The Parsi Home: Religious totems and decorative objects of Zoroastrian households in Mumbai
An intersection of private roads sits at the heart of Mumbai’s Sir Ratan Tata Colony, flanked by old four-story apartment blocks that are home to the colony’s exclusively Parsi community. Built in the late 1920’s, each building houses around sixteen simple apartments, with the owners’ names inscribed on every door. Balconies boast the curvaceous lines of Art Deco design, with laundry hanging to dry on each one, moving slowly in the coastal breeze that Mumbai is blessed with.
Down below, members of the Parsi community go about their day. Women wear simple headscarves - folded to a triangle and tied at the nape of the neck - and floral dresses plucked seemingly from the fifties. The men dress smartly in button front shirts and pleat-front trousers. A group of them congregate every evening on the corner of an intersection within the colony; one get the sense they’ve been doing this long since the youth that has now left them. Ravens and green parakeets swoop overhead, some descending to nibble the peanuts that have been left for them on windowsills. It’s a harmonious little animal kingdom; cats rest on the sidewalk, and beloved, indulged dogs receive their daily walk. There are well-fed rats too, though they only make their presence known in the dark of night.
One of the Parsi colonies in Mumbai's Tardeo, in which we stayed. Photo by Emma Gleason.
Sir Ratan Tata Colony is one of several Parsi communities in Mumbai; Parsis follow the ancient Zoroastrian faith, which plays an important role in their identity, community and daily life. Tata himself is something of local legend. Educated at Cornell University in the United states, as head of the Tata Group he amassed a huge wealth through industries like steel, automotives, technology and tea. A dedicated philanthropist, it’s estimated up to 65% of his wealth was given back to communities through education, healthcare and rural development initiatives.
Although the colony is ostensibly closed to outsiders, we were the guests of textile artist and dear friend Areez Katki who’s has come to Mumbai from New Zealand to live in his family home and the city of his birth. “It feels surreal to have returned here for a longer period of time and to live in this home completely alone for the first time - not only as a physical birthplace but also to this chink in herstory.” This homecoming to the colony has also allowed him to explore his relationship with Zoroastrianism and the Parsi community. “This return to Bombay has changed how I engage with the faith, through the sheer weight of moving back into our family home. This provides me with a great sense of belonging, one that I've never quite felt anywhere else.”
Portrait of Zoroaster in Areez's apartment. Photo by Emma Gleason.
He goes on to explain that the sense of disconnection he has always felt is being challenged by the space he now resides in within the Parsi community of Mumbai. “As a (practically) first generation New Zealander, I never quite understood the significance of belonging or community - mainly because I hadn't really felt them in Auckland. To be an outsider and continue to feel like one for the better part of one’s life was a very interesting experience. One which now allows me to look at culture with a sense of objectivity. “
We spent three weeks staying at Sir Ratan Tata Colony, and were welcomed warmly into several homes where I soon become transfixed by the religious iconography and decorative objects within, of which this story explores.
Nightlight of Zoroaster in Areez's home. Photo by Emma Gleason.
Engraved image of Zoroaster in Areez's apartment. Photo by Emma Gleason.
Areez describes the colony as a step back in time. “I walk around the colony where four generations of my ancestors lived and still feel a world apart from the rest of Mumbai. It feels like a time warp - their sensibilities, little courtyard greetings, threshold ornaments, totems and food are still a part of our lives, almost exactly the way they'd left it all.”
There’s a very particular visual sensibility of the colony, particularly notable in the manners of dress of its inhabitants yet, as Areez concurs, intangible in many ways. “There is something so special and palpable, yet hard to accurately describe about the visual heritage. This keeps coming up commonly as a 'Parsi aesthetic' when I discuss the subject with my (mostly non-Parsi) friends in Mumbai. They sense it too and are often intrigued by it. For me, it is simply a combination of a specific palette, sensibilities and motifs that I've grown up with both here and as an immigrant in New Zealand.”
The Parsi community of Mumbai is the largest Zoroastrian population in the world, numbering around 36,672 in 2016 (according to the Times of India). The total number of Parsis in the Indian subcontinent is estimated to be 57,000, very much a minority in a country of over 1.3 billion people.
A monotheistic faith, Zoroastrianism predates Christianity, believed by some to have origins tracing back to as early the second century BC. The religion centres around Ahura Mazda (God) and the teachings of the prophet Zoroaster, also known as Zarathustra, from whom the faith draws its name.
The Parsis’ ancestors fled religious and economic persecution in Persia (now Iran) during the 10th century, arriving in Sanjan, India by boat in 936 AD. Because they had arrived from the province of Pars (present day 'Fars') they were given the name Parsi. They were welcomed and allowed to retain their faith, with the condition that they assimilated.
According to legend, this agreement was reached through barrier of language when King Jadi Rana presented a bowl of milk, implying the kingdom was full. To this the Zoroastrian’s Dastur (priest) added sugar to the bowl, implying that his people would add sweetness to the community. Rana allowed them to stay and practice their religion, as long as the lay down their weapons, adopted the local language of Gujarat, held wedding ceremonies after sunset and subscribed to local practices such as the wearing of saris.
In the seventeenth century many Parsis moved to what was then known as Bombay, taking advantage of the commercial treaty with the East India Company. The Parsis flourished in Mumbai, establishing themselves as merchants and traders, and fostering connections with government and public works, creating wealth and cultural investment that has facilitated and funded many of Mumbai’s preeminent establishments - including Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (previously known as the Prince of Wales Museum), the Dr. Bhau Daji Lad Museum and many others.
The timeline and avenues of the Parsis’ expansion created a tangible visual heritage still evident today, as Areez explains. “Something occurred between the 10th century and the time of the British occupation - to create this unique visual heritage. Ancient Persian iconography married with Anglo-Indian influences that gave us the textiles, cuisine, architecture and various visual motifs that are now iconically Parsi.”
Tiles featuring Zoroaster, the sacred fire and fravashi in Areez's kitchen. Photo by Emma Gleason.
Kitchen tiles in Dolly's apartment featuring similar iconography. Photo by Emma Gleason.
Due to their initial establishment in Gujarat, the Parsi community of Mumbai predominantly speak Gujarati (as well as English, Hindi and Persian, otherwise known as Farsi) . As well as descendants of the original Persian migration, the Parsi community also consists of more recent immigrants: Iranian Zoroastrians.
As of the 2011 Census, there were 57,264 Parsis in India. However their low birth rate, ageing population, late marriages (or none at all), emigration and lack of conversion practices means that their numbers in the Indian subcontinent are expected to dwindle to 23,000 by 2020.
A great deal of the Parsis, although not all, live in colony style housing in Mumbai - consisting of medium density apartment blocks, like those of the Sir Ratan Tata Colony that we were lucky enough to visit. The sense of community and history this fosters is particularly unique and, I believe, has serve to retain and protect their identity and practices.
Near every colony is a Fire Temple. Ranging from grand, imposing buildings to smaller, more intimate incarnations, these sites of Zoroastrian worship are home to the Atash Dadgah (sacred fire) that are tended to by high priests, and are frequented by many Parsis daily. Areez sees the Fire Temples as fundamental, and moving due to their familial legacy. “Our fire temple being within proximity is another factor that strengthens certain bonds in our community. Four generations of women and men from my family have prayed over that fire. A relatively young one, the fire at Kapawalla Agiary (Katki’s local temple) is 161 years old. It has never been extinguished since.” Areez is openly agnostic. “I don't prescribe to the faith in which I was born. However, imagining my mother, grandparents and great grandparents praying for things like good health, better test results or a safe journey somewhere - just imagining the thoughts they might've held in their minds as they prayed over that very flame - it becomes an incredibly moving socio-historic experience, one which I find hard to articulate using plain words.”
Of absolute importance as totems within a Parsi household - and the community at large - are their own small Atash Dadgah (sacred fire) and the Fravashi (personal spirit or guardian angel).
Historically, fire is the only object used by Zoroastrians during worship. Phiroza, one of the women whose homes we visited, explains that the presence of Atash Dadgah (sacred fire) in a Parsi household is non-negotiable. “We always have fire in our house, in any form - whether you burn sandalwood or whether you light the oil lamp - but we always have fire in the house.” Areez says that his mother, like many Zoroastrians, has her fire burning twenty-four hours a day. “The centre of every faction of the Zoroastrian community is the hearth; some form of flame where food is prepared, shared and distributed among neighbours, friends and family.”
In Dolly’s home on the floor below there are two prayer corners, each with oil lamps. She usually prays in these areas, or else walks during prayer. She describes herself as relaxed when it comes to practicing her faith. “Nothing is compulsory, I’m a free bird.” When she was younger, she would have a piece of burning coal that she would sprinkle with frankincense and shaved sandalwood.
For Zoroastrians flames represent Asha Vahishta - the deity of fire, truth and the correct order of the universe. Fire represents the light of wisdom and banishing of darkness and ignorance, and are integral to prayer for Zoroastrians like Phiroza. “We light the oil lamp, which represents light - our religion believes in light. We believe in fire. Why? Because it shows light, there’s brightness in it and that is what we believe in. And fire always rises up high, so whatever we wish for when we pray to god, it rises up into heaven.” Unlike the sacred fires found in Parsi Fire Temples, the Atash Behram and Adaran, home fires are not consecrated. Fire is also seen as a representations of Asha, the doctrine of goodness through which it is believed order is maintained in the universe.
Another distinctly visible motif is the Fravashi, appearing about doorways or in artwork and jewellery - even on nightlights. Depicted as a human-like figure with outstretched wings, the Fravashi is an “eternal essence”, representing the existence of God in all beings. Akin to a guardian angel, Phiroza describes it as the soul’s wings. “We believe we have angels - two angels - near us on our shoulders. The Fravashi is our guardian angel, and there is meaning behind every feather. Mostly Fravashi is in every household, or in our fire temple, everywhere.” The Fravashi acts as a guide through one’s life, as Zoroastrians follow their tenets of Humata, Hukata, Huvarashtha (good thoughts, good words, good deeds). They believe that while goodness is innate within us, embracing and following it is a matter of free will and the responsibility of each person.
Zoroastrians do not worship false idols, a sentiment Phiroza reiterate several times, so other religious iconography performs a decorative function in the home. As an outsider, these objects seem to still be incredibly important to the Parsi identity.
Portrait of Zoroaster alongside a mirror in Dolly's bedroom. Photo by Emma Gleason.
Paintings, prints and textiles featuring Zoroaster are a prominent feature in the Parsi households that we visited; some are simple, others ornate. Although they are principally a decorative object, especially when compared to the religiously significant oil lamps and Fravashi, Phiroza describes their importance. “We have Zoroaster’s picture. Although in our religion we don’t [traditionally] keep pictures, we keep it as a symbol, and to have some object in front of us to pray to.” Areez explains the provenance of the most well known image of Zoroaster. “The original picture of Zoroaster was based on a 15th century painting from Germany”. With no depictions existing of Zoroaster from his own time, all images are artists interpretations from later periods. He is nearly always depicted with his eyes focused upwards, away from the viewer.
The prophet Zoroaster was born between 1300-1700 BC in Greater Iran in what is believed to be Chorasmia - although other locations have also been proposed by scholars. According to the Zoroastrians’ Avesta (sacred texts) he was sent by Ahura Mazda to rid the world of evil and chaos.
Following a solitary decade of isolation in the mountains, a time where he is said to have been visited by Ahuru Mazda, he rejoined society and began to preach and collect followers. According to legend, although falsely imprisoned by King Vistasp of Bactria (Afghanistan), Zoroaster’s healing of the King’s favourite horse saw him released. In gratitude, the King and his family promised to follow Zoroaster’s faith, and the religion soon spread across across Europe and China. Zoroaster is said to have been murdered at the age of 77, a victim of stabbing.
Another image of Zoroaster in Dolly's apartment. Photo by Emma Gleason.
Much of Zoroaster’s teaching centered around truth, free will, and the choices one makes to uphold Humata, Hukata, Huvarashta (good thoughts, good words, good deeds), with judgement upon death through the balancing of ones good and bad deeds. The doctrine of Asha (goodness and righteousness) directs one to live a good and righteous life, and to serve fellow human beings. Another tenet of the faith is to “Do the right thing because it is the right thing to do, and then all beneficial rewards will come to you also.”
Although a functional, common object, mirrors in Parsi households do more than just facilitate grooming or create a sense of space in a room - they provide (quite literally) religious reflection, as Phiroza explains. “The mirror, we keep to reflect; we believe god is in ourselves, so we see our reflection in the mirror and pray that what our wishes are will be fulfilled. That’s why when there’s nobody next to you and you pray, you keep a mirror thinking you see yourself [and god] inside and pray to it.”
When I entered Dolly’s apartment, I was captivated by the intricate, delicately beaded torans hanging on each door frame. A decorative feature, they signify good luck at the threshold of a home or room. Although torans made from flowers, leaves and textiles are common in Indian households, this beaded style is unique to the Parsi community. Ninety year old Dolly has made these since she was a small girl. As a younger woman she would sell her beaded torans to other Parsis, but her eyesight has deteriorated in older age and she can no longer do the beadwork that she loves.
Hand made beaded toran in Dolly's home. Photo by Emma Gleason.
A beaded toran, made by Dolly and hanging in her apartment. Photo by Emma Gleason.
Another of Dolly's torans.
Handicrafts have an ingrained history with the Zoroastrian community, as Phiroza explained when we visited her. Historically, due to the sacred nature of fire and water, women underwent menstrual seclusion as they could not cook or bathe. During this time, they spent their days beading and embroidering.
The tradition of handicrafts and its inherent matrilineal knowledge is of particular significance to Areez. “The domestic objects that I find most moving right now, and probably always will, are the textiles that surround us. Perhaps because they often have both spiritual significance (like the muslin Sudreh and virgin wool Kushti) but also an awesome ability to retain memory. There's this particular scent - a person's aroma, slightly sweet, salty and musky with notes of sandalwood and frankincense. I found an old light muslin Sudreh, relatively wide - it is a womens' prayer vest. I found it last month on one of my first days back in Bombay - I closed my eyes and smelled it. The silly little thing briefly transported me back to Auckland, where my grandmother Thrity Lakdawalla currently lives. Another textile that had a similar scent was this handkerchief embroidered by my older cousin Zendyn - depicting Zoroaster and the words "God Bless Our Home." The sight and rosy smell of that tiny square textile took me back to being a child and falling asleep in her lap at the back of a taxi.”
The legacy and sentiment of such objects are now beginning to inform Areez’s own work. “I've never overtly referenced them in my work as an artist until this year. Perhaps it is because I hadn't acquired the tools and appropriate setting to contextualise such a personal and emotionally driven body of work.” Through his multidisciplinary textile practice, he’s endeavouring explore to the duality of these influences. “I hope that the body of work that I'm currently creating might effectively communicate both aspects, the socio-historic as well as emotional components which have been a silent driving force behind this project.”
Areez's apartment, visible are the many influences and explorations of his textile practice. Photo by Emma Gleason.
During our time at Sir Ratan Tata Colony the community celebrated Nowroz (“new day”), the Iranian New Year. Phiroza’s home was full of sandalwood smoke when we entered, and of pride of place in her living room was an elaborate and beautiful Haft-sein table, covered in candles and items of significance. The central feature of a Haft-sein table is the Ses; used in Parsi households for special occasions, the tray is made of silver due to its purity and strength. It holds a carefully arranged display of seven symbolic items - all of which begin with the letter S.
Stage at the colony party for Nowroz. Photo by Emma Gleason.
The conical Soparo represents life, and encloses sugary items intended to bring sweetness to life. It’s surrounded by wheatgrass, milk, malt vinegar, garlic, fruits, sometimes fish, nuts and silver coins. Phiroza explains some of the items. “Painted eggs represent new life. The clock represents time, and then there is the candles and prayer book, and the mirror. We also always put pomegranates. we think pomegranates are the food given to us by god; they are respected a lot in our religion, in every prayer and every auspicious religion we have pomegranates - especially Iranians.” There are Indian elements too, adopted during the Parsi community’s many generations on the subcontinent, like coconut and paan (betel nut).
Phiroza lighting the candles for her Haft-sein table. Photo by Areez Katki.
The celebration and respect of the natural world is, to me, a unique and admirable aspect of Zoroastrianism. Ecological elements are represented by many of the Amesha Spentas - deities who act as helpers to Ahura Mazda - each with a distinct duty: Ameretat cares for Urvaro (plant life), Vohu Mana looks after the Goshpand (animals), Haurvatat looks after Ava (water), Spenta Amaiti cares for Zam (the earth), Ksathra Vairya guards Asman (the sky), Spenta Mainyu looks after Mardum (humankind) and, of course, Asha Vahishta cares for the all important element of fire, Atar. Natural elements form part of daily prayer.
In the Zoroastrian faith, there are fire months and water months, these fall differently for Parsis and Iranians. Phiroza describes the prayers of the water month. “Water is a giver of life, that’s why she, Ava, is a female entity. In the water month we go to the beach, a river, a well and source of water - that is life.”
Phiroza and Dolly’s homes both have shrines that feature not only Zoroastrian totems, but those from Hinduism and Christianity also. Phiroza explains that Zoroastrians believe there is God inside everyone, so she, like many Parsis, believe all religions should be respected and acknowledged.
Shrine in Dolly's home. Photo by Emma Gleason.
Another of Dolly's shrines. Photo by Emma Gleason.
For Areez, it’s the more ephemeral elements that are the most moving, alongside the treasured handicrafts of his matriarchal figures. “I cannot help but aggrandise the significant influence they've had in my life. From the burning of sandalwood logs sprinkled with powdered frankincense, to Akoori (Parsi scrambled eggs) to Gara & Kor embroidery and the stencilled chalk patterns on our thresholds. I feel incredibly lucky to have come from a culture that has adapted to survive such such grace despite their circumstances and near-extinction.”
The power of the home and resilience of domestic practices have served to help preserve the Parsi way of life; the totems and decorative objects of Zoroastrian culture provide a daily reminder of the faith and underpin its most pervasive element: community.
This sense of community is fostered in the Parsi households of Mumbai. Areez sees the home as fundamental, to both his own experience and the history of the Parsis. “Everything begins in the domestic realm, if you ask me. While girls become women and boys become men - during that time of growth, I cannot think of a more formative place or time than the kind spent in a domestic setting. For the Parsi community it just so happened to be this very insular experience - teachings, both cultural and moral, that stipulated a certain kind of behaviour towards all fellow human beings. So I do think it has great significance for the development and resulting status of a minor community that happened to thrive. Based on those totemic pillars of Zoroastrian faith, 'Good Thoughts, Good Words, Good Deeds' - this could very well be what shaped the individuals who were raised in these incredibly warm, kind and fiercely caring domestic settings.”
Thanks to: Areez Katki, Dolly Ogra, Phiroza Devlaliwalla, and the people of the Sir Ratan Tata Colony.
Please note, there are several different spellings for most Zoroastrian terms. I have endeavoured to use the most widely known of these.
References: Heritageinstitute.com