RELIGIOUS ARTS AND CRAFTS

TEXTILES

EMBROIDERY

Kusti weaving, sudreh stitching, chalk designs, torans of silver, beads and flowers, diva na kakda were traditionally part of daily life.

Special food made by wives of priests for placing in religious ceremonies e.g. Malida and other Chasni offerings need recording.

Prayers accompanied many of the religious crafts and have only been handed down by word of mouth.

It is essential to record such prayers e.g. those said at each stage of the kusti’s creation and to understand the symbolism which goes into the religious arts and crafts.

A very unusual display board of kusti making is available at the Navajbai Tata Girls School in Navsari but is in need of urgent restoration and repair.

The history of Parsi commerce and industry is closely linked with the art of weaving textiles.

Centred at Surat, three of India’s traditional crafts the Surti Ghat, the Tanchoi and the Garo were pioneered by Parsi weavers.

The Ghat was handwoven silk but so strong that it was compared to the strength of the Surat Ghat or Mountains, this is how this silk was named.

The Sali Garo and Tanchoi were originally Chinese crafts, the tanchoi being named after the three (Tan) Parsi Joshi brothers from China (Choi).

Gandhiji himself visited the Joshi family and invited him after Independence to organise the Tanchoi Centres which today exist across India.

Collections of these silks are necessary for the archives/ museum to be created in this Project.

The contribution of the late Nelly Sethna to textile designing and weaving at the National Institute of Design, Ahmedabad and her role in the revival of Kalamkari continued the tradition of Parsis in Textiles till recent times.

Recently a revival of Parsi kor embroidery is sweeping across India.

This most attractive of the Parsi arts and crafts has produced invaluable garments fully embroidered by hand.

The Gara, the Kor, Topi, Ijar are all examples which are embellished with perfect embroidery. The art was originally based on Chinese embroidery and contains motifs of birds, animals, flowers, scenes and stories often with clear Chinese influence e.g. Pagodas and Chinamen.

It was developed by Parsi women who incorporated European embroidery including Petit Point to create works of matchless beauty.

Researchers can study the tradition with the help of some Parsi women who are keeping it alive e.g. Naju Davar, Piroja Narielwala, Khorshed Rustamji and the workers at the Ratan Tata Institute Embroidery section, Mumbai.

An exhibition of this art should be displayed not only all over India but also internationally.

FURNITURE

SILVER

PAINTING AND SCULPTURE

The history of Parsi furniture with its distinctive carvings again shows cross cultural links.

An amalgam of South Indian rosewood carving techniques with Chinese, Portugese and Gujarati wooden designs this distinctive art form and detailed carving methods needs historical study and research.

Parsi homes still contain distinctive furniture with glazed tiles which reveal Iranian links. Much of this furniture is in need of restoration as well as protection to prevent it being taken out of this country.

Preservation techniques need to be disseminated among Parsis as otherwise this invaluable heritage, which damages easily, will be lost to the Nation.

An example of heritage carving is the main screen at Begum Vad, Bharuch.

As in the case of other arts Parsi Jewellery is influenced by the great Indian tradition of fine craftsmanship, Persian royal designs, Chinese influence and at a later stage western designs and influences such as Cameos.

Another influence was the presence of Armenian jewellers who designed some Parsi family jewellery.

The portraits contained within some broaches tell the history of a family and the priceless collections of distinctive Parsi Jewellery need to be catalogued and replicas put on display in the Museum.

The techniques of preserving some of the very ancient pieces of jewellery need to be disseminated among the community.

Silver is a sacred metal for Zoroastrians and stands for purity. The silver thalis, large ses, muktad vase collections of families provide a sociological study into the cross cultural influences in Parsi life.

Indian motifs, Middle and Far Eastern patterns, Chinese influences as well as Persian symbols are found in Silver artifacts not only in personal collections but also in Fire Temple Torans and Implements.

Georgian silver and European influences on silver dishes and tableware is also seen.

A catalogue of the silver items available with the community would provide interesting historical data on the changing lifestyles of the community.

Pestonji Bomanji, Pithavala, Bhiwandiwala, Lalkaka were the first in the tradition of Parsi Portrait painters.

In recent times Chavda, Sabavala, Gieve Patel and Dr. Homi Bhaba have taken Parsis into modern art. Besides Parsi artists, Parsi homes contained portraits and pictures painted by various European artists as well as by famous Indian artists such as Ravi Varma.

As in the case of all the arts a mingling of the east and west is seen in Parsi painting.

Documentation, restoration and preservation with a catalogue of the major collections of paintings is essential as the portraits in particular provide vast data on the community.

Institutionally Parsis were the founders of the premier school of art found in India, the Sir J.J School of Art.

Among Parsi sculptors Sheroo Sidhwa who made statues of well known Parsis.

Piloo Pochkhanawala who experimented with metals, stones, wood and perspex and Davierwalla are famous.

Art critic and historian Karl Khandhalwala pioneered the study of ancient and medieval sculpture and paintings. It is he who introduced the Pahari and Kishangarh Schools to the general public. As Chairman of the Lalit Kala Akademi and Trustee of the Salar Jung Collection he was responsible for much of the revival of interest in the arts of India.

TRADITIONAL CRAFTS

FOOD

The making of Sapat, special velvet, leather and wooden slippers traditionally worn at home, and by priests, the Pagdi, Topi, Parsi Headdress are some of the traditional crafts of the Parsis.

Parsis also excelled historically in the craft of clock and watch making and repair.

In 1744 Dhanjishaw of Surat was summoned to Delhi by the Emperor to repair a clock and given the title "Neksatkhan", Lord of the Auspicious Hour Clock. The title Taleyarkahn also comes from this professional craft.

Several Parsi firms e.g. Pundole & Sons were established and continue the craft of horology.

The bone setting, Vaid and Hakim traditions of the Parsis continue today in the Hadvaid and Madhivala families.

Documentation and research into this traditional craft which was often a part of Parsi charity in Gujarat is needed in order to preserve techniques and expertise.

An expert herbalist Edulji Hakim used herbs and plasters to cure a member of the Viceroy’s Council while Maharajas of Gwalior and Broada had Parsi Vaids.

The traditional laep or plaster methodology was known in all Parsi homes.

Documentation, collection and translation of vaid libraries which still exist needs to be done on a priority bases as this craft is fast dying out in the community.

The tanka water system of Gujarat is a remarkable example of water storage and purification, its history probably dating back to Iranian methods. The craft of tanka making and cleaning needs record and emulation as this is an environmentally sound and useful procedure.

At the heart of all Parsi life is the production of Parsi cusine.

Iranian and Indian customs intermingle with Portugese and European styles to create this very special food.

It is relevant to note that the Parsis brought and maintained over the centuries particular herbs, fruits, recipes, that originate in Iran.

In the religion food is prepared for both happy and sad occasions and used in religious ceremonies as Chasni or offerings.

In daily life the custom of special or sagan food cooked on auspicious days still continues even though other customs are forgotten.

The Parsi wedding / navjote feast continues the Iranian traditions of celebration but with Indian additions.

From the Dutch Parsis learnt the art of baking bread and biscuit making a traditional craft still followed by families like the famous Dotiwalla bakery of Surat.

The Dutch origin of a traditional food, the Popatji reveals how much the Parsis absorbed from other sources in creating their own traditions.

Collections of traditional recipes, recording of techniques and preservation of the special utensils and implements used by Parsis in cooking is required.

ACTIVITY

TECHNICAL ASPECTS

TECHNICIANS

Research, data collection and analysis.

Interviews and recordings.

Digi-Beta, photographic and film records for final inclusion in the CD-ROM and for archival preservation.

Restoration and preservation of textiles, embroidery, furniture, jewellery, paintings, sculptures, photographs.

Recording of crafts.

Collection, recording and translation of traditional medical methods and techniques.

Gathering of artifacts for the Museum/Archives.

Organising a National Exhibition of Parsi arts and crafts to be taken to all corners of the country.

Completing the second part of book six in the Parsi Heritage Book Series, editing and publishing.

Researching and collating results.

Historical data collection and catalogues on a national and global level.

Digi-Beta, photographic, recording. Placing on CD-ROM format.

Restoration and preservation of art and craft objects.

Translations.

Purchase/gather by donation art and craft objects for the Museum.

Planning and executing a National Level Exhibition both at the National Museum, New Delhi and at State Museums.

Book publication.

Parsi experts to reveal methods of arts and crafts.

Researchers, photographers, filmmakers, catalogue personnel, restorers, art historians, author, editor , publisher, translator.

Costing will take into account research, documentation, collection of material, travel cost. The film-makers costing and the CD-ROM production will also be included.

The collection for publication of a book, sixth in the Parsi Series will also have be worked out.

Restoration and preservation costing, collection of artifacts and storage will be included.

The cost of the exhibition and the networking for gathering material from private collections will be added.