Introduction
Tucked away in a quiet lane of Mumbai’s bustling Malabar Hill stands the Framji Dadabhoy Alpaiwalla Museum, a unique institution unlike any other in the world. As the only museum dedicated solely to Parsi-Zoroastrian history and culture, it is both a time capsule and a wake-up call. With the Parsi population in India dwindling to just about 50,000–60,000 people, this museum is more than a cultural artefact, it’s a fight against historical amnesia.
The museum reopened in March 2025 after extensive restoration, funded by the Ministry of Culture and the Bombay Parsi Punchayet (BPP). This relaunch not only rejuvenated the physical space but also repositioned the museum as a centre of cultural memory and education.
A Brief History of the Parsi-Zoroastrians
The Parsis are descendants of Zoroastrians who fled Persia (modern-day Iran) between the 8th and 10th centuries CE, escaping religious persecution after the Islamic conquest. Settling primarily in Gujarat and later Mumbai, they became a prosperous and influential community, contributing to India’s economy, industry, and civic life. Despite their impact, their story remains relatively unknown outside select academic and cultural circles.
Courtesy – Homegrown
As art historian Dr. Pheroza Godrej explains, “We adapted to living in Surat, Navsari and Valsad, and learnt to speak the language. The women were educated.” The FD Alpaiwalla Museum seeks to document this journey from Persian migrants to Indian citizens and global contributors.
A Collector’s Dream Turned Public Legacy
Framji Dadabhoy Alpaiwalla, a Parsi bullion trader and passionate collector, amassed a remarkable collection of artefacts in the early 20th century. His massive 11-room house eventually overflowed with items ranging from porcelain and paintings to manuscripts and furniture.
According to co-curator Pheroza Godrej, “He ran out of space to store them and ended up sleeping in the kitchen.”
Before he died in 1951, Alpaiwalla donated his entire collection to the Bombay Parsi Punchayet, with the condition that it be housed in a museum. The institution was inaugurated in 1952 and has since become the world’s only museum dedicated to Parsi-Zoroastrian heritage.
What Makes the Museum Unique?
The FD Alpaiwalla Museum’s uniqueness lies in its dual function as an archaeological and ethnographic museum. The collection includes:
- Rare Zoroastrian manuscripts like the Yasna and Vendidad
- Terracotta artefacts and bricks from Susa and Yazd, dating as far back as 4000 BCE
- A replica of the Cyrus Cylinder, often referred to as the world’s first charter of human rights
- Portraits and personal effects of prominent Parsis like Jamsetji Tata and Dadabhai Naoroji
- Furniture and textiles reflecting European and Chinese influences
- An ancient astodan (bone receptacle) used in Zoroastrian funerary practices
The museum also showcases Parsi sartorial traditions, including garments like the Gara and Tanchoi sarees, which were influenced by Chinese and French embroidery. One of the highlights is a 170-year-old Tanchoi saree with peacock motifs from Sir Jamsetjee Jejeebhoy’s family crest.
One of the museum’s most compelling features is a life-sized replica of a Zoroastrian Fire Temple.
“Non-Parsis aren’t allowed inside actual fire temples,” explains Dr. Godrej. “So this offers everyone a rare, immersive experience, complete with recorded prayer recitations and the smell of sandalwood.”
Critical Thinking and Curatorial Choices
More than just displaying objects, the museum invites critical engagement with history. The curatorial approach isn’t passive; it’s reflective and, in many ways, political. The museum grapples with themes of migration, identity, and survival, all highly relevant in today’s global discourse.
“We had to educate ourselves with the help of scholars like Dr. John Curtis of the British Museum,” says Dr. Godrej. “This required a lot of thought.”
The museum isn’t just a celebration of what was; it’s an inquiry into what is at risk of being lost.
Trade, Textiles, and Transculturality
One section focuses on Parsi merchants and their historical trade with China. In the 18th and 19th centuries, Parsi traders were deeply involved in the opium, cotton, and tea trade. The porcelain they brought back was initially used as ship ballast, later sold in India, and eventually repurposed into home décor and mosaic flooring.
The textile collection includes richly embroidered Gara sarees and jhablas (tunics), many of which blend Eastern and Western design motifs. These garments are more than fabric, they’re records of global interaction, economic history, and cultural fusion.
Migration and Memory
Another section traces the migration routes of the Parsis from Iran to India. Detailed maps show two significant waves, the first from Khorasan in the 8th–10th centuries, and the second from Yazd and Kerman in the 19th century. Exhibits include ancient maps, immigration documents, and family heirlooms.
Dr. Shehernaz Nalwala of the Asiatic Society notes, “It is a small museum. However, it is significant because it preserves the memory of the people who came from Persia to India.”
Digital and Inclusive
The museum has embraced modern practices: improved lighting, Braille signage, and multilingual exhibit labels make it accessible to a broader audience. A reference library of over 1,900 books and upcoming workshops on Parsi women and religious rites indicate a forward-looking vision.
The first floor will soon host lectures, events, and cultural programming. There are even plans to collaborate with institutions like Mani Bhavan to integrate the museum into Mumbai’s wider cultural itinerary.
Why This Museum Matters Today
With demographic decline threatening the Parsi community’s very survival, the FD Alpaiwalla Museum is not just a building; it is a repository of resistance. It challenges mainstream historical narratives and insists that minority histories are central, not peripheral.
As curator Kerman Fatakia notes, “It’s a small museum, but it is packed with history. And it’s a great place for not just the residents of Mumbai or India to learn more about the Parsi community but for people from all over the world.”
A Flame Still Burns
At its heart, the FD Alpaiwalla Museum is a story of continuity. It is about a flame, literal and metaphorical, that refuses to go out. As we walk through its corridors filled with prayer chants, peacock motifs, and opium jars, we aren’t just witnessing history; we are inheriting a legacy.
The museum offers more than knowledge, it offers a chance to think critically about how we preserve cultures, tell stories, and shape collective memory. It’s not merely about the Parsis. It’s about all of us.
Image – Inside Framji Dadabhoy Alpaiwalla Museum. Courtesy – Conde Nast Traveller
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