Eid al-Ghadir is not merely a historical occasion in the memory of Muslims; rather, it is a mirror reflecting the truth of Wilayah (Guardianship), the beauty of faith, and the splendor of humanity’s connection with meaning. This auspicious day, from its inception to the present, has flowed through the soul of Islamic culture, inspiring poets, writers, calligraphers, and artists who sought to express light and meaning, much like a clear spring. Ghadir is an event that transcends the boundary between history and eternity, manifesting brilliantly and enduringly in literature and art.
Across the expanse of poetry, Ghadir has perpetually stirred poets’ language, serving as an anthem of love, guardianship, and truth. In painting and calligraphy as well, this auspicious Eid has been translated into the language of beauty through colors and lines, creating a manifestation of spirituality and grandeur. From classical poetry collections to contemporary artworks, the trace of Ghadir can be found; it is where faith animates art, and art portrays faith in an enduring form. Therefore, examining the influence of Eid al-Ghadir on literature and art is, in essence, an exploration of one of the most vibrant springs of inspiration in Islamic culture – a spring from which words, colors, and forms have drawn new meaning for centuries.
Ghadir and Poetry
Among the arts, poetry was the first to pledge allegiance to Ghadir. According to historical sources, Hassan ibn Thabit was the first poet who, beside the Prophet Muhammad’s (PBUH) pulpit, began to eulogize Ali (AS) and, with his verses, disseminated and spread the message of Ghadir. On the day of Ghadir, after the Prophet’s (PBUH) sermon, Hassan ibn Thabit stood and, in verses, pledged allegiance to Ghadir and praised Ali (AS).
In the desert of Ghadir, beside the Prophet’s (PBUH) pulpit, the Commander of the Faithful pledged allegiance. Following Hassan ibn Thabit, prominent figures among poets such as Kumayt ibn Zayd al-Asadi, al-ʿAbdi al-Kūkhī, Sayyid Ismāʿīl al-Ḥimyarī, al-Duʿbal al-Khuzāʿī, and Mahyār Dīlamī, among others, emerged and composed “Ghadiriyyat” (poems about Ghadir). Today, the collection of Ghadiriyyat composed in Arabic shines like a galaxy in the sky of Alawi praises.
Of course, the composition of Ghadir-themed poetry is not limited to Arab poets. A countless number of Persian-speaking poets throughout various centuries, including Ferdowsi, Naser Khosrow, Sanai, Rumi, and many others, have opened their tongues to praise the Commander of the Faithful, Ali (AS), and have sung of Ghadir in their poetry.
In the early stages of Ghadir’s connection with Persian literature, Ghadir-themed poems began with allusions and hints. Gradually, poets accelerated their verses, dedicating them to the praise of Ali (AS) and the narration of the Ghadir event. Subsequently, the composition of lengthy epics and the detailed recounting of the story took precedence. Epics such as “Hamle-ye Haydari” (The Attack of Haidar) were composed by poets like Bazil Mashhadi and Ali Kermani, among others. Gradually, a ceremony known as “Hamle-khani” (recitation of the epic) took shape and became one of the artistic and religious rituals of Iranians. In the gatherings for Hamle-khani, artists and reciters with pleasant voices and captivating tones would recite the epics, explaining the events of the incidents through dramatic gestures.
Ghadir and Painting
The observance of Eid al-Ghadir in Iran marked the beginning of painters and illustrators, too, stepping onto the stage of devotion and love for Ali (peace be upon him), with painting itself undertaking the narration of Ghadir. In later periods, and under the influence of the Hamle-khani ceremonies, painters emerged who inscribed Islamic and religious narratives—especially the accounts of Ghadir and Ashura—upon large canvases.
In this milieu, an art known as Parde-khani came into being. Its creators would display these painted panels on walls in large gatherings and public thoroughfares, then explain the artistry and the events depicted upon them to the people, with skill and dramatic flair.
Among the renowned contemporary Iranian painters who have depicted the event of Eid al-Ghadir through their art is Master Mahmoud Farshchian.
Ghadir and Calligraphy
We now turn to the art of calligraphy, where the bond between the calligraphic craft and the Shia tradition—particularly from the Timurid era onwards—is truly remarkable. Historians have noted that following the rise of Shia governments, beginning with the Buyids, and as the Shia gained the freedom to practice their rites, calligraphy emerged as one of the preeminent arts to narrate the message of Ghadir. In the historical periods that followed the Buyids, and especially from the Timurid era onward, great masters such as Mohammad Reza Imami, Zayn al-Abidin al-Katib, and Sayyid Muhammad Shirazi emerged, employing their mastery to disseminate the message of Ghadir.
For instance, collections of the sayings of Imam Ali (AS), compiled under titles such as Thabat al-Kalimah (The Establishment of the Word), were transcribed by numerous calligraphers, including Zayn al-Abidin Muhammad al-Katib, using the Naskh and Thuluth scripts during the ninth century. Furthermore, the treatise containing the Forty Sayings of Imam Ali (AS), versified by Abd al-Rahman Jami, was transcribed repeatedly by calligraphers throughout the ninth century and beyond. These scribes expanded the reach of Shia teachings and the account of Ghadir through various mediums, including manuscripts, anthologies of poetry, muraqqa’at (calligraphic albums), and individual artistic compositions. Among these various formats, the inscriptions adorning mosques and sacred sites stand as some of the most significant, having long served as grand stages for the sublime art of calligraphy.
Source: Javan Online
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