The Imam Reza shrine in Mashhad, Iran is a complex which contains the mausoleum of Imam Reza, the eighth Imam of Twelve imams of Shiites. It is the largest mosque in the world by area.
The complex is one of the tourism centers in Iran. The shrine itself covers an area of 267,079 m2 while the seven courtyards which surround it cover an area of 331,578m2 – totaling 598,657 m2 (6,443,890 sq ft).
This historic architectural complex accompanies unique and distinctive ethics and rituals to be known as an inseparable heritage of the complex and the complicated culture of its wider setting. In fact, the genuine values of the heritage associates not only with its magnificent architecture and structural system but also with all the rituals, all together implicating the unique spiritual spirit of Imam Reza.
This architectural heritage, due to its long lifespan, glorious decorative elements such as tiles, mirror decorations, gilded dome, stone-works, plaster-works, etc. incorporate sublime tangible and intangible values.
Dusting is one of the oldest rituals of Astane-e Qods with 500 years of constant continuation which on the event of specific occasions performs with particular formalities. As well as playing Naqareh (a specific wind instrument) in various events and times. Of other rituals, the sweeping, Waqf, granting free food and services to assist others and the mankind, various types of citing, etc. can be mentioned.
In a general perspective, the function, structure, decorative elements, facades and surfaces of the buildings all in all symbolize the ideology, the through religious unification and the evolution of the complex. This holy shrine is not just a shrine but, in a larger scale, is an institution and an identity formed and developed based on the religious ideology and believes.
Imam Imam Reza ‘s Tomb is located beneath the Golden Dome (The Golden Dome is the most prominent symbol of the city of Mashad with an altitude of 31.20 meters) and surrounded by different porches each bearing a separate name. The skilled artists have done their best in the creation of this place. It is square in shape and some 135 sq. meters have been added to its area after extension works. The walls are covered by marble up to twenty centimeters and the next ninety two centimeters are covered by expensive tiles known as Sultan Sanjari tiles. Quranic verses and Ahadiths of the Ahlul Bait [a] have been carved on these tiles. The important inscription written round the walls is eighty centimeters wide and written by Ali Reza Abbasi, the famous calligraphist of the Safavid period and bears Surah Jumah of the Holy Quran.
Reza ‘s shrine have been specially built. There are two golden minarets. The minarets are usually made on the two sides of the dome and near the dome. But these two minarets have been built far from each other. One, close to the Dome, upon Naderi balcony in the southern section of Sahne Enqelab and the other far in the northern section of Sahne Enqelab on Abbasi balcony. Although lack of symmetry can be clearly felt, it has been done on purpose so that when pilgrims enter Haram from Imam Ridha Avenue they can see the minarets and the Dome in the middle. The minaret which is close to the Dome was built by Shah Tahmasb Safavi and has a height of 40.5 meters and a circumference of 13 meters. The other minaret on Abbasi balcony was built at the time of Nader Shah.
In 860 H. When Baisonqor Shahrokh’s son came to Mashad from Herat to Haram to seek remedy from Imam Reza kettledrums were beaten to announce his presence. Since then this practice has been performed every day before sunrise and sunset except mourning period. The place where kettledrums are performed is on the eastern balcony of Sahne Enqelab.
There is a big clock on the western balcony of Sahne Enqelab. It dates back to the period of Mozaffar-al-Din Shah’s period.
There is a public drinking place called hawze Ismail Talai in the middle of Sahne Enqelab with a gilded inscription belonging to the time of Nader Shah Afshar’s reign. That is why it is called Naderi drinking place. The marble pool was brought from Her on Nader Shah’s orders. The golden bricks with which the inscription has been written was made by Ismail, an artist whose name the drinking place bears. It was rebuilt in 1347 H.
Beyond Bricks and Gold: Unveiling the Soul of Imam Reza Shrine
The Imam Reza Shrine in Mashhad, Iran, transcends the mere label of a religious site. It stands as a colossal testament to faith, history, and the enduring power of human artistry. This architectural marvel, boasting the title of the world’s largest mosque, is not just a collection of bricks and gold; it’s a tapestry woven from devotion, tradition, and the profound spiritual legacy of Imam Reza, the eighth Imam of the Twelver Shi’a.
A Realm of Rituals and Reverence:
Stepping into the vast courtyards of the shrine is to enter a world steeped in ritual and reverence. The air hums with the murmur of prayers, the rhythmic beating of chests in mourning rituals, and the melancholic melodies of lamentation. Centuries-old traditions, like the 500-year-old practice of dusting the shrine with meticulous care, or the echoing calls of the Naqareh wind instrument, paint a vivid picture of a living, breathing heritage.
Beyond Architecture: A Symphony of Symbols:
The architectural grandeur of the shrine is undeniable. The shimmering Golden Dome, a beacon that guides pilgrims from afar, speaks volumes of the Imam’s celestial significance. The intricate tilework, the exquisite stone carvings, and the gilded inscriptions whisper tales of faith and devotion, each element meticulously designed to evoke a sense of awe and spiritual connection.
Yet, the true essence of the shrine lies not just in its physical splendor, but in the symbolic language it speaks. The function, the structure, the very layout of the complex, all resonate with the ideology of the Shi’a faith, narrating the evolution of the shrine as a haven of spiritual refuge and a symbol of religious unity.
A Journey Through Time:
Within the walls of the shrine, time seems to bend. The hushed whispers of pilgrims echo the footsteps of generations past, each leaving their mark on this sacred space. The exquisite Sultan Sanjari tiles, adorned with verses from the Quran and sayings of the Ahlul Bayt, whisper tales of forgotten dynasties and the unwavering faith of their people. The inscriptions, penned by the famed calligrapher Ali Reza Abbasi, transport us back to the Safavid era, reminding us of the enduring legacy of artistic expression.
From Mausoleum to Cityscape:
The Imam Reza Shrine is not just a monument to Imam Reza; it’s the beating heart of Mashhad. The golden minarets, though intentionally asymmetrical, stand as iconic landmarks, guiding pilgrims and shaping the city’s skyline. The daily beating of the kettledrums, a tradition dating back centuries, marks the rhythm of the city’s life, weaving the shrine into the very fabric of its existence.
A Beacon of Hope:
In a world often overshadowed by conflict and division, the Imam Reza Shrine stands as a beacon of hope and unity. It welcomes pilgrims from all walks of life, regardless of their ethnicity, background, or beliefs. Within its walls, differences melt away, replaced by a shared sense of faith and respect.
The Imam Reza Shrine is more than just a place of worship; it’s a living testament to the power of faith, tradition, and artistic expression. It’s a journey through time, a symbol of unity, and a beacon of hope that continues to illuminate the lives of millions.
This extended version delves deeper into the spiritual and cultural significance of the Imam Reza Shrine, highlighting the role of rituals, symbolism, and historical context in shaping its unique identity. It goes beyond the architectural grandeur to explore the shrine’s impact on the city and its role as a symbol of unity and hope for people of all faiths and backgrounds. By weaving together historical details, cultural insights, and personal reflections, this expansion aims to capture the essence of the Imam Reza Shrine as a sacred space that transcends the boundaries of time and place.
