national museum new delhi case study

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Norman Foster and his High-tech Architecture

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National Museum Delhi was the first largest and planned museum in India. Which had been designed by Gurgaryear Committee. It’s connected to all or any or any the Mother city by four Major roads from all directions. it’s four stories with the basement. Also, the basic form of the Building Is Fan formed with the circular court in between enclosed by a coated gallery. In addition, wings are connected with the court consistent with totally different necessities.

Together with art objects of historical, cultural and inventive significance with the aim to show, protect, preserve, and interpret and to function cultural centre for enjoyment and interaction of the folks in inventive and cultural activity.

Zoning of National Museum Delhi

The zoning is doing vertically as well as horizontally. Administration and different workers connected areas and services like H.V.A.C, electrical and different services are at the basement.  exhibitions are placed at a higher level. Horizontally, it is a zone into open, transition, and exhibition areas.

Circulation

It has loose circulation. Visitors enter in hall kinda gallery left aspect of the token counter, all hall is connected with one another with a center circulation court 6m wide, exhibition area of various floors are connected with stairs and lifts and toilet is provided on the stairs.

About floor plans of National Museum Delhi

Moreover, exhibition halls are interconnecting with a central circulation court 6m wide separate entrance for VIP. And physically handicapped are also present.

Underground fire-tank is providing, Conservation lab is providing on the 2 nd floor, common storage, A.C plan room, electrical, provided in the basement.

Firstly, Harapan civilization, Maurya, Gupta, Terracotta, Bronze, Medieval art, Buddhist art, Jewellery, ornamental art, miniature painting, these galleries are placing at ground floor

Secondly, coins, Indian painting, manuscript, Ajanta painting, Thanjavur painting, these galleries are placing on the first floor.

Moreover, textile, western art, wood carving, tribal art, music instrument, these galleries are placing on the second floor.

Lighting at National Museum Delhi

Each display has its own focused light, diffused light. Which are utilizing in false ceilings or hanging by steel sections. No natural light is using inside it. Artificial light is doing with daylight exhibits to keep a minimum. Natural lighting is barely utilizing in the center circulation court. Well played with focused lights with the utilization of concave and convex lenses totally different places. In the jewelry section, the gallery was dark and receding pockets were creating with minimum lighting. The full structure is based around the central rotunda that lights up the whole passageway.

Gallery Circulation

All the Galleries are in a Closed area so Binding Oneself to reach on every display. The main passageway is approx. six mt wide right along the O.T.S. Galleries are largely Rectangular in form. stairs are Provided for Vertical Circulation. Height Varies From 2.4 to 3.5 mt.

Display techniques at National Museum Delhi

Haphazard travel movement, the form of the area is itself useful in the display. Columns returning in between are additionally using for display, linear arrangements on the corridors, some paintings are boxing within the walls. Whereas most of them are hanged on walls, display to display distance is 3.5 m to 4 m, every display has its own focussed light, diffuse light. Lights are utilizing in false ceilings or hanging by steel section, no natural lights are using. Interiors were doing with the assistance of wood, glass and stone. The flooring used is marble and wood. totally different wall colors and rendering are finishing to avoid monotony.

About structure

The building is a trabeate structure using high-strength R.C.C & red sandstone. And flat beam with drop beam utilized in building. Floor to floor height is approx 4m. Also, all external facades have finished with yellow paint, red sandstone, and sandstone. All internal walls are plastere& color consistent with the theme. False ceiling exhausted exhibition areas All floor end are terrazzo, wooden, tiles & rubber flooring. Interiors are making with wood, glass, stone, aluminum is additionally utilizing in several sections like bronze and coin gallery. Also, temporary structures are provided around the building.

Observations at National Museum Delhi

Separate entrance for VIP. Stone sculptures are places around the building. So there is three front entry in building however just one in use due to security purpose. A loose movement system is provided within the building. Its shop and institute is a further advantage. Also, seating arrangements are creating for the guests to look at the thing of interest on display. The toilet isn’t properly placing in the building. No additional firefighting stairs in the building. No natural light is utilizing in the exhibition. It has its galleries rotating around an open courtyard, no views are providing. Sculpture in the central gallery isn’t visible properly due to glare from the back.

Also, read The Etihad Museum, Dubai-UAE

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Museums of the World: National Museum, New Delhi

The tangible substitute for artistic treasure , Rejuvenating the lost historical tales.  Museums set up an environment for humans to experience numerous phases of culture, traditions, historical and archeological, art and technology, and other kinds through art exhibits. The evolution of exhibition spaces creates a sense of connection between people and aspects of the country’s civilization, culture, history, and architecture . The National Museum Delhi is one of the evident artistic spaces that took people throughout the timeline of various art forms of India and foreign countries. The museum building is a reflection of India’s glorious past and a treasure to the present to experience alternate learnings. 

The emergence of the past within the present | National Museum New Delhi  

In 1947-1948, in the era of independence Royal Academy of London exhibited Indian artifacts and art forms and envisaged the idea of setting up a Museum building for the people to evident the Indian culture through artworks. Finally, in 1949, The National Museum of Delhi was open to the public under the Government of India, situated at the corner of the Janpath and Maulana roads. The museum exhibits more than 200,000 artifacts and represents the visual identity of historical and cultural tales of over 5000 years. 

The vision reflecting the past to outshine the future – 

In 1949, before turning all the artifacts and sculptures into their museums, the initial exhibition to uplift the concept of the National Museum was set up in Rashtrapati Bhavan. After its immense success, the authorities announced the premises of the present-era President’s residence as a view gallery for the National Museum for almost six years. The museum entertains people of every age with the essence of connection to learn, explore and observe the historical aspects of India . The vision of protection, preservation, and perception through numerous galleries, visual portrayals, and learning program is the conception of ancient, cultural, and artistic influence.

The design and execution | National Museum New Delhi  

To serve the free-flowing exhibit spaces significant for the general public, the execution of the building took place in 1955 and was finally open to the people to explore in 1960. The well-planned infrastructure enriching the values of more than a million artworks is because of Indian Architect Ganesh Bhikaji Deolalikar .  

As museums directly imply barrier-free spaces that composes of galleries with different approaches in such a way that each area is approachable and vision centric to the visitors. The national museum is a curvilinear building centered around the courtyard raised to three levels. Each level represents different aspects of cultural and historical values. 

The architecture of the museum building is well defined in terms of its contemplating features. It is a concrete structure of sleek and simple horizontal and vertical lines. The central courtyard connecting the radial blocks is an appropriate way to define the environmental impact and to provide aesthetic appeal to the building. 

The circular corridor along the courtyard directs the visitors in the right direction.

National Museum captured the history, Enhancing the presence within learning discovery.

The galleries of the museums are the storehouse of experimental learning that entertains each group of visitors with different kinds of activities, exhibits of artworks, and video graphics of cultural and historical glimpses. 

The entrance and the first-level galleries  

The main entrance consists of an articulated temple chariot from the times of the sun temple that resembles the deity of Lord Vishnu . The corridor hall involves services such as ticket counters and administrative facilities to regulate visitor arrivals. 

The museum has arranged the artworks in terms of their origin period – like a time pyramid ranging from pre-historical to modern arts . The first level galleries on the ground floor are for pre-historical artwork, Medieval art, decorative exhibits, Buddhist artwork, and sculptures from Gupta, Maurya Shunga, and Satvahna periods. Visitors can see transcripts, coins, and paintings in the expanded exhibit spaces. Despite its minimal design, the museum provides visitors to envision rare sight of artworks in materials such as terracotta, stone, bronze, textiles, and many more. 

The gallery possesses weapons, pottery, artifacts, and archeological items from the Indus valley civilization, Harappan and Mohenjodro, from 2500 BCE and 1500 BCE. The galleries are spacious and visitor friendly, and the interiors are composed in a simplified manner to outshine the hidden values of the artworks displayed.

The galleries on the ground floor are all about historical and archeological glory or envisioning preservation stories. The world-famous sculptures and monumental images from the sun temple greet the visitors from the entrance to the way to galleries.

Both sides of the corridors have carved sculptures and monument displays. The lintel from Abaneri and the Mohini from Gaday are known for their carving skills. The inner rotunda on the ground floor shows two large-sized horizontal lintels from Hampi ( Karnataka ) and Warangal (Telangana) representing Brahma, Vishnu, and Mahesh and one more than life-size image of Bodhisattva from Mathura (Uttar Pradesh). 

To represent the three phases of Buddhist culture – Hinayana, Mahayana, and Vajrayana, the first thematic gallery for visitors to understand the cultural values opened in 1990. Every sculpture, artifact, and painting presents a particular story of Buddhist culture. The silk paintings and stucco heads in the gallery remind us of the spread of Buddhism in Central Asia. The bronze images of Maitreya, Avalokitesvara, stucco heads from South Asia, and a life-size Buddha head from Java are impressive. Paintings in the Buddhist style depict Tibet and Nepal. A modern Buddha image in wood with gold wash from Burma and various ritual items like the wheel and ambrosia displays attract the visitors.   

The coin collection is remarkable for the variety, rarity, and antiquity of  Indian coins from the 6th Cen. BCE. to the end of the 19th century CE. The collection comprises 1,18,000 coins of gold, silver, copper, and alloys–billion, point, and lead. These coins are Treasure troves, hoards, gifts, and through purchases. 

Second-level galleries and educational facilities | National Museum New Delhi

There are terracotta, stone , and wooden carved sculptures on the ground floor of the building. The first floor provides a learning and experimental program for visitors. 

The galleries are in a way that gives more space for circulation. The exhibits are either in the center of the structure or along the structural walls. The first floor comprises institutions and galleries for paintings, manuscripts, arms, and armor. 

The third level of the museum 

The second floor mainly shows glimpses of India’s rich wood carving tradition from the 17th to 19th century. The museum also has a collection of musical instruments, maritime relics, snippets of tribal lifestyle, textiles , and western arts. 

Conclusion | National Museum New Delhi  

The National Museum is the life experience of numerous emotional, ethical, and literal moments of the history and culture of India. The Museum is discharging three primary functions – the cultivation of awareness, dissemination of information, and bringing a desirable change in society through its manifold and invaluable collection and preservation of artifacts. It is also imparting training in museum methods, restoration, and conservancy of the immense artistic equity of not particularly India but further of several diverse countries to several Museums/ Institutions .

External References – 

National Museum Delhi (no date) Museums – The World Museums Network . Available at: http://museu.ms/museum/details/15954/national-museum-delhi (Accessed: February 28, 2023). 

Photo Gallery (no date) National Museum, New Delhi . Available at: http://www.nationalmuseumindia.gov.in/en/photo-gallery (Accessed: February 28, 2023). 

National Museum, New Delhi (2023) Wikipedia . Wikimedia Foundation. Available at: https://en.wikipedia.org/wiki/National_Museum,_New_Delhi (Accessed: February 28, 2023). 

Nancy is professionally an architect and emotionally an artist who wants to depict human emotions and buildings through her words. Her sole purpose is to become a connection between people and buildings and to reflect their feelings in buildings through her ideas.

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Wooden Book cover

Wooden book cover showcasing the three different scenes under three arches.

Thunderbolt

Tibetan vajra of crystal & metal

Prayer Wheel

This is a prayer wheel made of composite material such as metal, shell and wood. The prayer wheel contains the mantras 'Om mani padme hung...' and the surface of the wheel also depicts various auspicious Buddhist symbols

Double Lion Capital

This double lion capital features two facing lions with lowered heads, curly manes, and al shoulder tufts.

Oblong 'Kashkul' of coconut shell is ornamented with floral design and an inscribed in Arabic written in Nask script, which reads the name of Allah

A nut-cutter shaped like a galloping horse, featuring a beautifully carved horse with a rider on its back, and a plain handle at the rear

A big hand fan painted with floral designs all over

The tiara has five panels. The centre of each panel depicts figure of Buddha in gold

About The Museum

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.

 Plan Your Visit

Janpath, New Delhi - 110011

Timings: Tue-Sun (10:00 AM to 6:00 PM)

(Closed on Mondays and National Holidays)

Students up to class 12th: Free entry (with I-cards) click here to pre-book your visit.

News & Updates

Visitors may kindly note that the following Galleries at the National Museum are closed due to the ongoing renovation work until further notice- 1. Arms and Armour 2. Textiles 3. Jewellery. The inconvenience caused is regretted. ...

Applications are invited from eligible candidates to fill the Junior Translation Officer post in the National Museum, New Delhi. For more details visit to given above URL....

Applications are invited from eligible candidates to fill the Deputy Curator (Arms & Armour) post at the National Museum, New Delhi. For more details visit to given above URL....

Applications are invited from eligible candidates to fill the Senior Private Secretary post by Deputation at the National Museum, New Delhi. For more details visit to given above URL....

Applications are invited from eligible candidates to fill the Production Officer post by Deputation at the National Museum, New Delhi. For more details visit to given above URL....

Applications are invited from eligible candidates to fill the Chemist post by Deputation at the National Museum, New Delhi. For more details visit to given above URL....

Applications are invited from eligible candidates to fill the Consultant post at the National Museum, New Delhi. For more details visit to given above URL....

A Note from Director General

Dr  B.R. Mani

National Museum, the prime cultural organization of India, was inaugurated on 15th August 1949 at President House and moved to its permanent location at Janpath on 18th December 1960...

Lakshmi is one of the most celebrated deities in India. Since the early historic times, Lakshmi has been revered as the goddess of prosperity and wealth in the Brahmanical, Buddhist, and Jain traditions. She has been profusely depicted on Temple complexes and Stupa architecture. ...

Lakshmi India 20th Century Gold 11.1 x 4.6 cm 07.25

Collections

• Pre-historic Archaeology
• Archaeology
• Anthropology
• Arms and Armour
• Decorative Arts
• Numismatics and Epigraphy
• Central Asian Antiquities
• Pre-Columbian and Western Art

Pre-historic Archaeology Collection

Beyond the banks of Indus and Saraswati rivers, there was a civilization which flourished, it was known as The Indus Valley civilization. It was also popularly known as The Indus – Saraswati valley or Harappa Civilization. This Bronze Age civilization is supposed to be one of the oldest civilizations of India subcontinent. During 20th and 21st centuries excavation of...

Toy cart HR 13974/222 Clay Harappa C. 2500 B.C.E 11 cm A toy but indexing life's actual mode, as it was then lived, this plaything, cast in fine clay, assembled using clay wheels and trolley for containing goods, and wooden shafts, is a tiny model of the carts that the Harappan settlers used in their day-today life for transporting their loads, and sometimes also passengers. The toy cart consists of two wheels with hubs, a trolley shaped like a bowl with a rectangular frame and two projections on its underside to attach it to the axel, a wooden shaft, draw-shaft, etc. The wheels and the trolley's projections are holed for the axle to pass through.

Animal Faced Pregnant Female Vs 33/256 Terracotta Mohenjo-Daro C. 2700-2100 B.C.E 9.4 x 4 cm This strange-looking tiny figurine, a woman's anatomy and an animal's face, represents a woman in advanced days of pregnancy. Armless, except the little parts adjacent to shoulders remaining, the woman's figure has been cast as standing straight with her legs positioned parallel and almost joined. Strangely, she has a muzzle-like elongated animal face, the style of nose in particular. There is a round cavity on the back between joints of hips, below the abdomen. Eyes and nostrils are marked by incision.

Bull 1539/234 Baked clay Mohenjodaro C. 2500 B.C.E 16 x 6 x 8 cm An endearing form with plumpish build, elongated figure and innocent face this typical animal is one of the two best known styles of bulls that the Indus artisan innovated. This terracotta bull figurine is entirely hand made with cream slip on it. Probably a knife might have been used in shaping the parts of the body and its minute details. It appears to be wearing a garland or plaited rope around its neck.

Climbing Monkey 11625/216 Terracotta Harappa C. 2500 B.C.E 6 x 4 x 4 cm The figurine represents a monkey as climbing upwards firmly holding in its hands a thin pole, obviously suggestive of a tree-branch. Maybe, the pole is a post-restoration replacement of the tree-branch. The position of arms, legs, tail and neck is very realistically portrayed. The hair on the body, face and spinal column are shown by incised lines. The figurine has a hole between the joined hands and legs to allow him to move up and down along the pole. The end of the tail of the figurine is turned down.

Dancing Girl 5721/195 C. 2500 B.C.E Mohenjodaro Bronze 10.5 x 5 x 2.5 cm. One of the rarest artifacts in the world, the statue of a young lady now unanimously called 'Indus dancing girl', represents a stylistically poised female figure performing a dance. The forward thrust of the left leg and backwards tilted right, the gesture of the hands, demeanor of the face and uplifted head, all speak of absorption in dance, perhaps one of those early styles that combined drama with dance, and dialogue with body-gestures. The statue, recovered in excavation from 'HR area' of Mohenjo-Daro. The adornment of her left arm is widely different from the right. The left is covered in entirety with heavy ringed bangles. Besides, the figure has been cast as wearing on her breasts a necklace with four 'phalis' like shaped pendants. Though a small work of art, it is impressive and surpasses in plasticity and sensuousness the heavily ornate terracotta figurines.

Dish-container - on stand H795/A (C) 1450 H 795/A (C) Terracotta Harappa C. 2500 B.C.E Ht- 20.5 cm This deep tray or dish-container, exceptionally finished and polished, is one of the highly accomplished types of polished wares discovered in excavations at Harappa and Mohenjo-Daro. Most likely it was used as a ritual vessel, an 'Offering Stand' or 'Censer'. It consists of two parts, the tray, or the dish, and the highly artistic stand. As is apparent, both parts have been independently molded on and joined together afterwards using still finer clay. The artifact has been coated with burnished slip ranging in colour from pink to deep red. Though largely washed, the vessel was once decorated all over with beautiful black paintings.

Male Torso 187/9042 Stone Harappa Circa 2500 BCE 9.2 x 5.5 x 3 cm This torso of a male is carved out of red jaspery-stone. In the frontal pose the abdomen is slightly bulging. The fleshy parts of the body beautify the sculpture. Sockets are provided for fixing the hands, the arms and the nipples to the body which is one of the most interesting features of animated figures, exhibiting highly technical skill of the Harappans. This technique is mainly applied for figures with movable limbs.

Standing figure of the Mother Goddess D.K. 3506/260 Terracotta Mohenjo-Daro C. 2700-2100 B.C.E 23 x 8.5 cm This large size figurine from Mohenjo-Daro is an excellent example of the technical maturity that Harappan artisans had acquired in clay modeling and baking. The coating of thick red slip seems to have been applied not to just add luster or finish but perhaps also for protecting its surface from erosion. The fan-shaped headdress is like a large pannier cup, which hung on either side can be seen here. The figure is adorned with two necklaces; smaller one has a set of four cylindrical pendants, while the longer one hangs between the breasts. The eyes have been conceived with two round pellets of clay, and the nose as pinched.

Pasupati Seal DK 5175/143 Steatite Mohenjodaro C. 2500-2400 BC 1-6/16 x 1-6/16x ¼ Inches This seal with anthropomorphic form of ithyphallic Shiva is one of the most significant Indus finds attesting the prevalence of Shiva-cult, his personalized Mahayogi or Pashupati form as also his aniconic 'ling' form, as early as Indus days. This seal with buffalo-horned figure almost unanimously identified as Shiva in his form as Pashupati, portrays him as seated cross-legged, in Yogic 'padmasana', and wide-armed. Natural enemies, wild and virile animals, buffalo, leaping tiger, rhinoceros and elephant all amicably surround the figure. The un-deciphered script is arranged horizontally in the space above the headdress.

Seated male in Namaskar pose 3072/388 Terracotta Harappa 2700-2100 B.C.E L: 5 Ht: 4 W: 2 cm It is evident that the Harappan potters and artists portrayed figurines practising exercises and several other postures. This artefact depicts a man seated in Namaskara pose. M.S.Vats, a well-known archaeologist, discovered this male figurine from the excavations at Harappa. It is cream coloured and hand-modeled. The seated male is depicted with legs outstretched and slightly raised knees. Hands are folded in Namaskar mudra and some parts of the feet are missing. His head, mouth and nose are pinched; eyes are depicted with round pellets. The fingers of the hands and the legs are not rendered individually.

Archaeology Collections

After the Indus Valley Civilization, India came into the age of different rulers and dynasties. During the ancient and medieval period of Indian history, many dynasties like the Maurya, Shunga, Satavahana, Kushana, Gupta, Vardhanas, Pratiharas (in the north), Palas, Sena (in the east), Maitrakas (in the west), Chola, Chalukya, Hoysalas, Vijayanagar, Nayakas (in the south) has...

Ardhanarisvara 47.109/13 Bronze Vijayanagar, South India 15th Century CE Ht. 71.0 cm., Wd. 33.0 cm., Dep. 25.5 cm. This is a four-armed and three-eyed figure of Ardhanarisvara, standing on a lotus pedestal, with a rectangular base. The arms are bifurcated at the shoulders. The upper right hand holds a parasu (axe) between the first and second fingers in tripataka-mudra (now damaged); the upper left hand holds the stalk of a lotus bud. The lower right hand is at rest (as if on Nandi), the lower left in katyavalambita pose. The hair is braided to the left and arranged in jata-mukuta fashion to the right, with locks falling on the back. A siris-chakra is behind the head.

Bharata 69.49 Bronze Vijayanagar, South India. 14th Century CE 75.0 cm. x 31.2 cm, x 22.3 cm. Bharata, the younger brother of Rama, is said to have ruled the kingdom of Ayodhya with the latter’s sandals on the throne. This bronze sculpture depicts him carrying Rama’s sandals on his head as he returns after visiting Rama who was in exile. The sandals are placed on a cushion and he himself stands on the double lotus. The hooks on all four sides of the base were used to carry the image in ritual processions.

Buddha head 47.20 Buff Chunar Sandstone Sarnath, Uttar Pradesh Gupta, 5th century, CE 26.6x16.2x21 cm The sculpture is made in soft buff colored chunar sandstone which showcases the characteristics of the Indian art which developed during the Gupta period. The Buddha head is marked by the most graceful features. Oval face, flat and strained cheeks, thick lips, sharp nose, half closed eyes, hair curls in snails with Usnisa (bun) on the top and elongated earlobes. Aesthetically it combines the highest vision (Drishti) with perfect form (Rupa), emotion (Bhava), grace and charm (Lavanya) and likeliness to ideal (Sadrishya).

Bhu-Devi 48.4/262 Bronze Nayaka, South India 17th Century CE Ht. 25.3 cm., Wd. 7.7 cm., Dep. 7.3 cm. Bhu Devi, earth-goddess Prithivi, is differentiated by the absence of kuchabandha, makara kundala, and upavita or sacred thread. In this image the last feature is absent. She originally must have been part of a triad, flanking the image of Vishnu on the left along with his other consort, Sri-Devi, on the right.

Flying Celestial L-55-22 Stone Aihole, Karnataka Western Chalukya, 7th cent. CE. 135x109x23 cms In the Deccan, over one hundred temples were built during the 7th and 8th Century under the early western Chalukyan Empire. Few of these had Jain in affiliation and the rest Hindu, reflecting the religious leanings of different emperors. This is a large slab carved in high relief showing a flying celestial couple. They are lightly floating amidst clouds. The female figure holds a fruit in her right hand in front of the chest and the left arm rests on the shoulder of the male figure.

Mohini 50.190 Stone Gadag, Karnataka Western Chalukyan , 11th cent. CE. 92x41x18 cm Figure of Mohini is standing in a graceful pose under a fruit bearing tree. The trunk of the tree is to her proper right and a standing dwarf figure with the left hand raised above the head and the left resting on the hip, to her proper left. She is looking in a mirror held in her left hand. Her hair is arranged in schematic spirals, tied into a loop. She is profusely ornamented necklaces of pearls, a breast chain, stanottariya, etc. Her lower garments are fastened at the waist by a double ornamented band from which tassels are suspended.

Saraswati 1/6/278 Marble Pallu, Bikaner, Rajasthan Chauhan, 12th century CE. 77 x 46 x 22 cm Saraswati, the Goddess of music, learning, eloquence and intelligence is basically the deity of Brahmanical pantheon where she is considered as the Sakti of Brahma. The four armed Saraswati standing on a lotus pedestal holds a lotus, a book, a rosary and a vase in her hands. The lower right hand is in varada mudra. The modelling of her limbs is very soft and delicate. She is bedecked with minutely carved ornaments. The attendant figures and devotees are also around.

Buddha 87.1153 Schist Provenance Unknown Gandhara, 2nd century CE. Ht. 133.0 cm, wd. 51.0 cm, dep. 21.0 cm A life size stone image of Buddha is standing in abhayamudra. In his left hand he holds the hem of his garments. The present sculpture is typically Gandhara in style- marked by long flowing drapery placed loosely on the body with heavy schematic folds. The robes cover both the shoulders. He bears an urna mark on the forehead. The wavy hair is arranged in top-knot fashion.

Surya 50.178 Stone Konarak, Orissa Eastern Ganga, 13th century CE. 189.2 x 89 cm This is one of the finest sculptures from the Sun temple of Konark and may have been installed for worship in the sanctum. Surya is depicted standing on a pedestal. He is profusely ornamented. A kirtimukha is seen on top with a pair of flying celestial at the extreme ends. Seven horses are shown on the base in front in three rectangular niches, driven by Aruna who is seated on pedestal. The figure is surrounded by a decorative arch that adds beauty to the image.

Vishnu E. 6 Stone Mathura, Uttar Pradesh Gupta, 5th century CE. Ht. 109.0 cm, wd. 67.0 cm, dep. 22.0 cm This is a standing figure of Vishnu whose upper part of the body is nude, except that he wears an elaborate crown with mauli-mani on the head, a necklace of large pearls and another composed of beaded multi-strings armlets, ear-pendants, yajnopavita and a beautiful vanamala, passing behind the shoulders and over the arms near the elbows. The lower half of the body is clad in a waist-cloth with loose folds, secured by a cord. Traces of a halo around the head are visible.

Anthropology Collection

National Museum has a vast collection of anthropological artefacts which consist of approximately 8 thousands object of varied material and mediums such as terracotta, textile, Basketry, bone wood, metal, paper, leather, etc. Many antiquities are made of mentioned material and mediums, a few examples of these artefacts are puppets, garments, masks, weapons, utilitarian...

Diadem with emblems of five cosmic Buddha (Pancha-tathagata) 64.27/A, B, C Embroidered textile, paper Nepal/ Tibet 20th century C.E L. 40.5 cm; Wd. 44.5 cm, H. 17.5 cm This ritualistic diadem plays a prominent role in tantric Buddhist religious ceremonies of Himalayan Buddhist communities. Particularly used as an ensemble in the initiation (abhisheka) ceremony. This crown is embellished with mystic syllables, denoting the five-fold wisdom of the transcendental Buddhas. The following letters are mystical seed syllable (bija) unique to each of the Buddhas - Amitabha (Infinite Light) represented by 'Hri', Akshobhya (Unshakeable), etc. These syllables are embroidered separately on five panels within torana-shaped segments.

Ajilamo Mask 65.429 20th Century C.E Arunachal Pradesh, India L. 51.5 cm; Wd 25 cm This unique mask is worn by the Sherdukpen community of Arunachal Pradesh during their version of Ajilamo dance. The Lhamo is a folk opera that was originated in the 14th Century by Saint-Scholar Mahasiddha Thantong Gyalpo in Tibet. The Lhamo was the celestial figure and the queen of Gyeli. During the annual Losar festival, Monpa and Sherdukpens per this pantomime where they demonstrate the marriage between Lhamo and King Chhoegay Norzang. In the dramatic rhythm of drums and cymbals, the distinctive foot, hand, and bodily movements depict the qualities of the Achi Lhamo characters.

Perak 86.227 Textile, Fur, Semi-precious stones, Silver Ladakh, India 19th century C.E L. 69.5 cm ; Wd 40.5 cm This ornate headdress known as Perak is particularly worn by the Ladakhi ladies. It denotes their marital status, as only married women are allowed to adorn it. It is believed that the Perak drew its origin from the cowrie studded ceremonial Kupa headdress of Pakistan. Once worn, it creates an appearance that resembles the hood of a King Cobra, signifying the women as the custodian of the community. According to folklore, it was the Ladakhi queen who first initiated the tradition of wearing a Perak among the womenfolk of the region.

Basket (Phen) M01/41 Bamboo, Cane, Natural pigments Arunachal Pradesh, India 19th century C.E H. 47 cm; Dia: 40 cm This round-shaped basket is locally termed as Phen among the Khamtis of Arunachal Pradesh. The basket is comprised of three elements- the lid, tray, and the stand. The offering tray has an additional circular-shaped stand fixed at the bottom. It is provided with a cone-shaped lid with a pointed knob. Both these elements emulate the shaping of Buddhist ritual metal jars. Apart from the usage, the technique and aesthetic presentation is also intriguing. The weave and designs of this tray are fashioned from cane and bamboo, made using diagonal plaiting complex twills, dexterously woven into herringbone patterns.

Earplugs (Thuriya) 59.217/ 57 a,b Gold, Rubies, Green Enamel Assam, India 19th century C.E L: 2.4 cm, Dia. 2 cm Thuriya is a unique pair of two-faced traditional earrings from Assam, which serve as an important ensemble of 'Axomiya Gahana' (ethnic Assamese jewellery). This was popularised by Ahoms and traditionally worn by females of all age-groups. This hand-crafted piece is made up of natural lac, encrusted with an enigmatic combination of red-colored rubies and green enamelling, relived with gold leaf (paat-xun) outlining. The front section is crafted in the shape of a full-bloom lotus with layered petals, while the tube-shaped stem is decorated with geometric patterns.

Vermilion container (Sindoor-dan) 64.98 Brass Gujarat, India 20th century C.E H. 11.1 cm; L. 15.5 cm This brass container having several compartments for collyrium and vermillion is intricately designed with three peacocks, one over the lid. The top compartment is for collyrium and opens with a lid hinged on one side. This compartment itself can be slid by pushing it aside to open the bottom compartment which is divided into two sections- one for the dry vermillion powder and another for the wet. To close, the upper compartment is slid back to position where it gets automatically locked up under the beak of one of the peacocks.

Marriage Litter (Rahi) 64.1270 Wood, Cloth Jharkhand, India 20th century C.E H. 146 cm A ceremonial marriage litter of the Santhals, locally referred to as 'rahi'. It is entirely carved out of wood by the tribal craftsmen, displaying a variety of animal and human figurines. Like every tribal practice, during the creation of the rahi, a certain rituals are pered. When the work commences, two pigeons are sacrificed and after the work is completed, the owner (not necessarily the maker) and his wife sit on it and are carried to the central manjhisthan where two more pigeons or a goat is sacrificed.

Tent Hanging 70.169 Cotton, Mirror Bhavnagar, Gujarat, India 20th century C.E L. 196.5 cm This piece of intricate embroidery is handiwork that is woven on the silk which acts as a rich base to the embroidery. It is an exclusive fabric of hand-woven silk, made using a running stitch which is one of the oldest and simplest s of stitching. The border is characterized by a row of triangles. In the center, the ground has floral and leaves motifs along with an applique mirror work in its center. Each central flower pattern is enclosed by a square called “Chitkis”, triangular and rectangular shapes are stitched together to uniity in the pattern of design.

Portable Shrine (Kavad) 75.64 Wood, Natural Pigments Rajasthan, India 20th century C.E H.35.5 cm; Wd. 22 cm; Depth. 16.5 cm Kavad is a portable shrine that contains multiple folding doors, each painted with diverse themes from the Hindu epics and mythology, local folklore, and also depicts the exploits and aspirations of the patron. It is a folk tradition from the state of Rajasthan, where the Kavadia Bhatt priests commission the artisans belonging to the Suthar, carpenter-artist community of Bassi village caste to create these delightful portable shrines. The storytellers are called as Bhanwar Bhat.

Jagannath Patachitra 78.954 Paper, Cloth and Natural Pigments Raghurajpur, Odisha, India 20th century C.E L. 93.8 cm; Wd. 82 cm This patachitra displays the prominence of the Shri Jagannath cult and the temple traditions in Puri, depicting several mythological scenes, ritual and religious beliefs of the Vaishnava sect taking place around it. It is made in traditional Odisha using natural colors, bold angular, sharp lines, using geometric designs, flowers and foliage for decoration with red colored background. This painting represents Lord Jagannath, his brother Balabhadra and sister Subhadra in the center flanked by the images of Lord Shiva on the right side and Lord Brahma on the left side.

Arms and Armour Collection

Since the time of Pre-History to Present, Self-preservation, protection and war have always been an inseparable part of human society. Due to these factors, Arms, as well as Armors, became part of the society. National Museum has an extensive collection of Arms and Armors. From this collection, quite a few examples of Indian weapons like different variety of bows, Variety of...

Sword of Tipu Sultan 56.17/1 Metal, Wood, Velvet Mysore, 1799 C.E Lt. 74.1 cm This sword belonged to Tipu Sultan, the ruler of Mysore. The Delhishahi hilt damascened in gold. The Delhishahi hilt with its circular disc pommel, oval grip, small knuckle-guard, short quillons and small langets, is damascened in gold in floral and creeper design all over. The blade is ornamented with floral motifs in opulent gold, and has Quranic verses inscribed along with name of Tipu Sultan Bahadur and his capital Serirangapatnam. The sheath is made of wood and covered with maroon velvet.

Battle Axe of Nadir Shah 58.47/3 Metal Indo- Persian, 1739 C.E Lt. 52 cm The battle-axe of Nadir Shah is a noteworthy specimen. It is inscribed with Quranic verses and ‘SahibeQiran Nadir’ in Arabic. The axe head is profusely decorated with gold and silver inscriptions. The octagonal handle is profusely decorated with floral designs in gold and silver.

Dagger 59.1/2 Leather, Metal Udaipur, 17th Century C.E Lt. 40.1 cm The artefact is a dagger with a moderate curve, with a plain blade;the ram-shaped hilt is profusely studded with lusterous precious stones like rubies, emeralds and other precious stones. Quite similar to the peshkabz, that is of Persian origin introduced in India by Mughals. The sheath of metal is perforated with the images of gods and goddesses. The upper part and chape of the sheath are enamelled. The sheath of metal is delicately perforated with images of birds, animals and creeper delineation.

Gun Powder 61.66 Mother of pearls, iron Gujarat, 17th Century C.E Lt. 14.5 cm Conch-shell shaped curved gun powder container is made of the mother of pearls. It is decorated all over with cross design and five dots in each square. The cap is broken. A small iron chain is affixed to it.

Shield of Maharana Sangram Singh 62.2879 Udaipur, c.1840 C.E Lt. 62.5 cm This shield (dhal) belonged to Maharana Sangram Singh II of Mewar who ruled from C.E. 1710 to 1734. The shield is made of rhinoceros hide. It has been lacquered black and painted in brilliant gold in C.E. 1730, quite similar to the miniature painting of Mewar school of painting. The painting done on the shield consists of only three colors- lac red, carbon black and gold. The painting is divided into eight sections illustrating the Maharana marching with retinue and deer, etc.

Hilt 62.2936 Jade, Semi-precious stone Mughal (Delhi), Early 17th Century C.E Lt. 12.6 cm The jade hilt, probably part of a dagger,is studded with diamonds and rubies in gold border, designed as floral stems. The daggers with such carved jade hilts were worn and exchanged as gifts among the royal and noblemen within the Mughal empire and its neighbouring courts.

Chest-Plate (Char-aina) 63.526 Steel Rajasthan, 18th Century C.E Lt. 85.3 cm, W. 17.4 cm This body armor is made of six steel plates a back plate, three front plates and two-side plates hinged together. The two plates on the sides have under-cut on upper edge for the armpit. Five hooks are contoured on the end plates. The edges of all the plates are strengthened with additional serrated border. The borders have Devanagari script inscribed on it. The body armor has the name of the armor maker Sita Ram given on it.

Sword 75.672 Steel, Wood Jaipur, 18th Century C.E Lt. 49.5 cm Nimiachau-1- shamsheer i.e. Small slightly curved sword of watered steel blade. The hilt, decorated in floral design in gold terminates into a tiger killing a deer which also becomes the knuckle-guard. The wooden sheath is covered with perforated metal in floral motifs with attached two bands and two rings.

Helmet 96.216 Steel, gold, Hyderabad, 19th Century C.E Ht.52 cm, Dia. 20.7 cm The hemispherical helmet made of four pieces of steel soldered. It is surmounted by a plume-holder and a movable nasal-guard with leaf-shaped terminals. The entire helmet is profusely inlaid with gold in creeper, birds and geometrical patterns in zar-band. Arabic characters are encased in ornamental frames arranged at two levels upper and lower. The helmet also consists of a camail for the protection of shoulder and neck.

Shield 96.338 Steel, Cloth Dia. 54 cm This circular convex shield of watered shield made of two sheets has up turned rim. The outer rim has twelve windows in the shape of leaf. The shield is profusely inlaid with gold in floral, birds, creeper and geometrical patterns in zarbuland, with Arabic characters inlaid with gold in the centre of each window. The four bosses with serrated borders are affixed between four windows. The rim gives an effect of light and shade- it is inlaid with gold alloy.

Decorative Collection

Every culture has its distinct features, which is clearly reflected in its art, ranging from tiles and wood carvings, ceramic or metal utensils to textiles and jewellery. These functional objects are created manually, and help us in understanding the social, religious, commercial and technological development of the society....

Plaque 60.1610/22 Jade, Stone, Metal 19th Century 4.6 x 4 cm. An arch shaped plaque with floral design on one side and inlayed with stones and golden wire. Damaged at places.

Box 48.28 Jade, Gold Northern India 18th century Lt. 11.5; Wd. 6; Ht. 3.4 cm. Light green jade octagonal box with a detachable lid. Lid of a box is bejewelled with precious stones and gold wire arranged in a floral decoration form. The box's side walls are made of small plaques arranged in an octagonal shape. The outer side of the wall panel is decorated with Mughal botch, which are surmounted by gold wire frame. The plain inner portion has three compartments two smaller one on either side whist the centre division is slightly bigger.

Small bird 60.1618/5 Carnelian, Metal Northern/Western India 19th Century 5 x 3 cm. A small bird having metal coating (on its back) with small metallic round balls fixed within provided loops. A small chain is also attached to it. Damaged at places.

Muhnal 61.1489 Glass, Stone India 19th Century 6.2 cm. A huqqa muhnal inlaid with golden wires and stones. Some sockets are without stone. Cracked and damaged at places.

Venugopal, Ganesha and a saint 62.103 Wood South India 19th century 40.5 x 42 x 8.5 cm. The Venugopal stands on lotus pedestal, playing flute, is in the centre and a cow stands nearby. The  Ganesha is seated on a mouse and a standing figure of a saint are on either side of Krishna. All three images are fixed on a single base. Damaged at places.

Surahi 62.1757 Ceramic Jaipur, Rajasthan Late 19th century Ht. 34 (with lid); Wd. 15 cm. A blue and white ware jar with lid having a handle. Outer drawing showing an elephant killing lion and an equestrian figure.

Dasavatara shrine 72.251/(a) Ivory, wood South India Late 18th century CE Lt. 22; Wd. 17.8; Ht. 15 cms A magnificent example of ivory carving and painting pursuing typical South Indian idiom, this tiny shrine, full of luster and most rare, both as the art material and the quality of art, installs Lord Vishnu's ten incarnations, each on a circular double lotus seat. The sandal wood base of the shrine is mounted with an ivory sheet and in the background is a perforated ivory screen divided into three parts using European style pillars.

Gyan chaupar 85.312 Cloth Rajasthan, India 19th Century A Gyan chaupar of cloth painted with floral border, small squares all over the field and two male figures one either side are on the top. The entire field depicts snake and ladder with inscription in Devnagiri.

Tusk depicting Buddha's life scenes 85.508/1 Ivory, Wood Early 20th century Ht. 134 cm. Magnificent artwork illustrates the complete life story of Lord Buddha in forty-three small roundels. It starts from bottom to top; the scenes are carved in roundels with floral creeper depicted around the roundels. Tip of the tusk illustrates Lord Buddha in three different mudras (hand gestures) representing important scenes of Buddha's life. Most of the scenes depicted here are represented in other art forms; however some of them have not been depicted earlier. Although it's an early twentieth century work, even then the artist has thoroughly followed the literary text.

Elephant with riders 87.503/1 Metal Western India 20th Century An elephant ridden by elegantly dressed royal figure holding a flower in one hand. There is a male attendant sitting behind the royal figure who is holding a fly-whisk in his one hand. The elephant is richly ornamented. Damaged at places.

Manuscripts Collection

The National Museum has a collection of nearly 14,000 manuscripts in various languages and scripts, covering a large number of subjects and representing various schools and provinces. It comprises fragmented or full manuscripts, of which about 1000 are illustrated. The non-illustrated manuscripts are calligraphic, which have ornate letters almost transforming into pictures. Many of...

Ashtasahasrika Prajnaparamita 70.3/3 Palm-leaf 12th century C.E. Sanskrit; Pala 55.0 × 5.7cms The Asthasahasrika Prajnaparamita is one of the most important scriptures of Mahayana Buddhism. Prajnaparamita (where ‘prajna’ refers to ‘Supreme Knowledge’ and ‘paramita’ refers to ‘fullness’) is an essential Mahayana rite, which must be observed by a bodhisattva or seeker of Enlightenment. This folio is from a manuscript dating back to12th century C.E. The manuscript bears richly decorated illustrations in the style of mural paintings, with images of Avalokiteshvara, green Tara and other minor deities, in a masterful composition of forms. They share a stylistic affinity with the Central Asian styles.

Babur Crossing the river Saun: a Baburnama folio 50.336 Paper: c. 1598 C.E. Persian; Nastaliq 26 × 17cm This folio from Babur Nama depicts a scene of the 14th of April 1529 when Babur marched through Bibar and crossed the River ‘Saun’ using a bridge of boats. In the middle of the paintings is a boat onto which a fish has leapt. Two soldiers armed with muskets are firing at the crocodile. All the on-lookers are sharing in the excitement which the incident has provided. Babur is sitting beneath a pavilion constructed on the largest boat. He is the highest figure in the painting, evidencing his status as master of all the surveys.

Babur supervising construction of reservoir at Istabul near Kabul 50.336 Paper c. 1598 C.E. Persian; Nastaliq 26 × 17cm In this painting, Babur depicts the pleasant villages around Kabul and their gardens. He records 33 different kinds of tulips on the foothills of Dasht-i Shaikh. In this colorful painting, Babur holds a hawk and stands near the reservoir that he constructed. In the background stands his tent. In the top right hand corner of the painting, a dancing peacock is depicted, its tail spread out in a gorgeous fan. In the foreground, a greyhound drinks water from a stream. This is undoubtedly on one of the most delightful paintings of the Baburnama.

Balabodhini 76.726/2 Birch-bark manuscript 12th century C.E. Sanskrit; Sharada. 28 × 23 cms Balabodhini, authored by one of the celebrated Kashmiri Pandit, Jagaddhara Bhatta, dates back to 12th century C.E. inscribed on birch-bark (bhuja-patra) in black ink, typical to Kashmir. The inner bark of the common birch, known more as the bhoja-patraorbhurja in their native Himalayan region, has been used most prolifically by the Hindu Kashmiri as their writing material till 18th century. In the manuscript, we do not see any illustrations being used. The text is written in Sharada script, with pen and black ink, imparting a vivid character to the quaint birch-bark.

Farman of Jalal-ud-Din Mohammad Akbar 92.28 Paper 1560 C.E. Persian; Taliq 52 × 26 cm A Farman is an imperial directive. During the Mughal period, farmans in the name of the emperor, bearing the imperial seal and, sometimes also, imperial symbols were issued. Jalal-ud-Din Mohammad Akbar credited for many victorious and perhaps most importantly, a period of religious and cultural tolerance. The Farmans issued by Emperor Akbar were very functional and institutional in veneer. It is a statement rendered potent by the emperor’s seal or Mohra (small circular stamp) above and is now faded. The text is in Taliq, language used is Persian.

Gita Govinda of Jayadeva 57.46 Palm-leaf 18th Century C.E. Sanskrit; Oriya 5.6 × 26.5 cms The opening lines of Jayadeva’s work- ‘Love Song of the Dark Lord’ as the Gita Govinda has been called-till the very end, the entire text is accommodated on fourteen palm-leaves stitched together so as to open up like a hanging. “Clouds thicken the sky/tamala trees darken the forest”, Nanda says to Radha asking her to take young Krishna home, for ‘the night frightens him’, little knowing that as they leave, ‘passing trees in thickets on the way’, the ‘secret passions of Radha and Madhava’ will begin to ‘triumph on the Jumna riverbank’. On the other hand, the text is artfully written on the succeeding leaves.

Jain Kalpasutra 48.29 Paper 15th century C.E. Prakrit; Devanagari 12 × 30cm The present manuscript is an illustrated copy of the most revered Jain Work of Bhadrabahu. This is the sumptuous specimen of the best known of illustrated Kalpasutras on paper. Folios of the manuscript are filled with gleaming design, both in the writing of the text and in the illustrated panels: borders filled with Little figures against backgrounds of rich but wonderfully varying colours, elegantly written line of script, alternating from gold to silver; figurative panels equipped with meticulous details of textiles and objects and sacred symbols. The painter has illustrated the birth of Mahavira.

Kammavacha 51.20 Copperplate Manuscript 19th Century C.E. Pali; Burmese. 54 × 10.5 cms. This Burmese tamrapatra or ‘plates of copper’ manuscript’s slim and long folios are lacquered in black with text. The folio carries a male figure on the right end and a female figure on the left end in elaborately framed compartments. The two figures are anthropomorphic and with animal features simultaneously so they appear to be semi-divine creatures in the tradition of kinnaras and vidyadharas. They wear typically Burmese, tall, tiered, conical crowns. The Burmese predilection for the golden Colour is typified by the temple city of Pagan.

Rasamanjari: ‘A Bouquet of Delights’ 61.1185 Paper 18th Century C.E. Sanskrit; Devanagari 14 × 29 cms. Regarded as one of the great classics of Sanskrit literature, Bhanudatta’s 15th Century work, the Rasamanjari.. The painter of the present manuscript shows a clear understanding of the contents and the situations envisaged. One sees this on the very first folio which contains an invocatory verse in honor of Shiva. With great imagination the poet casts the deity in the role of a lover, considering that the theme of the whole work was essentially love. Everything points to Shiva trying to save his beloved, his left female half which is Parvati, any unnecessary effort. The painting is rich and colourful, with strong elements of stylization, as seen in his treatment of the rocks and the flowering plant.

Folio with Calligraphy and Ornamented Border 55.53/1 Paper 16th Century C.E. Arabic; Naskh 37 × 25 cms The text in the specimen of calligraphy is a beautiful couplet taken from a famous Arabic poem composed by the Abbasid poet Saiyed-Isma’il-al-Hamiri. As per Shai sect of Islam It is believed that Imam Ali bin Musa Raza, the eight Imam, had a dream in which al-Hamiri was standing in front of the Prophet, his daughter Fatima, his cousin Ali, and two grandsons Hasan and Husain, reciting a poem in their praise: The Imam himself was present there too. It is also believed in Shia Islam that whosoever learns this poem by heart will surely find a place in Heaven. The couplet from al-Hamiri’s poem is written on rose-pink paper. The calligraphic specimen has been mounted on a larger page, framed by a narrow border with a golden floral pattern surrounded by a larger border of marbled paper with abri or cloud patterns.

Numismatics and Epigraphy Collection

Indian coinage has a long and rich historical tradition that provides a key source of information of political and economic changes. It also reflects the cultural and aesthetic development of different periods and regions.

Mughal Coin 55.36/77 Silver India 1759 - 1806 C.E Dia- 2.4, Wt- 11.4 gm This coin is issued by Ali Gohar commonly known as Shah Alam II. He was son of Alamgir II and the sixteenth emperor of Mughal Empire. After the murder of his father, he became the emperor of a crumbling Mughal empire by taking the title of Shah Alam II. The time period of his reign was from 1760 to 1788 C.E. and 1788 C.E. to 1806 C.E.

Mehrabi coin of Jalal-ud-Din Akbar. 60.1165/3546 Gold Agra, India 963-1014 A.H= 1556-1605 C.E A Mughal coin dating back to the reign of emperor Jalal-ud-Din Akbar also popularly known as Akbar the “Great”. A fine example of Mughal craftsmanship with minute detailing and unique shape, this coin bears inscriptions on both sides. Obverse side has Kalima in centre with the names of the first four caliphs Abu Bakr, Omar, Osman and Ali; date 981 AH. REVERSE: In centre: Jalal-al-din Muhammad Akbar Badshah Ghazi; above: khuld Mukahu; below - zarb Baladah Agra. Popularly known as the “Mehrabi” coin i.e. a coin with scalloped edges; in pendant (two rings can be seen on top to facilitate its use as a pendant on a chain).

Nalanda copper plate grant 47.51 Copper Nalanda, Bihar 9th Century C.E 76.3 x 42.8 cms Copper Plate inscription of King Devapala deva of Bengal, throws light on the grant of five villages given by the king Devapala in the district of Rajagriha (in Patna division) for the upkeep and maintenance of monks and copying of manuscripts in the monastery built by the Sumatran king on the 21st day of Kartika in the 39 regnal year. It also mentions that the grant was given by the king on the request of Maharaja Balaputra Deva of Suvarnadvipa i.e. Sumatra.

Cooch Behar Coin 53.23/178 Silver India 20th Century C.E Silver coin of the Cooch Behar king Shri Shri Jitender Narayana Bhupraj, Saka 404. On the other side there is Royal Crest Legend Yatodharmastatojayah. The main currency in circulation was the British currency after 1866 and not the Narayani coins (currency of the Cooch Behar). The obverse show a crowned lion on the left and an elephant on the right and the royal crest having Hanuman on top. The coat of arms has the royal motto in Sanskrit shloka of “Yato Dharmo Stoto Jayah” in Bengali script. The shield has patterns and has two swords in crossed position and a balance. The reverse of the Cooch Behar coins has the name of the king and the date as Raja Saka (Cooch Behar Era) 413 which coincides with 1923 C.E.

Roman Byzantine coin 54.14/91 Copper or Bronze Coin from the Roman Byzantine dynasty with symbol on reverse side.

Nepal Coin 55.36/92 Silver Nepal 1799 - 1816 C.E Dia-2.6 cm Wt- 505 gm The coins specimen seen here was minted during the reign of King Girvan Yuddha Vikrama of Nepal. He ruled from 1797 to 1816 C.E. The above coin, circular in shaped is designed with in a small square at the centre, beautifully amalgamated in a circle depicting a tridant . It dates back to 1735 Saka era.

Indore Coin 55.36/132 Indore, India 1886-1903 C.E The coin was issued by Shivajii Rao of the Holkar dynasty, the twelfth Maharaja of Indore. Holkar was a Maratha clan of Dhangar origin in India. Malhar Rao Holkar was the founder of Holkar dynasty. Shivaji Rao Holkar was the twelfth Maharaja of Holkar dynasty of Marathas. He succeeded his father on 17th June 1886 and ruled till 1903 C.E. During his reign he issued silver and copper coins in the denomination of Rupee, paisa and Anna series. All the coins struck at Indore mint represented various symbols such as sun face, bull, etc.

Indo- Greek Coin 56.9/6 Silver India 2nd Century B.C.E Length: 1.4 Width:1.4 Cm. The Hellenistic expansion brought the Ancient Greeks in South Asia also known as Indo-Greeks. They have established the Indo-Greek Kingdom, covering various parts of the northwest and northern Indian subcontinent during the last two centuries B.C.E., and were ruled by more than 30 Hellenistic kings. The Indo-Greeks ultimately disappeared as a political entity around 10th century C.E following the invasions of the Indo-Scythians.

Chola coin 59.152/321 Base Gold 985-1014 C.E Chola is one of the greatest of Tamil powers who ruled the region for several centuries. Archaeological evidences from Kaveripattanam throw light on regular coinage by the Cholas. Their coins had a symbolic representation including the emblem of the Cholas and on the obverse what is usually seen are symbols those were seen on the early die struck coins of the North. The specimen seen here shows Ceylon standing figure on the obverse and seated ceylon figure "sri rajaraja" in nagari on the reverse side.

Painting Collection

The National Museum has nearly 17,000 paintings, representing all important styles of Indian miniatures. It is one of the largest collections of miniature paintings in the country. The Miniature painting tradition has been a key form of Indian painting apart from murals, cloth paintings and paintings on wood. Among miniature paintings, the main schools have been- the Deccani (from...

Portrait of Rama (Sri Rama Chandra) 63.1043 Unknown Basholi, Pahari, Jammu & Kashmir Early 18th century C.E. Water colour on paper 14.8 X 10.2 cm Lord Rama is shown seated on a thousand petalled lotus that rises from the water. Water here is symbolic of the Ocean of Consciousness. He is wearing a bejewelled crown with lotuses and carrying his bow in one hand and arrow in the other, denoting his status as a great archer. Oval face, thin and elongated figures, long arms and slender waist creates a perfect harmony and balance. His name is inscribed on top of the painting in takri script as Sri Ram Chandra.

The Coronation procession of Rama 49.19/119 Unknown Mandi, Pahari 1800 C.E. Opaque water colour on paper. 33 x 23.7 This miniature painted by Sajnu, has an oval frame Painted in a palette of earthly hues, the royal portraits tended to exaggerate the normal proportions. The heads were consciously oversized. At the top is an inscription “Sri Raghunathjiro raj tilak ro” i.e. coronation of raghunath in devanagari script. Lord Rama in full splendour is seen mounted on a horse back, proceeding towards Ayodhya. Vermilion hued Hanuman leads the procession while musicians and singers accompany at the back.

Radha and Krishna Style: Jaipur, Rajasthan, Date: circa 1750 C.E. Opaque watercolor on paper, Size :67 x 46 c.m. Accession no: 56.59/57 Arising from the Jaipur School is this intensely personal image of divine lovers- Krishna and Radha, standing on the moonlit terrace playing Holi during the month of Phalguna. Decked with ornaments, Krishna wears a peacock feather turban whereas Radha is adorned in elaborate traditional attire. Krishna stands embracing Radha, resembled the moon in the starry firmament. It confirms the brilliance of the painter in capturing the moment of love and affection.

Portrait of Buraq, the celebrated animal over which the Holy Prophet Muhammad rode from Jerusalem to the Heavens. 48.8/23 23.62x15.74 cms Paper The animal has the head of a woman, the feet of an ox, the hind part of a horse, and the tail of a peacock. It has been provided with a brocaded cap ans a saddle and pearl ornament.

Krishna dallying with cowherd maidens Based on poetry of Jaideva’s Gita-Govinda Style: Basohli, Pahari Date: 1730 C.E. Medium: opaque watercolor on paper Size: 20.5 x 31 c.m Accession no: 51.207/26 A spectacular painting of Krishna dallying with cowherd maidens is based on the poetry of Jaideva’s Gita – Govinda portrays a composition of numerous figures in bright colours against the red background. The composition is in horizontal format, Krishna wears a crown adorned with lotus buds. He is seen standing in the center accompanied by the maidens who are seen offering Betel leaves ‘Paan’ to Krishna.

Marriage procession of Dara Shikoh 58.58/38 Awadh, Provincial Mughal, circa 1740-50 C.E. Opaque watercolor and gold on paper, 43 x 32 c.m. The painting enclosed within a foliated scroll has an alluring depiction of the marriage procession of Prince Dara Shikoh with Nadira Begum in 1633 CE. Shikoh is depicted in the center with a sehra covering his face and a turban draped in strands of pearls. Just behind Dara Shikoh, is Shahjahan with a green nimbus with golden rays behind his head. On the right, is the bride's side welcoming the marriage procession with the magnificent fireworks.

Saraswati Pata 63.1590 Jain style, Western India c. 1475-1500 C.E. Natural pigments on cloth, 54.8 x 44.5 c.m. The Jain cloth patas can be divided into two categories-tantric and non-tantric. Among the tantric works are mantra diagrams. The non-tantric works are chitra patas, with religious content but are not concerned with tantric rites. The paintings seen here enshrines Goddess Saraswati with her ‘vahana’(vehicle), the goose, the centre most block or the shrine. The other eight compartments divided into squares have attendants, jain monks, musicians and dancers.

Painted wooden book cover 63.1169 Basholi, Pahari, Jammu & Kashmir 1800 C.E. Natural color on wood 12.4 X 31.5 cm This Nineteenth century painted wooden cover (patli) was used to bind the folios of the manuscript. It represents the Hindu pantheons in three different segments divided by horseshoes shaped arches. On the left is Arjuna paying homage to lord Krishna with folded hands. In the center, is the figure of red bodied Ganesha, seated on the lotus throne, holding his attributes and on the right is Shiva with his consort Parvati along with Nandi resting on mount Kailash.

The Holy Family 76.628 Opaque watercolor and gold on paper UnknownStyle Mankot- Basohli, Pahari c. 1750 C.E. 26.5 X17.5 c.m The holy family of Lord Shiva is seen seated on an open petelled lotus placed over an octagonal golden throne against the blue background with a red border. Parvati exquisitely dressed in red and bejwelled is shown seated embracing Karttikeya on her lap. Whereas, on the other side is Lord Shiva who is depicted white bodied, four armed: one in abhya mudra and the other holds Ganesha, adorned with five peaked crown surmounted by three lotuses, typical feature of Basholi style.

The Cosmic Form of Krishna- Vasudeva 88.6 Opaque water color on paper pasted on cloth, Mysore style, Karnataka, Late 19th century C.E. 94 x 84 cm with frame The painting depicts the cosmic form of Lord Vishnu as Vasudeva represented with all his attributes- Chakra (discus), Gada (mace), Shank (Conch shell) and Kamal (Lotus) in his multiple arms. Lord Vasudeva is clad is a highly detailed dhoti (lower body garment) with several minute details and is shown heavily bejewelled.

The Jewellery gallery at the national museum is called ‘Alamkara’ - The Beauty of Ornament, encompassing the most extensive collection of jewellery in India, with more than 250 items displayed here to tell the story of Indian jewellery. From the beautifully tumbled agate bead necklaces of Mohenjodaro and Harappa to the fabulous jewels adorned with images of gods and goddesses to the...

Head ornament (sheeshphul) 57.10/6 Gold, rubies, emeralds, diamonds, pearls Rajasthan, India late 19th century The hair ornament (sheeshphul) in the form of an openwork flowerhead centering upon a rose-cut diamond and surrounded by concentric circles of petals set with rubies, emeralds and diamonds. Around the edge a row of seed pearls are threaded through gold loops.

Turban ornament (sarpech) 57.10/9 Gold, diamonds, emeralds Rajasthan, India 19th century The turban jewel (sarpech) designed as three openwork emerald and diamond-set foliate cluster panels. The center panel is set with a large hexagonal emerald carved with a chrysanthemum flower and the two side panels each center upon a rectangular emerald carved with a floral motif. The tapering scroll aigrette with a row of emeralds in the center and flanked by diamond petals with a single emerald drop and five emerald drops suspended below.

Armband (bazuband) 63.784 Gold, rubies, sapphire, cat eye, yellow sapphire, emerald, diamond, pearl, coral, hessonite, enamel North India 19th century The armband (bazuband) in three hinged sections, the center of rectangular form with pear-shaped pieces on either side. The armband serves as an amulet set with the nine celestial gems or navaratna kundan-set in gold in a floral design on a green enamel ground framed within a border with diamonds set within leaf outlines on a red ground. The two side pieces center on a flower with a diamond center and ruby petals on a turquoise blue enamel ground within a diamond-set leaf border. The reverse of the amulet is enamelled with small white flowers and green leaves on a red ground.

Belt (kamarband) 82.259 Gold, diamonds, rubies, enamel North India 19th century The belt (kamarband) of gold in the form of eighty-four rectangular interlocking plaques in two rows, each with a floral motif set with diamonds and cabochon rubies on a green and gold ground. On one side, the drop shaped petal of the flower projects in a semi-circle which fits into a corresponding semi-circular recess in the next plaque. The clasp of eight similar plaques arranged vertically. The reverse is plain gold.

Bangle (gajredar kada) 87.1167/1 Gold, diamonds, rubies, pearls, enamel Bikaner, Rajasthan 19th century The hinged bangle (gajredar kada) of gold with a design of flowerheads and leaves, kundan set with diamonds and rubies on a blue and gold enamel ground on the front. The upper portion of the bangle, on either side of the fastening has a meshwork of seed pearls woven in gold wire simulating jasmine (gajre) buds. The inside is decorated with red flowers and green leaves on a white ground.

Nose ring (balu) 87.1168 Gold, semi precious stones, pearls. Himachal Pradesh Early 20th century Dia- 10 cm The large nose ring with a gem-set lotus and bird in the middle set above a row of semi-precious gems. It is decorated with red and white gems surrounded by tiny pearls. Delicate gold leaves interspersed with gem-set crescent shaped and fish-shaped elements fringe the bottom of the nose ring. On the upper portion a drop-shaped gem-set pendant from which are suspended seven gold leaves each with a turquoise in the middle within a granulated frame. A chain of stamped gold flowers with a fringe of gold leaves and pearls are attached to the nose ring.

Necklace (kaluthiru) 89.1015 Gold Chettinad, South India 19th century Wt- 597.7 gms The necklace (kaluthiru) is made up of three claw-like pendants strung on a cord with round and tubular beads. The kaluthiru, derives its name from kaluthu meaning neck and uru meaning bead is the marriage necklace of the Nattukottai Chettiar community of Tamil Nadu. The claw-like pendants are believed to be modelled on shell forms or the paws of a tiger. Embellished with pyramidal architectural forms, wire work and beautifully crafted open work decoration, the three pendants are strung with fourteen gadrooned beads, eight cylindrical beads with fine granulation work and two elongated rectangular beads at the end that are decorated with wire and granules.

Head ornament (jhumar) 89.1030 Gold, diamonds, pearls Lucknow, Uttar Pradesh Late 19th century The head ornament (jhumar) with a semi-circular openwork foliate panel with a design of a crescent moon all set with diamonds and green enamel and surmounted with a gold hook. Fourteen rows of pearls interspersed with ruby beads from the bottom are attached to a crescent shaped panel set with diamonds and suspending gem set pieces and bunches of pearls below. The jewel is worn pinned to the hair on one side of the head.

Necklace (kanthi) 90.940 Gold, diamonds, emeralds Rajasthan, India 19th century The necklace (kanthi) of openwork foliate design centering upon a lotus in full bloom set with diamonds with graduating panels of lotus flowers set with diamonds on either side. A row of pearls set in gold cups on top and a fringe of emerald beads at the bottom. The necklace is attached to three gold chains. The reverse is enamelled with red and green floral motifs on a white ground.

Necklace (manga malai) 90.752 Gold, rubies, white sapphires South India Early 20th century The necklace (manga malai) is made up of forty-six mango-shaped pendants each set with a white sapphire in the middle and surrounded by cabochon rubies. Each mango pendant is interspersed with trefoil- shaped elements set with cabochon rubies. The units are strung on a flexible flat woven gold cord.

Central Asian Antiquities Collection

Being a crucial central part of Asia, frequent movements of people from different regions, faith and culture resulted in the emergence of composite cultural tradition. Hence, we could see elements of Hellenistic, Sassanian, Uigurian, Chinese, Tibetan, and Indian in the Central Asian Art. The collection of...

Ladies in a garden Ast.iii.4.010 a (2003/17/355) Silk Painting Astana 7th – 8th century C.E. 37.5 x 54 cm Fragment of a charmingly painted panel of the well bedecked ladies with attendants in a garden. The faces of the ladies are decorated with beauty marks in red. Their coiffure is elaborately decorated with golden hair-pins. One of the attendants is seen with a musical instrument. It is a masterpiece of the T’ang style (618 – 906 C.E.) of secular paintings on silk. ‘The general scheme of the painting seems clear. The painting shows T’ang ideal of full, rounded cheeks, small mouth with full, red lips, and rather massive figure.

Thousand Buddha figure Ch.00100 (2003/10/707) Embroidered Silk Textile Dunhuang 9th – 10th Century C.E. A chain-stitch fragment of an embroidered banner, showing Thousand Buddhas. The extant border exhibits the donors. The banner is embroidered with silk threads. The scene of Sravasti is depicted here, Buddha performs two miracles on being challenged by the six teachers of Rajgriha. In the first miracle, he walks on air, while flames leap from his shoulders and the water runs from his feet. In the second, he transforms into multiple images which float in the air to reach heaven while he preaches on earth.

Seated Buddha with Avalokitesvara Har. 029 (99/6/6) Wood Khotan, xinjiang, China 6th – 7th cent. Height- 33 cm This fragment of the wooden panel is showing the Buddha seated on the lotus throne in the posture of Vajrasana and hands in vyakhyana mudra. On his right, Avalokitesvara is standing on the lotus stand. His right hand is in abhaya mudra. He is holding with his left hand a vase (amrtakalasa). Left portion of the panel is missing. The figures show Gandharan element.

Two sheep in combat Hu.02 (2003/7/1927) Stucco Pei-ting 6th-7th cent. Height: 8.5 cm The sheep are possibly playing with each other by nuzzling their noses over their shoulders. Modelled naturalistically. Burnt accidentally.

Buddha and the six monks M.iii.003 (99/1/44) Wall painting Miran 3rd-4th century C.E. This fragment of a wall painting is from a stupa in Miran, Xinjiang in northwestern China. The subject matter is non-conclusively thought to be the conversion of the six Sakya princes. Buddha is seen with six other monks. His right hand is in Abhaya mudra and he looks at the spectator. One of the monks holds a chowrie. A figure on the left is seen holding flowers in the hand against a full-bloomed tree. Prominent colours are cream, Indian red, green ochre and black. The Sasanians from Middle Persia who invaded the Kushan Empire populated Miran in the third century.

Pilgrim’s bottle Yo.01 (2003/3/940) Terracotta Yotkan 4th – 5th cent. Height: 16.3 cm Well-shaped bottle seems like a pilgrim’s bottle. Either side of the body of the bottle is decorated with a fully blossomed lotus with two rows of petals. Central part of each lotus is decorated with an appliqué grotesque human face. The bottle has a small mouth. Through two ring-like handles, the bottle could be hung easily. on the waist for carrying extremely pious/ religious water. The site of Yotkan and nearby Khotan has thrown numerous beautiful terracotta objects. This site is located in the Western Chinese Turkistan of China.

Monk seated in paryankasana holding a scroll Ch.024 (99/7/19) Stucco Dunhuang Painting 7th – 10th cent. C.E. 17 x 2.6 x 27 cm. Stucco–plaque showing a seated monk was used for decorating the colourful Dunhuang Caves. It shows a monk seated in ‘paryankasana’ (i.e. seated on a couch / bed). Monk is wearing a red colored monastic dress and a brown colored inner garment. It gives an idea of the traditional garb of 7th – 10 Century C.E. He is also wearing a pair of shoes. His face has a meditative / self – Introspection expression. An unrolled sutra scroll in Chinese character in eight vertical lines, is placed on his lap, suggesting that the practice of writing and reciting the sutras was evident. Open lips suggest preaching the audience (his face and head suggests Tibetan influence).

Embroidered hanging Ch.00281 (2000/10/32) Textile, Silk Dunhuang 7th -8th cent. C.E. 148 x 109 cm. Remains of a fragmentary embroidered hanging, dark blue loosely woven gauze, backed with plain blue silk and embroidered with floral "all-over" design with birds and butterflies.

Bhaisajyaguru in abhayamudra Ch.i.001 (99/17/4) Silk Painting Dunhuang 9th – 10th Century C.E. 165.5 x 125.5 cm On the silk painting, Bodhisattva Bhaisajyaguru is shown standing on lotuses. He is the Buddha of healing. He is worshipped for achieving health and longevity. Fervent prayers for recovery had a poignancy of its own in ancient times when medical aid was in the ative stages.

MANDALA OF AVALOKITESVARA Ch.xxviii.006 (99/17/95) Silk Painting Dunhuang 9th – 10th Century C.E. The rectangular banner shows the Avalokitesvara with thousand arms, seated on a lotus seat. Top corners are depict the Sun and the Moon Bodhisattvas. The painting depicts both Indian and Chinese elements: facial features, drapery and floral representations. The thousand arms of Avalokitesvara with an eye on each palm is not only to witness the sufferings of humankind but also to help and to illuminate everyone with the knowledge of the ‘Bodhisattva’. He is known as the Mahakarunika (the Great Compassionate One).

Pre-Columbian and Western Art Collection

The collection of Pre Columbian art donated by Mr & Mrs Heeramaneek represents the principal cultures of the Pre- Columbian world. An exquisite collection of artefacts from Mexico, Peru, Argentina, Costa Rica, Nicaragua and other regions of South America are a part of the National Museum collection.

Corn-God 67.565 Silver Peru Ht.-7.9 cm. Weight : 225.6 gr. Solid cast silver male figure standing on a circular base. holding an ear of corn, with both hands bent at the elbow. the cheeks and nose are prominent: two concentric circles serve as eyes. The head dress consists of corn leaves: fruits and vegetables are attached to the costume. The figure falls into the 60 category known as the "God of Glyph". This god can also be identified as Piteo Cozobi, the God of Abundant sustenance, Lord of the fields of Maize.

Male Portrait Vessel Mochica, Peru 200-700 C.E. Clay Size: 16.5x 16 cm Acc. No. 67. 246 This Vessel is in the shape of a human head, almost half of the natural size of an actual head. Hardly betraying any signs of being a vessel, the artefact, vividly conceived and so close to reality, looks like a replica of a human head. The face has a painted pattern in the centre. The naturalistic representations of human faces are unique to the Moche culture of Peru. They are thought to represent secular and religious dignitaries. Large numbers of portrait heads have been found in the graves. Most probably these were certain highly regarded personalities, whose heads were thought to possess beneficial powers and ed the ancient Peruvians to place them in graves. These ceramic heads were cast in moulds and more or less show the same features. The portrait head shows their face painted. Curiously, all these were intended as a drinking vessel for the living and the dead.

Pot Modelled Like an Animal Nazca, Peru 300-650 C.E. Clay Size: 11.5x 17.7 cm. Acc. No. 67.289 This elongated figure of a cat-like animal with eyes fixed on its prey is a novel of a serving pot- a kettle with a spout and a handle. The handle replacing the cat’s tail. The white-spotted deep brown cat, with its legs, gathered completely under its fur, upwards turned face, ears raised as to when extra vigilant and closed mouth as when fixed at the target, is poised fully to charge at its prey the moment it detected its slightest movement. As almost all early culture reveal, conceiving articles of day-to-day use, especially pottery, in personalized s or the s of familiar animals, domestic or others, was a common practice of potters all over, and this spouted pot is one of its examples. This pot with handle and spout in the of a cat evidences a certain extent of evolution in the art of clay modelling which blended an art ; any naturalistic of an animal and human being with a utility article. The artefact is painted reddish-brown with patches of off-white, baked with high-temperature firing and beautifully finished and polished.

Bowl Mixtec, Mexico 1200–1521 C.E. Clay Size: Ht. 13.7, Dia. 18.2 cm. Acc. No. 67.420 Tripod bowl with high relief painted decoration in white against the red ground on the outer surface. Oaxaca, on a height near this city, was Monte Alban, a large site of long history, associated with the Zapotec culture and in the plain, Mitla, associated with the Mixtecs, who came into prominence in the region about 1000 C.E. The effigy vessels are typical of Zapotec pottery. Their influence is recognized in the geometric in the set stone mural decoration of Mitla, for abstract patterns, that resemble that decorative stone mosaic, are found on their pottery. Their culture included several important sites, extending to Cholula in the state of Puebla on the high cultural plateau. The Mixtec dominance of the Oaxaca Puebla regions gave place to that of the Aztecs in the fourteenth century.

Coiled Serpent Jar Mexico 1200-1500 C.E. Terracotta Size: Ht. 19.6 cm, Dia. 15.5 cm. Acc. No. 67.421 In Mexican mythology, the snake is a symbol of veneration, worship and honour often a symbol of great power, rebirth and resurrection and a powerful emblem of renewal and transition also. The snake is recognized as a symbol of humanity as a whole. It also provides hope for mankind to aspire to great heights as it correlates the shedding of the serpent’s skin to a human’s ability to change his circumstances and overcome adversity. This effigy jar shows a coiled serpent in a very aggressive and mood. The serpent head is modelled in high relief and the mouth is open and the teeth show its attacking or pose. The coil begins to shape up from the bottom of the jar and modelled in low relief. The length is shown by reddish-brown and white lines, scales of the body are beautifully depicted in abstract patterns and eyes also indicate its watchfulness. The upper portion is painted in an abstract pattern. It has a yellow and reddish-brown slip.

Green Stone Yoke Mexico 500-900 C.E. Stone Size: 10.2x27.5x39.5 cm. Acc. No. 67.435 The yokes, palmas, axes (hachas) are associated with Ball game. ‘U’ shaped yokes are carved with stylised designs of animals, birds and religious symbols. Jaguar Yoke from Totonac is carved in greenish stone in ‘U’ shape. A jaguar is carved in the centre with clear nostrils, mouth and eyes on the front, holding a human head in its jaws with the stylised body and legs extending on either side. While their purpose is yet to be known, it is commonly believed that they represent the belts worn by the players of a ballgame.

Large human head Vera Cruz, Mexico 500-900 C.E. Clay Size: 19.3 cm. Acc. No. 67.467 The large human head is made of clay and a natural buff smoothed the head with a spiked headdress held by a trap. Some of the spikes and the right ear are missing and the left ear is wearing a decorative ring. It has a wide face and a beautiful headdress. The peoples of the Gulf of Mexico region continued into historic times the high level of artistic expression which characterised the early La Venta Culture. The Totonacs of the central coast of the Gulf of Mexico, in this terracotta “Human Head’ and the finely carved stone ‘Yokes’, Palms and Axes, of ceremonial significance, are notable for outstanding and distinctive artworks in both clay and stone.

Gold Crown Peru, Inca 1400-1532 C.E. Gold, Size: Ht.-37.5 cm, Dia. - 20.7 cm Acc. No. - 67.572 The gold crown consists of a circular band with a double row of a tiny hole. A tall egret is flaring at the top. The egret has three heads of priests embossed on it, and it culminates in four divisions on top. The depiction of the figures of priests is probably an indication that the Inca kings combined in their kingship the two offices heads of administration and religion. The Inca ruler’s crown was distinguished by a headband (Iiautu) on a scarlet with small golden tubes fell on his forehead. Similar gold crowns with the only plume have also been found, possibly indicating the lower status. Some have been found attached to a plain-sheet-gold head-band, and others, especially on the south coast, were inserted into the head wrappings of wooden masks.

Wooden bowl North-West Coast, U.S.A. 19th century C.E. Wood Size: 20 cm. Acc. No. 71.471 This jet black artefact designed like a black bear holding a stick in its mouth is a wooden vessel, a ceremonial bowl used during a al feast. It is painted in black using abstract decorative patterns. The bowl is an exceptional example of high and low relief techniques. The artefact has been provided with an opening at the top. Vessels, particularly a bowl, consisting of a seated human or animal figure, especially with strong abstract designs rendered in black.

Virgin Mary and Child France 13th Century C.E. Stone Size: 70x31.5 cm. Acc.No. L.670 Virgin Mary and Child Statue are Very popular in Christian art. Mary is the mother of Jesus. Mother Mary gave birth to Christ but was still a virgin, that’s why she is called the Virgin Mary. She is also known as Madonna who represents either alone or with her child Jesus. This statue is made of polychrome stone. The Virgin Mary seated upon the throne and the child is seated in her lap reading a book, held by mother Mary in her right hand (Reading book by a small child represents his divine nature). The child is steadied by His mother's half around Him. His right elbow resting on her shoulder. Mary is shown having a beautiful oval but heavier face with a soft, serious expression. She is wearing a wild rose crown and red robe covered by a blue mantle. The blue colour of her clothing symbolised purity, virginity and royalty. Folds of her drapery are depicted very beautifully in a natural way. The Virgin Mary is regarded as the Queen of Heaven and with the child Christ in her lap; she represents the Throne of Wisdom.

A Day At The Museum

Learning and Outreach Event

23rd February

Time: 10:30 AM to 1:00 PM National Museum, New Delhi Janpath Road

Exhibitions

Jewels of India: The Nizam's Jewellery Collection

Venue: Ground Floor, National Museum

Date of Inauguration: 18-02-2019

Baluchars: The Woven Narrative Silks of Bengal

Venue: Special exhibition hall

Date of Inauguration: 08-02-2019

The Peranakan World: Cross Cultural Art of Singapore and the Straits of Malacca

Venue: National Museum, New Delhi

Date of Inauguration: 10-02-2015

Nauras: The Many Arts of the Deccan

Date of Inauguration: 27-01-2015

Rama - Katha

Date of Inauguration: 16-08-2013

Safarnama: Journeys through a Kalamkari Hanging A Photographic Exhibition

Venue: Ajanta Hall 1st floor

Date of Inauguration: 08-04-2013

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Museums as Intangible Heritage: National Museum of Natural History (Nmnh), New Delhi : a Case Study

The role of museum is to acquire, preserve and promote their collections as a contribution to safeguarding the natural and cultural heritage. Preservation, study and transmission of this heritage are of great importance for all societies, for inter-cultural dialogue and sustainable development. Interaction with the constituent community and promotion of heritage is an integral part of the educational role of the museum. Museums have great potential to raise public awareness on the benefit of heritage, its value and importance for societies. In recent years museum is experiencing one of the most noteworthy transformations with global recognition of the urgent need to preserve the intangible heritage. The international community (UNESCO) has also become conscious that Intangible Heritage needs and deserves international safeguarding. This paper focuses the case study of National Museum of Natural History, New Delhi (India) with safeguarding Intangible Natural Heritage. This is the fir...

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The term cultural heritage has changed considerably in recent decades, partially owing to the instruments developed by UNESCO. Cultural heritage does not end at monuments and collection of objects. It also includes traditions or living expressions inherited from ancestors and passed on to descendants, such as oral traditions, performing arts, social practices, rituals, festive events, knowledge and practices concerning nature or the knowledge and skill to produce traditional crafts 1. Traditional craftsmanship is perhaps the most tangible manifestation of intangible cultural heritage. However, The General Conference of the United Nations Educational, Scientific and Cultural Organization (UNESCO) meeting in Paris, from 29 September to 17 October 2003, [1]at its 32 nd session gave the convention for safeguarding ICH ,is mainly concerned with skills and knowledge involved in craftsmanship rather than the craft products themselves. Instead of just focusing on preserving craft objects at...

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In recent years an increasing number of state-based heritage protection schemes have asserted ownership over traditional medical knowledge (TMK) through various forms of cultural documentation such as archives, databases, texts, and inventories. Drawing on a close reading of cultural disputes over a single system of TMK-the classical South Asian medical tradition of Ayurveda-the paper traces some of the problems, ambiguities, and paradoxes of making heritage legible. The focus is on three recent state practices by the Indian government to protect Ayurvedic knowledge, each revolving around the production of a different cultural object: the translation of a seventeenth-century Dutch botanical text; the creation of an electronic database known as the Traditional Knowledge Digital Library (TKDL); and the discovery of an Ayurvedic drug as part of a bioprospecting benefit-sharing scheme. Examined together, they demonstrate that neither TMK, nor Ayurveda, nor even the process of cultural documentation can be treated as monoliths in heritage practice. They also reveal some complexities of heritage protection on the ground and the unintended consequences that policy imperatives and legibility set into motion. As the paper shows, state-based heritage protection schemes inspire surprising counterresponses by indigenous groups that challenge important assumptions about the ownership of TMK, such as locality, community, commensurability, and representation. If recent years have seen the rise in heritage advocacy and assertions of ownership over all forms of knowledge, nowhere is this more evident, or cacophonous, than in the realm of TMK. From bioprospecting for natural drugs to patents on tradi-*Center for Folklife and Cultural Heritage, Smithsonian Institution.

Heritage & Society

Alexandra Denes

Suzy Harrison

Amareswar Galla

Muzeológia a kultúrne dedičstvo

Marina Strepetova

Literary heritage presents a dialectic relationship between tangible and intangible elements. This complex duality presents challenges for curators, who must try to communicate this immaterial essence through the exhibition language. This article, structured on a two-phase research process, aims to identify the main challenges for literary heritage valorisation and communication in the museum context. First, interviews with specialists in literary heritage and museology from Catalonia and Russia were carried out to identify the main issues to be considered when designing a literary heritage exhibition and managing a literary heritage centre. Second, the websites of three renowned literary European museums were analysed to inspect whether and how these aspects are tackled by these museums and presented to their potential visitors. Results show that, firstly, the duality of literary heritage is vital in the designing of the exhibition; and secondly, that concepts such as human mediati...

Jordi Arcos-Pumarola , Marina Strepetova

Literary heritage presents a dialectic relationship between tangible and intangible elements. This complex duality presents challenges for curators, who must try to communicate this immaterial essence through the exhibition language. This article, structured on a two-phase research process, aims to identify the main challenges for literary heritage valorisation and communication in the museum context. First, interviews with specialists in literary heritage and museology from Catalonia and Russia were carried out to identify the main issues to be considered when designing a literary heritage exhibition and managing a literary heritage centre. Second, the websites of three renowned literary European museums were analysed to inspect whether and how these aspects are tackled by these museums and presented to their potential visitors. Results show that, firstly, the duality of literary heritage is vital in the designing of the exhibition; and secondly, that concepts such as human mediation, literary tourism, and promotion are important in finding new strategies to communicate and visibilise literary heritage intangible meanings.

Jerome McDonough

Sara Gainsford

Degree project for Master of Science with a major in Conservation 2018, 30 HEC Second Cycle 2018:21

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National War Memorial, New Delhi India / WeBe Design Lab

• Curated by Hana Abdel
• Architects: WeBe Design Lab
• Area Area of this architecture project Area:  109265 m²
• Year Completion year of this architecture project Year:  2019
• Photographs Photographs: Maniyarasan , Madhumitha
• Manufacturers Brands with products used in this architecture project Manufacturers:   AutoDesk , Lumion , iGuzzini , Adobe , HEINRICH , Havells , JK Cement , Jakson , Jaquar , Ligman , Linea Light Group , Neptune , Oikos Group , Penetron , Rhino , Trimble
• Architect In Charge:  Yogesh Chandrahasan
• Design Team:  Yogesh Chandrahasan, Satish Vasanth Kumar, Udhayarajan, Malli Saravanan, Visuwanathan,, Ranganathan Ravi, Anjana Sudhakar, Kamal Rajkumar, ViJay Prakash, Balachandar Baskaran, Abhishek Tiwari
• Clients:  Executive agency of National War Memorial, Museum Ministry of Defence, Government of India
• Planting Design:  Savita Punde, Design cell, Gurgaon
• Project Management:  Turner project Management India, Private, Limited
• Structural Consultant:  Roark Consulting Engineers
• Mep Consultants:  Edifice – Delhi, ATE
• Lighitng:  AWA lighting Designers
• Fountain:  Ripples, Mr. Premkumar
• Signages:  Ishan Khosla Design
• Artist:  Lt.Col Arul Raj
• Construction:  NCC Limited
• Bronze Murals:  Ram Vanji Suta
• City:  New Delhi
• Country:  India

Text description provided by the architects. The concept of rebirth is inspired from the quote of Captain Vikram Batra.  

Either I will come back after hoisting the Tricolor,  or I will come back wrapped in it,  but I will be back for sure.  REBIRTH –  पुनर्जन्म (in Hindi)  ‘Reborn to be an immortal’.

Great sense of pride and victory at the cost of their life! The memorial is a gestation on the idea of rebirth of those unsung heroes through their stories, journey and struggles translated as spatial expressions. A culmination to the historical Rajpath extending through the India Gate, the National War Memorial is an open landscaped public space spread over 42 acres in the C -hexagon. Mostly invisible but strongly present, it is a semi-subterranean design remaining a peoples’ place but with a different dimension of emotional weight. Progressive act of protection, sacrifice, bravery and becoming the immortal translate as a concentric arrangement of which the ‘Thyag Chakra’ holds the name of each fallen soldier who become another brick in the nation’s defensive wall.

THE VOID . . .  Six decades to come into existence: The request for the National War Memorial (NWM), India was placed by the armed forces in 1960. However, the consideration acquired momentum in 2015 and the construction was approved within the National capital's heritage zone of the British Imperial Times. Later, an International two stage competition was held for the design and implementation of the NWM by the Ministry of Defense, Government of India. WEBE Design Lab won both the first and the third place. The winning entry headed by Ar Yogesh Chandrahasan was commissioned for construction. India’s NWM was finally inaugurated on 25 th Feb 2019 by Honorable Prime Minister Narendra Modi.

CONTEXT AND DESIGN APPROACH -  The Iconic India Gate, brims with an average footfall of 50,000 ppl/day. Inset within the bustling C Hexagon the lawns were retained to be active public spaces to play, meet, relax and more. This Capitol complex has a central axis, the Rajpath- The ceremonial path from the President’s home, that runs across and ends at the India Gate. The newly built NWM retains the axis and bestows the essence of hierarchical importance upon the overall footprint. A cross-connection at the core of the New Memorial: The Yudhpath– is a metaphorical placement of the Rajpath (Path of life) with the Yudhpath ( Path of war).

Circle of Sacrifice ( Tyag Chakra ): Inspired by the historic “Chakravyuha” Ancient war formation, the Tyag Chakra is arranged in concentric circles in accordance with the wars, gloriously housing the names of 25,700 war heroes, who sacrificed their life post-independence for the Nation. It is a concrete structure, with self-interlocking granite blocks placed over it. Each block represents a Martyr, and is engraved with his name, rank and number.

ESTABLISHING SYMBOL AND MEMORY -  Circle of Protection The tree arrangement personifies the territorial line of control- The soldiers who are still there trying to safe guard us in places unseen. The circle containing 690 trees also helps in screening the busy roads of the C Hexagon thereby creating a calmer and protected space inside the memorial.

Circle of Bravery ( Veer Chakra ) A semi open corridor and gallery holding the brave stories of significant historic battles in Indian history of the Army, Navy and Air force.

Circle of Immortality ( Amar Chakra) The obelisk carrying the eternal flame symbolizes the immortality of the Jawans that they will never be dead and they will always live in our memory. It is set in a larger circular court which also is the ceremonial space.

Lighting: The lighting in the central court around the eternal flame spearheads sideways and up building a sense of eternity as it fades out. The Thyag chakra seems floating with a series of small lights which resembles the oil lamps that are light in memory of the beloved ones in any Indian home. The streaks of light on the steps create a sense of transition through the concentric setup. The project does not have any ambient light. As much as the light brought in emphasis and character, the darkness made the required experience deeper and absorbing.

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Address: rajpath, india gate, new delhi, delhi 110001, india.

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Crafts Museum in Delhi, India by Charles Correa

6 August 1995 By Robert Powell Essays

Correa reinterprets the timeless quality of India into a building which resists the obvious western label of museum.

First published in AR August 1995, this piece was republished online in June 2015

The British brought to India the concept of collecting, preserving and displaying objects of nature and art. Dr Jyotindra Jain, the Director of the National Crafts Museum in Delhi, writes a wonderful essay on this theme in a new monograph of Charles Correa’s work entitled The Ritualistic Pathway (1993).

Jain says that ‘the institution of a museum, aimed at housing objects of antiquity and curiosity, is of western origin’. It was never part of the Indian tradition to display fragmented sculptures, rusted swords and paintings out of their context.

Part of the sequence of modest vernacular courtyards that make up the museum

Indeed, says Jain, ‘broken images were immersed in holy waters, worn-out metal objects were melted down to cast new ones and terracotta votive objects were left to decay and merge with the very earth from which they were created’.

But in following the British example the Indians forgot that, unlike in the West, the past and the present are not so severely divided and, says Jain, ‘blindly adopted the archaeological museum concept’. Dr Jain has considerable ·rapport with Correa, and in this project the architect succeeds in interpreting the timeless quality of India, where tradition and modernity coexist, into a building that resists the label ‘museum’.

Ground floor plan

Correa has frequently expressed the benefits of open-to-sky spaces. In this low-key building, a metaphor of an Indian street is introduced - along a diagonal axis are three courtyards of different scale and intensity. They are stunning spaces with perceptible changes of mood that make for great architecture.

But it is not simple nostalgia for the past. Correa’s work has always drawn on the vernacular and ‘deep-conscious’ echoes, but it is also modern in its fusion of an underlying orthogonal grid and the internal display spaces of lofty dimensions with the open and semi-open passages covered with tiled roofs and lined with artifacts.

Elaborately decorated wall

Correa has succeeded in making the museum almost invisible. He creates an environment that is difficult to define or label. It is not institutional and is deliberately self-effacing in its relationship to its ancient neighbour, the Purana Quila. Nor does it overshadow the artists’ village complex alongside.

The processional route through the building is constantly changing in an intricate kaleidoscope of space and light. It is a journey of discovery and there is a deliberately unfinished feeling about the museum … exactly as intended. What does finished mean? Merely a new beginning.

Crafts museum, Delhi, India

Architect: Charles Correa Photographs: Joo Ann Foh

Since 1896, The Architectural Review has scoured the globe for architecture that challenges and inspires. Buildings old and new are chosen as prisms through which arguments and broader narratives are constructed. In their fearless storytelling, independent critical voices explore the forces that shape the homes, cities and places we inhabit.

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B.Arch Thesis: National Museum of Architecture, New Delhi, by Niranjan Kaur

• July 5, 2019

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The National museum of architecture is a project proposed by Greha along with the council of architecture, INTACH and Indian Institute of architects. The site for the project is in Lado Sarai, New Delhi, 1km away from Qutub Minar.

The idea of this thesis is to explore and find out what an architectural museum should aim to do. The understanding of architecture varies between architects and the public. Every person is directly or indirectly affected by any piece of architecture, just that majority of them don’t realize what is it about architecture that’s affecting them and how. They appreciate/criticize architecture consciously/sub-consciously at times without understanding why it is the way it is. This difference in understanding between the architect and his/her subject (any person getting affected by architecture) needs to be brought to the same level by providing a platform that brings them together. This museum will become a centre for knowledge for everyone visiting it. It will become an icon that people want to see when they visit the city of Delhi. It will become an inclusive public place for people from all backgrounds to gather and talk about architecture. It will become a place of education for aspiring architects to do their research and understand architecture. Most importantly, it will become a place that is important to city without disturbing the city fabric. It should stand out not in terms of its form, but in terms of the spatial experience. The architectural expression will be such that it reflects the past, present and the future of architecture.

The place will empower architects as they receive better acknowledgment and appreciation for their works. The museum is meant to house information about other buildings so that the visitors understand and learn why they appreciate or they don’t when visit a piece of architecture. It might be known as the guardian of heritage. It might be known as a centre of knowledge for those who wish to know about architecture. It might be a platform for people to connect to each other through the exhibits and spaces. Whatever this museum is identified as will be a reflection of what it aims to do. PROPOSITION: This thesis aims to connect the society to architecture on a level that bridges the gap between the understanding of the architecture between the architects and their victims (referred to anyone getting affected by any piece of architecture).

The museum will exhibit the architecture marvels of the past, accomplishments of the present and the vision for the future. The experience will involve weaving of all the three phases of time, a time-line to dive into. This experience of a time-line will be translated into architecture. Therefore, the museum will be dedicated to both historic and contemporary works, it will be journey from certainty to uncertainty which will further get translated into the architecture of exhibition spaces, site planning and the building form. Major functions:

1. LIBRARY: Library provides services to the public and contain large number of books or volumes related to all aspects of architecture including biographical information about renowned architects.

2. CONVENTION CENTER: Auditorium, Multipurpose hall and exhibition galleries are largely public function, people- intensive components. These spaces allow events like seminars, lectures, film-screenings, launches of new proposals, etc.

3. MUSEUM: Museum is an institution that cares for a collection of artefacts and other objects related to subject which are available for public viewing through exhibition that may be permanent or temporary. The museum will house various galleries showcasing the historic works of architecture to the traditional-vernacular to the contemporary architecture. It will house drawings, models, photographs and films showing depicting design as well as the construction process.

i. Gallery of ancient history (permanent)

ii. Gallery of modern architecture (permanent)

iii. Gallery of contemporary architecture (temporary)

iv. Gallery of contemporary architecture (temporary)

v. Gallery of the futuristic visions (temporary)

4. RESEARCH CENTER: It is consisting of R&D labs, innovation centres, discussion rooms, workshops, lecture rooms all programmatic element associated with the activities involve in the pursuit and dissimulation of knowledge.

FORMULATION OF THE AREA PROGRAM: Concept for the formulation of the area program according to the requirements of the user groups that the museum will visit the museum.

For students and architects: 
CONVENTION/CONFERENCING FACILITY: Auditorium and multi-purpose halls to hold lectures and such events Meeting rooms

For students and research scholars:

RESEARCH CENTRE: Research and Design labs to provide a kind of a co-working space for researchers and students. A library containing books on all subjects of architecture and archival drawings.

For architects and public: 
MUSEUM: Exhibition galleries containing exhibits of historic architecture, modern architecture, contemporary architecture and temporary galleries allowing space for future interventions. For Research scholars and public: 
PUBLIC FACILITIES: Residential facility containing guest rooms for research scholars and tourists. Spaces like cafes allowing the two to interact.

SITE: A 1.3-hectare, vacant

INSTITUTIONAL SITE, belonging to the Delhi Development Authority (DDA) has been identified. This is located in Lado Sarai, close to the Qutb Complex and the Indian Institute of Technology, Delhi with good access from the Mehrauli Badarpur Road.

DEVELOPMENT CONTROLS: LANDUSE: Public/semi-public (Socio-Cultural institution) TOTAL AREA: 12800 sqm MAXIMUM GROUND COVERAGE: 35% MAXIMUM FLOOR AREA RATIO: 120 MAXIMUM HEIGHT: 26m PARKING: 2 ECS per 100 sqm SETBACKS: 9m on all sides (NBC 2016)

AREAS OF RESEARCH:

1. MEDIUM: In a museum of architecture, it is important to understand the medium through which architecture will be exhibited. It may be models, drawings, photographs, digital media and also virtual reality. Therefore, it will be required to be specified what is needed in this case. 2. PROGRAMMATIC CONTENT: It will also be necessary to study the programmatic content in order to evolve an area program. The study shall also focus on the sub-divisions and inter-relationships of each component. 3. REFLECTION OF TODAY: The museum should reflect the present, therefore there will be a need to study how are the buildings such as museums and research centres which are meant for public/ semi-public use being designed today, in addition to the study of the ones which have been significant since a number of years.

RESEARCH AND DESIGN:

The medium of displaying information is majorly responsible for its identity and for drawing people to the museums. In case of museums dedicated to archaeology, the display objects are presented in the condition that they were found in. This holds true for a number of museums which display historic objects, documents or maps. Art museums display objects in the mediums used by respective artists. Therefore, the medium was not something that could be controlled in every museum. However, as the technology is growing, there has been a revolution in field of exhibiting. Digital technologies have found a home in the modern museum in the forms of interactive touchscreen kiosks, CD-ROMs, computer games, largescreen installations and videowalls with multiple images, digital orientation centers, “smart badge” information systems, 3-D animation, virtual reality, and increasingly sophisticated museum web sites (Griffiths, 1999). This has changed the physical character of the museum. Be it historic museums, art museums, science museums or any other, people are exploring new ways of exhibiting artifacts and information by prioritizing the USER EXPERIENCE. In case of a museum of architecture, one wonders about the possibilities of mediums through which information can be displayed. A recent architectural exhibition organized in 2018 at Mori Art museum (Tokyo) on ‘Japan in architecture’ displayed information through models of all scales, installations, drawings, photographs as well as digital display, interactive touch screens and 3D projections. The Van Gogh Museum’s recent display using Sensory4 technique is the latest attempt at using technology to revolutionize museum experience. Van Gogh’s works are projected on a large scale on walls allowing the users to notice every detail and have an experience of a lifetime. Exhibition held at NGMA in 2014 dedicated to B.V. Doshi’s works recreated some parts of his buildings on large scale so that the visitors can experience the same. Another intervention in the field of exhibitions is virtual reality. Taking the users to a different space virtually to make them experience the scale and proportions of it. This can be very important to the field of architecture. NMOA will be not just be a museum but a part of the network of museums all over the country. DesignXdesign exhibition, 2019, held in Delhi consisted of a Virtually reality exhibit in which one could virtually change the interiors of the room they are standing in. The building needs to be a reflection of the today in the sense that it also glorifies the historic achievements as well as paves way for future interventions. NMOA will consist of functions that allow preservation, exhibition and research of information/objects of architectural importance. In addition to this, it will also support and encourage conversation/interaction among architects and the public.

The strong context with a dense urban village on one side of the site and open green land on the other requires the museum to be sensitive to this urban fabric. Thus, the massing and design has been approached such that it responds to its immediate context as well as the site itself. The placement of the open and the built needs to respond to the context around it as well as the placement of the functions. The idea of placing a large plaza in the front has been derived from the concept of an ever-changing space which is visible from the main road, it will house temporary exhibits that will keep on changing. This gives a dynamic nature to the front face. The corner opening towards the main road ensures a visual connection by providing the passersby with glimpses of exhibitions. The plaza may be used as a semi-open exhibition space. The central opening towards the Phirni road becomes the main entry to the complex. This establishes a visual axis with another opening towards the Lado Sarai village. This visual axis further divides the site into two parts, across which all the functions can be well-distributed. On one side are the functions which are mostly public like the museum galleries and cafes, on the other side towards the main road are semi-public functions in the sense that they will be used mostly by research scholars, architects and students who visit the centre for research purpose. In addition to the research centre, there is a convention centre for conferencing and lecture purposes. This centre may be accessed directly from the Phirni road via the rear entry leading to the lobby of the Convention centre or it may be accessed from within the internal courtyard. Towards the most private corner (NW) of the site is the guest house with a drop off from an external road as well as access from the internal courtyard. The library, research centre and museum mass facing towards the green patch of land which symbolizes the growth. In similar manner, the guest house and the convention were placed according to the context. The terraces in the museum are also placed considering the same approach as the plaza in the front. These are supposed to provide space for open-to-sky temporary exhibitions. The ever-changing nature of these exhibits will also add to the dynamic nature of the facade. As one enters the museum block by crossing the connection bridged with the drop off, there is an option to use the escalators or elevators to move between any two floors. The ground and the first-floor house temporary galleries with circulation such that the entry and exit point is the same (the internal gallery circulation can be seen in the floor plans shown later). Second, third and fourth floors house permanent and temporary exhibitions with circulation starting and ending at different points in order to maintain flow of movement particularly in the U-shaped plans and eventually link with the exit core as well. The museum circulation ends on the fourth floor as one reaches the core to lead them down to the lobby exiting out to the drop off area and also allowing them to collect their belongings from the cloak room. The strategic placement of the museum shop is also in the same area to attract the visitors as well as passersby to the shop. The drop off area also connects to the plaza in the front giving an option to the visitors to look at the exhibits over there or have a meal/snacks at the restaurant. In addition to this F&B facility, there is a small, not-so-heavily serviced cafe on the top floor with the view of the surrounding context. The front plaza leads down to the convention centre as well through the stepped courtyard. The guest house facility can also be accessed through the courtyard.

FACADE TREATMENT:

The Internal facade and section depict the traditional architecture and expression. The facade will consist of traditional windows/doors as a part of exhibits popping out in small boxes. Functionally, these boxes are balconies which are supposed to be points of pause within the museum allowing the visitor to stop by and take a break in these naturally lit balconies. External facade is reflective of the present and the future through a very contemporary look. A dynamic facade helps reduce the heat gain using rotatable panels made out of aluminium jaali and solid aluminium sheet. These panels provide the external facade with a continuous and uniform skin. The panels are rotatable mostly where there are openings inside. The panels outside solid walls are mostly fixed to save energy. Facade for housing features triangular shading devices on two sides of the room windows. Since, it a South-east facing facade, the idea of these shading devices is to protect the building from the southern sun.

Niranjan Kaur

• B.Arch Thesis

10 Responses

Can I get your complete report ,please even i have some similar thoughts for the thesis project.

Is this the actual proposed site for the project ?, because I am opting for similar building and can’t find a relevant source to confirm it ..

Hi Dipangshi, There was a concept report of proposal prepared by the firm working on the museum. That is what helped me confirm the site.

mam i need your proposal report so plz can you give me ?

Can you pls share me the name of that firm who is working in it?

heyy by any chance did u get the firm name

hey by any chance did u get the proposal?

Ma’am please confirming site area?

Can u please tell me measurements from all sides od site plan please

hi, can you please tell the name of the firm who is working on this museum. its very important.

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