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Parda-khwani
Parda-khwani
Darwish Muhammad 'Arifiyan performing Parda-khwani in Khalilabad, Khurasan Razawi.[1]
Darwish Muhammad 'Arifiyan performing Parda-khwani in Khalilabad, Khurasan Razawi.[1]
OriginQawwali • Naqqali


Parda-khwānī (Persian: پرده‌خوانی; lit. "Reading off the Curtain") is a form of Iranian religious and folk performance in which a storyteller, known as a parda-khan, rhythmically narrates the tragedies of religious figures, particularly the Shi'a Imams, while pointing to images depicted on a curtain. Parda-khwani is considered to have significantly influenced the development of traditional Iranian national and religious drama.

The artistic foundations of Parda-khwani lie in the ritual of Naqqali and the visual style of Coffeehouse painting. The book Rawdat al-shuhada is regarded as the primary narrative source for the tradition. The ritual gained prevalence during the Safavid era and reached the zenith of its popularity in the late Qajar period.

Parda-khwani relies on two key elements: the imagery on the curtain and the parda-khan. The content of the paintings generally depicts the Event of Karbala, the miracles of the Imams (a), descriptions of Heavenly blessings and hellish punishments, or ethical and religious tales. The parda-khan, typically a dervish or naqqal, narrates the stories by following the sequence of events illustrated on the curtain.

The tools of Parda-khwani include folk paintings rendered on canvas or muslin curtains—based on the artist's imagination and historical or legendary narratives—and a staff known as a mitraq, used by the parda-khan to point to specific images. The performance of the Parda-khwani ritual typically progresses through several stages, including pre-event reading, praise reading, the narration of the main event, and lamentation.

Nature and Status

Who is this young warrior, water-skin on shoulder and banner in hand?Template:Vr Abbas, the fighting lion of the desert of Karbala [2]

Description of the image of Hadrat 'Abbas (a) on a Parda-khwani curtain

Parda-khwani is classified as a genre of Iranian religious and folk performance wherein a performer, titled parda-khan, recounts the tragedies of religious saints, particularly the Shi'a Imams, using rhythmic speech and images painted on a curtain.[3] It is acknowledged as having a profound impact on the formation of traditional Iranian national and religious theater.[4] In 2012, this art form was inscribed on the list of Intangible Cultural Heritage of Iran.[5]

Parda-khwani is considered a form of dramatic storytelling,[6] with its artistic roots traced to the Naqqali ritual and the folk art known as Coffeehouse painting.[7] Consequently, some scholars classify Parda-khwani as a sub-genre of Naqqali in which the narrator enhances the performance's impact through visual aids.[8] After Ta'ziya, Parda-khwani is considered the most dramatic form of Naqqali.[9] The book Rawdat al-shuhada by Mulla Husayn Wa'iz Kashifi is regarded as the most significant narrative source for the tradition, influencing both its imagery and performance.[10]

Parda-khwani is also known by various other terms, including portrait circulating,[11] curtain keeping,[12] image reading,[13] and unveiling.[14] This ritual art is closely related to and incorporates elements from other traditions such as Ta'ziya, nawha-khwani, manqabat-khwani, rawda-khwani, and hamla-khwani.[15]

Parda-khwani in Takht-e Fulad cemetery in Isfahan, early 1970s (Telegram channel of the Library of History of Islam and Iran).

Background and History

Bahram Bayda'i, a researcher of Iranian theater history, traces the origins of Parda-khwani to the pre-Islamic era and the art of qawwali, noting its reliance on Naqqali.[16] He posits that qawwali was originally a form of rhythmic narration accompanied by musical instruments; following the advent of Islam, likely due to religious restrictions on music, the musical component was diminished while the narrative aspect was enhanced, eventually supplemented by the paintings used in Parda-khwani.[17]

Scholars infer the existence of this ritual in the pre-Safavid era based on Mulla Husayn Wa'iz Kashifi's discussion of similar rituals in his book Futuwwat nama-yi sultani.[18][19] However, the Safavid era is recognized as the period of its widespread prevalence;[20] reports suggest that Parda-khwani was utilized to mobilize Shi'as to join the Safavid army against the Sunni Uzbeks during the reign of Shah Isma'il I.[21]

The ritual reached its zenith in the late Qajar era, coinciding with the peak of Naqqali and Coffeehouse painting.[22] It is said that following this period, the art of Naqqali declined due to the gradual prevalence of radio and television, leading to the fading of Parda-khwani.[23] A 2009 report indicates that while Parda-khwani has enjoyed unbroken continuity in Iran since the Safavid era, the number of practicing parda-khans in the country has dwindled to approximately thirty.[24]

Content of the Curtain and the Performer

Parda-khwani relies on two essential elements: the content of the curtain and the performer (parda-khan):[25]

Content of the Curtain

The Parda-khwani curtain typically features dramatic imagery narrated through a continuous narrative sequence across one or more curtains.[26] The subject matter generally pertains to the Event of Karbala and associated events (such as the captivity in Syria or the Uprising of al-Mukhtar), the miracles of the Imams (a) (such as the story of the Guarantor of the Gazelle), descriptions of Heavenly blessings and hellish punishments, or ethical and religious tales, such as the story of disobedience to parents and Jawanmard-i Qassab (a mythological figure in futuwwa literature).[27]

This curtain, until the Day of Resurrection, in the worldTemplate:Vr Boasts superiority over all curtains of the universe [28]

Description of the curtain in a Parda-khwani session

Due to religious sensitivities, the faces of the Infallibles (a) and holy women were typically not depicted, but rather veiled by a halo of light. Conversely, the faces of their children and companions were painted with pleasing features,[29] while the enemies were depicted as hideous and monstrous.[30] It is also observed that the central figure of the narrative (such as Imam Ali (a) in the Battle of Khandaq or Hadrat 'Abbas (a) in the event of fetching water) is often depicted larger and in the center of the curtain.[31]

The Parda-khan

Parda-khwani

The parda-khan is typically a dervish or naqqal who, employing a rhythmic narrative style, recounts the story by following the sequence of events illustrated on the curtain.[32] In his performance, he aims to move the audience, seeking God's satisfaction and the favor of the Infallibles (a).[33] Famous parda-khans include Darwish Bulbul Qazwini, who is credited with 72 Parda-khwani sessions in some sources.[34] Other notable performers mentioned in historical records include Husayn Arafiyan, Darwish Parwana, Darwish Mahmud Maddah, Qasim Danish-pazhuh, and Mirza Ali Khandan.[35]

A Parda-khwani curtain from the late Qajar period.

The parda-khan required specific skills, including: familiarity with iconography to identify figures; a vast repertoire of narratives to avoid repetition; audience awareness and situational assessment to manage the session; a strong voice; proficiency in opposing reading (the ability to switch roles through tone and intonation); mastery of colloquial language and folk culture (catchphrases, idioms, prayers, curses, etc.); improvisation skills; the ability to use the mitraq effectively and clap hands for emphasis; and knowledge of the titles of the saints and villains to make the session engaging.[36]

Historical accounts also mention an assistant to the parda-khan who was responsible for unveiling the curtain[37] and learned the art through oral transmission from the master.[38]

Performance Tools

Parda-khwani imagery was painted on muslin or canvas curtains of varying dimensions and was typically covered with a white cloth to preserve its sanctity and signify the conclusion of the performance.[39] These works are categorized as folk coffeehouse paintings, created based on the artist's imagination and historical or legendary oral and written narratives.[40]

The likeness of His Holiness, the Best of Humankind, the Pride of the Family of Khalil, the Master of His Excellency Gabriel... [41]

Introduction of the image of the Prophet Muhammad (s) in a Parda-khwani session

Essential skills for a Parda-khwani painter included attention to the details of traditional Iranian iconography to distinguish between figures, as well as knowledge of historical events, legends, and side narratives related to the curtain.[42] Prominent painters in this genre include Husayn Qullar-Aghasi (d. 1966), Muhammad Mudabbir, and Husayn Dastkhush Hamadani (d. 2005), whose works are considered the pinnacle of Parda-khwani art.[43]

In addition to the curtain, the tools of the ritual included a staff known as a "mitraq"[44] or "mitraq",[45] used by the parda-khan to point to images and sometimes as a prop in the performance (e.g., simulating a sword).[46]

A curtain containing 150 narratives, by Husayn Dastkhush Hamadani.[47]

Performance Procedure

The typical sequence of a Parda-khwani performance involves the following stages:

  • Pish-waqi'a (Preface or Pre-event): Usually resembling shabih-khwani, this involves singing lamentations to gather an audience.
  • Supplication: A sung prayer in which the parda-khan seeks divine assistance to confront opponents.
  • Manqabat-khwani: Performed before the main narrative, involving eulogies for the holy figures depicted on the curtain.
  • Affirmation of Sanctity: Speaking of the curtain's sanctity due to its depiction of divine saints.
  • Sermon: Reciting a sermon to commence the address.
Parda-khwani with content of the events of the Islamic Revolution during the Iran-Iraq War.[48]
  • Warm-up: Reciting hadiths and tangential stories (including ethical anecdotes and descriptions of Hell and Paradise) to prepare the audience for the tragic events of Karbala.
  • Main Event: Narration of the primary story by the parda-khan, building excitement and describing details, often using a question-and-answer method with an assistant.
  • Digressing/Transitioning: A technique where the parda-khan, gauging the audience's mood, links the narrative to contemporary issues or the audience's daily lives.
  • Nawha-khwani: Lamentation intended to induce weeping in the audience, often considered the primary purpose of the gathering.
  • Conclusion: Promising the audience a more engaging story in the next session.
  • Circulating: Going around to collect donations.
  • Closing: Praying for the audience and rolling up the curtain.[49]

Notes

  1. ↑ Sayyidī & Ḍiyāʾī, "Guzārishī az āyīn-i 120 sāla-yi Parda-khwānī-yi Khalīlābād ki īn rūzhā mīrāth-dārī nadārad", in Shahrārā News.
  2. ↑ Nāṣirbakht, "Parda-hā-yi darwīshī: hunar-i parda-khwānī wa naqqāshī-yi parda-hā-yi darwīshī", p. 105.
  3. ↑ Ṣabāḥī, "Parda-khwānī", p. 552; Gharībpūr, "Hunar-i muqaddas-i ṣūrat-khwānī (= Parda-khwānī)", p. 56; Nāṣirbakht, "Parda-hā-yi darwīshī: hunar-i parda-khwānī wa naqqāshī-yi parda-hā-yi darwīshī", p. 105.
  4. ↑ Nāṣirbakht, "Parda-hā-yi darwīshī: hunar-i parda-khwānī wa naqqāshī-yi parda-hā-yi darwīshī", p. 102.
  5. ↑ Sayyidī, "Wāpasīn parda-yi zindagī-yi parda-khwānān", in Shahrārā News.
  6. ↑ Nāṣirbakht, "Parda-hā-yi darwīshī: hunar-i parda-khwānī wa naqqāshī-yi parda-hā-yi darwīshī", p. 102.
  7. ↑ Ṣabāḥī, "Parda-khwānī", p. 552.
  8. ↑ Bayḍāʾī, Namāyish dar Īrān, 1344 Sh, p. 74.
  9. ↑ Bayḍāʾī, Namāyish dar Īrān, 1344 Sh, p. 74.
  10. ↑ Gharībpūr, "Hunar-i muqaddas-i ṣūrat-khwānī (= Parda-khwānī)", p. 57.
  11. ↑ Bayḍāʾī, Namāyish dar Īrān, 1344 Sh, p. 73; Malikpūr, Guzīda-ī az tārīkh-i namāyish dar jahān, 1364 Sh, p. 135.
  12. ↑ Bayḍāʾī, Namāyish dar Īrān, 1344 Sh, p. 73.
  13. ↑ Gharībpūr, "Hunar-i muqaddas-i ṣūrat-khwānī (= Parda-khwānī)", p. 56.
  14. ↑ Hamāyūnī, Taʿziya wa taʿziya-khwānī, p. 28.
  15. ↑ Gharībpūr, "Hunar-i muqaddas-i ṣūrat-khwānī (= Parda-khwānī)", pp. 63–64.
  16. ↑ Bayḍāʾī, Namāyish dar Īrān, 1344 Sh, p. 60.
  17. ↑ Bayḍāʾī, Namāyish dar Īrān, 1344 Sh, pp. 60–61.
  18. ↑ Kāshifī Sabziwārī, Futūwat nāma-yi sulṭānī, 1355 Sh, pp. 302–305.
  19. ↑ Nāṣirbakht, "Parda-hā-yi darwīshī: hunar-i parda-khwānī wa naqqāshī-yi parda-hā-yi darwīshī", pp. 102–103.
  20. ↑ Nāṣirbakht, "Parda-hā-yi darwīshī: hunar-i parda-khwānī wa naqqāshī-yi parda-hā-yi darwīshī", p. 103.
  21. ↑ ʿAnāṣirī, Darāmadī bar namāyish wa niyāyish dar Īrān, 1366 Sh, pp. 175–176.
  22. ↑ Ṣabāḥī, "Parda-khwānī", p. 553.
  23. ↑ Bayḍāʾī, Namāyish dar Īrān, 1344 Sh, p. 81.
  24. ↑ "Īrān mutaqāḍī-yi thabt-i āyīn-i parda-khwānī dar mīrāth-i jahānī ast", in IRNA website.
  25. ↑ Ṣabāḥī, "Parda-khwānī", p. 553.
  26. ↑ Gharībpūr, "Hunar-i muqaddas-i ṣūrat-khwānī (= Parda-khwānī)", p. 60.
  27. ↑ Bayḍāʾī, Namāyish dar Īrān, 1344 Sh, p. 74; Nāṣirbakht, "Parda-hā-yi darwīshī: hunar-i parda-khwānī wa naqqāshī-yi parda-hā-yi darwīshī", p. 108; Ṣabāḥī, "Parda-khwānī", p. 553.
  28. ↑ Nāṣirbakht, "Parda-hā-yi darwīshī: hunar-i parda-khwānī wa naqqāshī-yi parda-hā-yi darwīshī", p. 104.
  29. ↑ Bayḍāʾī, Namāyish dar Īrān, 1344 Sh, p. 74; Hamāyūnī, Taʿziya wa taʿziya-khwānī, p. 28.
  30. ↑ Hamāyūnī, Taʿziya wa taʿziya-khwānī, p. 28.
  31. ↑ Nāṣirbakht, "Parda-hā-yi darwīshī: hunar-i parda-khwānī wa naqqāshī-yi parda-hā-yi darwīshī", p. 106.
  32. ↑ Gharībpūr, "Hunar-i muqaddas-i ṣūrat-khwānī (= Parda-khwānī)", p. 61; Ṣabāḥī, "Parda-khwānī", p. 553.
  33. ↑ Gharībpūr, "Hunar-i muqaddas-i ṣūrat-khwānī (= Parda-khwānī)", p. 62.
  34. ↑ Gharībpūr, "Hunar-i muqaddas-i ṣūrat-khwānī (= Parda-khwānī)", pp. 58–60.
  35. ↑ Sayyidī, "Wāpasīn parda-yi zindagī-yi parda-khwānān", in Shahrārā News.
  36. ↑ Nāṣirbakht, "Parda-hā-yi darwīshī: hunar-i parda-khwānī wa naqqāshī-yi parda-hā-yi darwīshī", p. 105.
  37. ↑ Gharībpūr, "Hunar-i muqaddas-i ṣūrat-khwānī (= Parda-khwānī)", p. 61.
  38. ↑ Nāṣirbakht, "Parda-hā-yi darwīshī: hunar-i parda-khwānī wa naqqāshī-yi parda-hā-yi darwīshī", p. 105.
  39. ↑ Gharībpūr, "Hunar-i muqaddas-i ṣūrat-khwānī (= Parda-khwānī)", p. 60; Ṣabāḥī, "Parda-khwānī", p. 553.
  40. ↑ ʿAnāṣirī, Darāmadī bar namāyish wa niyāyish dar Īrān, 1366 Sh, pp. 197–198.
  41. ↑ Nāṣirbakht, "Parda-hā-yi darwīshī: hunar-i parda-khwānī wa naqqāshī-yi parda-hā-yi darwīshī", p. 104.
  42. ↑ Nāṣirbakht, "Parda-hā-yi darwīshī: hunar-i parda-khwānī wa naqqāshī-yi parda-hā-yi darwīshī", pp. 106–107.
  43. ↑ Nāṣirbakht, "Parda-hā-yi darwīshī: hunar-i parda-khwānī wa naqqāshī-yi parda-hā-yi darwīshī", p. 107; Sayyidī, "Wāpasīn parda-yi zindagī-yi parda-khwānān", in Shahrārā News.
  44. ↑ Ṣabāḥī, "Parda-khwānī", p. 553.
  45. ↑ Nāṣirbakht, "Parda-hā-yi darwīshī: hunar-i parda-khwānī wa naqqāshī-yi parda-hā-yi darwīshī", p. 105.
  46. ↑ Nāṣirbakht, "Parda-hā-yi darwīshī: hunar-i parda-khwānī wa naqqāshī-yi parda-hā-yi darwīshī", p. 105.
  47. ↑ Sayyidī & Ḍiyāʾī, "Guzārishī az āyīn-i 120 sāla-yi Parda-khwānī-yi Khalīlābād ki īn rūzhā mīrāth-dārī nadārad", in Shahrārā News.
  48. ↑ "Parda-khwānī-yi inqilāb", in The Design Studio of Naghsh website.
  49. ↑ Nāṣirbakht, "Parda-hā-yi darwīshī: hunar-i parda-khwānī wa naqqāshī-yi parda-hā-yi darwīshī", pp. 103–104; Gharībpūr, "Hunar-i muqaddas-i ṣūrat-khwānī (= Parda-khwānī)", p. 61.

References

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