Over 500 years ago, in 1519, young Humayun was sent from his home in Kabul to serve as the governor of Badakhshan, a northern province of Afghanistan. The future Mughal emperor had just entered his teenage years, and he would govern the region for a decade before, eventually, ascending the throne.
Stories of Humayun’s adventures abound. During his lifetime, he travelled 34,000km as a warrior, crisscrossing present-day India, Pakistan, Afghanistan, and Iran―exploring more of the world than any other Mughal emperor. According to Ratish Nanda, noted conservation architect and project director of the Aga Khan Trust for Culture, Humayun’s travels were three times more than those of Marco Polo, the famous Venetian explorer and merchant.
These fascinating tales are among the many details that adorn the walls of India’s first sunken museum at Humayun’s mausoleum, which was inaugurated on July 29. As we step into the 100,000 square foot facility, we are transported back several centuries to the Mughal era. And as you move from one artefact to another, history comes alive, offering a vivid glimpse into that time.
One notable work features Amir Khusrau, poet and singer. The gallery―Icons of a Sacred Landscape―includes Khusrau’s exhibit alongside other iconic cultural figures from the Nizamuddin area of the 14th century, such as Sufi Saint Hazrat Nizamuddin Auliya, Rahim, who was Akbar’s commander-in-chief, and Dara Shikoh, who translated the Upanishads into Persian.
Descending into the gallery block through stone ramps, visitors encounter a 40-foot-wide 3D illustration and finely crafted architectural models that highlight several World Heritage monuments along the Yamuna. Delhi’s 2,500-year history is communicated through a map, and artefacts here narrate the stories of the dynasties.
Rewind mode: The original 18-foot golden finial that crowned the dome of Humayun’s tomb | Sanjay Ahlawat
The decision to build the museum underground was driven by a desire to preserve the views of the monuments. The underground space also serves as a bridge connecting the Humayun’s Tomb complex with the adjacent Sunder Nursery complex. The entrance zone offers access to an immersive gallery where visitors are provided a virtual tour of the monuments and gardens of the World Heritage Site. Animated films illustrate the evolution of the site over 500 years, showcasing the tile patterns that once adorned Humayun’s tomb chamber. The principal gallery―Where the Emperor Rests―focuses on the architecture of Humayun’s mausoleum and his personality, brought to life through stories of his travel, governance, deep interest in reading, astrology and the arts, as well as his patronage of architecture.
The museum houses over 500 previously unseen artefacts from the collections of the National Museum, Archaeological Survey of India and the Aga Khan Trust for Culture. Among them is the original 18-foot golden finial that crowned the dome of Humayun’s tomb, which came crashing down during a severe thunderstorm in 2014. After years of meticulous restoration by traditional coppersmiths, a replica now adorns the dome, while the original is displayed in the museum. “While looking for its restoration, we found that it was made of gold and had stood the test of time for several centuries,” says Nanda.
Humayun’s deep interest in astronomy and astrology is highlighted in the museum with contemporary sculptures depicting him in clothes appropriate to the planet of the day―black on Saturdays, white on Mondays, red on Tuesdays, violet on Wednesdays, and so on. Also on display are astrolabes and celestial spheres crafted by a family invited to India by Humayun from Samarkand.
Exhibit in the museum | Sanjay Ahlawat
Other notable exhibits include coins from each of the 18 Mughal emperors and the throne of the last Mughal emperor, Bahadur Shah Zafar, who took refuge at Humayun’s mausoleum. Among the coins, the most valuable is that of Akbar, which bears the inscription ‘Allahu Akbar’ on one side and ‘Ram’ on the other. Said Nanda, “Akbar created a whole series of Ram Sita coins, out of which only three survived. They can fetch up to Rs30 crore today. We view them not just as coins but as great pieces of art.”
The museum also features Mughal miniatures, manuscripts, significant architectural elements from the Humayun’s mausoleum and other monuments in the complex, contemporary art and craft pieces, and metalware. Miniatures of Sufis, including one of Dara Shikoh, sacred texts on stone inscriptions and paper, calligraphy, Khusrau’s manuscripts, Rahim’s portrait bowing to Lord Vishnu, Dara Shikoh’s handwritten calligraphy, and a 14th century Quran narrate the stories of these legends. Handcrafted architectural elements, such as the marble and the sandstone enclosures of the Dargah of Nizamuddin Auliya and Khusrau, and a 12-foot long wooden canopy inlaid with mother-of-pearl in lacquer, are some of the most striking artefacts in the Icons of a Sacred Landscape gallery.
The deep connection between the Mughals and the sacred Sufi landscape of the Nizamuddin area is vividly conveyed through the museum. Nanda said the museum was created in response to a UNESCO recommendation that interpretation centres or site museums be provided at the entrance of significant World Heritage Sites to offer visitors cultural context and significantly enhance their overall experience.