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

Asia/Greater Persia when Islam wasovertaking the region andmarginalizingthe once-dominantZoroastrian religion.The Parsis have been extremelyimportant to India’s modernizationand are well-known in industry,commerce, education, government,

and the arts. In the 19th century,many Parsis moved to the bustlingport of Bombay during the Britishcolonial expansion. During thisexpansion, they were instrumentalin the British-dominated China trade.Living in Canton, China, Parsimerchants imported opium andcotton from India and exported teaand silk to the empire. They oftenacted as intermediaries for theEnglish and by the late 19th centurywere educated in English mediumschools, embracing features ofEnglish dress and culture. As Parsisentered professions within the Britishcolonial administration, they becameeven further anglicized. After Indianindependence in 1947, the specialstatus of the Parsi community wasgreatly diminished. Because of thehigh education of Parsi men andwomen, low birthrate, and theprohibition of intermarriage, thecommunity has been shrinking.The Zoroastrian religion is presentlyfollowed by two major groups: theZoroastrians of Iran and the Parsisof India. There are less than 70,000Zoroastrians in India, around 25,000in Iran, and only around 125,000Zoroastriansworldwide.This exhibitionfocuses on Parsi textiles, highlightingaspects of the long and varieddevelopment of the Parsi community.Parsi clothing demonstrates elementsborrowed from Iran, India, Victorian-era England, and China. The exhibitemphasizes the continuity ofParsi culture, giving insight into theZoroastrian religion and its Persianroots, the history of the community,and its rich and complex culture.

Parsis, followers of Zoroastrianism,oneof the world’s oldest religions, are aunique community found mostlyin South Asia (they are the smallestrecognized ethnic group in India).From the 8th through 10th centuries,the Parsis emigrated from Central

ParsiSilk & Muslin from Iran, India, and China

The East-West CenterArts Program presents

COOVERBAI JAMSETJEE DADABHOYWADIA, OIL ON CANVAS, COLLECTION: H.BWADIAATASH, BEHRAM, BOMBAY,PHOTOGRAPH: HOMYARMISTRY, HOMZ PRINTS

Curators:Pheroza J. Godrej, Firoza Punthakey Mistree, Michael SchusterExhibition design: Lynne Najita

Presented in cooperation with:Pheroza J. Godrej, Firoza Punthakey Mistree,

Shangri La - Doris Duke Foundation for Islamic Art

Parsi Arrival in IndiaIn 936 CE, a group of Zoroastriansseeking freedom of worship fled Iranand arrived in India. Therethey flourished and came tobe known as the Parsis. Asthe Parsi community grew innumbers, they moved fromSanjan along the west coastof India in search of economicopportunities. Large numberssettled in Surat. Early Parsisworked primarily in agricultureand later becamemastercarpenters and shipbuilders.By the 14th century, Suratbecame themain port of tradefor ships sailing in from the Red Sea,Straits of Malacca, Batavia (Java), andthe South China Sea. By the early 16thcentury, Surat emerged as an importantport city and eager traders from acrossthe world converged to this city as thegateway to India and the spice trade. Bythe 17th century, a few Parsis from Surat

beganto assertthem-

selves asbrokers and commissionagents to the Dutch andEnglish East IndiaCompany, and developedextensive reach withinMughal India and theoutside trading world.Even though the Parsis

became cosmopolitantraders, they continued

Zoroastrian Iranand Their TextilesThe Zoroastrians are the followers ofthe great Iranian Prophet SpitamanZarathushtra, known to the Greeksas Zoroaster. The prophet Zarathushtralived somewhere around the Aral Sea,circa 1200 BCE. For over 1,000 years,circa 549 BCE to 651 CE,Zoroastrianismflourished in Iran as the state religion ofthreepowerful empires: theAchaemenians,the Parthians, and the Sassanians. Afterthe Arab conquest of Persia in the 7thcentury, the subsequent spread of Islamforced the remaining Zoroastrians to livein obscurity and isolation in the remotedesert provinces of Yazd and Kerman.

Encircled by the great Salt Desertin the northeast and the Sand Desert inthe southeast, the city of Yazd becamehome to the Zoroastrians of Iran, fleeingto this barren province in an attemptto safeguard their religion. Yazd is hometo countless Zoroastrian fire shrinesand towers of silence (sky burial sites).

The Zoroastrians of Yazd,many ofwhom still live in dun-colored adobehomes, have preserved their ancienttraditions, customs,and practices,makingthe province of Yazd a stronghold of thereligion. The Zoroastrian women of Yazdhave always worn colorful traditionalcostumes. This consists of a multi-colored striped shalvar (baggy gatheredpantaloons) and qamis (dress), amaknun(large head and body scarf) as well as alaachak (a small head covering). Textileswoven in cotton and silk cloth in amyriad of colors are examples of YazdZoroastrian traditions. The thick-stripedcotton cloth woven and embroideredby the Zoroastrian womenreflectstheirruralbackground,and the deep hues of thewoven silk is a result of thehistorical Silk Trade, whichtraversed the province ofYazd and established thecommunity’s early linkswith China.

with their ancient Zoroastrian practicesin adapted form.The sudreh is a religiousundergarment worn by Zoroastrian menand women in India. It is made of asingle piece of muslin and is stitched onthe side. On the front of the sudreh is arectangular patch stitched to the neckseam.This is known as the ‘pocket ofgood deeds.’This small patch has a holeon the reverse side which is meant tocollect all the good deeds done by thewearer. On the right side near the hem astraight seam denotes the ‘right path’ aZoroastrian must follow in his or her life.A small triangular stitching near thehem on the left side denotes the triadicprinciple of Good Thoughts, GoodWords & Good Deeds that the wearermust adhere to. The Parsi women,because of European influence, beganto wear sudrehsmade of fine cotton net,

embellishedwith embroideryin white. Thisbecame fash-ionable, espe-cially among theelite who wore itfor formaloccasions.

KEIKHOSHROWMEHR OFYAZD, IRAN, PHOTOGRAPH, 19TH CENTURY,IRAN, COURTESY: PARVIZVARJAVAND

SUDREH

NAOROJI RUSTOM, COLLECTION: MANCHERJI BAHMANJI SETH FIRETEMPLE, MUMBAI, PHOTOGRAPH: SANJEEV PRABHU

QAMIS, YAZD, IRAN, 20TH CENTURY,COLLECTION: FIROZA PUNTHAKEYMISTREE

industries, especially textile and steelmills, and ancillary industries such asbanks, insurance, legal and trading firms.In order to achieve this, a network ofpartnerships was created withmembersfrom other communities, laying the basefor Bombay becoming India’s financialcapital. The Parsis also contributed tothe development of Bombay throughphilanthropy,medical and educationalestablishments, art colleges, museums,and political service. Bombay is atestimony to the contribution madeby the Parsis to its institutional andinfrastructural development and theethos adopted by the city.

Examples of the cosmopolitannature of the Parsis can be seen in theheadgear worn by Parsi men. The paghriand pheta are traditional Parsi headgearsworn by the men for ceremonialoccasions. Both headgears are an

Indian developmentwhich became popularin the 19th century.The paghri is a stiff

dark-colored, lacqueredheadgear, similar in designto those once worn bysome Indian traders in the19th century. The shape of

the paghri is first formed withcardboard, which is covered with

a dark indigo cotton clothwith tiny pink or red dots.

Once it is glued to the cardboard shapeand dried, it is lacquered to obtain a

shine. The lacqueringprocess was likely learnedfrom Chinese migrantsliving in Bombay.

The pheta is anadaptation of the bowlerhat worn by Englishmenand the half-rolledturban worn by theZoroastrians of Iran. The

top part of the pheta is made of stiffenedred or black felt and shaped like acylinder. The thickband forming aridge around thecircumference ofthe pheta is usuallya woven shawlmaterial withembroidery.

The Making ofBombay CityThe Parsis began to appear in Bombayin the 17th century(Bombay is now officiallyknown asMumbai). Theycame as builders of thefort walls and as providersof variousminor services,such as ropemaking,turning, carpentry, andshopkeeping.With theBritish East India Company’sdecision to give Bombay priorityover Surat as a port, shipsbegan to dock at Bombay.

Quick to learn and impatient forprogress, the Parsis saw a window ofopportunity open for them.In Bombay there wasjust one power base: theEast India Company.Seizingthe opportunity, theygravitated towards theEast India Company,which controlled muchof the trade going out ofBombay—they began to supply theBritish with services of every kind.Where the Company and their officialswere, the Parsi trader was there, willingto provide for their every need.

The move from being traders tobecoming industrialists opened up newavenues of engagement for the Parsis.With the money made in the Chineseopium trade, the Parsis chose to set up

Parsis andthe China TradeCanton (present-day Guangzhou) wasat the center of Chinese trade with theoutside world. To facilitate trade, theChinese officials demarcated a strip ofland along the Pearl River (which theycalled the ‘Foreign Concession’) whereforeign traders, brokers, and merchantsfrommany countries could live andtrade in their respective ‘factories.’The Parsis were at the epicenter ofthis trade, which brought them untoldwealth and enhanced their socialstature in Bombay.

One of the most importantrepercussions from this trade is thecontinuing influence of Chineseembroidery on Parsi textiles. The gara,which is a silk sari heavily embroideredwith a fusion of both Chinese and Indianmotifs, is a prized possession handeddown among Parsi women.

Motifs on the garas vary from theeternal fungus to flowers and birds.Especially popular were garasembroidered with birds of paradise, andwhat were eponymously referred to inParsi Gujarati as a Cheena Cheeni Gara.These were garas embroidered withfigures of Chinese men and women set

in a social scene amidstpavilions, bridges, pagodas,and butterflies. Sometimesgaras were embroideredwith the Taoist Immortalscarrying symbols of fertility,prosperity, and longevity.

HIRJEEBHOYMERWANJEEWADIA, JEHANGEER NOWROJEEWADIA,AND DORABJEE MUNCHERJEE NANJI VOHRA,ARTIST: J ROBINS,1842, COLLECTION: HAMEED HAROON

SOONI TATA,WIFE OF RATAN D TATAAND LADYMEHERBAI TATA,WIFEOF SIR DORAB TATA, COLLECTION: TATACENTRALARCHIVES

EMBROIDERYDETAIL FROMASARI

DEEP PURPLE PAGHRIMADE OFUNLACQUERED SILK CLOTH

RED FELT PHETA, STYLED SIMILAR TOABOWLER HAT IS FINISHEDWITH THE USE

OFA PANELOF KASHMIRI SHAWL

Printed with soy based inks on recycled paper

East-West Center Gallery | Honolulu, Hawai‘iJohn A. Burns Hall, 1601 East-West Road (corner Dole St. & East-West Rd.)

Gallery hours: Weekdays: 8:00 a.m.–5:00 p.m.Sundays: Noon–4:00 p.m.; Gallery admission is freeClosed Saturdays, & October 12, November 11, 26–27, December 24–25, 31, January 1 & 18.

For further information: 944.7177 | arts@EastWestCenter.org | 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

JAMSETJEE JEJEEBHOYAND HIS CHINESE SECRETARY,GEORGE CHINNERY

Special EventsIn the EWCGallery with free admission.

Sunday, October 11, 2:00–3:30 p.m.ExhibitionGala Opening includingreception and gallery walkthroughwith guest curators, Pheroza J. Godrejand Firoza Punthakey Mistree.

Sunday, October 25, 2:00–3:00 p.m.Illustrated talk: “Global TextileIndustry in Pakistan: A PersonalConversation” by Nisha Pinjani, MFAcandidate, UHM Dept. of Art and ArtHistory.

Sunday, November 1, 2:00–3:00 p.m.Illustrated talk: “From Rituals toSport: Persian Culture and theAncient Sport Tradition” by MaseehGanjali, MFA candidate, UHM Dept. ofTheatre and Dance.

Sunday, November 15, 2:00–3:00 p.m.Illustrated talk: “Ancient Religions ofPersia: Mithraism, Zoroastrianism,and Manicheism” by F. Don Parsa,Professor of Surgery, UHM John A.Burns School of Medicine.

Sunday, December 6, 2:00–3:00 p.m.Illustrated talk: “Chinese Influenceon the Fashion Runway” by Shu-HwaLin, Associate Professor and CostumeCurator, UHM Dept. of Fashion Designand Merchandising.

Sunday, January 17, 2:00–3:00 p.m.Illustrated talk: “Zoroastrianismafter Islam and Its Influences onPersian Culture” by Ladan Hamedani,Roshan Institute Instructor in PersianLanguage and Culture, UHM Collegeof Languages, Linguistics, andLiterature.

Subscribe to our email list: http://arts.EastWestCenter.org

Lenders to the exhibition: Zenobia Davar, Pheroza J. Godrej, Firoza Punthakey Mistree,Shangri La - Doris Duke Foundation for Islamic Art, Douglas D.L. Chong

Mahalo:Sarosh Adenwalla, Hami Balsara, Meher Banaji, Ervad Adil Bhesania, Kety DadyBurjor, Shannan Castelino, Sneha Chandorkor, Yasmin Charna, Ervad Cyrus Dastoor,Joan D’souza, Blossom Fernandes, Santosh Gavahne, Rumi Majoo, Naju Jamshed Marzban,Harshad Panchal, Farokh Subedar, Freny Shroff & R.P Narla, Tata Central Archives,Joan Bickson, Raymond N. Bickson, Sarosh Bana, P.P. Kharas, Cheri Vasek, Lynne Najita,Kennedy & Preiss Graphic Design, Leilani Ng, Colorprints Inc., Nancy Hulbirt, UHM SOEST,Derek Ferrar, Shayne Hasegawa, Phyllis Tabusa, Lucy Kamealoha, Deanna O’Brien, Urie Layser,Elizabeth Kuioka, Tina Tom, Patsy Hiraoka, Marie Ebesu, EWC Facilities Management

EWC Arts Programs are supported by EWC Arts ‘Ohana members, Jackie Chan Foundation USA,Jean E. Rolles, JhamandasWatumull Fund, and other donors.

TheEast-West Center promotes better relationsand understanding among the people and nationsof the United States,Asia, and the Pacific throughcooperative study, research, and dialogue.Establishedby the U.S. Congress in 1960, the Center serves asa resource for information and analysis on criticalissues of common concern, bringing people togetherto exchange views, build expertise, and developpolicy options.The Center is an independent, public,nonprofit organization with funding from theU.S. government, and additional support providedby private agencies, individuals, foundations,corporations, and governments in the region.

The East-West Center Arts Programfor more than 35 years has enriched the communitythrough concerts, lectures, symposia, and exhibitionsfocusing on arts of the region, and by arrangingcultural and educational tours by artists who areskilled in bridging cultures.

EWC Arts Team: Karen Knudsen, director,External Affairs; Michael Schuster, Ph.D., curator;Eric Chang, arts program coordinator; William Feltz,adjunct arts specialist; Gary Yoshida, developmentofficer; Anna Reynolds, arts program assistant;Matthew Jewell, research intern.

This exhibition is made possible by generoussupport from Richard H. Cox, Roshan CulturalHeritage Institute, The Hawaii Pacific RimSociety, and Aston Hotels & Resorts.

DOMED ROOFTOPS OFADOBE HOMES IN THE VILLAGE OFCHAM,YAZD, IRAN, PHOTOGRAPH: MALCOLM DEBOO