Humayun’s Tomb museum | History goes underground in Nizamuddin

The new museum in Humayun’s Tomb Complex delves into the emperor’s life and reign, and underlines the cultural significance of Nizamuddin in India’s pluralistic history

Updated - August 21, 2024 04:12 pm IST

Published - August 16, 2024 04:12 pm IST

At Humayun World Heritage Site Museum

At Humayun World Heritage Site Museum

On January 24, 1556, a letter was sent to a 14-year-old Akbar that altered the course of Indian history. Humayun, the second emperor of the Mughal dynasty, was descending from his palace library’s roof to answer the call for prayer when his foot got caught in the hem of his coat, sending him tumbling down the stairs. He succumbed to his injuries three days later. A few years on, Akbar began the construction of a grand tomb to house his father’s remains. Today, an excerpt of the letter is among the rare artefacts showcased at the newly-opened Humayun World Heritage Site Museum at New Delhi’s Humayun’s Tomb-Sunder Nursery-Nizamuddin Basti conservation and development project.

Architectural model of Humayun’s Tomb

Architectural model of Humayun’s Tomb

I venture there on a rainy Saturday afternoon. As an arts professional, the idea of a sunken museum — the first of its kind in India — is enthralling. Inspired by the city’s baolis, a sloping pathway leads into the permanent gallery. Inside the large sheesham doors, the underground museum — which connects the Humayun’s Tomb Complex with Sunder Nursery — spans five galleries. Here, visitors are introduced to the antiquity of Delhi, its seven cities, and the significance of Nizamuddin in India’s pluralistic history. Right before visitors enter the principal gallery named ‘Where the Emperor Rests’, which focuses on the architecture of the tomb and the personality of Humayun, a 270-degree panoramic screen gives a virtual tour of the monuments and gardens of this World Heritage Site. Throughout the museum, a variety of films, projection mapping, animations, and audio-visual screens present the history of the area.

‘Where the Emperor Rests’ gallery

‘Where the Emperor Rests’ gallery

Auliya’s sacred land
In the 13th century, Hazrat Nizamuddin Auliya chose to establish his khanqah (Sufi houses of rest) along a small stretch of land on the banks of the Yamuna, which is now named after the Sufi saint. In the centuries that followed, rulers, poets, and paupers found their way to this sacred landscape. Humayun founded the first Mughal city of Dinpanah just 650 meters away from the Nizamuddin Dargah.

Charting Humayun’s passions

Conservation is at the crux of the museum. The 100,000 sq. ft. complex — built in partnership with the Archaeological Survey of India (ASI) and according to UNESCO guidelines for World Heritage Sites — aims to “help visitors better understand the cultural context of the heritage site,” says Ratish Nanda, conservation architect and India CEO of The Aga Khan Trust for Culture (AKTC). “The intention is to distil and present over 25 years of research and conservation work [and uncovering the histories of Nizamuddin].” Research that delved into questions such as the impact of Humayun’s extensive travels, and how his belief in astronomy and astrology played out in his reign.

Exhibits at the sunken museum

Exhibits at the sunken museum

An astrolabe

An astrolabe

The museum has over 500 artefacts, sourced from the ASI, National Museum in Delhi, and AKTC’s collections, as well as commissioned pieces.

“It is a major achievement that after 70-odd years we’ve made a site museum for a World Heritage Site. It’s a genre that is seen all over the world, but rarely in India. Also, the Humayun Museum had to overcome many challenges. For instance, one of the rules of the ASI is that you cannot build near a monument. Here, it is built inside the prohibited zone. And why not? Now, you can buy a ticket, go to the site, go to the museum — it’s a holistic experience. The museum is also of significance today because it is Mughal monument. It’s a reminder of our plurality, our inclusivity. And the fact that we must look at history objectively, and not subjectively. These are valuable points for conversation.”A.G.K. MenonArchitect and conservation consultant

Each object is being displayed for the first time — from replicas of the tomb and its architectural features; manuscripts and books, including a 14th-century tale of Laila Majnun (Humayun often travelled with a shutur-i-kitabkhana, a camel-back library); to a series of bronze sculptures by Scottish artist Jill Watson that record the emperor’s practice of dressing in colours determined by the planets; and even a warrior’s helmet from the 16th or the 17th century. The caption for the helmet states: ‘During his travel towards Persia, Humayun and his retinue experienced immense hardship. On one occasion, the emperor had to sacrifice a horse, and cook horse meat in a helmet.’

Warrior’s helmet

Warrior’s helmet

Bronze sculptures of the emperor

Bronze sculptures of the emperor

“Humayun travelled 34,000 kilometres in his lifetime, across India, Bangladesh, Pakistan, Afghanistan, and Iran. He visited 122 cities and this is revealed through [several of the] artefacts, including a dagger belonging to the Iranian Shah Tahmasp, who gave Humayun support to win back his kingdom,” says Nanda.

A blend of influences
The models of the tomb highlight traditions of Indian stone carving, metallurgy, tile work, and masonry, and showcase a blend of influences: the use of the kalash on the dome (inspired by Hindu temple architecture), chattris on the roofs (symbolising Akbar’s connection with the Rajputs), and other local motifs that reflect its inclusive nature. Another attraction is the finial of Humayun’s Tomb (made of sal wood enclosed in copper utensils) that was knocked down in a sandstorm 10 years ago.
 The finial of Humayun’s Tomb 

 The finial of Humayun’s Tomb 

Reminiscent of an inclusive spirit

As I walk deeper into the space, I am greeted by qawwali music echoing through the replicated canopy of Hazrat Nizamuddin Dargah. Many significant personalities, such as singer Amir Khusrau and poet Abdur Rahim Khan-i-Khanan, were drawn to Nizamuddin by Auliya’s message of universal love and brotherhood, and objects associated with them are displayed. Rahim was a symbol of the Ganga-Jamuni Tehzeeb (a syncretic fusion of Hindu and Muslim cultural elements), and he took an active interest in Hindu scriptures, translating the Ramayana and Mahabharata from Sanskrit to Persian. These are displayed along with his couplets and a portrait of him bowing to Lord Vishnu.

A replica of the dargah’s canopy

A replica of the dargah’s canopy

A Pietra dura marble block is showcased too, with Khusrau’s verse carved in Persian by master craftsman Iqbal Ahmad. The singer, as a tribute to the Nizamuddin area, had penned the following verse:

If there is a Paradise on Earth,

It’s here, it’s here, it’s here.

The museum offers a nuanced understanding of the Nizamuddin cultural precinct. Also on display are artefacts dedicated to the Mughal rulers who shaped Nizamuddin, including Dara Shikoh, the heir apparent to Shah Jahan, who translated the Upanishads into Persian. The manuscript, titled Sirr-i-Akbar, is on view along with calligraphy in his hand. “The museum is of significance today because it is a Mughal monument. It’s a reminder of our plurality, our inclusivity. And the fact that we must look at history objectively, and not subjectively. These are valuable points for conversation,” concludes A.G.K. Menon, architect and conservation consultant.

The writer is a Delhi-based museum and arts professional. 

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