The final days of Aban 1344 (November 1965) stand out in Iran’s collective memory as a time when devotion, craftsmanship, culture, and communal emotion converged in a unique and unforgettable event. The journey of the newly constructed shrine of Hazrat Abolfazl al-Abbas (AS)—Qamar Bani Hashem, the loyal brother of Imam Hussein (AS)—from Isfahan to Karbala was not merely a logistical endeavor. It was a spiritual caravan, a living testimony to the profound affection of the Iranian people for the Ahl al-Bayt, and an example of how religious devotion could mobilize entire cities, villages, and provinces.
This magnificent shrine, commissioned by Ayatollah Hakim, had been built by the master artists of Isfahan—goldsmiths, engravers, woodworkers, enamel artisans, and stone workers—who dedicated eighteen months of skilled labor to realize this sacred gift destined for Karbala. The caravan’s journey, documented in Etelaat Weekly Magazine, No. 1255, dated Azar 2, 1344, was one of the most elaborate religious ceremonies of that decade. The magazine reported the journey in detail, and the people of Iran read about it while witnessing photographs published by Etelaat Newspaper, the weekly “Etelaat Haftegi,” and Tehran Musavvar.
What follows is an expanded historical narrative of that journey, based on the preserved script of the magazine’s report, supplemented with historical background, emotional descriptions, and cultural context to reconstruct the atmosphere of that extraordinary event.
Origins of the Project: A Gift for Karbala
The shrine of Hazrat Abolfazl (AS) had reached a point where restoration and reconstruction had become necessary. For centuries, the site had been a destination for millions of Shia Muslims from around the world, particularly from Iran. The relationship between Iranian artisans and the holy shrines of Iraq had a long and rich history: from tilework to silver enclosures, carpets, manuscripts, and architectural embellishments, much of the artistic heritage in Karbala and Najaf bore the hallmark of Iranian craftsmanship.
In the early 1960s, Ayatollah Hakim, one of the most influential Maraji of the time based in Najaf, initiated the plan for a new shrine. He entrusted the artistic execution to the city most renowned for its metalwork, tilework, and miniature arts: Isfahan.
By mid-1343, work began under the supervision of master craftsmen, including:
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Seyyed Asadullah Khosravani and Ahmad Dinari (engraving),
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Shukrullah Sanizadeh (enamel work),
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The Khaleqzadegan brothers (wood carving),
alongside dozens of metalworkers, jewelers, and artisans.
The departure took place from Naghsh-e Jahan Square, one of Iran’s most iconic cultural sites. On this day, however, it was no longer merely a historical landmark—it had become a spiritual heart pulsating with collective emotion.
Women wrapped green scarves around their children, praying for health and protection. Elderly men leaned on canes, whispering blessings. Shopkeepers left their stores and joined the crowd, while craftsmen walked alongside the shrine, honoring the labor of their hands.
A Symphony of Faith: Sacrifices and Offerings
The report continues:
“Hundreds of camels, cows, and sheep were sacrificed in front of the caravan, and they sprinkled sweets, cardamom, and rose water on the caravans.”
The act of sacrifice reflected an ancient tradition: sending a sacred object on its journey with purity, generosity, and divine protection. The smell of rose water filled the air, mingling with the chants of “Ya Abbas, Ya Abbas!” as petals, sugar cubes, and small coins sprinkled the caravan from balconies and rooftops.
Thousands walked barefoot behind the shrine, fulfilling vows made months or years earlier.
The magazine continues:
“The construction of the holy shrine of Hazrat Abolfazl (AS) began 18 months ago, and the talented artists of Isfahan used all their talent and skill in decorating and decorating it. 7,000 shekels of gold and 40,000 shekels of silver were used in the construction of the shrine, and its cost was one million tomans.”
In the cultural context of 1344, the scale of such craftsmanship was enormous. Goldsmiths hammered delicate sheets of gold and silver for months. Engravers carved Quranic verses with such precision that each letter reflected the distinctive style of Iranian calligraphy. Enamel artists added vivid blues and reds, making the shrine’s balconies and surfaces resemble living paintings.
The two accompanying doors were themselves masterpieces:
“Along with the shrine were two doors, one made of gold and the other inlaid, which used 7 thousand shekels of gold in the first building and cost 165 thousand tomans. The construction of this door began 2 years ago, and the carving of the wooden door was undertaken by the Khaleqzadegan brothers.”
The marble stones—white, cool, and smooth—were carved with Qur’anic inscriptions intended for placement near the Zarih of Hazrat Abbas. Each stone had taken weeks to prepare, and many villagers who saw the stones believed they were witnessing future relics of Karbala.
The arrival of the shrine in Tehran created a scene unparalleled in the city’s modern history:
“In Tehran, pilgrims to the holy shrine of the devoted brother of Sayyid al-Shohada (a.s.) were counting the minutes. Tehran was closed that day. All the streets along the caravan route were filled with the sound of loud wailing. It was as if an Ashura had begun in Tehran.”
For Tehranis, this was a unique opportunity. Not everyone could make the pilgrimage to Karbala in those days due to political restrictions, financial costs, or logistical challenges. But the shrine coming to Tehran was like Karbala coming to them.
Crowds stretched from the city of Rey to central Tehran and beyond. The shrine’s truck moved at a painfully slow pace, sometimes advancing only a few meters per hour. Women carried bowls of rose water, sprinkling the caravan. Men recited elegies from rooftops. Flags bearing the name “Ya Abbas” fluttered in the wind.
The report concludes:
“A day that Tehran and the people of Tehran had never seen before. The shrine of Qamar Bani Hashem (a.s.) set off for the Khosravi border with the mourning and enthusiasm of the people of Tehran.”
