Cover Story
Patrons in Poona
Dr Cyrus Poonawalla and his son Adar have restored Poona’s Komra ni Agiary and are constructing a wall around the 65-acre Doongerwadi estate
The iconic rooster that presides over the weather vane atop the Poona Kadmi and Shehenshai Anjuman Dar-e-Meher, lending it the name people are more familiar with — Komra ni Agiary — preens in his freshly painted plumage as he moves gently with the wind. The 118-year-old fire temple on Synagogue Street wears a smart new look thanks to the munificence of Dr Cyrus Poonawalla and his son Adar who provided the funds and enabled the expertise to transform this well patronized fire temple in Poona to honor the memory of the late Villoo Poonawalla who passed away on June 8, 2010.
Top: Renovated Poona Kadmi and Shehenshai Anjuman Dar-e-Meher with Pudumjee Hall on side; Dr Cyrus Poonawalla; portrait of Villoo
"My late wife Villoo was a pious lady and a very religious Zoroastrian,” Cyrus Poonawalla informed Parsiana in an e-mail interview. "On her unexpected and sudden demise my son Adar and I intended to contribute to various Zoroastrian causes in her memory. The first that came to our attention was the Poona Kadmi and Shehenshai Anjuman Dar-e-Meher, especially as the head priest there Ervad Ardaviraf Sinor was in close touch with her and she used to go and offer her prayers regularly at this agiary.”
Nor did the Poonawallas’ involvement end there. "During the time of her (Villoo’s) death when we were at the dakhma I was shown a large (plot of) land belonging to the Poona Parsee Panchayat (PPP) which was being encroached on and needed protection. I immediately committed to build a suitable boundary wall which would go around the entire property... I am pleased to confirm that most of this work has been completed,” Poonawalla revealed to Parsiana. Through this move to give back something sizeable to the Zoroastrian community of Poona, the Poonawallas are creating a three-kilometer long boundary wall to protect the 65-acre Doongerwadi property.
(Clockwise l-r) godha at entrance; ramp for the physically challenged; Section of renovated hall; Inaugural jashan; (from l): Nusli Pudumjee, Dr Cyrus and Adar Poonawalla, Phiroze Pudumjee ; the Doongerwadi wall; the audience
Poonawalla also mentioned that the family’s panthak is the Sardar Dastur Patel Agiary in Poona city which they have been patronizing and contributing toward its maintenance for several years. "My late mother and late wife both wanted us to fund the mobeds/dasturs which we are doing in a quiet way,” notes Poonawalla, reaffirming that they are now working on setting up an Athornan Trust for the benefit of priests who are in desperate need of a helping hand, underpaid as they are.
Poonawalla hosted three days of gahanbars, on December 5, 6 and 7, 2011, for the entire Parsi Irani Zoroastrian community of Poona in memory of wife Villoo, mother Gool and grandmother Bachubai.
A core team was set up from within the Poonawalla Group of companies headed by consultant architect Prof Percy Pithawala of Baroda who is also an urban designer and artist. It comprised architect Girish Abhyankar, senior engineer Rohit Shinde and Bokdawalla. Painstaking research was undertaken into past history, identifying detailing, sourcing local talent. Old woodwork was restored; the issue of smoke management was addressed by creating a vault fitted with Hurricane Turbine Ventilators imported from Edmonds, Australia (totally soundless, as Parsiana’s reporter discovered on a visit to the Dar-e-Meher); the entire flooring was tiled and walls clad with exquisite grey-veined Italian marble. A ramp leading to the verandah was installed for the benefit of senior citizens and the physically challenged.
The legacy of our Persian past has been recreated by stone carvers from Rajasthan and Gujarat who sculpted two stone godhas standing sentinel flanking the marble staircase, the bas relief panels on the verandah and parapet walls, and enhanced the old damaged columns with bull topped capital motifs. The hand washing facility has elegant ceramic ware fitted with eco-friendly taps, with separate cubicles for men and women to say their kusti prayers in. The glass of the cubicles’ swing doors have verses from Avestan scriptures etched on them in roman script.
The silver and mirror portrait of Zarathushtra now adorns another wall and in its former location stands a painting of the Prophet by well known artist of yesteryear Manchershaw F. Pithawala. A young Zoroastrian commercial artist from Poona, Hoshnad Kaikobad, repainted the precious rooster. Modern ergonomic chairs provide seating in place of cumbersome wooden benches. The baj room which houses the small padshah has also been renovated.
Adding value to the exterior is a permanent stage in black granite which can be used for lagans and navjotes; tables and chairs to seat guests can be arranged inside the paved front compound; the ornate black and gold wrought iron gates ensure privacy, lined as they are with opaque acrylic sheeting. Space for the elevated stage area was created by removing the ugly old shed housing the generator, relocating it at the rear of the building and covering the place with a fabricated dead fascia wall, the write-up mentions. As the evening shadows lengthen, aesthetic lighting turns the Dar-e-Meher into a visual delight.
The Poona Kadmi and Shehenshai Anjuman Dar-e-Meher was consecrated in 1893 when Sardar Khan Bahadur Pudumjee Pestonji gave away his property, Khorshedwadi, for religious use and Pestonji Cawasji Merchant donated his bungalow Villoo House for meeting the recurring expenses of the Dar-e-Meher. Assistance and generous donations were received from Hormuz Sheriar Irani and numerous other Parsis and Iranis of Poona. The Poonawallas’ generosity has ensured that this legacy will continue for many years to come. It is hoped that devotees will spare no effort or money in ensuring its upkeep by organizing events like "clean the agiary week,” the write-up mentions.
When the Doongerwadi wall is completed, it will be handed over to the PPP to serve the needs of the present and future Zoroastrians of that city. However, the vast property requires funds for other infrastructure, such as an additional approach road, repairs to existing roads, creating a suitable parking area for vehicles near the Kayani Bungli, repairs to the dadgah, rainwater harvesting and planting of baval trees. Perhaps a part of the Doongerwadi lands could be converted into a walking track or playground for community members to keep trespassers at bay. The community should consider these options and work towards generating funds for them to ensure their own welfare and future, Bokdawalla’s write-up mentions.
Regarding his future plans for the community, Poonawalla reveals that his offer to be the main sponsor for the World Zoroastrian Congress to be held at the National Centre for the Performing Arts in Bombay from December 27 to 31, 2013, has been accepted by the Bombay Parsi Punchayet. He looks forward to the occasion which will bring "the entire world’s Zoroastrian/Parsi community together.”
The silver and mirror portrait of Zarathushtra now adorns another wall and in its former location stands a painting of the Prophet by well known artist of yesteryear Manchershaw F. Pithawala. A young Zoroastrian commercial artist from Poona, Hoshnad Kaikobad, repainted the precious rooster. Modern ergonomic chairs provide seating in place of cumbersome wooden benches. The baj room which houses the small padshah has also been renovated.
Adding value to the exterior is a permanent stage in black granite which can be used for lagans and navjotes; tables and chairs to seat guests can be arranged inside the paved front compound; the ornate black and gold wrought iron gates ensure privacy, lined as they are with opaque acrylic sheeting. Space for the elevated stage area was created by removing the ugly old shed housing the generator, relocating it at the rear of the building and covering the place with a fabricated dead fascia wall, the write-up mentions. As the evening shadows lengthen, aesthetic lighting turns the Dar-e-Meher into a visual delight.
The Poona Kadmi and Shehenshai Anjuman Dar-e-Meher was consecrated in 1893 when Sardar Khan Bahadur Pudumjee Pestonji gave away his property, Khorshedwadi, for religious use and Pestonji Cawasji Merchant donated his bungalow Villoo House for meeting the recurring expenses of the Dar-e-Meher. Assistance and generous donations were received from Hormuz Sheriar Irani and numerous other Parsis and Iranis of Poona. The Poonawallas’ generosity has ensured that this legacy will continue for many years to come. It is hoped that devotees will spare no effort or money in ensuring its upkeep by organizing events like "clean the agiary week,” the write-up mentions.
When the Doongerwadi wall is completed, it will be handed over to the PPP to serve the needs of the present and future Zoroastrians of that city. However, the vast property requires funds for other infrastructure, such as an additional approach road, repairs to existing roads, creating a suitable parking area for vehicles near the Kayani Bungli, repairs to the dadgah, rainwater harvesting and planting of baval trees. Perhaps a part of the Doongerwadi lands could be converted into a walking track or playground for community members to keep trespassers at bay. The community should consider these options and work towards generating funds for them to ensure their own welfare and future, Bokdawalla’s write-up mentions.
Regarding his future plans for the community, Poonawalla reveals that his offer to be the main sponsor for the World Zoroastrian Congress to be held at the National Centre for the Performing Arts in Bombay from December 27 to 31, 2013, has been accepted by the Bombay Parsi Punchayet. He looks forward to the occasion which will bring "the entire world’s Zoroastrian/Parsi community together.”
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From the archive