Wander in India: The National Museum

Home to over 5,000 years of India’s history and culture, the National Museum in New Delhi weaves a compelling narrative of diversity and inclusivity as the nation navigates its identity.

Sense of Wander: ★★★☆☆

A close-up of an early 20th-century ivory shrine reveals a woman in traditional attire, flanked by two Indian bisons, highlighting the intricate craftsmanship this historical object.

NEW DELHI, India — For museum enthusiasts and art history buffs, a trip to India is incomplete without visiting the National Museum in New Delhi.

As an art history graduate with a deep interest in Indian art, the museum has been on my radar for over a decade. However, it wasn’t until my recent trip to India — my first — that I finally had the opportunity to explore this treasure trove.

The National Museum in New Delhi boasts an extensive collection that spans over 5,000 years of India’s history. From the prehistoric Indus Valley Civilisation to the Maurya, Gupta, Chola, and Mughal periods and beyond, the collection encompasses archaeological objects, paintings, sculptures, decorative arts, jewellery, and coins, among others.

For me, the visit was both a long-awaited review of what I learned during my postgraduate studies and an opportunity to discover something new.

Join me in exploring some of the museum highlights as they unfold the rich cultures and diversity of the vast Indian subcontinent, serving as the foundation of the “Incredible India” we know today.

This 12th-century bronze Nataraja, depicting Shiva as the divine cosmic dancer, is a must-see masterpiece at the National Museum in New Delhi, India.

Religion in Sacred Sculptures

Religion holds immense significance in India. In an article titled Wander in India: Standing at the Crossroad of Faiths, I explored how various religions play pivotal roles in shaping the nation’s cultural and social fabric. It’s no surprise, then, that many ancient Indian artefacts are deeply intertwined with religious themes, often preserved in stone or cast in bronze.

On the ground floor of the National Museum’s main building, you’ll encounter a diverse array of religious sculptures. These works predominantly depict narratives of the Buddha alongside pantheons of Hindu gods, offering profound insights into India’s rich spiritual heritage.

Intricately carved stone, once part of ancient Stupas (dome-shaped place of worship for Buddhists), stands as enduring testaments to the mastery of ancient artisans.

This fragment of a torana — an ornamental gateway for religious monuments in the Indian subcontinent — dates back to the 1st century B.C. and features a proud standing lion. It originates from Sanchi, Madhya Pradesh.

This sculpture of the Buddha exemplifies Gandharan art, a style marked by Greco-Roman influence, which flourished during the Kushan dynasty (circa 30-375 CE).

India, as the cradle of Buddhism, a global religion practiced by over 500 million followers, boasts the world’s earliest Buddhist art representations.

Fragments from stupas, ancient mounds of worship in Buddhism, depict captivating Jataka tales — narratives of Gautama Buddha’s previous births.

Buddhist art showcases iconic motifs like the lotus flower, symbolising purity; the bodhi tree, where Siddhartha Gautama attained enlightenment; and the dharmachakra, a wheel that embodies Buddhist teachings.

The Ashoka Pillars, erected by Emperor Ashoka (reigned circa 268-232 B.C.) across the Indian subcontinent, are closely associated with Buddhism. The lion capital atop these pillars, in particular, symbolises the Buddha’s teachings and Ashoka’s commitment to them, making it an enduring emblem of India’s Buddhist heritage.

The museum’s Buddha Gallery, spanning nine rooms in the annex building, chronicles Buddha’s life, teachings, and the evolution of Buddhism. As I enter one of the rooms, I find myself amidst a group of visitors from Nepal, flowing in like a school of salmon swimming upstream. The reason for their pilgrimage becomes evident as soon as I see what’s on display: the Buddha’s relic housed in a gold pagoda-like structure.

Soon, many begin to prostrate themselves before the relic, while others chant mantras in their language. To my surprise, their reverence and devotion transform the gallery into a living space, unlike any museum experience I’ve had before.

For enthusiasts of Buddhist art from later periods, the main building’s first floor has a dedicated gallery showcasing artefacts from Central Asia. In particular, a selection of paintings from Dunhuang — celebrated for their caves housing Buddhist statues and frescoes — takes centre stage.

Dating from the 8th to 10th centuries, these paintings are among the 12,000 artefacts unearthed by Marc Aurel Stein (1862-1943) during his archaeological expedition, offering a glimpse into the treasures guarded by this ancient garrison along the Silk Road.

A group of Nepalese visitors pay homage to the Buddha's relic at the National Museum in New Delhi, India.

A group of Nepalese visitors flocks into the gallery to pay homage to the Buddha's relic at the National Museum in New Delhi, India.

A collection of paintings from Dunhuang, once a frontier garrison along the Silk Road, is showcased in the “Central Asian Antiquities” exhibition rooms at the National Museum in Delhi, India.

Dating from the 7th to 8th centuries, this ancient silk painting depicts the mythological figures Fuxi and Nuwa, both central to Chinese mythology for their roles in the creation and origins of humanity.

Besides Buddhist art, the museum also showcases depictions of folk deities worshipped in ancient India. Among them is a sculpture of Ganga, the personification of the river Ganges, revered in India as the goddess of purification and forgiveness. I’m particularly struck by the gracefulness and femininity of this terracotta sculpture, which seems to reflect the artisan’s profound veneration towards the goddess.

Another figure, contrasting with the poised Ganga, is Kubera, the god of wealth, depicted with a jovial demeanour and a notably protruding belly symbolising his ownership of the world’s treasures.

Moving further along the museum’s ground floor, we enter a dedicated gallery for Hindu deities. One piece that stands out is a bronze sculpture of Nataraja, a depiction of Shiva as the cosmic dancer.

The dynamic posture of Lord Shiva, effortlessly balancing on one leg atop a dwarf symbolising ignorance, is mesmerising. His raised left leg and multiple arms, each bearing symbolic objects, convey an air of elegance.

Encircled by a ring of flames, Nataraja’s dance symbolises the cosmic cycle of creation, preservation, and destruction — the profound rhythm that seems to reassure me of a divine force far greater than ourselves every time I encounter it

A 5th-century terracotta sculpture of Ganga, the personification of the river Ganges, embodies India’s reverence for the sacredness of nature since ancient times.

Kubera, the god of wealth, is vividly portrayed in mottled red stone dated to the 2nd century.

Artistry in Decorative Arts

One aspect of Indian culture that never fails to fascinate me is its rich tradition of craftsmanship. While browsing the shelves of a local bookshop in New Delhi, I was introduced to Crafts of India: Handmade in India, an encyclopedic compendium that explores the diverse range of handicrafts across the Indian subcontinent. Without hesitation, I ordered this book, eager to dive deeper into the world of Indian handicrafts.

It’s only fitting that the National Museum has a dedicated gallery for decorative arts. The Decorative Arts gallery showcases some of the finest handicrafts and royal patronage of India from the medieval period onward, highlighting exquisite objects in jade, ivory, ceramics, glass, wood, metals, textiles, and more.

Amidst the diversity of exhibits on display, an ivory box immediately captures my attention. Carved in a cylindrical shape, its off-white surface mimics a woven textures, evoking the natural feel of bamboo or similar organic materials. Concentric circles at the centre are accentuated by the swirling woven pattern extending outward. Despite its small size — about the size of my palm — the artisan’s meticulous attention to detail in ivory carving is truly breathtaking.

A 19th-century ivory box made for bangles exhibits a high level of craftsmanship, with its surface skillfully simulating woven texture using organic materials.

This set of Chaupar, featuring carved jade and an embroidered spread, stands out as a luxurious example of this board game cherished in India.

In the gallery, you’ll also come across some jade objects inlaid with gemstones, showcasing the quintessential aesthetic of the Mughal Empire (1526-1761). What fascinates me is the meticulous process of cutting and shaping jade to fit the bulbous body of a vase. Achieving such precision would have demanded immense patience and meticulous attention to detail, ensuring the vase attained its desired form through continuous checking and refinement of its shape and form.

This exceptional craftsmanship also evokes memories of the stone-inlay work I’ve admired in Agra, a subject I’ve extensively covered in articles like Legacy in Stones: Mughal Inlay Art as Treasured Indian Craft and Mughal Stone Inlay: A Close-Up Encounter.

A collection of jade objects adorned with precious stones exemplifies the distinctive aesthetic of the Mughal Empire.

A wide array of objects is displayed in the “Decorative Arts” exhibition room at the National Museum in Delhi, India.

Culture in Body Adornments

As a jewellery designer, I couldn’t miss the chance to explore jewellery in a land where body ornaments are intricately woven into nearly ever aspect of its culture. However, I was disappointed to find that the Jewellery Gallery was closed during my visit.

Fortunately, India’s rich jewellery culture extends beyond this single gallery. In the Harappan Civilization gallery, I stumbled upon a selection of ancient jewellery pieces from a hoard dated to the Bronze Age. This discovery, which took place in the village of Mandi in Uttar Pradesh, revealed a large cache of gold and silver ornaments, offering a rare glimpse into the opulence of prehistoric India.

The Mandi hoard is the largest of its kind found in South Asia. Among these treasures are the unique “heart-shaped” bangles, hinting at the enduring legacy of India’s jewellery heritage through the millennia.

Hoard of Harappan jewellery from the village of Mandi, western Uttar Pradesh, dating back to the Bronze Age.

Apart from ancient jewellery, you’ll also encounter some intriguing adornments in the Tribal Lifestyle of North-East India Gallery.

The displays include necklaces strung with vividly-coloured beads, bulging bangles carved from ivory, punk-like armlets with spikes, and pendants in the form of human masks and body parts. These pieces, though somewhat eccentric compared to mainstream traditional jewellery, hold significant meaning within the tribal societies of North-East India.

What stands out to me is the ear ornaments from Kabul Naga, Manipur. Dating back to the 20th century, this pair of adornments features a mesmerising colour palette with iridescent blue hues, reminiscent of the kingfisher feathers used in China’s millennia-old tian-tsui art.

Feather ear ornaments from Kabul Naga, Manipur, dating back to the 20th century, offer a fascinating glimpse into indigenous culture.

An intriguing necklace from Nagaland features a prominent mask, complemented by indigenous-looking figurines.

Reflections in Retrospect

Overall, my hurried two-hour visit to the National Museum left me longing for more. I could easily have spent a full day exploring if time had allowed. While I enjoyed my visit, disappointment struck when I found that approximately one third of the galleries, particularly the Jewellery Gallery, were closed to the public (hence my rating of only three stars for its sense of wander).

This closure is likely in preparation for the upcoming Yuge Yugeen Bharat National Museum, aimed to succeed the current National Museum. However, I found the museum somewhat run-down and outdated in terms of curation and presentation. Many of the objects lacked descriptive labels, which could pose a challenge for visitors not well-versed in art history or unfamiliar with the cultures represented.

Founded in 1947, India’s National Museum was born alongside a new nation, following the partition of India as outlined in the Indian Independence Act. As Tapati Guha Thakurta, a distinguished art historian, notes, the museum serves as a platform for contesting, challenging, and reconfiguring modern identities and associated cultural practices.

Indeed, museums play a crucial role in shaping a nation’s identity by preserving and showcasing its history, culture, and achievements. They act as custodians of heritage, offering insights into the past and fostering a sense of pride and continuity. Museums inspire reflection, dialogue, and understanding, helping citizens connect with their roots and, when curated well, envision a collective future.

For India, the National Museum encapsulates the evolution of a civilisation spanning over 5,000 years. I very much look forward to the grand opening of the Yuge Yugeen Bharat National Museum, touted to be the world’s largest, promising narratives that chronicle India’s rich history over millennia.

“Yuge Yugeen Bharat,” derived from Sanskrit, translates to “everlasting India.” As a national museum, while it may uphold its own vision and mission, to me, it stands as a proud testament to our shared human heritage.

Warm sunlight cascades into the National Museum’s courtyard, as if illuminating its ancient treasures.

Entrance to the main building of the National Museum in Delhi, India.

Reference:
Divya, A. (2021, Oct 12). Delhi: National Museum gets a makeover with 3 new galleries on Buddhist art. The Indian Express. https://indianexpress.com/article/cities/delhi/national-museum-gets-a-makeover-with-3-new-galleries-on-buddhist-art-7566941/
Dwivedi, O. (2023, Sep 17). Yuge Yugeen Bharat: Museums can serve as decolonising tools. The Sunday Guardian.  https://sundayguardianlive.com/investigation/yuge-yugeen-bharat-museums-can-serve-as-decolonising-tools
Mukerjee, S. (2023, Oct 5). The Demolition of the National Museum Will Extinguish the Identity of an India That was Born in 1947. The Wire.  https://thewire.in/culture/the-demolition-of-the-national-museum-will-extinguish-the-identity-of-an-india-that-was-born-in-1947