TEHRAN—Isfahan is the origin of one of Iran’s ritual crafts: Alam making. Processional Standards (Alams) are used in many parts of the Muslim world by the Shia community in processions marking the martyrdom of Imam Husain (A.S.), grandson of the Prophet Muhammad (PBUH), who died at the Battle of Karbala in 680 CE.

The art of Alam making, which is rooted in the Safavid era, combines the techniques of metalworking, latticework, calligraphy, and plating, and creates a work that is not only a symbol of Muharram mourning but also an embodiment of the faith, art, and collective identity of the people of Isfahan, ISNA reported. 

Isfahan is not only known for its minarets and turquoise tiles, but also is the birthplace and base of the art of Alam making.

Alams are carried on the shoulders of mourners during the months of Muharram and Safar, are, in fact, the products of dozens of artistic fields and handicraft techniques that are used in a religious and ritualistic form.

Alam making is a complicated process.  In the old workshops of Isfahan, craftsmen use arts such as metalworking, latticework, engraving, calligraphy, casting, plating, and even sewing fabric flags to create a processional standard (Alam) that is a small exhibition of traditional Iranian arts.

Majid Nesarali, one of the veteran craftsmen of this art, says: “To make an Alam, one must learn several crafts, including metalworking, cutting, latticework, plating, calligraphy… none of which are sufficient on their own. Alam making means combining several arts to create a ritual symbol.”

The history of “Alam Gardani” (Standard Carrying) in Iran, especially among the people of Tehran, is not clear. What is certain is that the ritual dates back to the pre-Safavid era. It was a sign of the presence of a tribe or family in war, but the Safavid era, like other rituals of this era, also made Alam making a tradition, and Isfahan artists brought it to its peak.

The custom of “Alam Gardani” took a new form in the Qajar era, and the flags became heavier and more flags were added to it every day thanks to the efforts of Iranian artists. During the Naser al-Din Shah Qajar era, there were several famous Alams that were related to Tehran capital.

The oldest Iranian Alams are kept at Topkapi Museum in Istanbul, Turkey. 

Perhaps these Alams, which are examples of the symbols and emblems of various Iranian tribes, existed during the reign of the Aq Qoyunlu and Qara Qoyunlu Turkmens, and were used by political and religious groups. These Alams are war booty, and after the capture of Tabriz by the Ottoman armies, Shah Selim transferred them to Istanbul. 

There is also an Alam in the Central Museum of Astan Quds Razavi in Mashhad, Khorasan Razavi province, which dates back to the 13th century AH and was made in the city of Isfahan. 

In the 17th century CE, travelers such as Pietro Della Valle mentioned in their travelogues the “metal processional standards” in the mourning groups of Isfahan. From that period, Alam became known as a symbol of soldiering and loyalty to Imam Hussein (AS) and found a special place in the districts and tekkiyehs (specific locations for mourners who meet and participate in religious gatherings after which they head out on the streets in groups known as dasteh (literally meaning cluster) to parade dramatic mourning) of Isfahan. 

Isfahan's Alam making workshops, especially the old workshops like “Kamran” that have been active since 1995, still thrive in the months leading up to Muharram. Orders are made from different cities in Iran and even Iraq for the making or restoration of Alams in Isfahan. After being prepared, each Alam is placed on the shoulders of mourners during mourning days and becomes the focus of the processions and groups of people beating their chests. 

Although the art of Alam Making has not been independently registered on the National Heritage List, the ritual of Alam Making and Alam Gardani has been registered in the country's Intangible Heritage List, which could help preserve the art of Alam Making. However, the decline in the number of traditional craftsmen, the reluctance of the younger generation to learn this profession, and the high cost of metal raw materials threaten the future of this art.

KD