National Museum, New Delhi

National Museum, New Delhi

1. History of the Museum

The majestic National Museum building is situated in the corner of Janpath and Maulana Azad road of New Delhi. The National Museum, New Delhi, as we see it today, has an interesting beginning. The blueprint for establishing the National Museum in Delhi was prepared by the Maurice Gwyer Committee in May 1946. An Exhibition of Indian Art, consisting of selected artefacts from various museums of India was organized by the Royal Academy, London with the cooperation of Government of India and Britain. The Exhibition went on display in the galleries of Burlington House, London during the winter months of 1947-48. It was decided to display the same collection in Delhi, before the return of exhibits to their respective museums. An exhibition was organized in the the Rashtrapati Bhavan (President’s residence), New Delhi in 1949, which turned out to be a great success. This event proved responsible for the creation of the National Museum.

The success of this Exhibition led to the idea that advantage should be taken of this magnificent collection to build up the nucleus collection of the National Museum. State Governments, Museum authorities and private donors, who had participated in the exhibition, were approached for the gift or loan of artefacts, and most of them responded generously.

The National Museum was formally inaugurated by Shri. C.Rajagopalachari, the Governor – General of India, on the auspicious occasion of 15th August 1949 and it was announced that till a permanent building for housing the National Museum was constructed, the Museum would continue to function in the Rashtrapati Bhavan. The Museum continued to grow in its collections year after the year and it received several gifts, but the artifacts were acquired mainly through its Art Purchase Committee.

The foundation stone of the present Museum building was laid by Pandit, Jawaharlal Nehru, Prime Minister of India, on 12th May 1955 and the new elegant two-storeyed building has been handed over to the Museum authorities in June 1960. The first phase of the National Museum building was formally inaugurated by Dr. Sarvepalli Radhakrishnan, the Vice President of India, on December 18, 1960 and open to public. The second phase of the building was completed in 1989.The Museum presently holds approximately 2,00,000 objects of a diverse nature, both Indian as well as foreign, and its holdings cover a time span of more than five thousand years of Indian cultural heritage.

The National Museum was initially looked after by the Director General of Archaeology until 1957, when the Ministry of Education, Government of India, declared it a separate institution and placed it under its own direct control. At present, the National Museum is under the administrative control of the Ministry of Culture, Government of India.

2. Vision and Mission

 To collect art objects of Historical, Cultural and Artistic significance for the purpose to display, protection, preservation and interpretation (research).

 To disseminate knowledge about the significance of the objects in respect of history, culture and artistic excellence and achievements.

 To serve as cultural centre for enjoyment and interaction of the people in artistic and cultural activity.

 To serve as epitome of national identity.

3. Museum Collections and Exhibitions

The Museum has in its possession of about 2,00,000 works of exquisite art of diverse nature, both Indian and foreign and its holdings cover a time span of more than five thousand years of our cultural heritage.

The splendid chronological and scientific display of selected art objects in the various Galleries has enhanced the image of the Museum. The other activities like, screening of educational films related to art and culture, guided tours, gallery talks by experts, special lectures and training programmes, facilities for photography and access to the Reserve collection Rooms and library hall for the study, and advice on identification of art objects have brought immense laurels to the Museum.

The Conservation Laboratory had made its existence felt even in other countries. The Art Exhibitions sent abroad from this Museum have further enhanced the image of Indian art and culture throughout the world. A variety of standard publications, including the Guide Book on the Museum, brought out by the Museum during the last 45 years of its existence, have been appreciated by one and all.

 GALLERIES

The east facing National Museum has got several Galleries devoted to multiple themes in both the floors like Art, Archaeology, Anthropology, Arms and Armour, Decorative Arts, Central Asian Antiquities, Pre- Columbian art, Jewellery, Manuscripts, Numismatics etc.

3.1 Pre-History & Archaeology

All the Pre- historic objects are on view in the first Gallery on the ground floor of the Museum. At the entrance on the left are two big vertical showcases exhibiting the stone tools belonging to the Lower Paleolithic period to the Neolithic age and also copper hoard objects. While the collection of pebble stone tools is from Guler and Soan valley, Acheulian hand axes are from Attirampakkam (Tamilnadu), Middle Paleolithic Mousterian stone tools from Narmada Valley,

Microlithic tools of Mesolithic period from Birbhanpur, Kotdigi, and Langhnaz and Neolithic tools from South India are also displayed.

The second vertical showcase displays the copper hoard weapons covering a period from 2500 BCE. to 1500 BCE. The specimen includes rare cult objects, i.e.an anthropomorphic figure from Chandausi (Muradabad), two lugged shoulder axes from Sitapur, weed chisels, harpoons shoulder axes of various types and flat axes ( All from Uttar Pradesh), Antenae swords from Gujarat etc. In the table -type showcase at the entrance are groups of Lower Paleolithic quartzite and flint tools from Kenya and England.

The Museum possesses about 200 copper hoard weapons belonging to Eastern group consisting of items belonging to Bihar, Bengal and Odissa, the flat axes type objects ranging between 2000 BCE. to 1200 BCE., while the second group have their origin from Western U.P, and Western India and have variety of antennae swords, harpoons, lugged swords, lugged shoulder axes originated from West Asia. Contemporary to Harappan and ochre coloured pottery dated between 2500 BCE. to 1500. BCE.

On the right side of the entrance, some of the rarest artefacts from Indus Valley sites have been displayed in the three windows showcases. This group includes a bronze dancing girl, buffalo, steatite seals depicting Pashupati(Lord of beasts) from Mohenjodaro, a grey colour male torso of red jasper from Harappa, few terracotta objects, including the mother goddess and the humped bull .In the other showcase, there are few decorative items of ivory and shell from Harappa.

On the left side along the wall are five rectangular showcases displaying the items like bronze, terracotta, weights of chert, and a rare ivory scale from Harappa, Mohenjodaro and Chanhudaro. The other showcases on the other side presents Harappan pottery, storage jars, few copper and clay utensils, pots of plain and red colour. The Indus valley is wheel made, well- fired on high temperature and bears decoration of black painting on red background. There are copper and bronze implements like flat axes, chisels, knives, saw, swords and spearheads belonging to Harappa and Mohenjodaro. The other showcases have displayed Harappan steatite seals bearing animal figure like the bull, the elephant, the unicorn, and short inscriptions. In the five rectangular wall showcases, terracotta figurines, squirrels in semi- precious stone, shell bangles weights, and potteries from Harappa and Mohenjodaro have been displayed.

The second half of this Gallery has visible reserve collection which include polychrome pottery from Nal, Kullimehi and Shahi Tomb (Pakistan), Chalcolithic material from Nevasa, Pakistan, Cemetry H megalithic pottery from South India, painted Grey Ware and silver and copper objects from Nal and Paleolithic tools from South and Central India

3.1.1 Archaeology

In this Gallery there are about nine thousand sculptural art objects representing all major regions, Schools and periods of India. This collection includes sculptures carved in stone, bronze, gold, silver, bone, ivory, terracotta, and stucco figures from the 3rd Century BCE. to the 19th Cen. CE.

The world famous and the monumental image of Surya from the Sun temple, Konarak , greets the visitors in this Gallery.

Eight pillars, surrounding the Surya image, present beautiful female figurines standing in different postures belonging to Madhura art (2nd Cen. CE.) and 10th – 12th Cen. CE. Four railing pillars from Mathura carved with various damsels performing various functions, a lady taking bath under a spring, mother carrying a child, Sri Lakshmi, the goddess of prosperity, a Jaina Saraswati from Rajasthan, etc are on view.

On either side of the reception counter, the visitor can see two-well known sculptures of Indian art –a superb image of Shiva in Vamana form from Mansar (5th Cen. CE.), and a rare exhibit of Yaksha from Pithalkhora, Maharashtra (2nd cen. BCE.) carved by a goldsmith, Kanhadasa, as is evident from the epigraph

3.2 The Corridor

The outstanding specimen includes Mohini from Gaday and the lintel from Abaneri-both known for meticulous carving. The inner rotunda on ground floor shows two large sized horizontal lintels from Hampi( Karnataka ) and Warangal (Telangana) representing Brahma, Vishnu, Mahesh and one more than life size image of Bodhisattva from Mathura (Uttar Pradesh)

3.3. Maurya-Sunga-Satavahana-Gallery

In this Gallery can be seen few stone sculptures and terracottas belonging to Maurya, Sunga and Satavahana art (3rd Cen. BCE. to 1-2nd Cen. CE).The sculptures of Sunga period were meant primarily to decorate the Stupas at Bodh Gaya, Bharhut, Sanchi etc and depict the life events from Buddha or his Jatakas. The folk dieties like Yaksha, Yakshini, Salabhanjika etc are also form important items of Sunga art. Besides, the Yaksha and Yakshini images from Mathura, Mehrauli Amin and Bulandshahar are also fine specimens. In the Deccan, the Satavahanas have produced large number of rock cut caves in Maharashtra and built number of Stupas and Viharas in Andhra Pradesh, Telangana, Karnataka etc. They have also added four gateways to the Great Stupa at Sanchi, which was enlarged during the Sunga period .Two sculptures exhibited in this Gallery belonging to the gateway of Sanchi witness the monumentality of Sanchi Stupa. At the end, a few Kushana sculptures in red sandstone like Bodhisattva Maitreya inscribed with the name of the deity, the ivory carvings from Kapisa (Begraum in Afghanisthan) are the loveliest examples of Kushana art as they demonstrate the delicacy and intricacy of the Kushana workmanship.

3.4. Kushana, Mathura, Gandhara and Ikshvaku Gallery

The art of the Kushana, Mathura, Gandhara and Ikshvaku has flourished side by side in the first three centuries of Christian era. Among the Gandhara sculptures, the youthful Buddha and Maitreya images, a few sculptures depicting the life events of Buddha and a large number of stucco images in showcases are to be noted especially for they bear certain degree of Graeco- Roman influence. In Mathura sculptures, the female figure of “ Bachanalian Scene from Maholi, a Chaturmukha Linga, pot bellied Kubera from Ahichchatra are some of the note worthy examples of Mathura art. Besides few sculptures of Buddha and Jaina sculptures, Ayagapata from Mathura, are the best examples of this School. Among the Ikshvaku art, presented here is a casing slab depicting four scenes from the life of Buddha –casting of Horoscope, Child Buddha’s welcome by the four cardinal directions, Asita’s visit to king Suddhodhana and the visit of child Siddhartha to the tutelary deity and few silver and bronze items and pottery .

3.5 Gupta Art Gallery

The Gupta period was one in which religious thought and iconography developed a great deal and several new iconographic images came into being. A Nataraja from Nachana appears to be the earliest image of dancing Siva, Ekamukha Sivalinga from Khoh, Chaturmukha Surya representing Brahma, Vishnu, Siva and Surya, a Vishnu image from Mathura are the master pieces of this Gallery.

Several Buddhist sculptures from Saranath, panels from Ramayana and Mahabharata from Deogarh are the other exhibits.

A large number of terracotta figures found from Mathura, Ahichchatra, Bhitargaon, Kausambi, Life sized images of the Ganga and Yamuna, terracotta plaque from Ahichchatra displayed here are unparalleled in the realm of Indian terracotta art. The influence of Gupta terracotta art spread to regions beyond the Gupta empire such as Akhnoor in Jammu, the Maitraka rulers of Vallabhi in Gujarath(6th to 8th Cen. CE.). A few of them are displayed in this Gallery are the most eloquent examples of this art.

3.6 Early Medieval Gallery

The disintegration of the Gupta empire resulted in the growth of regional offshoots of art of India with the emergence of local powers like the Palas in the East, Maitrakas in West, Vardhanas and Pratiharas in North, and Pallavas, Cholas, and Chalukyas in the South. This Gallery presents the representative examples of various art styles which flourished side by side in different regions of the country between 7th and 10th century. CE. Vishvarup of Vishnu of the Maitrakas, a lintel from Chittorgarh depicting the Navagrahas in wood Pratiharas, a image of the Ganga, standing on a crocodile representing the Rashtrakuta art from Ellora Caves,a stone plaque from Aihole depicting a pair of flying Gandharvas, Siva as Bhikshtanamurthy, Somaskanda, and Vishnu sculptures of the Pallava and Chola period are the best and superb specimen in this Gallery.

3.7 Late Medieval Gallery

The Palas and their successors in the East, the Hoyasalas, Cholas, Vijayanagar rulers, and Nayakas in the South and the Gahadavalas, Paramaras and Chandellas in the North continued to encourage the temple art and architecture during this period. Four portraits of king Narasimhadeva of Pala art from Konarak, a beautiful image of seated Vishnu in Yogasana of Chandela art from Khajuraho, the sculpture of Durga of Paramara art, and the bust of Vajra Tara of Gahadavala art are the excellent examples of this period. A few of the sculptures of Pala and Sena rulers in dark basalt stone, mostly Buddhist stelae are on show in this Gallery. The most famous marble image of Saraswati from Bikaner belonging to Chahmanas, Neminatha, the Jaina Tirthamkara from Rajasthan are on display here. The rare sculptures of Hoyasalas, the portrait of a huntress, Krishna as Kaliyamardhana and several others which are intricately carved, are the best examples of this period. Siva as Lingodhbavamurthy, Jaina Parsvanatha, Dwarapala are the best examples of Chola art, a lintel showing the Trinity of the Kakatiya art of Warangal, and few sculptures belonging to Vijayanagara period have also been exhibited.

3.8 Bronze Gallery

The bronzes were mainly religious in character and this craft spread to every part of the country. Two Buddha images from Phophnur, Jaina Tirthamkaras from Rajasthan, Gujarat,Pala bronzes from Nalanda, known for their excellence are on display.

A number of images belonged to Sunga, Kushana and Ikshvaku periods from 2nd Cen. BCE. to 2nd Cen. CE. Western JainaTirthamkaras mainly from Rajasthan and Gujarat are usually sterio -typed and devoid of beauty and charm. The North India is represented here by the bronzes from Kashmir and Himachal Pradesh, Vishnu Vaikuntha of Kashmir art, Swachchanda Bhairavi from Chamba are immense value. In this showcase Nepalese bronze of Vasudev-Kamalja (Half Vishnu and half Lakshmi) is superb example of Nepalese bronze art.

Bronzes from South India demonstrate the development of this art in that area from the 7th to 17th century CE. Siva as Nataraja is a unique creation, while many forms of Siva like Uma Sahita, Alingana, Chandrasekhara, Tripurantaka, Nandikeswara etc of Pallava and Chola art have been displayed. They have also produced magnificent images of Vishnu like Krishna Avatara of Vishnu like Kaliya-Mardhana, Bala-gopala, Nritya – Gopala etc have also been exhibited here. These bronzes are characterized by a fluid movement, delicate and detailed mouldings of the human form and a lively suppleness. Vijayanagara bronzes and few Nayaka bronzes like Tiruvarangulam Nataraja, Kaliya-Krishna and Tripurantaka are well known for exquisite beauty and rare charm have also been displayed in this Gallery.

3.9 Buddhist Art Gallery

This is the first thematic Gallery commenced in the year 1990 consisting of all the three major Schools of Buddhism-Hinayana, Mahayana and Vajrayana–representing various Buddhist deities have been exhibited in this Gallery. The development of Indian Buddhist art is reflected in the sculptures ranging from 2nd Cen. BCE. to 12th Cen. CE.

The Hinayana phase is represented by three sculptures presenting the worship of his Symbols like Buddhapada and Jataka tales.

The Mahayana phase produced some of the most beautiful images of Buddha and Bodhisattva. The image of Buddha from Phophnyr, Buddha head from Sarnath, a slab depicting scenes from the life of Buddha are of special interest and magnificent examples of Buddhist art.

Vajrayana phase is marked with a number of Tantrik gods and goddesses like Marichi, Chunda, Tara, Manjushri, Simhananda, Lokeshvara etc.

Besides their images, important Buddhist sites like Sarnath, Nalanda, Bharhut, Nagarjunakonda etc have also been represented by various sculptures. A number of tribes in Arunachal Pradesh and Ladakh region practice Buddhism and their ritualistic objects used in the daily worship are placed on the altar in order to give a glimpse of the Buddhist temples.

The silk paintings and stucco heads in the Gallery remind us the spread of Buddhism in Central Asia.

The bronze images of Maitreya, Avalokitesvara and stucco heads from South-Asia, life size Buddha head from Java are the impressive collection.

Tibet and Nepal are represented by Thankas painted with Buddhist themes in this Gallery.

A modern Buddha image in wood with gold wash from Burma, a large number of ritualistic objects such as the wheel, ambrosia etc are also displayed and are the added attraction to the visitors.

3.10 Relic Caskets of Buddha

The focal point of this Gallery is the display of the relics of Buddha in the two relic caskets excavated from Piprahwa in Basti district of U.P by the Archaeological Survey of India. Piprahwa has been identified as Kapilavastu, the hometown of Gautama Buddha. Buddhists from all the Buddhist countries visit this Gallery and pay homage to the relics of Lord Buddha.

3.11 Manuscripts

The National Museum has acquired about 14,000 manuscripts in various languages and scripts, covering a large number of subjects such as history, literature, miniature paintings, art of calligraphy, philosophy, science, biography, geography, genealogy, archaeology, medicines, religions etc representing various schools and provinces. The material is valuable for the history and covers a long period more than one thousand years.

The earliest manuscript on birch bark in Sharada script of Kashmir and Sanskrit language dealing with astrology in the collection belongs to the 9th Cen. CE and is a rare specimen of the art of writing.

The Prajnaparamita in proto-Bengali language written on palm–leaves datable to 12th Cen. CE., another palm–leaf manuscript Panchraksha composed in the reign of Ramapaladeva, the Pala ruler, belonging to 11th Cen. CE. are the earliest palm-leave manuscripts of India.

The Balabodhini of Jagaddharbhatta written on birch bark in Sharda script is another rare manuscript providing commentary on Sutras of Sanskrit grammar.

The BHAGAVATA PURANA, which is in the form of scroll on paper pasted on the cloth is scribed through the illustrations done in the lotus shape, has a brief description of the pictures in Sanskrit written in Devanagiri script.

Duwal Rani Khizr Khan (1567) the earliest dated manuscript illustrated in Akbar’s period, originally written by Amir Khusrau during 13th Cen. on the love affairs of Duwal Rani and Khizr Khan, Princess of Gujarat Prince Khizr Khan, son of Sultan Alauddin khilji, Baburnama (1598-99) with 145 superb illustrations, an objective and truthful record of events faced in his life before and after becoming the founder of Mughal dynasty, containing the historical fragments, flora and fauna of Central Asia, Afghanistan and India, TUZK-I-JAHANGIR, another outstanding manuscript in Shikasta script, sprinkled with gold, decorated with floral and animal designs, believed to have been written by Jahangir himself etc are some of the rare manuscripts exhibited.

The Museum has also on its possession an important collection of the manuscripts and calligraphy written, illustrated and illuminated by the foreign scholars. The Museum possesses some rare manuscripts, scribed on parchament, silk paper and handmade papers, written, illustrated and illuminated abroad but imported in India by the scholars, poets and others during the Sultanate and Mughal periods.

3.12 Numismatics and Epigraphy

The coin collection of this Museum is remarkable for the variety, rarity and antiquity of various classes of Indian coins from 6th Cen. BCE. to the end of 19th century CE. The collection comprises 1,18,000 coins of gold, silver, copper and of the alloys–billon, potin and lead. These coins have been acquired as Treasure Trove, hoards, gifts, and through the purchases. The famous Parrukh Collection, Jhalan Collection, Nagu Collection, Vyas Collection, Desikachari Collection and few specimens of Gupta coins of Bayana hoard .Half of the collection represents the coins of Northern India from the earliest times to present day. Added to it, 310 copper plates with inscriptions of different periods also enrich the collection.

The Gallery displays about 204 coins and 10 copper plates in the seven showcases representing Punch–marked coins of 4th Cen. BCE., Tribal copper coins of the smaller kingdoms of North India.

The coins of Indo- Greek rulers with the bust of the king on the obverse and figure of the deity on the reverse are also on view. Kushana copper coins, few coins of Indo-Parthian, Western Kshatrapa, Nahapana and the coins re-struck by Gautamiputra Satakarni have also been displayed.

The other coins on display are the coins of Vardhana of medieval Rajputs, coins belonging to Delhi Sultans,Tughluks, coins of other provincial Sultans of Jaunpur, Gujarat, Bengal and Bahmanis, coins of Akbar, Jahangir, Shah Jahan and Aurangazeb and other Mughal rulers.

The coins of Mysore Sultans, Indo-British series, coins of Indian native states, South Indian coins of Vijayanagara rulers, Pandyas, Cheras, Cholas, Pallavas and Chalukyas bearing the images of Hindu deities, bull, boar, tiger, fish and lotus etc have been displayed in a showcase.

Zodiac series issued by Jahangir along with other coins is on the display in other showcase.

In the two big showcases, sets of copper plates in Nagari script, Nandi Nagariscript, mixed Kalinga script, Kannada, Telugu script and Sanskrit languages in Telugu script of Vijayanagara, Ganga, Eastern Chalukyas, Nayakas,etc are on show in another showcase. The gold coins of Guptas in a pot have been presented in a small showcase.

3.13 Paintings

The Museum has in its possession the rich heritage of Indian paintings of over 17000 which have been acquired through purchases, and gifts. The miniature paintings are manifestations of

perfect physical forms with a celestial beauty of line and rhythm. The earliest known miniatures were painted in Eastern India on the strips of palm –leaf between 10th and 12th Cen. CE.

In Western India, the Jaina paintings developed with a remarkable record over five centuries (1100-1600). The introduction of paper that later substituted for cloth and palm-leaf, brought about the rise of new schools of paintings. The Goddess Saraswati, painting on cloth, is a rare example of this style displayed.

Besides the Jaina paintings, the other important styles of Indian miniatures are known as Mughal, Rajasthani, Pahadi, and Deccani paintings. The Mughal school is associated with the court of the Mughal emperors, portraits of Kings, Nobles and Saints, birds and beasts, while the Rajasthani and Pahadi paintings have taken themes from the Epics and Puranas and are lyrical vivid and intense. The paintings of this school are full of passion, vitality, and poetic imagination, inspired by folk life, literature, music and love lyrics.

There is a good collection of Tibetan, and Nepal Tankas, Tanjore and Mysore paintings, Ganjifa cards drawings, cloth paintings and scrolls covering a period from 1600-1900. These paintings have been exhibited in three Galleries i.e. Painting Gallery (1st floor), Gallery of Tanjore and Mysore paintings (1st floor) and Tantra Art Gallery (Ground floor).

The Deccani paintings, Malwa school, the Basholi school, the Kashmiri school, Sikh school, Nepal paintings are exhibited in the painting Gallery, while the Tanjore and Mysore schools depicting gods and goddesses have been displayed in Tanjore and Mysore Gallery, and the Tantra Art Gallery exhibits the paintings of Buddhism, Jainism, Saivism and Vaishnavism.

3.14 Arms and Armour

The Museum has a fine collection of about 7000 Indian weapons ranging from the Pre-historic period right up to 19th century and include wedged weapons, projectiles, smashing weapons, armour for men and animals, ornamental, sacrificial, and ritual weapons and fire arms and war accessories.

Besides different varieties of bow and arrows made of cane, bamboo, metal and also those decorated with ivory, gold and silver are exhibited in a separate Gallery. The inscribed bow and Bahadur Shah Zafar, the last Mughal ruler is also on view in this Gallery.

After the discovery of iron (1000 BCE..), Indian swords show a variety of shapes. The type, design and artistic decorations clearly indicate the socio-economic conditions of the respective periods.

With the establishment of Sultanate and later the Mughal rule in India, the weapons underwent a significant change and we see some unique weapons introduced during the period. The Persian sword Shamsheer, the Arabian Zulfiqar, the Turkish Sailaba, the enameled sword of Jaipur, the Patta of Marathas, the Khanda of Rajputs, the Dao of Assam and some sacrificial and ceremonial weapons are other attractions on show in this Gallery.

The showcase of Historical Weapons containing the personal swords of Emperor Aurangazeb, Tippu Sultan, Nana Saheb Peshwa and Hamir Singh reminds us the past history and their deeds. The daggers also varied in size and shape and can be identified with separate names such as Jamadhar, Jambia and Khanjar of Mughals, the Chura of Afghans,the Khapwa of Rajputs the Qurauli of Sikhs and the Khurkari of Nepalis decorated with gold, silver and studded with precious stone and jewels and have ivory, jade, crystal and soapstone hilts, adorned with calligraphy are on show in this Gallery. Shield was the earliest movable object for defense carried on the arm followed by a helmet on the head, breast, and back armour, Bazub and, foot armour etc. The spears or javelins made of reed, bamboo, wood, metal etc with a pointed iron stone blade. The typical Maratha, Rajput, Pahari and Sikh weapons reveal the valour and bravery of the people who sacrificed their lives for the country.

The inventions of gun powder in the early 14th Cen. CE., opened a new chapter in the history of Indian arms. In 1526, Babur, had used cannons of considerable size in the Paniput war .These were drawn by bullocks, horses and camels. During the course of time, shoulder fire arms were developed which could be used by individuals and so were produced matchlocks, flint–locks and percussion cap muzzle loading guns. Such fire arms including pistols, revolvers and multi-barreled short arms are a few noteworthy specimens of this Gallery. The gun powder flasks enhance the beauty of the showcases. The Indian weapons, by and large, are inscribed, damascened, enameled, and embellished in many forms, and quite a few of them may be treated as excellent works of art.

3.15 Decorative Arts

This Gallery in the ground floor displayed decorative arts like, wood, ivory, jade carvings, Bidri ware and carvings on glass.

Wood carving is the process in which a raw wood is carved and fashioned not only for everyday use but also for the beautification of sculptural, domestic and architectural objects. The craftsmen have used teak, deodar, sandal wood, ebony, walnut and black wood for the carvings in the round. Beautifully carved pillared and doors from a Sun temple at Konark, Almora of Uttar Pradesh exhibited in Late Medieval Gallery are the most important collection.

The excavations at Harappa and Mohen-jo-daro have yielded a number of ivory plaques, combs, inlay objects, seals,kohl-sticks etc. A variety of objects that has been discovered at Taxila (Pakisthan), and Begram (Afghanisthan) establishes the popularity of ivory carving during the Kushan period. The temple shrine is yet another excellent example of Delhi’s craftsmanship in ivory, large Jali( screen ), seated Buddha figure, a tusk depicting the life scenes of Buddha are some of the unique objects on display. Jade carvings, two Huqqas, one belonging to Shahjan’s period, studded plates, betel and spice boxes, cups, bowls, plaques, tumblers, a big Degcha with a dome shaped lid bearing inscription with the name of Shahjahan etc. are some of the notable collection. A portion of a temple from Gujarat is a fine example of repousse work. The Bidri ware utensils are a Huqqa, Sailabchi, Aftaba, box, candle stand tray, cot-leg, Ugaldan are some of the popular items .Glass was also used for decorative art medium and there are more than 10,000 works of decorative arts in the collection of the Museum.

3.16 Central Asian Antiquities

The collection of Central Asian Antiquities with more than 11,000 objects from Sinkiang region of Chinese Turkestan, discovered by Sir Aurel Stein during his three expeditions in 1900-1901, 1906-1908, 1913 - 1916, is one of the most prestigious and rare collection of its type in the National Museum.

The selected objects on display in two Galleries on the first floor include murals, paintings on silk, ramie, paper and wood, terracottas, stuccos, wooden objects, Kharosthi documents, textiles etc. These objects range from the 3 rd to 12th Cen. CE.

As one enters the Gallery, a beautiful Chinese bronze image of seated Buddha of Ming dynasty draws the attention. The walls of the two Galleries are occupied mostly by the Buddhist paintings, which are excellent in treatment of forms and colour schemes. These paintings, also known as banners, often bear the figure of donors and inscriptions in Chinese language. The painting depicting Buddha and his six monks from Miran (3rd - 4th Cen. CE.), Mural from Balawaste showing Indra and Variochana (6th – 8th Cen. CE.) deserve special mention.

The terracotta art of Central Asia presents a variety of fine workmanship. The human and animal figurines on display from Khotan region are very interesting artefacts. Stucco was popular medium of artistic expression in Central Asia. The stuccos from Astana form a class of their own

as they were found in the graves. The strong Indian influence in the Central India is marked by the presence of Kharoshti script and the use of Prakrit and Sanskrit languages. Some other works of art and craft from Central Asia on display include coins, beads of stone and glass, seals, leather objects, wood carvings, pottery etc.

3.17 Pre – Columbian Art

The collection of Pre-Columbian art donated to the National Museum by Mr. & Mrs. Heeramaneck is of high quality and represents all the principal cultures of Pre- Columbian world. In 1492 Christopher Columbus discovered this new world which he thought of South Asia and gave the name “Indians” to its people. The collection includes pieces of art from Mexico, Peru, Argentina, Costa Rica, Nicaragua and other countries of South America. The Olmec culture of Mexico generally dated to 1200 BCE. is characterized by colossal stone sculptures and small sculptures in jade and other hard stones. An early culture from Peru’s south coast, Paracas is distinguished by textiles some techniques of which were followed by the people of South Coast and that of Nazca, dated about 10th Cen. Gold, Silver ornaments, Copper ceremonial implements and weapons were also used by these people.

3.18. Other Non-Indian Artefacts

3.18.1 Indonesian Art

Islam, Hindu, and Buddhism have influenced the art of Indonesia and this is discernible from the four sculptures displayed in this Gallery. The sculpture of Mahishasuramardini Durga, Ganesha and Bhatarguru demonstrate the Indian influence on Indonesian art. The Iranian art is reflected in the ceramics from Sialk and TepeGiyan and bronzes from Luristan. The Flemish art is represented by tapestry woven in wool and silk depicting a garden scene. The French art is represented by some sculptures and pages from a delicately illuminated Bible of 16th - 17th century.

3.18.2 Goan Art

Few specimen of art and sculptures from Goa such as ivory and wooden sculptures of Christian Saints, painted in coloured wax, in shades of red deep blue and gold have been on show in this Gallery, apart from the non-Indian collection.

3.18.3 Jewellery

This Museum contains about 243 objects in twenty seven showcases in this specially designed Gallery impart a bird’s eye view of Indian jewellery from 3rd millennium BCE. to the early 20th century. Each showcase narrates a story of its own and the specimen is proud of their age, workmanship, intrinsic value and antiquity.

The showcases contain a Gita chariot in gold and silver, Asokan capital in gold with platinum strips studded with 501 pieces of diamond, Indus jewellery in gold, semi-precious stones, steatite, serpentine and also fience .

The exhibits include a variety of necklaces, bangles, wristlets, girdles, pendants armlets, headpins, needles, earplugs, fillets, brooch etc. The Mughal jewelry is distinguished by bold designs, execution of minute details with perfection and depiction of flora and fauna.

Ornaments from the Princely States of India like Rajasthan, Delhi, Varanasi, Hyderabad in precious and semi- precious stones have also been exhibited here.

The South Indian jewellery is characterized by largeness and heaviness, use of rubies, precious stones, Rudraksha beads with gold strings, serpentine large braids (Nagachotis) etc. In a large showcase a silver chair the arms of which are shaped like lion (Simhasana) used by the king of Banaras (KashiNaresh) at the time of Delhi Darbar has been displayed

3.19. Anthropology

Anthropological collection of the Museum includes nearly 10,000 rare objects of ethnographic interest acquired through gifts from various states, exploratory expeditions in Tribal belts and rural areas, and through purchases from private collectors. The collection includes headgears, footwears, dresses, ornaments, musical instruments, terracottas, scroll paintings, Santhal paintings, Madhubani paintings, wood carvings, masks, weapons, metal images, leather puppets and a variety of other objects used in daily life.

The reorganized gallery of Tribal Life –Style of the North- East highlights the regional unity in cultural traits. The story of everyday life of the Monpa, Sherdukpen, Khowa, Apatani, Mishmi, Adi, Nocte, Wanchoo, Singhpho, and Khamti of Arunachal Pradesh, the Karbi and Bodo of Assam, the Thangkul and Kuki of Manipur, the Mizos of Mizoram the Ao, Angami, Sema, Lotha and Konyak of Nagaland and the Riang and Tripuri objects are on show in this Gallery.

4. Education

The education activities and services of the Museum are looked after by a Keeper, which include free guiding, screening of films on art and culture, weekly Gallery talks, guidance to the school students, organizing seminars, workshops and symposiums for the scholars and academicians, special guided tours, illustrated lectures of prominent scholars, and programmes for the handicapped children, summer course for the school children in Hindi and English etc for inculcating the rich cultural heritage of the country among the wider section of the society.

5. Public Relations

The public relations of the Museum include providing general information about the Museum, correspondence with the institutions, educationalists, scholars, training programmes, permission for photography in the Museum, looking after the visits of V.I.Ps and guests, distribution of News Letters, sale of journals, replicas of masterpieces cast in fiber glass, picture post cards, calendars, coloured slides, and other related activities. It also provides admission tickets to the visitors, depositing of personal belongings, camera, and bags suitcases of the visitors.

6. Photography

The Photography Unit is well equipped to prepare black and white and coloured pictures of the art objects. It has already photo documented the collection of the Museum and has its own

storage and laboratory for processing black and white prints. It also supplies prints of art objects to the other Museums not only for documentation purpose but also academic and research purposes. The Photographer also imparts training to various trainees and students on their demand.

7. Modelling

This Unit has been casting beautiful replicas of the select masterpieces housed in the Museum covering a period from Indus Valley Civilization to the 12th Cen. CE. It’s also imparting practical training to the foreigners and to hundreds of personnel working in different Museums of the country.

8. Publication

The National Museum is bringing out several publications for children, for common visitors, and for the scholars interested in the study of art, architecture, painting, sculptures, history, religion, culture etc. Besides bringing out publications on Indian Art and Culture, the Publication Unit also rolls out the Quarterly News Letters, a research journal, research publications, Guide books, Gallery sheets, brouchers on exhibitions and galleries, catalogues, monographs etc.

Many of the publications of this Museum are comparable to the best art books published anywhere in the world and some of them have fetched Presidential award for their quality of production.

9. Conservation Laboratory

The Conservation Laboratory of the National Museum is one of the best laboratories equipped with various sophisticated appliances, in the field of conservation and restoration of the art objects.

Besides keeping the vast and varied collection in good state of preservation as per international standards, it is also serving the other institutions, Raj Bhavan, and other public agencies in identification, examination, and restoration of oil paintings and other art works. It is also undertaking documentation of artefacts by keeping their written and graphic records, radiographic documentation, photography, analysis through automatic Absorption and X-ray diffraction equipment. This stored information helps in research oriented works.

Further the laboratory carries out regular surveys of art objects and gives treatment to them on priority basis. Simultaneously, it takes preventive measures against the factors that may cause damage to the artefacts. Major conservation Projects handled by the laboratory are (1) National Project of Restoration of Oil Paintings of Non-Indian origin and other works of art and (2 ) Conservation of Wall Paintings at Jhala Haveli, Rajasthan.

The Laboratory has organized a number of seminars, workshops and training programmes for the students, Curators and Conservators

10. Conclusion

The National Museum Institute has been declared by Government of India as a Deemed University and it is imparting teaching to M.A. Conservation and Ph.D. programme.

The 50 years old National Museum is keeping up its reputation as a National Museum, with its rich repositories of rare relics and is fulfilling the needs of the modern society.

The Museum is discharging three major functions i.e. cultivation of awareness, dissemination of information and bringing a desirable change in the society through its manifold and invaluable collection and preservation of artefacts.

It is also imparting training in museum methods, restoration and preservation of the vast cultural property of not only India but also of several other countries to several Museums/ Institutions.

In its long existence, the National Museum has established links with many other academic institutions in India and abroad which are represented in its working methods and also in various museum collections. This Museum is discharging its noble role of an institution for preserving national heritage contributing to the growth of national consciousness in Indian Sub- Continent.

Salar Jung Museum, Hyderabad

1. Introduction

The Salar Jung Museum is situated on the right bank of the Musi river in the old city of Hyderabad. The Salar Jung Museum is a repository of the artistic achievements of diverse European, Asian and Far Eastern countries of the world. The major portion of this collection was acquired by Nawab Mir Yousuf Ali Khan popularly known as Salar Jung III. The zeal for acquiring art objects continued as a family tradition for three generations of Salar Jungs. In 1914, Salar Jung III, after having relinquished the post of Prime Minister to H.E.H., the Nizam VII, devoted rest of his life in collecting and enriching the treasures of art and literature. The precious and rare art objects collected by him for a period of over forty years, find place in the portals of the Salar Jung Museum, as rare to very rare pieces of art.

2. History of the Museum

Originally the Salar Jung Museum was housed in the Diwan Deodhi, on Pattharghatti area of old city of Hyderabad. It was declared open to public by Pandit Jawaharlal Nehru in December 1951. The major portion of the collection was acquired by Mir Yousuf Ali Khan popularly known as Salar Jung III, but few items were inherited by him from his father, Nawab Mir Laiq Ali Khan, Salar Jung II and his grandfather Nawab, MirTurab Ali Khan, Sir Salar Jung I. Five members of the family of Salar Jung have served as Prime Ministers to the Nizams of Hyderabad. Mir Turab Ali Khan was awarded the title of ‘Salar Jung Bahadur’ at the age of 13 years and the Nizam, Nasir-Ud-Daulah appointed him as his prime Minister at the age of 24 years. He was a great administrator known for his reforms and was also a connoisseur of art.

Mir Turab Ali Khan died in the year 1882 and his elder son, Mir Laiq Ali Khan has been appointed as the Prime Minister by Mir Mehboob Ali Khan, the Nizam of Hyderabad in 1884. However, he lost the faith of the Nizams and was removed from the post in 1887. He died in Poona when he was just 26 years old. His son Yousuf Ali Khan was bestowed the family title of Salar Jung by the Nizam and restored his Mansab and other titles. He was also appointed as Prime Minister to Nizam. But then history repeated itself when Salar Jung III relinquished the post of Prime Minister due to some difference of opinion with the Nizam in 1914.

Thereafter, he devoted his entire life in enriching his treasures of art and literature. He was not only a great collector of antiquities, art objects and rare manuscripts, but also purchased several objects during his tour of Europe and the Middle Eastern countries. It is this favour of love of over 40 years that finds a place in the portals of the Salar Jung Museum. Wedded to his art collections, Salar Jung III died as a bachelor at the age of 60 years in 1949. To perpetuate his name, the Museum has been named after him in 1951. In1961, through an act of Parliament, the Museum along with the library was declared as an Institution of National importance and was transferred to the Government of India. The Museum was shifted to the present building specially built for housing the Museum and Library in the year 1968.

3. Museum Collections and Exhibitions

The Museum has a magnificent global collection of art objects and antiquities. The two storied museum building facing the river Musi has 38 galleries. The ground floor has 20 galleries, which run clockwise from the Founders’ Privacy. The first floor has 18 galleries running anti-clockwise closing with Japanese gallery. The collection of the museum can be divided into Indian art, Middle Eastern art, Far Eastern art and Children’s section. Apart from this, a gallery is devoted to the illustrious Salar Jung family, which was mainly responsible for acquiring the collection through purchases, mementos and gifts.

Out of the several rare objects, one of the important and interesting object collected by Salar Jung I was "Veiled Rebecca" an enchanting marble statue which was acquired by him from Rome in 1876 during his visit to Italy. The western collection is from England, Ireland, France, Belgium, Italy, Germany. A set of Ivory chairs said to have been presented by Louis XVI of France to Tippu Sultan of Mysore deserve special mention. A jade book-stand “Rehal” having the name of ‘Shamsuddin Altamish’, an archer’s ring inscribed with the legend Sahib-e-Quran-e-Sani, title of the Mughal Emperor, Shahjahan are masterpieces. A dagger and a fruit knife made in jade decorated with precious stones are said to belong to Jehangir and Noorjehan respectively. A good number of Indian Miniature Paintings in early style of Western India of 14th and 15th Centuries representing Krishna-leela themes are also form part of the Museum’s Collection. There are good numbers of Arabic and Persian Manuscripts dated to 19th century and Shah-nama by Furadausi are also among the valuable collection of the Museum. A rare manuscript entitled "Lilawati" on mathematics and an ancient medical encyclopedia transcribed in India is in the collection. Oil and water paintings form an important part of the European collections.

3.1. The Founder’s Gallery

The portraits and other personal belongings of the family displayed in the gallery go a long way in recreating the life and times of the Salarjungs. The two Masnads (thrones) exhibiting

golden zari-work, with canopies on silver poles, which were used by Salar Jung I and Salar Jung III, provide additional attraction to the gallery.

The personal belongings, gifts and mementos received by the Salarjungs also find place in this gallery. Rare presentations made to Salar Jung I, such as Silver bowl presented by Edward Albert in 1876, a porcelain vase gifted by the English Minton Porcelain Manufacturers and a nicely written panegyric in Urdu presented to Sir Salar Jung and Nizam VI in memory of their attendance at the Imperial Proclamation of Queen Victoria as Kaisar-E-Hind in 1877 at Delhi are some of the rare presentations displayed in this gallery. Besides the oil portraits of the Nizams of Hyderabad, under whom the members of the Salar Jung family served as Prime Ministers are also exhibited. The gold zari Sherwani worn by Salar Jung III reminds us of the pomp and glory of the eastern nobility.

3.2. Indian Collection

The Indian art objects displayed in the Museum are stone sculptures, bronze images, painted textiles (Kalamkari etc.), wooden carvings, miniature paintings, modern paintings, ivory carvings, jade carvings, textiles, metal ware, manuscripts, arms and armour etc.

3.2.1. Indian Stone Sculptures (Gallery No. 4)

Though the collection of stone sculptures in the museum is scanty, yet they are quite significant as they depict the characteristic features of different styles that prevailed in India. A railing stone slab with lotus medallion design from Bharhut is exhibited in this gallery. A number of carved stone panels belonging to Mathura, Kausambi, relating to Hindu and Buddhist faiths, a standing figure of Buddha from Nelakondapally (Khammam Dist, Telangana), Mukhalinga from Kausambi, a Yaksha with two consorts, Vishnu with Sridevi and Bhudevi, Saptamatrikas of the Pallava period, Vishnu as Anantasayana, Parsvanatha, Mahavira in black stone of Kakatiya period, Jain sculptures made on white marble, a beautifully carved Prabhavali of 13th century and an inscribed figure of Parsvanatha in white marble attributed to Rajasthani workmanship of the 15th Century are some of the stone objects that are exhibited in this gallery.

3.2.2 Indian Bronzes

The bronze collection of the Museum can give a fairly good idea of the intimate association of this medium of expression in the bygone centuries. The earliest South-Indian bronzes from Amaravati, Nagarjunakonda of Ikshavaku period, standing Vishnu with his usual emblems assignable to Pallava period, number of bronzes pertaining to Chola, Kakatiya, Kalyani Chalukyas and Vijayanagara periods have been displayed in this gallery (No.3). The Nataraja, Somaskanda belonging to the Vijayanagara period are the important exhibits. Besides, there are other images, both Saivite and Vaishnavite, which give a fair idea of the existing seismographic forms. Mention may be made of Narasimha, Yoga-Narasimha, Govardhanagiridhari Krishna, Lakshmi Narayana, Ganesa, Sridevi, Bhudevi etc.

3.2.3 Painted Textiles

The Kalamkaris are paintings on cloth, partly painted and partly printed. Masulipatnam, Kalahasti and Palakollu are the famous centers of this art in Andhra Pradesh. Masulipatnam and Palakollu varieties are famous for the beautiful floral designs executed on the Kalamkari, while the Kalahasti were famous for producing temple hangings, depicting scenes from the Ramayana and Mahabharata. On one huge purdah, a scene from Ramayana is depicted with a Telugu description below. The episodes of Dakshayajna Dhavamsam and Parvati Parinayam with a Telugu inscription, another Kalamkari purdah from Palakollu, belonging to the 19th century C.E. adorn this gallery. The Pichhwai are wall hangings used as backdrops for the gods in temples and most of them show Lord Krishna in one or the other act in the midst of Gopis. The color combinations of these exhibits are quite pleasing as well as interesting and are datable to the 19th century AD on stylistic grounds.

3.2.4 Minor Arts of South India (Gallery No. 5)

In this gallery one can have a glimpse of wooden carvings, Nirmal work, Metal ware, ivory carvings. The major part of the gallery houses South Indian wooden carvings. The wooden carvings on display include beautifully carved cabinets fitted with bronze plaques, furniture, door panels, screens, images of gods and goddesses. There are three carved cabinets fixed with small sized bronze plaques for doors. The imposing figure of Garuda, lose carved figures of divinities, Malabar furniture with themes taken from epics also attract the attention. A good collection of lacquer ware from Baiganpally and Nirmal is also on view in this gallery.

3.2.5 Indian Textiles (Gallery No. 6)

In this gallery an attempt has been made to educate the visitors with the rich tradition of Indian textiles through varied specimen of fabrics used as well as costumes, furnishings belonging to the last three centuries. The Museum has rich collection of Kashmir shawls in red, yellow, and other colours, brocades, sarees, dupattas, odhnis etc. Besides, there are two Mughal curtains, the chicken work of Lucknow, silk sarees from South India, the Phulkari embroidery of Punjab, printed textiles, bride and bride groom robes are excellent examples.

3.2.6 Ivory Carvings (Gallery.No. 14)

The collection of ivory objects gives an idea of ivory as a medium of plastic art and majority of the collection belongs to the 18th and 19th centuries. The chessmen, chausar sets, figure sculptures of royal personages, men and women as well as mythological figures, carved paper cutters and ivory table lamp an excellent example of Mysore workmanship, deserves special mention for its delicate carving and elegant form. Besides there are also procession scenes, delicately carved boxes, fly whisks, animal figures, European and Chinese ivory carving and ivory carvings are some of the exhibits in this gallery.

3.2.7 Arms and Armour (Gallery. No. 16-A)

The collection of arms and armour in this gallery is a treasure and contains an amazing variety and an enormous quantity of old arms including fire arms. The collection includes swords, daggers, battle-axes, spears, goads, maces, bows and arrows and gunpowder containers.

The defensive weapons include shields, chest plates, helmets and suit of armour belonging to different lands.

The firearms include match-lock muzzle loading guns, pistols and revolvers, blunder busses and canons of different shapes and sizes.

The arms of the Mughal emperor Aurangzeb, Tippu Sultan, Mohammad Shah, Bahadur Shah, Abul Hassan Tanashah and Abdullah Qutub Shah are the important collections in this gallery.

Besides the Persian Abbasi swords (Shamsher) daggers, maces and chain, mail coat including steel helmets and gloves, medieval Indian arms studded with precious and semi-precious stones on hilts and scabbards of swords and daggers, ceremonial weapons of kings and Nobles are also exhibited in this gallery.

3.2.8 Metal Ware (Gallery. No.17)

Metal ware and utensils, which were the integral part of everyday life, have been displayed in this gallery.

Two showcases in this gallery depict the craftsmanship of Bidri (Bidar in Karnataka) work of bright silver design on the contrasting black body of metal.

The gold and silver plate of Madras, the metal ware from Cuttack (Orissa) and Karimnagar (Telangana) are famous for silver filigree work.

Islamic metal ware with inscriptions fashioned in Syria and Persia during the rule of the Sultanate and Mughal kings, English ware of hallmark Victorian silver vases, fruit stands, Burmese silver work, Japanese objects, Chinese specimen with enamel decoration on filigree work etc have been exhibited in this gallery.

Among the enamel decorated wares are two outstanding examples from Azerbaijan (former USSR) consisting of a tea set and punch bowls with cups have also been exhibited in this gallery.

3.2.9 Miniature Paintings (Gallery No.18)

The miniature painting was practiced on cloth, wooden boards, palm leaves etc. before the introduction of paper in India in 14th century C.E. A few leaves of early Jain kalpasutra in the typical style of western India consisting of anecodotes from Jain mythology belonging to 14th,15th and 16th century C.E have been exhibited in this gallery. A painted page from “Bala Gopala Sruti” will prove that even the works of Brahmanical cult were painted in the style of jainkal pasutras, some fine examples of Mughal miniatures like “The Birth of Prince”, Babur dictating his memories to a Chronicler, the portrait of Raja Vikramaditya and the European miniature, Madonna and child, the portrait of a prince with a hawk in his right hand, the ‘King with Nobles etc. have been displayed in the gallery.

The Deccan Sultanates have also patronized the art of miniature painting. The Museum has rich collection of miniatures and illustrated manuscripts from the Deccan like ‘Bhog Bal’ dated to 1600 C.E from Bidar, a painting showing Jamshid Quli and Ibrahim Quli conversing yogini with fly whisk, example of Golkonda school, Elephant fight from Bijapur, the Rajasthani, the Malwa paintings with scenes from Ramayana, Ragini of Bundi school, paintings from Pahari region of Punjab, Basholi-Kangra region, the portrait of Raja Prakash Chand from Guler, Krishna playing with Gopikas from Bilaspur, the palace scenes from Chamba are some of the finest paintings on display in the gallery.

3.2.10 Modern Paintings (Gallery No. 17 A)

The paintings of Raja Ravi Varma, Abhanindhranath Tagore, Nandlal Bose, Chugtai, B.B.Mukherjee, V.S.Masoji are the important specimen of south India, Mughal and Bengal school of art, have been exhibited in this gallery. Among the note worthy post-Bengal school artists, who evolved a new idiom in art, painters like M.F.Hussain, K.K.Hebbar, Ram Kinker, to mention a few, are also on display in this gallery.

3.2.11 Jade Carvings (Gallery No.25)

Jade is a semi-precious stone quarried from Central Asia and Burma in the east and from America, New Zealand and few other European countries in the west. It is believed that the jade carvings reached its zenith during the Mughal period and a large variety of objects of daily use like wine cups, jugs, vases, archer’s, rings, handles of swords and daggers,

powder flasks, mirror frames, chourie holders, spice-boxes and jewellry made of green and white jade inscribed with the name of its owner “Shamsuddin Ilthamish”, the king of Slave dynasty with date as 607 Hijri era (1209-10 C.E) is the earliest specimen of Islamic jade not only in India but also in the world.

An archer’s ring inscribed with the legend “Sahib-e-kiran-i-sani”, a title of Shahjahan, is a masterpiece fashioned in dark green jade. There are several wine cups, mirror frames, animal shaped handles of daggers and gun powder flasks made of jade in white and green colours dated to 17th century C.E.

The Indian jade consists of incising beautiful floral and geometrical designs, inlay of gold and studding of precious gems like diamond, ruby, emerald and sapphire which present a pleasing contrast to the eyes of the beholder.

Amongst the Chinese jade objects, mention must be made of flower vases, urns, paper cutters, knives, belt buckles, snuff-bottles and screens datable to 18th and 19th centuries C.E.

3.3 Middle Eastern Art

The Middle-Eastern art is represented through its art objects from Persia, Syria and Egypt covering the diverse media like carpets, manuscripts, ceramics, glass, metal ware, furniture, lacquer etc. These objects give a fair idea of the artistic achievements of the craftsmen of these regions in a fitting manner.

3.3.1 Carpets (Gallery No. 27)

The Persian carpets occupy an unique place in the Mid Eastern art collections of the Museum. Few specimens with intricate weaving and decked with different ornamental patterns from Persia are represented in this gallery.

3.3.2. Arabic and Persian Manuscripts (Gallery No.29)

The Arabic and Persian manuscripts form the most valuable collection of the Museum. They are the works of well-known Calligraphers exhibiting their mastery over the art of calligraphy. The earliest manuscript on show is a holy Quran written on parchment in kufic script is datable to 9th century C.E. Besides there are a number of holy Qurans both illuminated and embellished, adorn the gallery.

Other noteworthy manuscripts on display are a Mesopotamian embellishment and calligraphy written in Naskh style bearing the autographs of emperors Jehangir, Shah Jahan, and Aurangazeb. Besides other noteworthy manuscripts on the display are the Quatrain of Omar Khayyum written for Sultan Hussain of Persia and autographed by princess Jehanara Begum, daughter of Shah Jahan, an illuminated Holy Quran, Shah-Nama by Firdausi written by Mohd-b-Abdul Rahman Sammarqandi in 1424 C.E, two beautiful lacquered doors containing the verses of Hafiz and showing hunting scene, speak volumes of their craftsmanship.

3.3.3. Egyptian and Syrian Art (Gallery No.26A)

The major of the Egyptian art objects on display are only copies made after the originals from the important tombs of the early Egyptian kings. The art objects consist of furniture, applique work and ivory carvings. The center of attraction is the superb replica of Tut-ankh-amun’s throne, the original of which is in Egyptian Museum at Cairo datable to 1340 C.E. The applique work panels form an interesting group as they depict innumerable gods, divine figures, hieroglyphs and religious symbols. The Syrian art objects comprise of a good number of furniture items with magnificent work of inlay done in mother of pearl. The inlay gives shining luster to the furniture and depicts geometrical patterns like squares, triangles, lozenges etc. Two beautiful metal objects, namely a lamp and an incense burner having perforated designs all over and inscribed in Arabic of 18th century are worthy of attention to the visitor.

3.4. Far Eastern Art

This Museum is one of the few Indian Museums which can boast of a fairly extensive collection of Far Eastern art consisting of Sino-Japanese art objects. The collection includes porcelain, bronze ring, wood and inlay work.

3.4.1. Chinese Collection (Gallery No. 31)

Chinese art of porcelain collection representing the most comprehensive range of export wares dating from 12th -19th centuries C.E in this gallery, is the remarkable collection. Among the earliest examples is a beautiful plate depicting a dragon and fish in relief and another plate showing only a dragon in relief datable to Sung period of 12th-13th Century C.E. The Ginger jars with covers decorated with flowers and birds in white celadon glaze datable to 17th Century C.E belongs to Ming period. The blue and white porcelain mainly of jars and plates meant for imperial use and belong to Ming period datable to the 17th Century C.E. The celadon ware with a typical grey green glaze consists of mysterious qualities like detecting poison by changing its colours, if poisonous food is served in these vessels. The snuff bottles, enamel ware lacquer work on wood, inlaying of wooden furniture, embroideries are some of the Chinese collection in this gallery

3.4.2 Japanese Art (Gallery No. 35)

The earliest pieces of Japanese art in the Museum’s collection are blue and white porcelain of Arita datable to 17th Century C.E. Noteworthy examples are a flat small size goggled –shaped bottle painted with flower bunches and a plate decorated with a central hexagonal panel containing flowers and grass hoppers vases, trays, embroideries, woodblock prints or woodcuts, water color paintings, lacquer work, inlay ivory work are some of the Japanese art works in this gallery. In these objects their exquisite workmanship and perfect treatment of the subject are of considerable attraction to the visitors.

3.4.3 The Far Eastern Statuary

This gallery presents an interesting picture of the sculptural art of countries like Nepal, Tibet, Thailand and Burma in South East Asia, apart from the works of China and Japan in the Far East. The statuary is made on bronze, metal and wood. The majority of these objects in this gallery are Buddhist sculptures that show everlasting impact of Buddhism which has spread from Indian Subcontinent to China, Japan etc.

The bronze figure of standing Bodhisattva Avalokiteswara (called in China as Kwan Yin) assignable to Yung Cheng period (1721- 36 C.E) exhibited in this gallery is the most popular Buddhist divinities in China.

A pair of male and female bronze figures bearing incense carriers is good examples of 19th Century Chinese art.

The Japanese statuary is the group of SAMURAIS in bronze as well as in metal, denotes typical warrior caste in Japan. They are known for their fierce personal loyalty to their Chiefs, their prowess with sword or other weapons is legendary.

Nepal produced a flourishing school of Buddhist sculptures in bronze &copper which created religiously expressive and aesthetically pleasing images. The notable objects of Nepal on display are a standing and a seated Tara datable to 18th Century C.E.

The Burmese Buddhist images have a grace and beauty probably influenced by Indian style. A seated Buddha with an inscription on the pedestal and a four handed Tara assignable to 18th Century C.E. are the important objects of Burmese art.

The figure of Bodhisattva Maitreya and a seated figure of Buddha from Tibet are the excellent examples of Tibetan art displayed in this gallery. A dancer and a bearded man from Thailand also adorn this gallery.

3.5. European Art (Gallery No. 20)

The Salar Jung Museum stands unique for its European collections, comprising of art objects ranging from excellent examples of oil paintings, aesthetically attractive glass objects to majestic furniture, splendid examples of ivories, enamel ware, clocks and oil and water color paintings form an important part of the European collections. Though the major group on view is mainly 19th Century British painters, the gallery also includes examples of traditional French school, beautiful Italian landscapes, the picturesque scenes of Munich painters .

The three European paintings are ‘Geneva’, a water color attributed to Joseph Turner ( 1775- 1851 ) and oil paintings by John Constable ( 1776- 1837 ) and belong to British master painters. Two famous pictures done by Sir Frederick Leighton ( 1896 ), Ex –President of the Royal Academy of Arts, are ‘Ariadne ‘ abandoned by Thescus’ and ‘Paolo-e-Francesa’, ‘Hide and seek ‘ and ‘Hush Baby’, two fine pictures by Sir Lawrence Alma Tadema are remarkable for their clarity of colours, smooth finish and dramatic expressions. A big canvas titled ‘Orpheus and Eurydice ‘done by G.F.Watts (1817-1904), another English painter, forms a great attraction to the visitors. Many excellent canvases were done by several European painters like British, Italy, Venice, French etc and are the best examples of European art.

3.5.1 European Porcelain

Among the European countries which took to producing porcelain, France stands out for its exquisite works of art under the liberal royal patronage.

Among the notable examples of French art mention may be made of two splendid vases from ‘Sevres’ factory said to have been presented by Emperor Louis XVI of France to Catherine II of Russia.

The two big sized vases depicting hunting scenes are said to have been presented by Louis XV of France to Tippu Sultan of Mysore .

Two beautiful porcelain figurines showing Napoleon in royal costume and Josephine bring out the character of the ‘ Hero of French Revolution ‘and his beloved, are a tribute to the technical achievement of the French craftsmen. Napoleon’s Egyptian campaign is the theme of two vases executed dexterously in red colour.

The gallery possesses a sizeable collection of Dresden (Germany) porcelain .The two big size vases showing ‘Becage’ work showing butterflies, fruits, insects etc. in relief are interesting.

The English porcelain collection (Gallery No.21) is of varied types produced mostly during the 19th Century C.E. The exquisite porcelain figures of French and English soldiers were manufactured in London in 1915 in commemoration of Centenary of Waterloo battle where Napoleon was defeated by Wellington in 1815, are quite attractive. The Wedgewood pottery collection is represented by Portland vase made in 1790.

3.5.2. European Glass (Gallery No. 24)

Glass is one of the most remarkable and fascinating substances known to man. This art objects housed in this Museum are represented by glass makers of Venice, France, England, Bohemia, Belgium etc. Glass objects from Venice are enamel painted glasses, vases, decanters, and bowls. The English glass objects on view belong mostly to 18th and 19th Centuries C.E and are very light, thin and proportionate in shape like wine glasses with designs. The collection of Bohemian glass objects attract the visitors and are decanters, bowls, cut enameled containing floral designs on a red color background. The French glasses on view show the vases in opaque with paintings of floral designs. The gallery houses a good number of beautiful Chandeliers, wall brackets, Cheekas, Handis, lamps,

candle bars etc. from France, England, Ireland and Venice. Glass Rooms and Jade Rooms are outstanding examples of the chandelier collection.

3.6. Clocks (Gallery.No.28)

The Museum possesses a good number of clocks collected from different countries of Europe like France, England, Germany, Switzerland, Holland etc .The variety includes the bird- cage clocks, bracket clocks, grandfather clocks, skeleton clocks etc.

The clock which attracts the visitors every day is a British bracket clock which has got a mechanical device by which a miniature toy figure comes out of an enclosure and strikes the gong each hour and then immediately returns back to the enclosure. This clock is a highlight of the Museum collection and attracts all the visitors in this gallery.

The European furniture from France and England are cabinets, chairs, sofa sets, commodes, consoles elegant screens, Table etc.

3.7. European Bronze sculptures (Gallery. No 26)

The European bronze images in this gallery consist of originals as well as copies of some of the well known sculptures. The objects comprise of several portraits of statesmen, famous poets, and well known philosophers.

The Greek sculptures are Night Watchman, a man holding a lamp, the Statue of Liberty, Alexander on horseback, Augustus Ceasar etc.

The marble statues from Italy, France and England form a sizeable collection in gallery 16. Among the statues on display, the ‘Veiled Rebecca’ by the well known Italian sculpture Benzoni is a master piece. It was acquired by Salar Jung when he visited Italy in 1876.

The ‘Mother and child’ ‘Daphne‘, a sea Nymph, Cleopatra by Borione ‘Babe‘ by a French sculptor, wooden statue of Mephistopeles, and Margaretta etc are the important collection in this gallery.

3.8. Children’s Section

The objects displayed in the Children section are clay models of a Indian village, bronze figures, porcelain ware, musical boxes, marble statues and toys from different parts of the world. The toy soldiers, tanks, medical staff are made on tin and are painted in different

colors, wild animals in bronze, stone carvings from Korea & Japan are some of the displayed objects in this gallery.

4. The Museum Library and Manuscripts

The rich collection of the library consists of about 8000 manuscripts and more than 14000 printed books in Arabic, Persian, Turkish and Urdu languages. The collection of English books is to the tune of 29000, which includes research journals, Albums of rare photographs and valuable engravings.

The oldest book in the collection is ‘The General Histories of the Turkes’ published in 1631. Another important book is a famous French romantic story ‘Cassandra, the Fam ‘d Romance’, which was translated in English by Sir Charles Colterell and published in London in 1661..

A Bible in Hebrew in two volumes published in 1667.

The English translations of the original Arabic, Persian, Sanskrit, Turkish and Urdu languages covering the memoirs and biographies of Mughal Emperors, the history of medieval India, well known literary works of Persian and Urdu writers, printed books in Arabic, Persian and Urdu with emphasis on Islam and Islamic theology and good collection of manuscripts and illustrated manuscripts containing miniatures belong to different countries have been preserved in this Library.

Besides few rare Arabic, Persian and Urdu miniatures, two Qutub Shahi ornate copies of the manuscript ‘NAURAS’, compiled by Ibrahim Adilshah of Bijapur are some of the private collection of this Library.

The manuscripts are rare and remarkable, both for their quality and quantity. There are facilities for the scholars to refer these rare and important books in the Library.

5. Conclusion

The Salar Jung Museum is presently under reorganization in the three buildings named after the erstwhile Noble family of the Salar Jung, as Mir Laiq Ali Khan Bhavan ( Eastern Block ) which houses the collection from Far East and South Asian countries, Mir Yousuf Ali Khan Bhavan, the already existing building which houses the Indian collection, the Children section, the Museum Library and Offices and Mir Turab Ali Khan Bhavan ( Western Block ) which houses the European collection of the Museum including the Marble Gallery, the Bronze Gallery, European Painting Gallery and the Glass Gallery .

This National Museum with international standards of display of objects is attracting huge crowds both domestic and foreign tourists who ever visit the city of Hyderabad. Thus this Museum is promoting Indian culture not only in India but also outside the country through its display of rare exhibits.

INDIAN MUSEUM, KOLKATA

1. Introduction

The history and the growth of the Indian Museum is one of the remarkable events towards the development of heritage and culture of India. Indian Museum is the earliest and the largest multipurpose Museum not only in the Indian subcontinent but also in the Asia-Pacific region of the world. With the foundation of Indian Museum in 1814 at the cradle of the Asiatic Society of Bengal (at the present building of the Asiatic Society, 1st Park Street, Kolkata) the Museum movement started rolling in India and through the years from then, got a new fillip and great momentum. Since then, it has so magnificently developed and culminated into the fruitful existence of more than 1000 museums in the country. The movement, which was started in 1814, in fact was the beginning of a significant epoch initiating the socio-cultural and scientific achievements of the country.

The Museum which was known in the beginning as “Asiatic Society Museum” subsequently came to be known as the Imperial Museum and later familiarized as “Indian Museum”. The Museum is more familiar by the name “Jadughar” or “Ajabghar” among the visitors. From the days of the Asiatic Museum, this Institution has been rendering its services to the people of India as an epitome of art and culture of India. The role of Indian Museum witnesses the socio-cultural harmony between the Museum and the Society. As a consequence, the Museum has developed into the largest institution of its kind of the country portraying the legacy and pride of the nation and also being highlighted as one of the pioneering ‘National Institutions‘ in the constitution of the Republic of India. The Ministry of Culture, Government of India, sanctions annual grants to the Indian Museum for its day-today maintenance, preservation, display, and various other activities including salaries to Staff and for upkeep of the Museum objects

This multipurpose Institution with multi-disciplinary activities is being included as an Institute of national importance in the Seventh Schedule of the Constitution of India. This Museum has celebrated 200 years of its useful and fruitful existence during the year 2014.

1.1. Mission

 To make the Indian Museum a visitor friendly destination of international standards and to continuously enhance the quality of satisfaction of the visitors.

 To initiate a series of programmes to boost the profile of the Indian Museum.

 To create necessary physical infrastructure to serve as an expert base in museum profession.

 To conduct and promote cutting age research on cultural heritage.

 To become a hub for professional enrichment through various training programmes, short-term courses, seminars, etc.

2. History of the Museum

To appreciate the history of the origin and growth of the Indian Museum we are to travel back to the last quarter of the 18th century when Sir William Jones a profound scholar devoted his life to the service of India, founded the Asiatic Society in 1784 in Kolkata. The role of the Asiatic Society was to form a learning centre for the development of art and culture pertaining to the socio-cultural activities, entertaining people, disseminating knowledge and preserving the cultural as well as natural heritage of mankind for posterity within the geographical limits of Asia. Sir William Jones, the founder of the Asiatic Society, however, in his inaugural address did not refer to the foundation of a museum as part of the activities of the society. In 1796 the members of the Asiatic Society conceived an idea of establishing a Museum at a suitable place for the reception and preservation of the objects whatever it is performed by man or produced by nature. The idea got shape in the beginning of 1808 when society found itself in a position to occupy its premises erected at the corner of Park Street on a land granted by the Government.

In 1814, Dr. Nathaniel Wallich, a Danish Botanist, who has been captured in the siege of Serampore, Hooghly, but was later released by the Government in recognition of his scientific attainments, wrote a letter to the Society in which he strongly advocated the formation of a museum in Kolkata and offered a proposal to the Society not only to act as Honorary Curator of the proposed museum but also to supply duplicates from his own valuable collection. The proposal found ready acceptance with the members of the Society and it was determined to establish a Society Museum at the premises of the Asiatic Society of Bengal.

Thus a Museum was established under the guidance of Dr. Wallich as the Honorary Curator on 2nd February 1814 at the venue of the Asiatic Society with two sections – an Archaeological, Ethnological and Technical matters and other of Geological and Zoological Sections. Dr. Wallich also donated a number of Botanical specimens to the museum from his personal collection. Dr. J. D. Pearson of the Bengal Medical Service was appointed Curator followed shortly by Dr. John Mc Clelland and after his resignation by Edward Blyth. The example set by the Asiatic Society proved a great incentive and many more new museums were opened in different parts of the country. Sir John Anderson was the first Superintendent of the museum.

2.1 Donors of Antiquities to the Museum

There were several donors to the museum from different parts of Asia who have contributed their mite for the development of this prestigious museum. Interesting and curious objects were collected from various parts of the country.

 A list of gifts consisting of 174 items was donated by 27 European donors in the year 1816.

 Gen. Mackenzie brought a Gupta sculpture of Bodhisattva Padmapani from Bodh Gaya in 1815.

 Dr. Tytler, British lady, donated few models of agricultural implements, indigenous carriages, oil mills and some items of industrial economics to the Museum in 1828. She also published an illustrated catalogue of her deposits.

 Indian contribution and participation in the development of the museum was started in 1832. Out of 49 donors of the list, six donors were Baboo Ram Kamal Sen,Kali KrishnaTagore Bahadoor, Maharaja Radhakrishna Deb, Mathuranath Mullick, Sivachandra Doss and Her Highness Begum Sambroo etc.

2.2 Museum development

In 1837, James Princep, Secretary of the Society wrote to the Government to adopt proposition of the Society for the formation of a National Museum at the cost of the State. Dr Helfer and other Scientific Officers have decided to found a museum of Economic Geology in Kolkata and this museum was actually opened in 1840. The Museum of Economic Geology thus constituted, continued to occupy the premises of the Society till 1856 when the portion of the collection owned by the Government of India was shifted and housed at No. 1, Hasting Street in connection with the formation of Geological Survey of India.

In 1856, the members of the Society have submitted a memorandum to the Government of India requesting for the establishment of an Imperial Museum at Kolkata. Two years later another representation was submitted to the Government in which the Society pressed for the foundation of an Imperial Museum at Kolkata. The Government of India has realized its duty to establish an Imperial Museum in the Metropolis for the collection and exposition of specimens of Natural History, Physical, Economic and Historical etc.

In 1858, the Geological Museum was amalgamated with that of the Geological Survey of India. In 1862, the Government of India announced the foundation of a Public Museum at Kolkata which might be taken into consideration with the practical realization.

The name of the Museum was changed as “Indian Museum” in 1862. The Indian Museum Act was passed in 1866 and the entire collection was entrusted to the Board of Trustees. Afterwards it was realized that the building as planned could not possibly find accommodation for the Asiatic Society in addition to the Geological Survey of India and the Natural History Museum. The Society also expressed its unwillingness to enter a building where accommodation was insufficient and freedom of action was liable to be cramped.

In 1879 the Museum received a portion of the collection from the India Museum, South Kensington, England, when that collection was dispersed. The Zoological and Anthropological sections of the Museum gave rise to the formation of Zoological Survey of India in 1916, which in turn gave rise to the Anthropological Survey of India in the year 1945.

3. Museum Building

In 1867 the foundation of the present massive building of the Indian Museum was thus laid on the finest site of Chowranghee Road in front of Small Cause Court. In 1875, the present three - storied Victorian architectural design in the Romanesque style Museum building designed by W. L. Grandville, architect was completed.

After the completion of the construction the Museum was shifted from the Asiatic Society to the present building and it was thrown open to the public with two Galleries on 1st April 1878. The Archaeology Gallery and Bird Gallery of the Zoological Section had been declared open to public in the present building. Though in the beginning the Indian Museum was opened with two Galleries, later on it was transformed into a multipurpose Institution where multi-disciplinary objects have been displayed in its six sections.

4. THE COLLECTION AND EXHIBITION

The Indian Museum has vast, fabulous, varied and valuable collection of more than 1,50,000 artifacts representing 5000 years of Indian art right from Pre-historic objects to the modern period in its possession. The Museum occupies a resplendent mansion, exhibits among others, a Egyptian Mummy, a stone railing of Bharhut Stupa, Relic Casket recovered from the excavations at Piprahwa (Basti District, U. P), the 2nd century B.C.E Yakshi and Sri Lakshmi statues from Patna, the 3rd century B.C.E Asokan Pillar from Rampurva, whose four-lion symbol became the official emblem of the Republic of India, fossil skeletons of pre-historic animals, an art collection, several rare antiquities and a collection of meteorites.

The Museum Directorate has three main cultural sections, namely, Art, Archaeology, and Anthropology together with eight coordinating service units such as Preservation, Publication, Photography, Presentation, Modeling, Education, Library and Security.

The Indian Museum has its own Conservation Laboratory to preserve the valuable objects of art and culture. The Museum has its own Medical Unit to provide preliminary medical services.

5. GALLERIES

This Museum has 40 Galleries in three floors and houses rare collection of antiquities distributed in six sections, namely, Archaeology, Art, Anthropology, Zoology, Botany and Geology.

5.1. Archaeology Section

The Archaeology Section represents the finest and largest collection of archaeological and historical material in India. Scholars like Alexander Cunningham, V. A Smith, E. B. Havel, Sir John Marshal, Percy Brown, Mortimer Wheelar, Grace Morley, Sivaramamurthy, Kapila

Vatsayan and a band of other distinguished Scholars have contributed their collections for the development of the Indian Museum over the period of two hundred years.

These objects have been displayed in the following Galleries

 Pre and Proto Historic Gallery,

 Main Entrance Gallery,

 Bharhut Gallery,

 Gandhara Gallery,

 Long Archaeology Gallery,

 Bronze Gallery,

 Coins Gallery,

 Minor Arts Gallery, and

 Egyptian Gallery.

The objects displayed in these Galleries are,

 The objects collected from Yale- Cambridge Expedition of 1935.

 Enormous collection of Pre-historic stone tools of all over India.

 Indus valley excavated objects collected from Harappa, Mohenjo Daro, Chanhu Daro, Kalibangan, Lothal, Kot Digi and other Harappan sites.

 Proto -historic copper and iron objects from the Chalcolithic sites from Sindh, Implements from South Indian megaliths, Copper hoard from Gangetic valley.

 Stone sculptures from 3rd century B.C.E to medieval period.

 Gandhara sculptures from Taxila, Jamalgarhi, Sahribathlal, Takh-i- Bahi, Peshawar, Swat valley and Charsada.

 Stone sculptures belonging to Pala art from Bengal.

 Sculptures of Chandela art from Khajuraho,

 Colossal headless Bodhisattva Padmapani from Sravasti.

 Sculptures of Gupta art from Sarnath.

 Hoyasala sculptures from Karnataka.

 Pallava bronzes from Tamilnadu.

 Buddha and Vishnu from Eastern India, Nepal, and Tibet.

 Terracottas, wooden sculptures and seals from different places.

 Coins from Punch- Marked to the Modern period.

 Manuscripts, Architectural members from different places.

 Egyptian Mummy and antiquities etc.

5.2 Art Section

The exhibits of Art Section are on display in the four Galleries which are as below.

 Mughal painting Gallery,

 Bengal painting Gallery,

 Decorative Art and Textile Gallery and

 South- East Asian Gallery.

 In these Galleries, miniature paintings belonging to different Schools,Ivory objects, Bidriware, Textiles, wood carvings, bronzes, temple- banners, scrolls, Lacquer works, Silver filigree and objects from South –East Asia, Decca, Lukhnow, Cuttack, Tanjore, Trivancore, China, Java, Tibet, Burma, Nepal etc have been displayed on pedestals and in the showcases.

 Rich collection of textiles of Indian sub-continent has been displayed in the Decorative Art Gallery.

 Mughal ( Jahangir ), Deccani School, Malva School, Rajasthani, Pahari School, Tibetan Tankas etc have been displayed in the above Gallery.

5.3 Anthropology Section

The exhibits in the Anthropology section are displayed in four Galleries

 Palaeo-Anthropology,

 Cultural Anthropology,

 Mask Gallery and

 Musical Instruments Gallery.

 The objects in this section reflects the diverse ethnic communities living in various eco- zones of India, having different physical characteristics, language, economy and other cultural aspects.

 The objects exhibited in these Galleries are Tribal and Folk art objects and artifacts from Andaman, Chenchus of Andhra Pradesh, Santhal Paraganas, Kerala, Nagaland, Meghalaya, Gujarat, Uttar Pradesh, Bengal.

 Musical instruments, Dresses and Costumes, Masks, Ornaments, arms and weapons etc.

 The Egyptian Mummy and the 84 feet long Whale fish are the highlights of this Gallery.

5.4 Geological Section

The largest Geological collections are displayed in four Galleries which are maintained by a separate Curatorial Division of Geological Survey of India.

 Siwalik Gallery,

 Invertebrate Fossil Gallery,

 Rock and Mineral Gallery and

 Earth and Meteorite Gallery with Gem section.

About 60,000 samples of stones, Makaran marbles, and Rocks, 20,000 minerals, 15,000 fossil plants with 73 feet long trunk and animals, Precious stones, meteorites, 120 million years old fossils from Siwalik region etc have been displayed in these Galleries.

5.5 Zoological Section

This section displays the zoological exhibits in six Galleries

 Insect Gallery,

 Fish Gallery,

 Amphibia- Reptile Gallery,

 Bird Gallery

 Mammal Gallery and

 Ecology Gallery.

Mammals and Birds, amphibia reptiles, Fish; Insects have been exhibited in these Galleries.

5.6 Botany Section

The Botanical Gallery has permanent exhibits in 8 bays and various sections.

 Indian timbers

 Food products

 Medicinal products

 Vegetable fibers

 Oil and oil seeds

 Dyes and Tans

 Gums and Resins and

 Agricultural products

The Gallery provides first hand information on both wild and cultivated economical plants commonly used in India as well as its commercial perspectives.

The Galleries have smaller display units on various economic products, such as “Story of Paddy”, “ Story of Sugarcane”, “Story of Arrowroot”, “Tea Story”, “Varieties of Paddy and Wheat”, “Common Vegetables”, “Fruits of Trophical region”.

Some of the exhibits in these Galleries are Wood yielding plants, Medicinal herbs, agricultural products, Fibre and narcotics, Dyes and Tans, Oil and Seeds.

The other attractions of Botanical Gallery are a model of goddess Durga made of jute fibre, Match Box story, coconut and bamboo made handicrafts, Wooden toy crafts, Narcotic and opium products, Palm and Agave products etc.

Some rare holdings of Botanical Section includes “Textile Fabrics of India” (18 Vols. 1866), “Textile Manufacturers and Embroideries” (2 Vols), Thomas Wardie’s “Fabrics dyed with Indian dyes” are maintained as reference research material.

Sir George Watt’s “Agricultural Ledgers” which has been the data source for the publication of “A Dictionary of the Economic products of India” (8. Vols -1889-96), another heritage reference material of the department, is maintained in the Botanical Section of the Museum.

5.7 Industrial Section

The Industrial Section of the Indian Museum situated on the adjoining Sudder Street, exhibits specimens and exhibits of Plant Products (Botanical Museum), Economic Herbarium (BSIS), and Dr. George Watt’s Economic Ledgers etc.

6. Publication

The Indian Museum publishes the Museum Bulletin, Monographs, Catalogues, Picture-post cards, Folios, Guide Books, Sectional and General exhibition Folders etc.

7. Educational Activities

The Museum undertakes the following educational activities,

Free Guide Service, Students programmes for Schools and Colleges, Mobile Exhibitions, Film Shows at regular intervals, Photography, Gallery Lectures, Popular lectures by eminent Scholars, Conducting of Exhibitions on several important occasions, Workshops, Memorial lectures, Seminars, Multi- cultural activities, Training programmes, and Library service etc

8. Temporary Exhibitions

The Indian Museum has conducted International Exhibitions in the countries like Japan, West Germany, Canada, United States of America, United Kingdom, and in many other Asian countries.

Buddhists from different countries visit the Museum mainly to see the Buddhist objects and to offer prayers at the Relic Casket containing the relics of Buddha, recovered from the Buddhist Stupa at Piprahwa.

The Museum Mobile Bus with an Exhibition containing the enlarged photographs of important objects / Monuments has visited the urban and rural areas of Bihar, West Bengal, Uttar Pradesh, Delhi, Haryana, Chattisgarh, Orissa, spanning a distance 30,786 Kms for popularizing the Museum objects, as a part of the educational activities of the Museum.

The Museum has conducted a number of Special Exhibitions

 Exhibition to commemorate the 150th birth anniversary of Rabindranath Tagore from 6th to 12th May 2011

 On the occasion of International Museum Day from 18th to 25th May 2011

 On the occasion of Durga Pooja on 23-09-2011

 On the occasion of Ganesha Chaturdhi from 1st to 4th December 2011

 On the Puppets from 6th to 12th Jan 2012

 On Terracottas on the occasion of the celebration of 198 anniversary of Indian Museum from 2nd to 12th Feb 2012 at Kolkata

 On the occasion of the celebration of 200 anniversary of Indian Museum from 2nd December, 2014 to 17th May 2015

9. Conclusion

The Museum and the Art Galleries are the precious possessions of the whole Nation. The society should take a sense of pride in them and consider them as its own. The people in a Democratic society are the real patrons of art and culture and an object of art in a museum or Art Gallery is a source of joy to all forever. A properly organized museum makes it fulfill that function in the right manner. The Museums and people are thus most intimately related to each other.

The vast and rare collection of objects right from Pre-historic times to modern times in the Indian Museum reflects the precious possession of art and culture of the Nation. The Indian Museum, Kolkata, the first public museum on Indian soil founded in 1814, was an alien model imported from the West. Its establishment was an important landmark in the cultural history of the Country and as it contributed for the rapid growth of Museum movement in Indian Sub- Continent and proved as a model museum in Asian Sub-Continent. The museum with its varied and rich collection of objects is fully serving the needs of the present day democratic society. The Indian Museum, undoubtedly, is a revolutionary change in the approach of curatorial practices. It has augmented the arena of Indian museums and has been proliferated its theoretical purview.

MUSEUM OF MAN, BHOPAL

1. Introduction

The Museum of Man, locally known as the National Museum of Man, and renamed as Rastriya Manav Sangrahalaya in 1985, is situated in Shyamla Hills Locality of Bhopal City, the capital of Madhya Pradesh. It was rechristened as Indira Gandhi Rashtriya Manava Sangrahalaya (IGRMS) in honour of the contributions and involvement of the late Prime Minister Smt. Indira Gandhi in developing the Museum. It has been declared as National Museum of Mankind by Govt. of India in 1985. It has a Southern Regional Centre in a heritage building, the Wellington House at Mysore.

2. History of the Museum

The emerging need of a new museum in the late 20th Century was realized in India. It was Dr. Sachin Roy, a visionary and renowned anthropologist, who first conceptualized the necessity of a Museum of Man that can holistically present an integrated vision of human life and to interpret the culture. His noble idea for setting up a Museum of Man was supported by several Anthropologists and Social Scientists in the Calcutta session of the Indian Science Congress in 1970.The proposal submitted to the Govt. of India was accepted and a nucleus Office started functioning at New Delhi in 1977 under the Anthropological Survey of India. Later it was shifted to Bhopal in 1979.

This Museum is the biggest anthropological Museum in India and one of the biggest in Asia. There is a change in the concept of the Museum from 1970 onwards. The public felt that the Museum is no longer merely perceived as a place of academic ivory towerism, rather more as a center of entertainment. Secondly, the premise that it is the communities that are the real Curators of the heritage has resulted in the perception erosion of arrogance on the part of the Curator as the sole custodian of heritage and promotion of the role of a Museum as a facilitator in such process .In this connection, there has been much talk on two concepts for the past two decades.ie. Eco-Museology and New–Museology.

 Bedekar, the renowned Museologist, considered Eco- Museum as a ‘Museum concerned with total ecology and environment, natural and human of a defined locality’.

 Boylan, the well known Museologist, described the characteristic features of New Museology as ‘the true limits of the Museum should not be the boundary walls of the Museum building and its grounds, rather they should be the whole of defined

geographical territory which might be a small village at one extreme, or a whole country in the case of a true National Museum.

 Secondly, the subject matter of the New Museum‘s operations should not just be the collections within the Museum building, but the total patrimony- natural and human (including the individual and collective memory) of that defined territory’.

3. Mission

 The Museum is spreading an interactive Museum Movement in India to celebrate the simultaneous validity of various valuable cultural patterns evolved over thousands of years.

 The Museum is working for national integration, and promotes research and training and inter-institutional networking for salvage and revitalization of vanishing but valuable cultural traditions of India, highlighting the unity and diversity of India, and organizes exhibitions to present an integrated story of biological evolutions and variations.

 The IGRMS, through its exhibitions and salvage activities, demonstrates the aesthetic qualities of India’s traditional life styles, local knowledge and more and caution the people against the unprecedented destruction of ecology, environment, local values, customs etc.

 There is a paradigm shift in Museum education process and IGRMS envisages a definite role for itself in this process.

4. The Museum Collections and Exhibition

 It is in this background that the Government has planned a Museum of Man at Bhopal. This Museum is spread in about 200 acres of undulating terrain on land, which itself was a Pre historic site. Its logo which has been adopted since 2004 is a dynamic human figure as depicted in one of the rock shelters of the Campus.

 The IGRMS has been emphasizing on collection and documentation of tradition based technologies from different parts of the country. Based on the field experience to different remote villages in India, a new open air exhibition titled Traditional Technology was developed and opened for visitors in March, 2008.

 This exhibition presents the knowledge or wisdom practiced by indigenous communities in the utilization of locally available resources to fulfill their sustained way of living.

 Veethi Sankul-Indoor Museum was constructed in about twelve thousand sq m. area with spacious exhibition halls, a reference library, indoor & outdoor auditoriums and other miscellaneous facilities, and dedicated to the nation in March, 2005. The structure is unique in its architecture, constructed on a rocky terrain incorporating difficult levels of the sloppy land. The various exhibition halls and auditoriums have been constructed on approximately 16 levels. The structure is covered with Dholpur sand-stone, and the flooring is made with Kota stones.

 Conceptually the presentations in open-air and indoor galleries are complementary to each other. The objectives of these exhibitions are to present the cohesive life styles of various Indian communities in different eco-climatic zones of the country, their aesthetic values, religious expressions, and socio-economic philosophies for living.

The emphasis is to highlight their richness and diversities of India’s cultural patterns and the underlying unity. To begin with, life style of the people living in tribal hamlets, coastal Indian regions along the lengthy sea coastlines, Himalayan regions, River Valleys, Deserts & Arid zones are presented through the exhibitions. To show the richness and diversities, different clusters of traditional house-types from different regions are either transplanted or re-created

in the open-air exhibitions. Care has been taken to create appropriate environment around these house-types.Some of the note-worthy exhibits, in this open air exhibition, are

 Meitei Thim Shungba (traditional salt making technology of Manipur),

 Ganugu (traditional oil expelling technology of Andhra Pradesh),

 Ganna Charkhi (traditional technology of sugarcane juice extraction process practised in Chhattisgarh),

 Tirahi (typical oil expelling technology),

 Tui-Changshu, Edullumota (traditional water management systems adopted in Uttaranchal, Manipur, and Andhra Pradesh respectively) etc.

IGRMS exhibitions are broadly divided into three categories namely

Open-exhibitions

Indoor galleries (Veethi-Sankul and Bhopal Gallery)

Periodical/ Temporary exhibitions

4.1 The Open Air Exhibits

4.1.1 Rock Art Heritage

This Museum is one of the few Museums in world which has rock shelters with paintings in its premises. There are about 32 pre historic rock shelters which are given the form of an Open Air Exhibition. These rock shelters are a part of Open Exhibition known as Rock Art Heritage.

These rock shelters have been carved in the upper part on the Vindhyan sandstone known as Bhander formation which is of pre–Cambrian age. There are four groups of rock shelters in this Museum, of these five on Prempura hillock, eighteen in two groups behind the Regional Institute of Education (RIE) and two in a rock cutting of a dried drain behind the Museum guest house. The 18 rock shelters behind the RIE constitute the Open Air Exhibits. According to Negi and Mathpal, the subject matter of older paintings is wild animals which include elephant, wild buffalo, ox, cow, antelope, deer, jackal, monkey, dog etc. Hunters chasing the game are shown wearing antlered masks, heavy loin clothes and ornaments. They have bows and arrows, human figures, probably of a later date are shown with raised hands and underdressed. Crude drawings of horse riders and soldiers on feet are also found.

4.1.2 Megalithic Culture of Vidarbha

As a result of collaborative project between Deccan College and this Museum, the Iron Age megalithic site of Mahurjhari in Vidarbha was excavated by a team led by Dr.R.K.Mohanty of Deccan College; some of the megaliths were transported and displayed as an open air exhibit on the campus of the IGRMS

4.1.3 Tribal Habitat

The tribal Habitat Open Air Exhibitions is one of the foremost exhibitions. The exhibition is developed on the south-eastern hill top of the Museum campus. It is represented by unique collections of life size traditional house types of the indigenous tribal and folk communities of India. This exhibition brings about aesthetic beauty, incredible craftsmanship, knowledge and wisdom of the exquisite forms of tribal architecture that are perfectly conforming to their sustainable way of livelihood.

Presently it has 40 exhibits comprising of life size dwelling complexes, shrines and temples youth dormitories, village gates and hamlets. The introductory gallery at the base of the exhibition provides immediate information on culture of the tribes depicted in this exhibition.

4.1.4 Himalayan Village

One of the interesting and unique items in the outdoor section is the typical stone building of Kothi-the dwelling complexes of Shimla, Himachal Pradesh. Another interesting house type from Uttrakhand is the Chokhat, which is a towering four storied house with a roof of stone slates. The house is well known for its resistance quality. The imposing entrance gate known as Parol or Paraud has been constructed to protect and lend beauty to this Open Air exhibition .The process of developing this exhibition area is being continued with the addition of various other house types from Himalayan region. The latest addition to this exhibition is a ‘Kothar ’or a traditional granary from Uttrakhand.

4.1.5 Coastal Village

The vivid spectrum of colorful cultures from the coastal communities of India is best represented in the coastal village Open Air Exhibition of the Museum. Typical wooden houses of Arrapura and Naalkettu from Kerala, the fishermen’s houses from the Coastal plains of Andhra Pradesh and the most stunning ceremonial snake–boat, Palliyodam are the main attractions of this exhibition. Developed in about 20 acres on the bank of the beautiful Bhojtal (Upper Lake), one can feel the true ambience of coastal livelihood in the Museum exhibition. These exhibits provide valuable information on the life and culture of the people living in the coastal hills and plains of India.

4.1.6 Desert Village

The Desert Village is represented by typical dwelling types from Jaisalmer of Rajasthan and Kutch region of Gujarat. Dwelling complex of Rajputs from the deserts and traditional Bhunga of the nomadic Rabari people of Kutch are the main exhibits which highlight the process and degree of their adaptation to the environment; various ethnographic objects displayed inside the dwellings represent the life ways and subsistence strategies of the

populations. An exhibit on traditional stone house from Jaisalmer and a huge Chhattri are important examples of stone architecture of Rajasthan desert displayed in this exhibition.

4.1.7 Mythological Trail

In this exhibition myths, and stories of different media (Terracotta, wood, stone, iron etc) Crafts of various artisan groups, incarnations of folk deities and traditional paintings are the main attraction of the exhibition.

A 12 feet tall iron gate with decorative carvings, representing the origin and technology of iron smithy (done by the Lohars of Bastar) form an imposing structure of this exhibition.

4.1.8 Sacred Grove

The Museum has also developed replicas of sacred groves of Kerala, Chhattisgarh, Meghalaya, Manipur, Maharashtra, Tamil Nadu, West Bengal, and Rajasthan. Plants from groves of these states have been planted in their respective replicas, taking in to consideration the geo climatic conditions of Bhopal. These groves have been ritually established by the local communities. The IGRMS has also developed plantation trail of indigenous medicinal plants known as Medicinal trail.

4.1.9 Aiyanar

The Aiyanar is the guardian deity worshipped predominantly in Tamil Nadu and in Tamil villages of Sri Lanka. Aiyanar is very ancient, ancestral, clan based deity linked to nature and fertility. Aiyanar shrines are usually located at the peripheries or the boundaries of villages and the deity is seen residing on horse with a sword.

4.1.10. Narbadaji-River Valley Cultures

Gond, Pradhan and Baiga adivasis living along the river Narmada, near the place of its origin tell numerous folk stories that reflect the cultural personality of the river that seems to be residing in their minds of the people since ages. They all lovingly call it ‘Narbada Mai‘. Stories presented here were somewhat more popular and formed a basis of the art works created by the Adivasis who used one or other parts of the story as a theme. In narrations and expressions of the people, a natural variety exist that offer more than one basis for underlying frame work of unity. A traditional house has been added to this exhibition from Jammu and Kashmir.

4.1.11. Traditional Technology Park

The Open Air Exhibition on Traditional Technology presents the sustainable and eco-friendly nature of exhibits displaying the knowledge and wisdom practiced by indigenous communities in the utilization of locally available resources.

4.2. Indoor galleries (Veethi-Sankul and Bhopal Gallery)

The Indoor Museum (Veethi Sankul) laid on a beautiful dome shaped architecture has 12 galleries consisting of about 6678 of ethnographic objects with varying themes of presentations.

Gallery 1 - Human Evolution and Variation

 Display exhibition on bio-cultural Evolution of Man and variation which also includes panel on pre historic India. Apart from diorama related to human evolution, replica of the foot prints showing evidence of bipedal locomotion from Laetoli, Tanzania and that of the cranial remains from Hathnora, Narmada valley have been displayed.

 Pre history section includes panels on definition, lithic technology and phases of Stone Age cultures of India .Indian pre history comprises panels on Hunter-Gatherers (Palaeolithic), Advances Hunter Gatherers (Mesolithic) and Early Agriculturists (Neolithic). The display on Hunter Gatherers has three sub divisions – Lower, Middle and Upper Palaeolithic.

 For the benefit of visitors three things have been done (a) Salient features are mentioned (b) Tools and photographs are also displayed for the more inquisitive visitor, description has been made on one site each for the Lower Palaeolithic (Islampur), Middle Palaeolithic (Attirampakkam), and Upper Palaeolithic (Khaparkheda).

 The photograph showing World Heritage site of Bhimbetka has been displayed with a sketch of section drawing from Bhimbetka excavation. This site is a multi-period site from the Acheulian to the medieval period. The panel on Advanced Hunter –Gatherers shows a distribution map of Mesolithic sites in India, display of Microliths, photographs of Mesolithic burials in India, and a distribution map of rock art sites of India. The panel on early Agriculturists shows the features of Neolithic culture with emergence of agriculture and regional variations (Northern, Northern Vindhyas and Middle Ganga, Northeast, Eastern India and South India) within the Neolithic phase in India.

Gallery 2- Human Odyssey

 Depicts material cultural objects on settlement patterns, subsistence and aesthetic activities of hunter-gatherers, shifting cultivators, pastoralists, peasants and ethno-medical practitioners in India.

Gallery 3- Longo Jatra

 A festival of the Koitor life style and festivities of Gond tribes of Central India

Gallery 4 - Mandwa Gohri

 Envisages holistic presentation on the Bhill tribes of Western India.

Gallery 5 - Ethnic Art

 Presents the ethnic art of selected folk and tribal communities from Andhra Pradesh, Madhya Pradesh, Rajasthan, etc

Gallery 6 - Belief Systems, Cosmology and Rituals

 Presents ritual objects, photographs, masks, memorial pillars, paintings, etc. to narrate cosmology, belief systems and rituals of different communities;

Gallery 7 - Music & Performing Traditions

 Presents music traditions of various communities;

Gallery 8 - Masks

 Repository of varieties of traditional masks collected from different parts of India;

Gallery 9 - Textile & Culinary Traditions

 Depicts traditional architecture, textile tradition, traditional technology and culinary traditions;

Gallery 10 - Reserve Collection & Research Gallery

 A representative collection of about 4,000 objects from the Museum’s artifacts are on display in a big hall on the lower ground floor. This is one of the few museums where a significant number of specimens from reserve collections are on display for informed visitors.

Gallery 11 and 12

 Naga and North East states

4.3. TRAVELLING AND TEMPORARY EXHIBITIONS:

The Museum has a rich archive of slides and photographs related to rock art heritage of the world. Besides, an exhibition on Rock Art in India and the world was organized during World Archaeological Congress held at National Museum, Delhi in 1994.Moreover Travelling Exhibition on Rock Art of India has been organized in different states of India.

4.3.1 ASPECTS HAVING IMPLICATIONS FOR INDIAN ARCHAEOLOGY

The museum has a number of displays both in the open air exhibitions as well as indoor galleries that have important implications for Indian archaeology. In archaeological literature, they are broadly categorized as Ethno Archaeology which is meant for providing flesh to the dry bones of Archaeological data. Generally, there are 2 main approaches in Ethno-archaeology (i) The Direct Historical Approach (ii) The General Comparative Approach.

In The Direct Historical Approach, the key requirement is the demonstration of continuity between the Archaeological and Ethnographic units of comparisons, in The General Comparative approach; one seeks appropriate analogues anywhere in time and space, on the basis of modern ethnographic study. The various displays in this museum are potential sources for the purpose of their use in direct historical as well as general comparative approaches.

4.3.2 Mortuary Traditions

Ethnographic account of mortuary practices-both primary and secondary-have a bearing on the understanding Archaeological remains. Megaliths from Meghalaya, sacred memorial pillars from Himachal Pradesh and wooden memorial posts of the Marieas of Chhattisgarh have been displayed in the Open Air Exhibition.

4.3.3 Traditional Water management

In an age when the ground water level is steadily going down deeper and deeper, when there is even talk of a third world war-If it ever happens-on the issue of water and when there are contrasting problems of water, flood on one hand and drought on the other, there is no denying the fact that the traditional modes of water management, which have stood the test of time for centuries and generations, are to be emphasized and revitalized for better

conservation and efficient management. This is a case where emphasizing the tradition does not mean putting the clock back, but rather it is a means for sustainable development. Therefore a seminar was organized in 1997 to critically discuss its various ramifications which were subsequently published. The traditional water harvesting strategies had effected an integration of storm and flood water regulation, waste water collection, drinking water supply and mini irrigation projects. These were location specific, slope efficient gravitation based, inexpensive and non-extractive methods of harvesting the extremely limited fresh water supply, accessible to human use. Such traditional water management strategies are not only ecologically viable but also avoid the problems of mega dams such as the degradation of wet lands and water quality, siltation and water logging etc. In the recently curated open air exhibition on open technology, some examples of traditional water management practices from Uttaranchal, Madhya Pradesh and Manipur have been displayed.

4.3.4. Balrang Festival

Balrang – the national festival of school children – a collaborative programme with the department of school education, Govt. of Madhya Pradesh is being organized for 2 days for the last few years. On the first day, a state level competition of school children of Madhya Pradesh is organized and on second day, a national level folk dance competition is held where one school each representing about 16-18 states performs. This is the biggest annual event of the museum where thousands of school children participate and enjoy.

The second aspect of the programme is an exhibition on mini India exhibited by about 30-35 local schools of Bhopal depicting the ICH of different states with regard to dress, cuisine, performing art, music etc. To enrich this programme further the Archaeological Survey Of India, Regional museum of natural history and post and telegraphs departments (Philately exhibition) put up their respective exhibitions. This is a programme to celebrate the cultural diversity and promote national integration.

4.3.5. Shashwati – A Programme on Women and Cultural Heritage

An important programme has been taken up by this museum from 2006 titled “Shashwati” based on women and cultural heritage. This programme had 4 components such as

 Sarjana (a national workshop of women artisans),

 Vidushi (a national seminar on Gender and Museum),

 Prathama (the first national festival of women instrumental players)

 An exhibition Bhumika (the in-Visible role of women in cultural heritage)

5. New Dimensions of Museum

Diaspora and museum –This is the first museum in India to organize a national work shop on this theme in 2004. Two methods, site specific and theme specific have been displayed Diaspora in this museum.

6. Research Activities

The activities of this museum are designed to make informative, educative and entertaining. A visitor friendly environment with improvised form of displays offers a new taste to a museum visitor. Education programmes, Workshops, Seminars, Symposia, group

discussions, Conferences, Cultural programmes, regional cultural festivals, lectures, Artist camps etc are some of the regular activities. Museum Outreach activities ranging from artist camps and cultural exchange programmes to the organization of grand community friendly activities of the Museum. The Reference Library of IGRMS provides abundant research opportunities for students, researchers, designers, film makers etc, and it is an important source of documentation for the researcher community and Museum professionals.

A serious work has been undertaken to study the rock shelters found on IGRMS campus by several archaeologists. Negi and Mathpal had reported the recovery of 32 cleavers, handaxes and scrapers from the foot of the hill not far from the rock shelters. It is now established on the basis of the existence of above stone tools that the presence of the man in the area can be dated to around 100,000 years. However the earliest date painting on the rock shelters was dated to the Mesolithic period since the themes and representations of rock art are closure to that of Bhimbetka. Badam had laid two trenches in one of the shelters and recovered microliths consisting of blades, and points made on chert, chalcedony and jasper, charcoal, worked and charred bones, pottery, iron bangles, iron arrow head etc.

A Visual storage and Research gallery is to provide research opportunities to students, author’s documentary filmmakers and many others.

7. Publications and Conferences Related to Archaeology

Several publications have been published by the Museum and some of them are

 On monographs related to Archaeology includes Indian Rock Art and its Global context by Chakravarthy & Bednaik.

 River valley cultures of India. The Central Narmada Valley – A study in Quarternary Palaeontology and allied aspects Etc.

 A National Seminar on Megalithic Traditions in Ethnography and Archaeology was organized in the Museum during 2006.

 The Museum supported the Organisation of International Rock Art Congress in 2004 at Agra and Rock Art Congress in 2007 at Wayanad and organization of Eddakkal Festival to promote tourism of Rock Art in Kerala.

8. Conclusion

Some important points emerging from various activities of this museum are the promotion of national integration, not by homogenizing culture but by celebrating cultural diversity with an inherent message of a tolerant attitude towards the other, the distinction between the tangible and in-tangible, emphasizing traditional knowledge system, need for creating an inclusive society, new and emerging issues in Museology related to identify, conducting a number of activities in Bhopal and in different parts of India to face the twin challenges of bringing communities to museum and taking the museum to communities. In this community-museum inter-phase attempts are made not only to demonstrate the continuity of our traditions, but also how change has been ushered in.

Hence, keeping in tune with Sankalia’s concern for extending cultural knowledge to a wider public gaze, one of the best ways of paying homage to Sankalia-a 20th century cultural icon-would be to emphasize that museum in 21st century should not be confined to a prisoner of the past and a perpetrator of the present, but also be perceived as a window for the future. This visitor’s friendly Museum consisting of spacious parking space. Resting rooms, drinking water, cloak room, canteen, Museum shop, Wheel Chair for physically challenged, Guide service, Website, Auditorium, Seminar and Lecture halls, Workshops, Reference Library, Information Kiosk, Toilet facilities, Interpretation Centre, is spearheading an interactive Museum movement in India to celebrate the simultaneous validity of various valuable cultural patterns evolved over thousands of years in the country.