Journal of Material Cultures in the Muslim World 1 (2020) 120–149 brill.com/mcmw The Emamzadeh Yahya at Varamin: A Present History of a Living Shrine, 2018–20 Keelan Overton Independent Scholar, Santa Barbara, CA, USA
[email protected] Kimia Maleki Graduate Student, History of Art, Johns Hopkins University, Baltimore, MD, USA
[email protected] Abstract The Emamzadeh Yahya at Varamin, a tomb-shrine located south of Tehran, is well known for supplying global museums with iconic examples of Ilkhanid-period luster tilework. After provid- ing a historiography of the site, including its plunder in the late nineteenth century, we explore its current (2018–20) “life” in order to illuminate the many ways that it can be accessed, used, perceived, and packaged by a wide range of local, national, and global stakeholders. Merging past and present history, art history and amateur anthropology, and the academic, personal, and popular voice, this article explores the Emamzadeh Yahya’s delicate and active existence between historical monument, museum object, sacred space, and cultural heritage. Keywords Emamzadeh Yahya (Imamzada Yahya) – Varamin (Veramin, Waramin) – Iran – Ilkhanid – shrine – luster – tilework – mihrab – museums – present history – COVID-19 The Emamzadeh Yahya at Varamin (35.31614, 51.648336) poses a number of art histori- cal conundrums. Despite the fact that it is located just 35 miles south of Tehran and its Ilkhanid period (1256–1353) luster tilework enjoys endless visibility online, in print, and in museums (fig. 1), the shrine itself remains relatively anonymous beyond its immedi- ate demographic and specialist research. In the age of ongoing renovations of Islamic art galleries, we expect to see its famous tiles redisplayed and reevaluated, but the com- plex’s history and interpretation tend to end at its moment of rupture in the late nine- teenth century, when its tilework was systematically removed and dispersed across the globe.