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Home , Muslin, Parsis, Pheta

Exhibition: October 11, 2015 – January 24, 2016 East-West Center Gallery, Honolulu, Hawai‘i

The East-West Center Curators: Pheroza J. Godrej, Firoza Punthakey Mistree, Michael Schuster Arts Program presents Exhibition design: Lynne Najita Presented in cooperation with: Pheroza J. Godrej, Firoza Punthakey Mistree, Parsi Shangri La - Doris Duke Foundation for Islamic Art & Muslin from , , and China

and the arts. In the 19th century, many moved to the bustling port of Bombay during the British colonial expansion. During this expansion, they were instrumental in the British-dominated China . Living in Canton, China, Parsi merchants imported opium and from India and exported tea and silk to the empire. They often acted as intermediaries for the English and by the late 19th century were educated in English medium schools, embracing features of English and culture. As Parsis entered professions within the British colonial administration, they became even further anglicized. After Indian independence in 1947, the special status of the Parsi community was greatly diminished. Because of the high education of Parsi men and women, low birthrate, and the prohibition of intermarriage, the community has been shrinking. The Zoroastrian religion is presently followed by two major groups: the Zoroastrians of Iran and the Parsis of India. There are less than 70,000 Zoroastrians in India, around 25,000 in Iran, and only around 125,000 Zoroastrians worldwide. This exhibition focuses on Parsi , highlighting aspects of the long and varied COOVERBAI JAMSETJEE DADABHOY WADIA, OIL ON , COLLECTION: H.B WADIA ATASH, BEHRAM, BOMBAY, development of the Parsi community. PHOTOGRAPH: HOMYAR , HOMZ PRINTS Parsi demonstrates elements Parsis, followers of , one Asia/Greater Persia when was borrowed from Iran, India, Victorian- of the world’s oldest religions, are a overtaking the region and marginalizing era England, and China. The exhibit unique community found mostly the once-dominant Zoroastrian religion. emphasizes the continuity of in South Asia (they are the smallest The Parsis have been extremely Parsi culture, giving insight into the recognized ethnic group in India). important to India’s modernization Zoroastrian religion and its Persian From the 8th through 10th centuries, and are well-known in industry, roots, the history of the community, the Parsis emigrated from Central commerce, education, government, and its rich and complex culture. with their ancient Zoroastrian practices Zoroastrian Iran in adapted form. The sudreh is a religious and Their Textiles worn by Zoroastrian men The Zoroastrians are the followers of and women in India. It is made of a the great Iranian Prophet Spitaman single piece of muslin and is stitched on Zarathushtra, known to the Greeks the side. On the front of the sudreh is a as . The prophet Zarathushtra rectangular patch stitched to the neck lived somewhere around the Aral Sea, seam. This is known as the ‘pocket of circa 1200 BCE. For over 1,000 years, good deeds.’ This small patch has a hole circa 549 BCE to 651 CE, Zoroastrianism on the reverse side which is meant to flourished in Iran as the of collect all the good deeds done by the three powerful empires: the Achaemenians, wearer. On the right side near the hem a the Parthians, and the Sassanians. After straight seam denotes the ‘right path’ a the Arab conquest of Persia in the 7th Zoroastrian must follow in his or her life. century, the subsequent spread of Islam A small triangular stitching near the forced the remaining Zoroastrians to live hem on the left side denotes the triadic KEIKHOSHROW MEHR OF , IRAN, PHOTOGRAPH, 19 TH CENTURY, in obscurity and isolation in the remote IRAN, COURTESY: PARVIZ VARJAVAND principle of Good Thoughts, Good desert provinces of Yazd and Kerman. Words & Good Deeds that the wearer Encircled by the great Salt Desert Parsi Arrival in India must adhere to. The Parsi women, in the northeast and the Sand Desert in In 936 CE, a group of Zoroastrians because of European influence, began the southeast, the city of Yazd became seeking freedom of worship fled Iran to wear sudrehs made of fine cotton , home to the Zoroastrians of Iran, fleeing and arrived in India. There embellished to this barren province in an attempt they flourished and came to with embroidery to safeguard their religion. Yazd is home be known as the Parsis. As in white. This to countless Zoroastrian fire shrines the Parsi community grew in became fash - and towers of silence (sky burial sites). numbers, they moved from ionable, espe - The Zoroastrians of Yazd, many of along the west coast cially among the whom still live in dun-colored adobe of India in search of economic elite who wore it homes, have preserved their ancient opportunities. Large numbers for formal traditions, customs, and practices, making settled in . Early Parsis occasions. the province of Yazd a stronghold of the worked primarily in religion. The Zoroastrian women of Yazd and later became master have always worn colorful traditional carpenters and shipbuilders. costumes. This consists of a multi- By the 14th century, Surat SUDREH colored striped shalvar (baggy gathered became the main port of trade pantaloons) and qamis (dress), a maknun for ships sailing in from the Red Sea, (large head and body ) as well as a Straits of Malacca, Batavia (Java), and laachak (a small head covering). Textiles the South China Sea. By the early 16th woven in cotton and silk cloth in a century, Surat emerged as an important myriad of colors are examples of Yazd port city and eager traders from across Zoroastrian traditions. The thick-striped the world converged to this city as the cotton cloth woven and embroidered gateway to India and the spice trade. By by the Zoroastrian women the 17th century, a few Parsis from Surat reflects began their to assert rural them - background, selves as and the deep hues of the brokers and commission woven silk is a result of the agents to the Dutch and historical Silk Trade, which English East India traversed the province of Company, and developed Yazd and established the extensive reach within community’s early links Mughal India and the with China. outside trading world. Even though the Parsis became cosmopolitan QAMIS, YAZD, IRAN, 20 TH CENTURY, COLLECTION: FIROZA PUNTHAKEY MISTREE traders, they continued NAOROJI RUSTOM, COLLECTION: MANCHERJI BAHMANJI SETH , , PHOTOGRAPH: SANJEEV PRABHU industries, especially and steel mills, and ancillary industries such as banks, insurance, legal and trading firms. In order to achieve this, a network of partnerships was created with members from other communities, laying the base for Bombay becoming India’s financial capital. The Parsis also contributed to the development of Bombay through philanthropy, medical and educational establishments, art colleges, museums, and political service. Bombay is a testimony to the contribution made by the Parsis to its institutional and infrastructural development and the ethos adopted by the city. HIRJEEBHOY MERWANJEE WADIA, JEHANGEER NOWROJEE WADIA, SOONI TATA, WIFE OF RATAN D TATA AND LADY MEHERBAI TATA, WIFE AND DORABJEE MUNCHERJEE NANJI VOHRA, ARTIST: J ROBINS, Examples of the cosmopolitan OF SIR DORAB TATA, COLLECTION: TATA CENTRAL ARCHIVES 1842, COLLECTION: HAMEED HAROON nature of the Parsis can be seen in the worn by Parsi men. The paghri Parsis and The Making of and pheta are traditional Parsi headgears the China Trade Bombay City worn by the men for ceremonial Canton (present-day ) was The Parsis began to appear in Bombay occasions. Both headgears are an at the center of Chinese trade with the in the 17th century Indian development outside world. To facilitate trade, the (Bombay is now officially which became popular Chinese officials demarcated a strip of known as Mumbai). They in the 19th century. land along the Pearl River (which they came as builders of the The paghri is a stiff called the ‘Foreign Concession’) where fort walls and as providers dark-colored, lacquered foreign traders, brokers, and merchants of various minor services, headgear, similar in design from many countries could live and such as rope making, to those once worn by trade in their respective ‘factories.’ turning, carpentry, and some Indian traders in the The Parsis were at the epicenter of shopkeeping. With the 19th century. The shape of this trade, which brought them untold British ’s the paghri is first formed with wealth and enhanced their social decision to give Bombay priority cardboard, which is covered with stature in Bombay. over Surat as a port, ships DEEP PURPLE PAGHRI MADE OF a dark indigo cotton cloth One of the most important began to dock at Bombay. UNLACQUERED SILK CLOTH with tiny pink or red dots. repercussions from this trade is the Quick to learn and impatient for Once it is glued to the cardboard shape continuing influence of Chinese progress, the Parsis saw a window of and dried, it is lacquered to obtain a embroidery on Parsi textiles. The gara , opportunity open for them. shine. The lacquering which is a silk heavily embroidered In Bombay there was process was likely learned with a fusion of both Chinese and Indian just one power base: the from Chinese migrants motifs, is a prized possession handed East India Company. living in Bombay. down among Parsi women. Seizing The pheta is an Motifs on the garas vary from the the opportunity, they adaptation of the bowler eternal fungus to flowers and birds. gravitated towards the worn by Englishmen Especially popular were garas East India Company, and the half-rolled embroidered with birds of paradise, and which controlled much RED PHETA , STYLED SIMILAR TO worn by the what were eponymously referred to in A IS FINISHED WITH THE USE of the trade going out of OF A PANEL OF KASHMIRI Zoroastrians of Iran. The Parsi Gujarati as a Cheena Cheeni Gara. Bombay—they began to supply the part of the pheta is made of stiffened These were garas embroidered with British with services of every kind. red or black felt and shaped like a figures of Chinese men and women set Where the Company and their officials cylinder. The thick in a social scene amidst were, the Parsi trader was there, willing band forming a pavilions, bridges, pagodas, to provide for their every need. ridge around the and butterflies. Sometimes The move from being traders to circumference of garas were embroidered becoming industrialists opened up new the pheta is usually with the Taoist Immortals avenues of engagement for the Parsis. a woven shawl carrying symbols of fertility, With the money made in the Chinese material with prosperity, and longevity. opium trade, the Parsis chose to set up embroidery. EMBROIDERY DETAIL FROM A SARI Special Events In the EWC Gallery with free admission.

Sunday, October 11, 2:00–3:30 p.m. Sunday, January 17, 2:00–3:00 p.m. Exhibition Gala Opening including Illustrated talk: “Zoroastrianism reception and gallery walkthrough after Islam and Its Influences on with guest curators, Pheroza J. Godrej Persian Culture” by Ladan Hamedani, and Firoza Punthakey Mistree. Roshan Institute Instructor in and Culture, UHM College of Sunday, October 25, 2:00–3:00 p.m. Languages, Linguistics, and Literature. Illustrated talk: “Global Textile Industry in : A Personal Conversation” by Nisha Pinjani, MFA candidate, UHM Dept. of Art and Art History.

Sunday, November 1, 2:00–3:00 p.m. Illustrated talk: “From Ritual to Sport: Persian Culture and the Ancient Sport Tradition” by Maseeh Ganjali, MFA candidate, UHM Dept. of Theatre and Dance.

Sunday, November 15, 2:00–3:00 p.m. AND HIS CHINESE SECRETARY, GEORGE CHINNERY Illustrated talk: “Ancient Religions of Persia: Mithraism, Zoroastrianism, The East-West Center promotes better relations and Manicheism” by F. Don Parsa, and understanding among the people and nations Professor of Surgery, UHM John A. of the United States, Asia, and the Pacific through Burns School of Medicine. cooperative study, research, and dialogue. Established by the U.S. Congress in 1960, the Center serves as Sunday, December 6, 2:00–3:00 p.m. a resource for information and analysis on critical Illustrated talk: “Chinese Influence issues of common concern, bringing people together on the Runway” by Shu-Hwa to exchange views, build expertise, and develop Lin, Associate Professor and Costume policy options. The Center is an independent, public, Curator, UHM Dept. of Fashion Design nonprofit organization with funding from the DOMED ROOF TOPS OF ADOBE HOMES IN THE VILLAGE OF and Merchandising. CHAM, YAZD, IRAN, PHOTOGRAPH: MALCOLM DEBOO U.S. government, and additional support provided by private agencies, individuals, foundations, corporations, and governments in the region. Lenders to the exhibition: Zenobia Davar, Pheroza J. Godrej, Firoza Punthakey Mistree, The East-West Center Arts Program Shangri La - Doris Duke Foundation for Islamic Art, Douglas D.L. Chong for more than 35 years has enriched the community Sarosh Adenwalla, Hami Balsara, Meher Banaji, Ervad Adil Bhesania, Kety Dady through concerts, lectures, symposia, and exhibitions Mahalo: Burjor, Shannan Castelino, Sneha Chandorkor, Yasmin Charna, Ervad Cyrus Dastoor, focusing on arts of the region, and by arranging Joan D’souza, Blossom Fernandes, Santosh Gavahne, Rumi Majoo, Naju Jamshed Marzban, cultural and educational tours by artists who are Harshad Panchal, Farokh Subedar, Freny Shroff & R.P Narla, Tata Central Archives, skilled in bridging cultures. Joan Bickson, Raymond N. Bickson, Sarosh Bana, P.P. Kharas, Cheri Vasek, Lynne Najita, EWC Arts Team : Karen Knudsen, director, Elahé Omidyar Mir-Djalali, Marie-Pascale Peterson, Kennedy & Preiss Graphic Design, External Affairs; Michael Schuster, Ph.D., curator; Leilani Ng, Colorprints Inc., Nancy Hulbirt, UHM SOEST, Derek Ferrar, Shayne Hasegawa, Eric Chang, arts program coordinator; William Feltz, Phyllis Tabusa, Lucy Kamealoha, Deanna O’Brien, Urie Layser, Elizabeth Kuioka, Tina Tom, adjunct arts specialist; Gary Yoshida, development Patsy Hiraoka, Marie Ebesu, EWC Facilities Management officer; Anna Reynolds, arts program assistant; EWC Arts Programs are supported by EWC Arts ‘Ohana members, Jackie Chan Foundation USA, Matthew Jewell, research intern. Jean E. Rolles, Jhamandas Watumull Fund, and other donors.

This exhibition is made possible by generous support from Richard H. Cox; Roshan Cultural East-West Center Gallery | Honolulu, Hawai‘i Heritage Institute; The Hawaii Pacific Rim John A. Burns Hall, 1601 East-West Road (corner Dole St. & East-West Rd.) Society; and Aston Hotels & Resorts. Gallery hours: Weekdays: 8:00 a.m. –5:00 p.m. Sundays: Noon –4:00 p.m.; Gallery admission is free Closed Saturdays, & October 12, November 11, 26 –27, December 24 –25, 31, January 1 & 18. For further information: 94 4.7177 | [email protected] | http://arts.EastWestCenter.org Free school & group tours available Gallery visitors interested in joining the EWC Arts ‘Ohana can obtain the appropriate flyer in the gallery, by telephoning the EWC Foundation at 944.7105, or online: http://arts.EastWestCenter.org Subscribe to our email list: http://arts.EastWestCenter.org

Printed with soy based inks on recycled paper