspapers. Prof. Naqvi has authored a book titled 'A clinical Approach to Advertising Management' and served as media adviser to Japan International Cooperation Agency (JICA), Govt. of Japan. He is also on the editorial board of 'Ahead' magazine, New Delhi, PR and Communication Age, Kolkata and 'Contemporary Academician' India 's only journal on higher education. 

Maula Ali Shrine-Shadow of a Glorious Past

Maula Ali Shrine- Shadow of a Glorious Past

 

  Qadam-E-Maula Ali in Hyderabad Shrine

  By Prof.Mazhar Naqvi

The hilltop shrine of Maula Ali in Hyderabad is an example of how the government apathy reduces magnificence and popularity of a holy place. No doubt, the shrine still draws devotees in good number every day but its present state can only be described as glimpse of a glorious past. The glory of the shrine can be gauged from its description given in ‘Tarikh-E-Asaf Jahi’  by  Munshi Qadir Khan Bidari. He writes “During the Urs the place (Dargah Maula Ali) was so crowded that wise and elderly people were of the opinion that no place in Delhi or indeed anywhere else in India had such a vast crowd on any occasion.” Another idea about the significance of the shrine can be formed from a letter written by the British Resident at the court of Hyderabad Nizam James Achilles Kirkpatrick to Calcutta in November 1800.He pens down “The annual Urs to Maula Ali is close at hand, and I propose going there and staying in my tents in a few days, for the benefit of fresh air and recreation”. Khwaja Ghulam Husain Khan in his work ‘Tareekh Gulzar-e-Asifiya’ has also dedicated a separate chapter on the shrine due to its importance and popularity among people of all faiths. He mentions  that sweetmeat and dry fruit sellers start putting up their stalls near the shrine from 10^th Rajab( 7^th Islamic month) onwards and a large number of people start proceeding to Koh-e-Sharif  to take part in the Urs of Maula Ali .

While the three historical descriptions amply demonstrate the grand nature of celebrations at the shrine and the royal patronage it enjoyed, the use of word Urs also makes Dargah unique. The term is used with the celebrations that are organized at the mausoleum of Sufis to mark their death anniversary or union with God. But Maula Ali shrine does not have any mortal remains and it contains the imprint of the right hand of Lion of Allah, Hazrat Ali. Legends attribute the erection of shrine by the third Qutub Shahi ruler Ibrahim Shah in 1578. It is said that one of his trusted eunuchs Yaqut saw Hazrat Ali sitting on a rock in his dream. The next day, he set off for the hill and found to his surprise the impression of Maula Ali's palm on a rock exactly at the spot he had seen in his dream. He had the imprints carved out of the rock and installed it safely. Upon coming to know about the miracle, Ibrahim Qutub Shah built a shrine at the place turned secure temporarily by Yaqut for the safety of holy relic. Further additions were made to Dargah by successive rulers who built a Mosque, Ashurkhana , Baradari (pavilion),Naqqar Khana (place for beating drums) and over 500 steps leading to the shrine from the base of hill top.Mahlaqa Bai , the great courtesan and first female Sahib-E-Dewan poetess also added to the grandeur of shrine by erecting impressive structures. It is widely believed that Yaqut had seen the dream on 17^th Rajab and its popularity grew within no time when a Qutub Shahi princes renounced the world and became a caretaker of the shrine.

After the fall of Qutub Shahi dynasty, the shrine witnessed a temporary decline but it regained its lost glory after the establishment of Asaf Jahi kingdom as its rulers not only patronized the shrine but also encouraged the participation of people in Urs in large number for a period of 10 days. A line of lamps was lit on either side of road all the way from Charminar to Koh- E- Ali during the Urs and entire population used to literally migrate from Hyderabad to Koh-E-Ali about 20 kms from Charminar.

The popularity reached at its zenith when people claimed to have seen Maula wandering on the hill top between 13^th Rajab (the date of Maula’s birth) and 17^th Rajab ,( The day of Yaqut’s dream).The Urs became a sort of national festival after a miracle involving a Mongol from Hazara area of Afghanistan who was persuaded to visit the shrine by the powerful Prime Minister of Hyderabad Mir Alam. Narrated by Mir alam himself to many a people the story of miracle reveals that the Mongol when invited to visit shrine expressed his inability on the pretext that he did not find any reason to be there as he has already been to the original shrine of Maula Ali at Najaf Ashraf. His host however persuaded him to mount the bullock cart and took him to hill top. As Mongol tried to step down from the cart, somehow his leg was trapped in between the support of the cart and sudden movement of the bullocks turned wheel of the cart that cracked his bone.

The minister immediately called for a surgeon but the Mongol refused any treatment and just shouted “ I will never allow any surgeon to touch my leg. Just as he broke by leg upon this hilltop, he will cure me as well. Praise be upon him. He preferred to remain unattended but kept crying whole night out of sheer pain .he however kept chanting Ya Maula ,Ya Maula .In the wee hours, he was overtaken by sleep  and then he saw Maula Ali in his dream who said” Get up and  walk” after laying his pious hand on the broken leg. The Mongol woke up from his slumber and felt no pain and also did not find any trace of fracture after bending his leg several times and walking on the hill top. He immediately offered thanks giving prayers and recited Fatiha at the shrine. Then, he visited the shrine each Thursday so long he remained at Hyderabad.  

The rulers, nobles and dignitaries donated generously for the upkeep of shrine and properties attached to Dargah are estimated to be worth tens of thousands of crores being spread in an area of over 250 acres in one of the costliest part of the twin cities of Hyderabad and Secunderabad. Most of its property has been encroached upon and there has been no effort on the part of the government to liberate the shrine’s property .As a result, the shrine does not receive any income from its properties. What it gets is contributions from pilgrims visiting the shrine. The average annual collection of contributions is insufficient for its upkeep. The State Wakf Board doles out a paltry Rs 60,000 annually for the whitewashing of the place during Hazrat Ali’s birth anniversary celebrations. The term Urs is no longer used. The replacement is as mysterious as its origin was. Logically it appears that after the merger of Hyderabad with India, the shrine lost its royal patronage and its continued neglect by successive government resulted in the decline of its popularity. The celebrations that were once funded from the royal treasury also suffered for want of lack of arrangements like availability of drinking water for the devotees. Gradually, the shrine no longer remained popular among people from all walks of life and only hardcore followers of Hazrat Ali remained its regular visitors.

Much was expected after the inclusion of shrine among the eleven heritage sites identified by HUDA INTACH. But nothing worthwhile seems to have been done so far. What is more tragic is the renovation of the tomb of Mahlaqa Bai with foreign aid? Had she been alive, she would not have let the renovation of her tomb happen before the restoration of the lost glory of her Maula’s shrine. But the government still fails to acknowledge the exalted position of Hazrat Ali and organizes program in the memory of one of his ordinary devotee. There is urgent need for launching a campaign for increasing the income of the shrine by liberating its properties from encroachers’.Then,the tourism department can be persuaded to reestablish the celebrations during Rajab on the pattern of Nizami era.