National Museum

HARAPPAN CIVILISATIONThis gallery was jointly set up by the Archaeological Survey of India and the National Museum. It has a rich collection of a large number of artifacts from the sites of Harappan Civilisation. The collection includes pottery, seals, tablets, weights and measures, jewellery, terracotta figurines, toys, etc. It also has copper tools from Harappan sites like axes, chisels, knives, etc. About 3,800 objects have been displayed in the modernised Harappan Gallery from the National Museum collection. This Gallery also has 1,025 excavated artifacts belonging to the Indian Harappan site of the Archaeological Survey of India collection.
ARCHAEOLOGYA prestigious collection of approximately 800 sculptures have been displayed in the Archaeological Galleries on the ground floor, the rotundas on the ground, first and second floors and around the museum building.
The sculptures displayed are mostly in stone, bronze and terracotta, dating from the 3rd century B.C., through the 19th century A.D., representing all major regions, periods and schools of art.
BUDDHIST ARTAn added attraction is the gallery on Buddhism: A spiritual journey, with the focus on the sacred relics of the Buddha (5th-4th century B.C.) unearthed from Piprehwa, Distt. Basti and outstanding specimens of Buddhist Art as a global movement, is illustrated through 84 exhibits in stone, bronze, terracotta, stucco, wooden sculptures and painted scrolls or Thankas from Nepal, Tibet, Central Asia, Myanmar, Java and Combodia, representing the three principal Buddhist forms - Hinayana, Mahayana, Vajrayana. Of special importance are the images of Kapardin Buddha from Ahichchhatra, Buddha - pada (footprints) from Nagarjunakonda, Distt. Guntur in Andhra Pradesh and Buddha's life scenes from Sarnath in Uttar Pradesh as well as ritualistic objects from the trans-Himalayan reign. These objects stimulate a sense of devotion, dedication and love for humanity.

INDIAN MINIATURE PAINTINGSThe Museum has in its possession the rich heritage of Indian Miniature paintings. These belong to major styles such as, Mughal, Deccani, Central Indian, Rajasthani, Pahari and many other sub-styles relating to the period from 1000 A.D. to 1900 A.D. It also includes paintings on palm leaf, cloth, wood, leather, painted manuscripts, covers on wood and hardboard and Thankus on canvas, etc. The major theme of these miniatures are Jain Kalpasutra, the epics such as Ramayana, Mahabharata, Bhagwatpurana, Durgasaptasati, Jaideva's Geetgobind, Ragamala, Baramasa, Panchatantra and Vishnu Purana. A few Indo-lslamic manuscripts such as Shahnama and Baburnama are also noteworthy. The portraits of medieval kings, rulers and saints are also part of this large heritage. The gallery displays selected 352 exhibits for public view.
EVOLUTION OF INDIAN SCRIPTS AND COINSIn the gallery, 26 large-sized well-lit glass transparencies are on show narrating the wonderful story of the development of various Indian scripts from Brahmi and coins.
DECORATIVE ARTS (two galleries)The gallery brings to light for the first time 232 exclusive decorative arts artifacts, which are dated from 18th-20th century. All these utilitarian and decorative objects are made with different material, i.e. ivory, jade, glass, wood, marble, metal and ceramic. A magnificent ivory temple shrine, finest enamelled and filigree work in silver, exquisite designed silver huqqa, wooden peacock and copper inscribed degcha (cooking vessel) are the few important pieces in the gallery.
JEWELLERYThe specially designed gallery, housing 202 items from the 3rd millennium B.C. to 20th century A.D. in chronological sequencers the first of its kind in the museums of India. The most outstanding pieces include Indus jewellery, Taxila jewellery, Mugal and Islamic jewellery, belts and buckles, decorative objects, necklaces, various types of bracelets, armlets, bangles, enamels. South Indian jewellery, Navratan ornaments, bridal, ceremonial and temple jewellery are exhibited in 27 showcases.
MANUSCRIPTS (under renovation)The National Museum has an appreciable collection of manuscripts in various languages and scripts covering a large number of subjects. These manuscripts are a feast for curious eyes as they are written on different types of materials such as parchment, birch bark, palm leaf, cloth, paper, metals, etc. Aesthetic value and richness of the collection are quite evident by their remarkable illuminations and charming illustrations. Dated manuscripts elaborate Indian History with authoritative authenticity. Despite being the resource of all mystic knowledge and learning, manuscripts of Indian origin attract the viewers by various sizes of scrolls, different styles of writing on palm leaves, golden letters on coloured background of paper and natural shaded beauty of birch bark folios, while Arabic and Persian manuscripts mesmerise the Islamic world and historians by the royal seals and dates on it. Holi Quran, Royal Farmans and alluring treasure of illustrations are worth seeing. All the manuscripts represent various religions and sects of the Indian subcontinent. The exhibits cover the period of manuscripts from the 7th century to the 19th century. In this gallery 1,500 manuscripts are proposed to be displayed.
CENTRAL ASIAN ANTIQUITYAmongst or Non-Indian collections, which adorn the National Museum, the Central Asian Arts Collection is the richest - both qualitatively and quantitatively. The collection consists of some of the most outstanding wall paintings, painted silk banners, sculptures in wood, stucco and terracotta, coins, porcelain and pottery objects, leather, grass and fibre, precious items of gold and silver, religious and secular documents. The vast and varied collection was excavated, explored and collected by Sir Aurel Stein, the foremost amongst the archaeological explorers of the early 20th century, during three major expeditions carried out by him in 1900-1901, 1906-1908 and 1913-1916. This gallery includes 600 choicest exhibits.
COINSThe gallery will display 1672 coins in a modernised format. The collection of coins in the National Museum is remarkable for its variety, rarity and antiquity. The entire history of Indian coinage, starting from about 6th century B.C. to the beginning of the 21 st century A.D., is well represented here along with the dioramas depicting various techniques of coin production. It has in it practically all Indian coins from the earliest bent bar, punch-marked coins to those of Indian States, British India and post-independence coins. A study of these currencies reveals how the Indian currency system developed from cowrie shells to credit card; These coins are a rich and authentic source of information on various aspects of Ancient, Medieval and Modern Indian history. A record of political and economic changes, its narrative and aesthetic impact reflect the cultural effervescence in different epochs in various regions of the country.

PAINTINGS FROM TANJORE AND MYSOREThis gallery presents the two famous schools of South India-Tanjore and Mysore for viewers. The important themes are displayed in this gallery :lndian mythology, stories from epics, various gods and goddesses. Fifty paintings are on display which show a fine admixture of tradition and spiritual aspect of Indian Art from South India. The technique, how to make a Tanjore painting is also displayed with the help of seven pictures.
INDIAN TEXTILESThe textile gallery displays the fabulous and magnificent collection of Indian traditional textiles of the later Mughal period. One hundred and twenty-five choicest cotton, silk and woollen textiles, which are beautifully woven, printed, dyed and embroidered, have been displayed in the gallery. These have been arranged according to the technique of manufacturing and decoration. Among them special mention may be made of silk and zari woven sari pallu of the mid-17th century from Chanderi, printed and painted artistically designed cotton coverlet of the 17th century from Golconda and a reconstructed royal chamber illustrating various textiles in their respective use.

PRE-COLUMBIAN AND WESTERN ARTPre-Columbian and Western Art collections were gifted mostly by Mrs. and Mr. Nasli Heeramaneck of U.S.A. These art objects covered mostly the pre-1492 A.D. period when Christopher Columbus unknowingly reached this part of the world in search of the new sea route to India and South-East Asia. In this gallery most of the objects belong to Mexico, Peru, Maya, Inca, North-West coast of America, Panama, Costa Rica and El Salvador. Apart from these some objects of Indonesia, Iran, Iraq, Egypt and some objects of Germany and France are also displayed in the gallery. About 252 exhibits are on display.
WOOD CARVINGThe tradition of carving wood in India for architecture, religious, utilitarian and decorative needs is well reflected in the gallery of wood carving. With the help of a hundred and twenty exhibits an attempt have been made to show various techniques and vivid subjects, which illustrates all the variety from architectural dwellings, doors, windows to cotlegs, boxes and mirrors. Intricately carved Mandapa of a Gujarat temple from the 16th 17th century A.D. is a very important piece of the gallery. Beautifully carved door and pillar from the Sun temple of Katarmal (dt Almora, Uttaranchal) dated 13th century A.D. are on display in the Late Medieval Gallery (ground floor) .This gallery includes 46 exhibits.


MUSICAL INSTRUMENTSThe Museum has a large collection of musical instruments, both folk and classical. The collection was donated to the Museum by Mrs. Saran Rani Backliwal in 1980 and 1987. Most of the Indian instruments belong to the period between the 17th-19th centuries There are also a few 19th century Western instruments. The objects have been divided into different categories like string instruments (veena, sitar, santur). Percussion instruments (tabla, dholak) and wind instruments (flute, trumpet, etc.). There are 125 musical instruments on display.
TRIBAL LIFE-STYLE IN NORTH-EASTA total of 327 excellent traditional exhibits such as dresses, apparel, ornaments basketry, wood carvings and personal adornments, etc., of several tribal groups inhabiting the land of "seven sisters" are on view.
ARMS AND ARMOURThe Museum has one of the finest collections of Indian Arms and Armour comprising edged weapons, projectiles, smashing weapons, armour for men and animals, ornamental, sacrificial and ritual weapons, fire arms and war accessories. The collection is predominantly Mughal in addition to Maratha, Sikh, Rajput and Hindu arms which are also well represented. The Arms embellished with damascening, enamelling, filigree work or those inscribed or studded with semi-precious and precious stones are in the collection. This gallery has been modernised by displaying 500 exhibits.
TEMPLE CHARIOT (near the entrance gate of the Museum)The octagonal chariot is made of saal, sagvan wood has five tiers consisting of six wheels, beams around 425 carved panels, brackets, angles, etc. weighing approximately 2,200 kgs. This 18th-19th century chariot, dedicated to Lord Vishnu, is from Kumbakonam, Tamil Nadu, South India. It illustrates various Saiva and Vaishnava themes, i.e. Vishnu, Laxshmi-Narayan (Lord Vishnu with his consort), Rama (one of the incarnations of Lord Vishnu), Varaha (Boar incarnation of Lord Vishnu), Narsimha (Lion and human incarnation of Lord Vishnu), Venugopal (Krishna with flute), etc. It has been on view for the public since December 2003.
The National Museum keeps on setting up new Galleries and renovating the old Galleries according to the requirements.
An Added attraction to this museum is the newly setup Galleries for Buddhist Art, Tantra Art, Paintings from Tanjore and Mysore, Tribal Life style of North-East India and Indian Textiles.
In Tantra Art Gallery,there are 135 super creations of varying Tantric Manifestations from different parts of India, Nepal and Bhutan and Tibet including the cream of Shri Ajit Mokerjee collection are exhibited. The objects cover a period from the 10th century to early 20th century.
In Buddhist Art Gallery, A total of 84 choicest exhibits Sacred Relics of Buddha(5th century BC) unearthed from Piprahwa, Distt.Basti of UP, Thankas, Kapardina Buddha from Ahichchhatra etc.
The Gallery of Tribal Life Style of North-East India includes a total of 327 excellent traditional exhibits of dresses,appearls,ornaments, basketry,wood carving and personal adornmentsetc. of several tribal groups inhabiting the "Land of Seven Sisters" are on view.
Indian Textiles Gallery presents the sagacity of the Indian Weavers through the ages.A variety of excellent textiles cotton, silk and woollen covering the entire length and breadth of the country.

Training opportunities to the museum personnel,permission to photograph the objects for reproduction and publication and access to the reserve collection and Library are provided to the museum professionals,scholars and the general public.Photographs of art objects are also made avialable to general public on payment.Advice on identification of art objects owned by individual and institutions is offered by experts with prior appointment.Free guided tours to the galleries and film shows in the auditorium are arranged everyday.Gallery talks are held on every Wednesday on specific topics in the respective galleries at 11:00AM.
General Information:
Admission
10AM to 5PM
Students
Rs.1.00
Indians
Rs.10.00
Others
Rs.150.00
Camera Fee(For Indians)*
Rs.20.00
Camera Fee(For Others)*
Rs.300.00
Monday
Closed
* For still Photography only

Exhibition of Historic Trade Textiles set to weavecharm over India's heritage enthusiasts

TAPI Collection & National Museumpresent Masters of the Cloth' - Indian Textiles Traded to Distant Shores About TAPI
Textile historians cite the Tapi Collection brought together by Praful and Shilpa Shah as "an exceptional collection of Indian historical textiles and one of the finest private collections in India today". (Rosemary Grill, Ruth Barnes and Steven Cohen in their book "Trade, Temple & Court".) Numbering over 4000 textiles the collection is named after the eponymous river that is central to the town's history as a prosperous textile manufacturing and trading center. The Tapi Collection of Indian textiles not only includes textiles treasured and worn in India but examples of cloths exported from India to markets spanning the globe, from South-East Asia to Africa and Europe. The Collection encompasses a gamut of materials and motifs, from 14th century block printed cloths to painted cottons and embroideries, mughal patkas, brocades, tie-dyed textiles, pichhwais and temple hangings for religious use, cotton jamdanis and folk textiles.
New Delhi, November 10, 2005: 'Masters of the Cloth: Indian Textiles Traded to Distant Shores', an exhibition showcasing unique segments of textiles for foreign markets made in India from the 13th to the 20th centuries, opens at the National Museum on November 11, 2005. On display will be some rare "trade textiles" from the TAPI Collection brought together by Praful and Shilpa Shah. Inaugurated by Dr. Karan Singh, Hon'ble President, Indian Council of Cultural Relations, this exceptional exhibition, is open to public for five weeks from 11 November 2005 to 18 December 2005.
Shawl, 1800, Pashmina,TAPI 04.23
Ceremonial, Coromandel Coast: 19th century, traded to Java or Sumatra, TAPI 01.29
This first of its kind exhibition offers a rare opportunity to view Indian textiles the likes of which have not survived in their homeland but did so on foreign shores where they were carefully preserved for centuries. The textiles on view present an insight into the fascinating history of the extensive centuries-old trade in Indian textiles both with the east and west, and the multifarious roles they played in these lands, for social, ritualistic, ceremonial, decorative or utilitarian purposes.
As pointed out by Shilpa Shah, the exhibition showcases the world's romance with Indian textiles and attempts to present the significance, scale, popularity, beauty and variety of Indian textiles traded to foreign markets from earliest times.
Ceremonial Banner, Coromandel Coast: c. 1775, for the Sri Lankan Market, TAPI 03.130
Ceremonial Cloth, Coromandel Coast: Late 18th Century, traded to Indonesia, TAPI 01.183
Oldest among the textiles on view are 13th to 15th century painted and printed cottons from Gujarat including the enigmatic "maa'" cloths treasured as sacred heirlooms with magical powers in the culture of the Toraja people of Sulawesi, Indonesia. The kalamkari artists of the Coromandel Coast, in the 18th century, made exquisitely wrought pieces for the nobility in Thailand, with patterns of nagas and dragons. Silk patolas from Patan in Gujarat formed the single most highly prized textile in South East Asia, and those such as the "Elephant Patola" on show, found exclusive royal patronage.
Praful Shah feels delighted to have the opportunity to share aspects of India's past creativity in textiles that were, for him, a staggering eye opener. The exhibition will contribute to an understanding and appreciation of a unique dimension of the rich artistic heritage of India, which still has a strong and thriving textile producing culture, both traditional and modern.
Also on exhibit, are exceptional Chintz palampores and costumes developed for Western markets, patterns specifically commissioned for European taste. They were initially used as household furnishings and in the late 17th century, Chintz made its foray into high fashion, and was a must for aristocratic mansions of Holland, France, and Britain. The "Cambay Embroidered" palampores on display made in Gujarat are considered unrivalled in their workmanship, not only in India but possibly in the world, as also the famous Kashmir Shawls that became a craze in Europe.
Patolu Ceremonial, Cloth, Gujarat: c. 19th Century: Traded to Bali, Indonesia, TAPI 05.34
According to Dr. K.K. Chakravarty, the Director General, National Museum, the exhibition will provide for the first time fascinating insights into the realm of Indian textiles, through some textiles treasured by the royalty and courtiers as connoisseurs and patrons from various countries from South-East Asia to Europe. The exhibition will be a window into the diaspora and cross-fertilization of ideas and patterns across the world, a movement incited by nameless maestros of India. The exhibition may yet inspire initiative towards recollection and revitalization of forgotten designs, shapes and meanings.
Not to be missed are the small but important excavated fragments of block printed cotton found in the medieval market town of Fustat near present day Cairo, and kalamkaris made for the Persian market. Completing the canvas of trade cloths are woven striped and checked Madras cloths quizzically called "George" in Nigeria, probably from Fort St.George, the South Indian port from where they were exported to Africa. Pride of place in this group is reserved for the "Injiri" cloths of the Kalabaris in the Niger Delta of West Africa where they are valued as symbols of the cultural identity of a whole community.
Embroidered Palampore, Gujarat: c. 1730-40, for the western market TAPI 00.108
Embroidered Floorspread, Gujarat: 18thre century, for the western market, TAPI 04.42
Dr.R.R.S. Chauhan, Director, (Exhibitions), remarks that this collection comes from nowhere else but the richest port of Medieval India, Surat, from where hoards of goods, particularly textiles, were exported all over the world. While the credit for popularizing the Indian textiles goes to the Portuguese, the credit for producing these superb, much sought after textiles goes to the Indian artisan and craftsperson. National Museum, being the country's premier cultural institution, feels proud to present this wonderful exhibition of Indian textiles, fabricated and exported from various parts of India, and in the recent past, painstakingly located, identified, and passionately reclaimed by the connoisseur couple of the Shah's. The exhibition brings to life the saga of Indian textiles, whose history is as old as the history of our country itself.
Shawl, Kashmir: c. 1840-1860: traded to France, TAPI 97.1419
Associated with the Exhibition are events like screening of International Award winning films by Dev Benegal, - every Friday, a symposium on November 12, where eminent textiles scholars would present lectures, an on the spot painting competition for school children on November 20th, and a Workshop 'Tradition Textile Techniques' on November 30th, and December 1st.
For Further Information, please contact:
Director, Exhibitions, Dr. R.R.S. Chauhan, National MuseumExhibition Coordinator, TAPI, Sujata Parsai at the National MuseumPiyali Dasgupta, Perfect Relations, Tel: 24374440

The National Museum, New Delhi is delighted to announce the inauguration of Coins Gallery entitled "From Cowries to Credit Card" and launch of an Audio Tour of the National Museum on October 21, 2005. Shri Jaipal Reddy, Hon'ble Union Minister for I & B and Culture will inaugurate the Gallery and launch the Audio Tour.
National Museum, one of the leading Museums of India, has in its possession a very rich collection of coins ranging from c. 6th Century B.C. to modern period. Out of thousands of coins, certain rarest and choicest coins covering the length and breadth of the country have been selected and displayed in the Coins Gallery entitled "From Cowries to Credit Card" at the 1st floor of the Museum.
The process of second urbanization in terms of archaeological evidence, which started in c. 1000 BC, gave birth to a more sturdy and sound medium of transaction in the form of metallic currency known as coins. It replaced the age-old barter system, and other primitive practices under which commodities were exchanged to meet various needs. The story of birth, growth and development of metallic currency, the shape and weight bearing symbols and legends, is interwoven with the political, social and cultural history of India. The study of Indian coinage, therefore, provides a peep into the pages of history. It remains to this day the only authentic document in unfolding dark periods of our history and giving us the dynastic chronology of many tribes, clans and kingdoms - big and small.
The introduction of coinage is rightly considered to be a landmark in the history of human civilization. As a portable piece of antiquity and because of its intrinsic value, collection of coins has always been an instinctive habit all over the world. Issued in various metals as Gold, Silver, Copper, Billon, Lead, Potin etc., coins are the best indicators of economic prosperity, socio-political strength and stability. Bearing portraits, legends, symbols, and at times dates, coins provide complementary evidence for the study of religious beliefs, and development of art and chronology.
The representative coin collection of the Museum is displayed in 35 showcases in chronological order from the earliest till the modern period. Major techniques of minting coins have been shown through dioramas. Distribution of coinage is indicated in the maps, and historical background of the displayed coins has been described in brief bilingual write-ups. To facilitate the visitor, touch-screen, other supplementary material and aids have been provided.
An activity corner has also been set-up by installing a die-machine in the Gallery to educate the children. One can strike a metal blank (coin), bearing the logo of the Gallery on the obverse and the name of the Museum and Gallery on the reverse.
A total number of 1669 coins and 5 replicas of coins are on display in the showcases. At the end of the Gallery, a translite with currency notes and credit cards along with bricks made by the Reserve Bank of India, after destroying old currency notes, are exhibited.
The details of the Gallery are available in one CD, four sets of picture post-cards and book-markers at the Sales Counter.
The National Museum, is also launching an Audio Tour of the National Museum in five languages - Hindi, English, French, German and Japanese. It covers 55 stops of the Museums' great collection of artifacts. The visitors will carry small, lightweight digital ivtP-3 audio players. The visitor can go anywhere they want and see the exhibits in any sequence.
The Audio Tour is developed in association with Narrowcasters, India. A free map is also included with the Audio Tour.


1. Tender Notice Fabrication, Mounting and Designing of various works for an Exhibition entitled PRATIMANIDHI: The Indian Consciousness in the National Museum.No. F. 50-21/2007-NM (Admn.)Government of India, Department of CultureNational Museum, Janpath, New Delhi - 110011
Tender date: 26tht November, 2007
2. Tender Notice inviting quotations for requirement of consumable % stationary items for CISF, National Museum, New DelhiNo. F. 38-2/2001-NM (Vol. 1)Ministry of Tourism & Culture, Government of India,National Museum, Janpath, New Delhi - 110011
Tender date: 31st July, 2007 (12.00 noon)
3. Tender Notice regarding Installation of fiber optics lighting system in the National Museum for Nizam's Jewellery Exhibition.No. F. 37-1/2006-NM (Vol. 2)Ministry of Tourism & Culture, Government of India,National Museum, Janpath, New Delhi - 110011
Tender date: 18th April, 2007

History The National Museum, New Delhi as we see it today in the majestic building on the corner of Janpath and Maulana Azad Road, in New Delhi,is the primier museum in the India.

Publication Department Since its inception, it has been bringing out various publications for the people from all walks of life. There are books for children, for common visitors and for the scholars interested in the study of art, architecture, painting, sculptures, history, religion, culture etc. controlled by a Keeper.
Public Relations For maintaining the public relations with a large variety of visitors, the museum has a separate unit headed by a Keeper..
Education The education wing of the National Museum is headed by a Keeper who looks after all the educational services.
Modelling This unit has been casting beautiful replicas of the select masterpieces housed in the museum with dedication. Produced in the scale sizes and original colours as well as in scale models, it rolls out 64 replicas in Plaster of Paris and in Fibre Glass as well, covering a period from Indus Valley Civilization to 12th century A.D.
Photography The photography unit is well equipped to prepare black and white and colour pictures of the art objects. It has already photodocumented almost the entire collection of National Museum and has its own storage and laboratory for processing black and white prints.
Conservation Laboratory , The Conversation Laboratory of the National Museum since its inception has made great strides and today it is one of the best laboratoreis in the field of conservation and restoration of the art objects.
Exhibition Cell , This section of National Museum organises International and National Exhibitions in India and Abroad.
Library, The National Museum has a wide Reference Library which is equipped with variety of books, Periodicals, Journals etc.


The Nizams' jewellery is one of the largest and rich- est collections of jewels in India. The collection had remained in the custody of "H.E.H. Nizam Jewellery Trust" and "H.E.H. Nizam Supplemental Jewellery Trust" formed by the last Nizam Mir Osman Ali Khan in 1951-1952 to safeguard the ancestral wealth of the family. The trustees kept this treasure of great historical value in the vaults of Hong Xong Bank. When the Government of India acquired this collection in 1995, after a prolonged legal battle, it was shifted to the vaults of Reserve Bank of India (RBI), Mumbai, where it remained till 29th June 2001. The first ever exhibition took place at the National Museum in 2001.
Superb and rare, as the collection comprising 173 precious jewels and jewellery items of exquisite workmanship is, it covers a period ranging from 18th century to the early 20th century. The collection includes sarpeches, necklaces, belts and buckles, pairs of bracelets and bangles, earrings, armlets, toe rings, finger rings, pocket watch and watch chains, buttons and cufflinks, etc. While the diamonds from the celebrated mines of Golconda and Colombian emeralds predominate, the Burmese rubies and spinels and pearls from Basra and the Gulf of Mannar, off the east coast of India, also form part of the Exhibition. All the jewels are flamboyant, yet amidst the dazzle of precious gems, individual pieces stand out by virtue of their antiquity and the merit of their craftsmanship. Most outstanding among this collection is the Imperial Diamond now known as Jacob diamond, weighing 184.75 carats, which is a fabulous weight of any single gemstone. It is an invaluable sparkling diamond by all means, be its brilliant cutting, clarity and colour. It is almost double the size of Kohinoor Diamond (in the present shape). Another item is a collection of 22 unset emerald pieces. Also, an exceptionally large variety of cut emeralds, emerald drops, emerald beads, Taveez and many other shapes of Jewellery from Colombia and Russia and two ornamented belts, one studded with a cut and the other with a carved emerald have their own charm.
The quantity of emeralds may run into a couple of thousand carats. The beautiful seven stringed pearl necklace (satlarah) is a unique creation and its weight and size are simply mind-boggling. There are approximately 40,000-50,000 chows (one chow = Carat x Carat x 0.65% number of pearls) pearls in this collection. Besides, many necklaces with button pearls and diamond beads are exceptional for their extraordinary shape and cutting. Most of the Jadau (stone-studded) items showing large, rose cut and flat cut diamonds total a few thousand carats in weight. Of the many rings with large diamonds of different colours, one set with a Alexandrite stone, perhaps from the famous Russian mines, is of unusually large size bearing testimony to the nature's excellent gift - it changes its colours sparklingly when viewed under artificial light. The collection of pocket watch and watch chains studded with diamonds, emeralds and precious stones are noteworthy for their wide variety and intricate workmanship. It may be pointed out that some excellent enameled works from Jaipur, Delhi, Awadh and Deccan form part of this collection, which is comparable to the designs and details in the miniature paintings of these areas.
The value of this world renowned Jewellery is inestimable. The National Museum is proud to showcase once again the Nizams' Jewellery in a new ambience. The exhibition will remain on view from 27th September, 2007 onwards.
ARMBANDS
Fine Deccani Workmanship can be seen in these armbands. The use of silver outlines for the central diamonds and the deep red and green palette in the floral motifs in enamel on the back is manifest proof of the region.
This pair is made up of three hinged panels with openwork foliate design set with foiled table-cut diamonds.
Besides their spiritual values, jewels are greatly associated with the beauty as it is the woman who has been adorning herself by wearing them from the time immemorial. Their mythical and magical impact continue to hound the human psyche and the symbolic value and power differs from one gemstone to another.




BELT BUCKLE
This amazing belt buckle made in three parts hinged together for a better fit, has over 55 carats of diamonds, the central 5 weighing approximately 30 carats. All 146 stones are foil set in kundan setting and show the exquisite quality of Deccani craftsmanship. It is only here that patently unmatched gems can be set together so that they seem to be chosen for their very shape to fit the piece.
So fabulous is the collection of Nizams' Jewellery that it has created a stir, an unprecedented excitement and sensation among the people in India and gemologist all over the world. The very mention of Nizams' Jewellery reminds us of a bye-gone era of dazzling grandeur and splendour witnessed only in the Indian Royal Courts. No wonder that it evokes global interest.


EMERALDS
This is the collection of 22 unset emeralds weighing around 412 carats, the kind of which is not seen elsewhere. The centre emerald is of 60 carats approximately. Finest in quality, lustrous in appearance, outstanding in colour and size, the gems are so beautiful that a good gemologist will say that they originated in Colombia. The Colombian gems were shipped to India by the Portuguese from 16th century onwards and were sought by the Mughals Emperors.


PAIZEB
This pair of anklets (paizeb), in the form of interlocking vertical repeats hinged with each other set with old-cut Golcunda diamonds, with a crest of pearls along the upper edge. Along the lower edge pearl shaped drops set with foiled diamonds form a fringe.
The reverse is decorated with enamelling of the highest quality. The design follows typical Mughal designs of foliage in red and green with mauvish blue and white highlights.
Such ornaments of Mughal design were made for all important women of the Royal household.


SARPECH(Turban Ornament)This is the proud ornament that used to adorn Turbans in all the princely states of India. It turned out to be as a mark of high distinction among the royals. They appear quite often in the court of Nizam and the Sikh court of Maharaja Ranjit Singh. As Queen Victoria became Empress of India in 1857, no Indian Prince was supposed to adorn his Turban or head with a crown, and this perhaps explains the emergence of Sarpech as main head ornament that had its own style transmitting the regality. A Sarpech was earned or conferred by Emperor or king for great deeds, service and acts of bravery. Obviously, not everyone was entitled to wear it, associated as it was with princes and others. It has a fixed shapewith certain variations in detail and materials. They are seen in Indian paintings of the times. The broad sarpatti containing several pieces beautifully hinged together for smooth tying and secured with strings and tassels round the head, seems to be the only head ornament. What actually made it flamboyant and enhanced its beauty was the vertical piece that rises from the centre of the band in the form of a Kalgha (referred to as 'paisley' inclining at the top towards one direction) generally with a pearl pendant from it. This beautiful crafted ornament set with matching diamonds gives a feeling of richness that could happen only in India of the Maharajas.


THE JACOB DIAMOND
The Jacob diamond, believed to have been found as a rough stone in an African mine, was brought over by a Syndicate in Amsterdam where it was cut in a style that prevailed about 100 years ago. It was brought to India by one dealer Alexander Malcon Jacob, a mysterious figure and confidant of Indian Maharajas, reported to have been born in Italy as a Roman Catholic, whose full name appears as Ali Mohammed Yacoub, immortalised in Kipling's novel, Kirn, as Lurgan Sahib of the British Secret Service. He sold the diamond to the Vlth Nizam Mahboob Ali Pasha in 1891. Since its transaction for the purchase led to a criminal suit and the Nizam had to suffer the indignity of giving evidence before the Commission, so far an unprecedented event in the history of the Nizams, he seems to have developed an aversion to wearing jewels. Pasha was also a ruler having different tastes and was known for being closest to the populace of Hyderabad. He lived in style, wore English costumes and was one of the finest shooters of his times. He changed his residences from one place to another, enjoyed the Life's pleasures. Pashalived in a dream world and enjoyed the life in full. His wardrobe in the museum at Purani Haveli in Hyderabad is a feast to the eyes for being one of the largest collections in the world. He is said to have never worn a dress second time. The weight of this diamond is 184.75 carats approximately, an unimaginable weight for a single diamond by all means, and is a sheer delight for the visitor, be its brilliance, cutting and flawless colour. Unlike the famous Koh-i-Noor, the Jacob diamond can be branded as a nonviolent diamond which changed hands only twice in its history of existence. Estimated to be worth 400 crores in its international price, this sparkling diamond is a masterpiece. But what is of an enduring interest is the fact that Maboob Ali Pasha paid no attention to its greatness and kept it as a simple stone of his collection. His son and the last Nizam, Osman Ali Khan found it by chance after several years of death of his father in the toe of his father's slipper in Chowmahalla Palace, and used it as paperweight.


THE SATLADA
Seven stringed Basrah Pearl Necklace commonly known as Satlada is yet another masterpiece that everybody would like to set his eyes at. It speaks beauty in true sense of the word. Magnificent in looks and containing graded Basra pearls with terminals of gold set with two large sized flat diamonds with an exceptionally brillant enamel work, it is like a dream that has been shaped and crafted in matching colours, quality and size.
Chow = Carat x Carat x 0.65 No. Of pearls(Chow is an Arabic weight in trading the real pearls)