Glimpses of Tazia: A Cultural, Mythological & Religious
Context
A significant part of the Muharram celebrations for Muslims as well as non-Muslims, Tazia occupies a pivotal position in Indian subcontinent. It is an insignia or replica of the shrine of Imam Hussain (a.s.), the grandson of Prophet Muhammad ﷺ. Tazias are carved out from various stuffs of wood, bamboo, papers, plastics and tinsels.
Tazias are generally taken out in procession on the night of the 9th day of Muharram and are buried on the night of the 10th day of Muharram in commemoration of Imam Husain martyred in AD 680. The 10th Day of Muharram is called the Day of Ashura (عاشوراء) as Imam Husain was martyred on this day along with his companions and kith and kin in the battle of Karbala fought against the army of Yazid the then tyrant potentate of Syria. Tazia the replica of the mausoleum of Imam Husain is brought with immense care, and reverence by both and placed in Imambara. The huge Tazias are permanently kept in the azakhana or Imambaras a sacred and secluded place reserved especially for Tazias. When Tazias are brought into the azakhanas or unveiled of the sacred shroud, the atmosphere is filled with pious melancholy, sadness and mourning. Etymologically, the word ‘Tazia’ is derived from the Arabic word ‘aza’ which means remembering the dead with reverence and consoling the kith and kin of the deceased, but it is now only used to commemorate the martyrs of Karbala Imam Husain and his acolytes including his family members.
Cultural, Mythological & Religious Context of Tazia:
Tazia as a kind of passion
play is an all-embracing autochthonous form considered as the national form of
Iranian theatre having universal influence on the Iranian dramatic art. It has
its roots in the Zoroastrian mythologies of Mithraism and Sug-e-Siavush
(Mourning for Siavush a mythic innocent Prince brutally killed by his father-in-law).
The Tazia ritual originated in Iran in the late 17th century.
Tazia, is a form of
traditional, religious Persian theatre in which the drama is conveyed through
music, narration, prose and singing of threnodies. It is sometimes referred to
as "condolence theater". Though
seems weird, it is very ancient practice prevalent in Iranian culture where acts
of self-laceration or self-mutilation during mourning ceremonies, especially
those held in honor of a god-like hero or a blameless youth are found. On the
10th day of Muharram, the Shia Muslims especially of Iran and India
come out in processions flagellating themselves with sharp razors and fists of
hands beating their chests as a mark of reverence to Imam Husain. The pageantry
performed like opera in the streets, acts as catharsis on the psyche of the
Muslims. The saga of martyrs of Karbala is recited and their tales of woes,
agonies and pangs are created live in the Imambaras by Shia Muslims.
The Religious context:
For Shia Muslims the month
of Muharram and Tazia are interwoven in their life to such an extent that it
has become a synonym of religion. Religion without Muharram and Tazia is beyond
imagination of a Shia Muslim.
It is believed that Mongol king
Tamerlane, introduced the practice of Tazia somewhere in fourteenth century. The
tale tells that Taimur was on a conquest in India, he used a replica of Imam Husain's
mausoleum to mourn the martyrdom of Imam Husain. Parading round the facsimile of
Imam Husain’s shrine, he used to pay homage to the great martyrs of Karbala. Slowly
this practice became the ritual of the people which later ingrained in the
hearts and minds of the people especially Shia Muslims as inseparable part of
religious rites. In this way Tazia became the religious practice in India for commemorating
the death of Imam Husain and the 72 innocents in the battle of Karbala.
Apart from this version of
the story that Taimur introduced and popularized Tazia in Indian subcontinent,
some historians extend credit to Mughal king Humayun. The similar versions of popularizing
veneration of Tazia are attributed to the Nawabs of Awadh and Lucknow who
lavishly contributed for building Imambaras in Lucknow. In the time of Nawab
Asif-ud-Daula, the Tazia reached to their magnificent zenith because it is said
that the nawab and his advisors used to visit common people’s houses to pay
homage to their Tazia and offer large sums of money for their making and
maintenance.
Whatever the glory of Tazia was in the past, the glory still remains in the present also and shall remain till the sands of life shall run. The Tazia, now are not merely a passion play or an opera being played in the streets and on the roads, it is a spiritual journey having its esoteric connotations. The beauty of colourful shrines not the exact replica of the tomb or the mausoleum of Imam Husain does attract not only Shias and Sunnis but it also attracts people of all sects.
(Image Credit: Siyavash is Pulled from His Bed and Killed Shahnama, Sultanate of Delhi, 1450 Master of the Jainesque Shahnama. Date: ca. 1425–50 Culture: India, possibly Malwa. Medium:Master of the Jainesque Shahnama.Public Domain image Wikipedia)
