25Soundscapes of Iranian shrines and emamzadehs

Soundscapes presented here: Shrine of Emam Reza in Mashhad Shrine of Fatemeh Maʿsumeh in Qom Emamzadeh Davud in Sulqan Emamzadeh Zeyd in the Grand Bazaar of Tehran
This photograph: A sea of men fills the Dar al-Seyyedeh (a large rectangular hall) as they try to enter the tomb of Emam Reza in the Shrine of Emam Reza in Mashhad Photograph by Reza Daftarian, 2024

The sonic elements of pilgrimage (ziyarat) within shrines and emamzadehs form a vital yet often overlooked dimension of the devotional experience. As spaces dedicated to descendants of the Emams, emamzadehs hold immense significance in Shiʿi religious practice. While art historical discussions often center on visual aspects ranging from various forms of revetment to epigraphic programs, the auditory environment profoundly shapes the spiritual and emotional atmosphere, anchoring the pilgrim’s journey in a multisensory reality.

Upon entering a shrine complex, visitors are enveloped in a soundscape that evolves as they progress toward the innermost sanctum (the main tomb chamber of the saint). Courtyards are often bustling communal spaces that have their own distinctive sounds (vid. 1). The murmur of conversations, laughter of children, and clinking of tea glasses often intermingle with the soothing trickle of water from the saqqa-khaneh (water-dispenser) and the rhythmic splashing of fountains. Adding to this is the melodious chirping of birds, often perched in the trees or flitting between the eaves of the surrounding buildings, creating a natural harmony that softens the otherwise bustling environment.

Video 1. The bustling Sahn-e ʿAtiq (Old Courtyard) of the Emamzadeh Davud in Sulqan (map), a remote mountainous village in the northern outskirts of Tehran. Video by Reza Daftarian, 2024.

As pilgrims approach the central sanctuary, the external cacophony gradually gives way to a quieter and more intimate realm, and sound and architecture intertwine (vid. 2). Human voices, ritual recitations, and the building’s acoustics combine to produce reverberations that lend even whispered prayers an ethereal, lingering quality. Central to this auditory experience are Qur’anic recitations, invocations, and collective supplications. Some worshippers murmur their prayers softly, creating a gentle hum that suffuses the air, while others engage in guided communal recitations. Practices such as rhythmic invocations of blessings upon the Prophet and his family (salawat) and the mournful performance of elegiac poetry by religious singers (maddahs) bind the individual to a collective devotional rhythm. The tonal shifts—from sorrowful lamentations to reverent chants—transform the shrine into a space of shared grief and spiritual connection, where individual emotions dissolve into a collective experience.

Video 2. The sprawling Ravaq-e Emam Khomeini, one of twenty-one vibrant halls in the Shrine of Emam Reza in Mashhad. Video by Reza Daftarian, 2024.

The architecture itself amplifies and enhances these sounds, shaping the space into a resonant chamber. Domes, arches, and intricate spatial configurations are not merely structural but actively affect the shrine’s acoustics. The interplay of sound waves with architectural features creates an atmosphere where even the faintest utterances are magnified, imbuing them with an almost tangible presence. Such acoustic effects resonate with Shiʿi theological understandings of the shrine as a locus of divine mercy and intercession, where the material world and the sacred converge.

During ceremonies commemorating figures like Emam Hosayn, the shrine’s auditory dimensions become even more pronounced. The rhythmic chanting of elegies and dirges, synchronized with chest-beating (latmiyat, sineh-zani), collective weeping, and in rare instances self-flagellation (tatbir, zanjir-zani), fills the space with an almost palpable sense of grief and solidarity. These rituals evoke the memory of Karbala (no. 29), collapsing the distance between past and present, and transforming sound into a vehicle for embodied devotion. Within the echoing interiors, the sonic experience transcends hearing. It becomes physical, heightening the emotional intensity of the moment.

It is important to note that the soundscapes of Iranian shrines are contingent on their size, location, number of visitors, and the given day and time. A moment of peak visitation in the two holiest tombs in Iran—those of Emam Reza and Fatemeh Maʿsumeh—is a deeply powerful auditory experience in which waves of prayerful whispers swell and echo, immersing the pilgrim in a sea of sound charged with reverence and often sadness (vids. 3–4). In contrast, during a quieter moment in the Emamzadeh Zeyd, when few are present, the atmosphere shifts to one of deep solitude and contemplation (vid. 5). In these moments, the sanctuary feels almost suspended in time, with only the faint hum of fans working to keep the space cool, the distant whispers of those engaged in prayer, or the occasional creak of a wooden door breaking the silence. This stillness transforms the experience, offering a different kind of connection to the sacred—one that is introspective and profoundly personal.

Video 5. A rare moment of tranquil solitude in the tomb of Emamzadeh Zeyd, nestled within the bustling Grand Bazaar of Tehran (map). Video by Reza Daftarian, 2024.

In this entry, I have shared some contemporary soundscapes in Iranian shrines. For a useful historical window into the varied auditory experiences of the Shrine of Emam Reza in particular, see this short documentary film by Parviz Kimiavi from 1970.

Reza Daftarian PhD Researcher, Courtauld Institute of Art, University of London

Citation: Reza Daftarian, “Soundscapes of Iranian shrines and emamzadehs .” Catalog entry in The Emamzadeh Yahya at Varamin: An Online Exhibition of an Iranian Shrine, directed and edited by Keelan Overton. 33 Arches Productions, January 15, 2025. Host: Khamseen: Islamic Art History Online.