Afghan Church In Mumbai: Celebrating Palm Sunday With The Parishioners

It was a pleasant February evening in 2024 when my husband and I decided to take his associate, who had previously served in the Navy and had recently joined my spouse at work, for a long drive. He was eager to show us Navy Nagar where he was posted in his heydays and we kept wondering where it might be. We drove beyond Café Mondegar and Leopold while he kept mentioning to drive on. Finally, we reached where the board mentioned ‘Colaba Defence Station’. As we drove on he mentioned his station was close to Afghan Church in Mumbai and we kind of failed to grasp what he was saying. Since it was dark, we could not make much of it. But as vision swept past, I noticed scaffolding that could only mean renovation was in progress. Even then I had decided to drop by in a few weeks’ time.

As destiny would have it, the next day’s paper bore the news of Afghan Church’s ongoing renovation and subsequent opening in a few weeks. It felt like I was meant to cover this place of worship. I was ecstatic.

As luck would have it, I ended up on the doors of this beautiful Anglican Church on Palm Sunday, one of the several rituals celebrated by Catholics, the Sunday before Easter. Being married into a Catholic family, I know of the traditions and special days and events. The service is what took me by surprise.

It marks the beginning of the Holy Week that includes Maundy Thursday, Good Friday and Easter and Jesus Christ’s entry into Jerusalem where he was welcomed with waving palm branches. During several services the palm fronds are knotted into crosses and brought home.

a towering spire of buff-coloured basalt rises 198 feet above the surrounding trees. For nearly 160 years, this spire has served as a landmark—first for ships entering Bombay harbour, and today as a silent sentinel to one of the British Empire’s most devastating military disasters. The Church of St. John the Evangelist, universally known as the Afghan Church, stands as both an architectural masterpiece and a poignant memorial to the thousands who perished in the First Anglo-Afghan War (1838-1842)

The Afghan Church holds a significant place in the history of Indian ecclesiastical architecture. Until its construction, most churches in India were built of rubble and brick with a surface finish of smooth chunam (lime plaster). The Afghan Church broke this tradition by becoming the first church in India to use local stone as the primary building material.

The exterior walls were constructed using coarse rubble from quarries in Kurla, combined with locally available buff-coloured basalt. The coigns (cornerstones), arches, piers, and carvings were executed in beige Porbander stone, which provided a striking contrast to the darker basalt. This innovative use of stone set a new trend for church architecture in India, not only for its aesthetic quality but also because it required far less maintenance in India’s hot, humid, and rainy climate.

The church exemplifies the Early English Gothic style, characterized by pointed arches, lancet windows, and a soaring verticality intended to draw the eye and the soul upward. The nave and aisle lead to a chancel measuring 50 feet in length and 27 feet in width. Wide Gothic arches span the interior, creating a sense of spaciousness while maintaining the structural integrity essential for such a tall building.

The tower and spire reach 198 feet (60 metres) in height. In the early days, this spire was visible from a considerable distance, serving exactly the navigational purpose the government had envisioned. Ships entering Bombay harbour would be greeted by this Gothic spire rising from the green canopy of Colaba.

The stained glass windows are arguably the church’s most celebrated feature. The Great East Window (the altar window) and the West Window (above the main entrance) were designed by William Wailes, one of 19th century England’s most accomplished stained glass manufacturers.

The main panels, with their richly detailed depictions of Biblical scenes, were manufactured in Britain and shipped to India by sea. The East Window primarily depicts the Gospel Saints from the New Testament, with the figure of Jesus Christ central. The West Window, designed in a 13th century French style, features medallions recounting tales from the Old Testament, reminiscent of the stained glass at Chartres Cathedral in France.

A particularly fascinating detail can be found in the Barr Memorial Window, located in the Lady Chapel. When the lower section of this window was damaged approximately seventy years after installation, the church chaplain proposed that students from the Sir Jamsetjee Jeejeebhoy School of Art replicate the damaged area. Instead of merely copying the original medieval revivalist style, the students introduced an Indian sensibility: the three Magi were depicted as representing India’s three major communities – Hindu, Muslim, and Parsi, shown wearing Indian costumes with their respective turbans and chappals.

The bell tower houses eight large bells gifted by Sir Charles Gayzer of Gartmore, Perthshire, in 1903 to commemorate his wedding. Cast by John Taylor & Co. of Loughborough, England, these bells were designed for full-circle ringing and Ellacombe chiming. They are acknowledged to be among the finest in western India.

The Afghan Church is, above all, a memorial. In the chancel, a marble inscription reads:

“This church was built in memory of the officers whose names are written on the walls of the chancel and of the non-commissioned officers and private soldiers, too many to be so recorded who fell, mindful of their duty, by sickness or by sword in the campaigns of Sind and Afghanistan, A.D. 1838-1843”.

Inside the church, rolls of honour list the names of British commissioned officers who fell in the conflict, along with the armies for which they served—the Bengal Army, the Bombay Army, the Madras Army, and Her Majesty’s Army. Memorials at the rear of the nave also record casualties from the Second Anglo-Afghan War (1878-1880)

The journey from Churchgate Station to Afghan Church was filled with anticipation as what might I expect there; perhaps an ongoing service, or what if its still under renovation or closed to visitors!

But I was in for a shock!

What followed surpassed anything I had expected!

In broad daylight, it obviously looked quite different than how it appeared in the dark silhouette of the night. Symbolic to Christian churches (except for Jewish synagogues) the high steeple of Afghan Church commands a second glance by passersby.

As I stepped inside the Church through the entrance of the tower spire instead of the narthex entrance under the porch, I was welcomed with the intoxicating fragrance of incense emanating from the thurible and filling the nave with its purity. Not only that, but the sound of hymns also added to the allure – I knew that a service was on.

Not willing to disrupt the service, I took a seat in one of the rear pews of the nave and waited patiently for the service to end so that I could commence my photography. While I lingered in my seat, I started to listen to the hymns and the service, trying to grasp the vernacular because it was neither in English nor in Konkani. Finally, I came to realize that the Mass was in Malayalam!

As I sat through the entire Mass I noticed a man watching me over his shoulder. It was only after the 2-hr long service, that he approached me, and I shared my intent – I am a travel blogger who wants to write about the 165-year-old Church that stands as a testament to sacrifice and valour. Post my conversation with the gentleman, I spoke to the parish Father who was pleasantly surprised that I sat through a service I hardly understood. Since they had arranged a small feast in honour of Palm Sunday, I was invited to join them, which I politely refused.

1.  This is a Protestant Church.The service is conducted in English and Malayalam.
2. The Mass timings are not mentioned anywhere but you can reach out and check in case you are interested in attending one.
3. This is a small parish of hardly 15-20 parishioners.On Sundays it is open from 7:30 am to 7:30 pm.
4. This is an extremely warm and welcoming parish!

The church is located in Navy Nagar, Colaba, in South Mumbai.

• By Bus: This is the easiest method. Alight at the Afghan Church bus stop, which is located directly opposite the church.
• By Metro: The nearest metro station is Vidhan Bhavan on Line 3 (Aqua Line), about 2 km away.
• By Train: There are no local train stations within walking distance; visitors typically take a taxi or bus from Churchgate or CST stations

The church is generally open from 9:00 AM to 5:00 PM on weekdays (Monday to Friday). Saturday hours are typically the same, and Sunday hours often extend later or vary to accommodate services.

• Entry Fee: There is no entry fee to visit the church.
• Donations: While entry is free, donations are welcome to help with the upkeep of the heritage structure.

Because the church is situated within Navy Nagar (a residential zone under the Western Naval Command), it is a secure area.

• Security: Visitors should carry a government-issued ID proof (such as an Aadhaar card or passport) as security checks may be present at the entrance to the neighborhood.
• Access: If the main gate appears locked, visitors have reported that the caretaker is usually nearby and willing to open the church for viewing.

Based on visitor reviews and historical records, the highlights include:

• Rifle Niches: Look at the wooden pews (benches). The rear pews have semi-circular notches cut into them where soldiers would rest their rifles during services. Officer pews do not have these 
• Stained Glass: The windows were designed by William Wailes. They are best viewed on sunny mornings when the light shines through.
• Regimental Flags: The church displays regimental colors from the Afghan wars. The originals are safeguarded, but high-quality copies are on display.
• Bells: The tower houses eight historic bells cast by John Taylor & Co. in 1903.

While there is no published specific ban on photography for the Afghan Church, general rules for such sites in India apply.

• Non-Commercial: Casual photography for personal use is usually permitted.
• Restrictions: As the church is located within a military area, flying drones is strictly prohibited. Tripods and professional commercial shoots typically require prior permission from the church authorities and naval authorities.

Yes. According to visitor information, the church is wheelchair accessible. The restoration project included making the heritage site more accessible to all visitors.

• For Light: To see the stained glass windows at their best, visit on a sunny morning.
• For Crowds: Weekday mornings are generally less crowded, offering a more peaceful experience.
• For Atmosphere: Some visitors recommend attending the Sunday morning Mass for a “soul-soothing” spiritual experience.
• For Weather: The best season to visit is between October and March when Mumbai’s weather is cooler and less humid.

Yes. There is typically a pamphlet available at the church that explains its history and unique features (such as the rifle niches and stained glass). Additionally, following the recent restoration, informative posters and maps detailing the history and conservation work are available on the premises.

It earned the nickname “Bride’s Church“ because it has historically been a very popular venue for military weddings, given its location in Navy Nagar and its scenic Gothic architecture.

A part of history that was never a part of our syllabus – the Afghan War! The intricate details on the walls of the Neo-Gothic masterpiece. The commendable restoration work and landscaping of the Church grounds by K. Unwalla Architects and team of several other organizations. The artefacts on the alter. The plaques with inscriptions of fallen soldiers of the Afghan War.

Last but not least – a reason is not reason enough for someone who loves to explore super-local places in a city so diverse that every spot of historical importance is a epitome of cultural significance.

To me, this Church is not just a place of worship or a representation of courage, but a symbol of harmony where I was welcomed with open arms to sit and break bread with the warm parishioners.