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TUCKED AWAY IN the shadow of Humayun’s Tomb, a series of red sandstone pathways lead to massive doorways, which guard the treasures within India’s first subterranean museum.

It is here, amidst this mas­terful blend of art and history, that Amir Khusrau Dehalvi’s iconic verse comes alive: “Gar firdaus bar-rue zamin ast, hamin asto, hamin asto, hamin ast (If there is a heaven on earth, it is here, it is here, it is here).” The verse, once a tribute to Nizamuddin and later popularly used to extol Kashmir’s beauty, now lies etched on a marble plaque shining from a wall inside, embodying the spirit of Delhi’s latest cultural treasure—the Humayun Tomb World Heritage Site Museum. The museum was officially unveiled on July 29, 2024, by Union Minister for Culture Gajendra Singh Shekhawat in the presence of Prince Rahim Aga Khan.

Part of UNESCO’s project of building museums at heritage sites, the Humayun Tomb World Heritage Site Museum is 100,000 square feet of grandiose space, crafted to evoke the es­sence of a bygone era. Spread over 300 acres, it blends 21st-cen­tury architecture with Mughal-era craftsmanship. The principal structure located six meters below ground level, houses galleries that rise four feet above the ground and is crowned by a roof, reminiscent of a Mughal garden.

“This is the entrance zone of the world heritage site and it’s generally a recommendation that a site museum is along the entrance,” says Ratish Nanda, CEO of the Aga Khan Trust for Culture (AKTC), which has designed the place. “It is particularly important for Humayun’s Tomb be­cause there is 500 years of history, most of which is not known to the general public. This museum is a culmination of 15 years of work by the Aga Khan Trust.”

The museum represents a 700-year journey of discovery, culminating with a decade of rigorous research by the Archaeological Survey of India and the Aga Khan Trust for Culture, which has unearthed captivating stories—some familiar, others waiting to be told. Its five spacious galleries are an invitation for visitors to marvel at around 500 never-before-displayed artefacts.

“What we are actually doing in this museum is telling stories that you and I relate to. Every artefact that you see in this museum is being displayed for the first time ever. And every object here tells a story of its own,” Nanda says.

The museum’s design is noteworthy for its thoughtful approach, mirroring the traditional baoli style to sync with its surroundings. By blending into the landscape, the underground structure preserves unobstructed views of adja­cent monuments. Moreover, its subter­ranean design serves as a connecting thread, linking the Humayun’s Tomb complex to the neighbouring Sunder Nursery. The museum complex is complemented by a dedicated facilities block, featuring a range of amenities, including a 100-seat auditorium, tem­porary galleries, cafe spaces, meeting rooms, a library, and much more.

Humayun’s extraordinary life is the thread that weaves together the centu­ries-long saga inside the museum. The second emperor of the Mughal dynasty, Humayun has failed to receive his share of historical limelight. Many historians regard him as the ruler who bridged the gap between his father Babur’s founding legacy and his son Akbar’s golden age. He went to war with his own brothers around 15 times, but ended up forgiving them each time leading to an uproar among his courtiers. His reign, although marked by turmoil and triumph, laid the groundwork for the dynasty’s future success.

Oddly yet, the one prominent structure that has survived to serve his memory—the Humayun’s Tomb—was not built by him. It was built by his son Akbar, some 10 years after his father’s death.

The emperor was consumed by three passions: astronomy, which guided his life and reign; books, which ultimately led to his demise; and travel, a mix of necessity and adventure that took him to far-flung lands.

The first gallery, Where the Emperor Rests, explores Humayun’s mausoleum and the lesser-known facets of the emperor’s life. Through captivating stories of his far-flung travels, wise adminis­tration, and an appetite for knowledge, one glimpses the essence of Humayun’s personality. With each step, a more nuanced portrait of Humayun emerges, revealing a complex and fascinat­ing leader who left an indelible mark on history.

“Humayun governed according to planetary charts. His whole court functioned according to planets. Such was his belief in astronomy that he used to don robes of only a par­ticular colour on a particular day of the week, as portrayed by contemporary Scottish artist Jill Watson in seven miniature sculptures that are housed here,” Nanda says. Because he was so interested in astronomy, he invited a family of astrolabe mak­ers from Samarkand after recapturing the throne of India with the help of Iran’s Shah Tahmasp. “These artisans later started calling themselves Humayunis and produced 170-odd pieces of astrolabes over a period of 150 years. They are the finest such pieces in the Islamic world. We have three of those astrolabes in our museum here,” Nanda says.

The emperor also loved travelling. “We all know of legendary explorer Marco Polo, who travelled through Asia along the Silk Road. But very few people know that Humayun travelled thrice as much as Marco Polo, covering around 34,000 km during his lifetime. We trace his movement to 122 cities, across India, Bangladesh, Pakistan, Afghanistan, Iran,” says Nanda. The muse­um showcases his travels through animated films and a collec­tion of rare artefacts— including an inscribed dagger gifted by Shah Tahmasp of Iran, who played a crucial role in Humayun’s successful bid to reclaim his throne, and a helmet in which the emperor had once been forced to cook and eat horse meat.

An avid reader, Humayun was known for his majestic collection of books at his library, and was often known to travel with his shutur-i-kitabkhana, a camel-back library. Tragically, it was in his cherished library at Sher Mandal, with­in the historic Purana Qila, that he met his untimely demise, tumbling down the stairs. A scaled-down replica of this very library and its stairs is now on display at the museum, serving as a poignant reminder of the emperor’s love for knowledge, and his tragic fate.

In one of the other galleries of note, titled Icons of a Sacred Landscape, the museum honours four visionary figures who have indelibly shaped the cultural fabric of Nizamuddin for centuries. The revered Sufi saint, Hazrat Nizamuddin Auliya, and his devoted disciple, Amir Khusrau Dehlavi—who pioneered Qawwali music—are celebrated alongside two other luminaries: Rahim, a gifted poet and commaner-in-chief of Akbar’s army, acclaimed for his poignant dohe and ground­breaking translation of the Ramayana into Persian; and Dara Shikoh, who translated the Upanishads into Persian, bridging spiritual traditions.

The Humayun’s Tomb-Nizamuddin complex stands as a poignant reminder of the Mughal dynasty’s deep-rooted connection to this sacred Sufi terrain. From mighty emperors to humble saints, this revered landscape cradles the memories of 18 Mughal rulers, who either built magnificent monuments or lie buried within its precincts.

“Nizamuddin is the first city of the Mughals. There are about eight emperors buried here. Every Mughal emperor either built something here, or is buried here. Or at the very least they made repeated visits to the dargah and the Humayun’s Tomb, both of which were places of pilgrimage for them. You were not allowed to go to Humayun’s Tomb unless you were a Mughal. Only Mughals or Mughal royals had access to these places,” Nanda says.

A UNIQUE FAMILY TREE display, crafted from coins that once circulated during their reign, makes the Mughal dynasty come alive in this gallery. This innovative exhibit uses currency as a canvas to trace the lineage of the Mughal emper­ors, from the dynasty’s founder Babur to the last ruler Bahadur Shah Zafar. Each coin, carefully selected for its historical signif­icance, serves as a tangible connection to the past. The exhibit features two standout displays: prized coins from Jahangir’s era, showcasing the Mughal Empire’s wealth and power. And a unique series of coins issued by Akbar that had ‘Allahu Akbar’ engraved on one side and ‘Ram’ (in Persian) on the other.

“In fact, Akbar also did a whole series of Ram-Sita coins, of which only three have survived. Each of those coins can now cost up to `30 crore. These are not just coins, these are pieces of art and history,” says Nanda.

Among the museum’s crowning jewels is the magnificent original golden finial, or kalash, that once sat atop the dome of Humayun’s Tomb. Standing 18-feet tall and weighing around 300 kg, this breathtaking piece has been meticulously restored by skilled traditional coppersmiths over several years. Now, it takes pride of place in the museum, its golden splendour captivating visitors and inspiring wonder. Similarly, a finely carved chattri or rooftop canopy placed in the museum illustrates the scale on which Humayun’s mau­soleum was built. It is also an example of how Rajput funerary architecture was incorporated into the design of a mausole­um. Carefully repaired stone lattice screens from the 14th cen­tury onwards, including one from Humayun’s mausoleum, show the evolution of the jalli design at Delhi monuments.

Also on display is the unassuming throne of the last Mughal emperor, Bahadur Shah Zafar. The armrests, support­ed by intricate stone latticework, curve into majestic swans, while rows of coloured spots hint at the throne’s former opulence, when gems adorned its surface. Though the paint has faded, the throne’s quiet majesty endures. “After the failed revolt in 1857, Bahadur Shah Zafar had taken refuge here at Humayun’s Tomb before being exiled by the British in Burma, where he died,” says Nanda.

The new museum contains within itself a world of wonder. A long overdue tribute to Humayun, every artefact here whis­pers a story, every exhibit reveals a chapter in the emperor’s captivating tale. Set against the stunning Humayun’s Tomb, the museum’s halls beckon you to unravel the past’s mysteries. And when you finally emerge, blinking, into the sunlight, the lush Sundar Nursery awaits, an oasis promising an escape from the city’s frenzy. Whether you are a history buff, a nature lover, or simply a seeker of magic, this trio—tomb, museum, and nursery—promises a day-long adventure.

About The Author

Soumava Haldar