ranshah: A Legacy Restored by Zarin Amrolia. Published in 2023 by Shapoorji Pallonji and Company Private Limited, SP Centre, 41/44 Minoo Desai Marg, Colaba, Bombay 400005. Pp: xi + 150. Price: Rs 3,000.
It was consecrated on October 31, 1894 and the Iranshah Atash Behram has stood for almost 130 years dominating the skyline of Udvada, "an inspirational legacy, treasured by the faith of Zarthoshtis, upholding the resilience, hopes and memories, struggles and achievements of this community who made India their home,” says Zarin Amrolia, the author of this impressive work of art. To call it a mere coffee table book would denigrate the importance of this tome and the immense labor of love of the Shapoorji Pallonji Group which has gone into restoring and, in some cases, recreating this magnificent edifice which is probably the most important and majestic structure for Zoroastrians.
The restoration which commenced in 2018 and was completed in a little over three years is remarkable considering that the country faced a pandemic and a lockdown. There was also a lack of historical data pertaining to the structure and the requirements for the adherence to "strict religious doctrine” which was critical to the entire process. The book records the dedication and single-minded devotion which went into this mammoth project.
Entrance to the Iranshah Atash Behram
The book has been broadly divided into two sections. The first covers the history of Udvada, the community and the Atash Behram. The importance of fire has been documented in great detail — the origin of the fire, its significance, not only for the Zoroastrians but the power and the qualities which makes the fire relevant to all mankind. Amrolia mentions that nine priestly families have been serving the Iranshah for several generations. Ervad Kekobad Mogul, from one of these nine families, has spent 70 years "bowing to the fire five times a day,” noted the book.
Not many know that 16 different fires are required to consecrate an atash behram. Amrolia writes of the journey of the fire from Navsari to Sanjan, the Bahrot caves, the Vansda forest, Valsad and finally Udvada. The description of the various parts of the fravashi as well as the layout of the kebla have been explained in detail. The subdued colors used to depict the charming seaside town of Udvada and its inhabitants are in sharp contrast to the vibrant and colorful photographs of the restored Iranshah. Photos of the local cuisine will whet the appetite of readers.
Amrolia’s clear and lucid description of and commentary on the restoration of the Iranshah of the grand marble staircase, the "majestic hall,” the various portraits on the marble clad walls of Zoroaster, the late high priests, members of the Petit family and Jamsetjee Jejeebhoy make readers feel that they are present in a hallowed space. One cannot overlook the portrait of Bai Motlibai Wadia whose generous contribution made possible the construction of the present Iranshah building. So modest was the lady that her contribution has not been specified as she did not want any credit for the amount she donated. These portraits are gorgeously depicted later in the book. The property is managed by the N. M. Wadia Trust while the fire is looked after by the Udvada Athornan Anjuman and Samast Anjuman Fund.
Amrolia draws our attention to the fact that there were no blueprints of the structures. The team had to rely on the "faint memories” which were handed down through the generations of a few senior priests. When writing of the restoration one often feels she is describing a patient in a hospital: "Ultrasonic Pulse Velocity Tests” and an "endoscopy” were carried out with "surgical precision” to restore the original features of statues and columns. Over the years repairs had been carried out on a piecemeal basis with no documentary evidence. Once layers of paint were removed, a startling discovery was made — an engraved inscription mentioning the date of the foundation stone and the name of the architect.
The attention to detail by the team carrying out the project is impressive: a team of skilled workers from Agra was entrusted with the marble inlay, damaged stone carvings were repaired by craftsmen from Rajasthan, efforts were made to replace the old Satvario marble with new marble from the same Satvario family. There are wonderful photographs of this floor and the otla (patio) before and after restoration and the differences are striking. The tattered Iranshah flag was painstakingly restored and framed. Key technical drawings detailing the measurements of the various rooms, details of architectural interest like doors, windows and columns are published to assist for future restorations. The ceremony describing the return of the Atash Padshah, from the adjoining Dinshaw Petit Dar-e-Meher to the original throne in the reconsecrated Atash Behram structure, is complex and illuminating.
Right: Door of the sanctum sanctorum (above)
Painting of a divo (l) by Zarin Amrolia ; Portraits of Motlibai Manockjee Wadia (center) and Jahangir Nusserwanji Wadia (r)
Space for doing padyab kusti
Zarin Amrolia
A photograph of the Iranshah published in the National Geographic of December (year?) shows how remarkable and by and large faithful the restoration completed on December 14, 2021 was to the original. Several photographs depict the rooms in the present day as compared to earlier. The photographs of the work done on the Urvis Gāh (or ijasni area where the mobeds perform higher liturgical ceremonies), the restoration of the hall on the first floor and the side staircase are revealing.
The book will be of interest not only to Zoroastians all over the world but anyone who is interested in restoration and/or the community.
The prodigious work done by the Mistry family is best reflected in the words of the Dastur Khurshed Dastoor on the completion of the project: ‘"We were promised the best and the best has been delivered.”
Gandavia holds a doctorate in English literature and is a retired chartered accountant. He is a compulsive reader of fiction.