Salar Jung Museum – A Legacy of Art, Culture, and
Timeless Beauty
By Syed Abdul – 21031AA061
Nestled along the southern bank of the Musi River in Hyderabad, the Salar Jung Museum is not
just a collection of rare artefacts; it is a cultural treasure trove that brings together centuries of
human creativity from across the world. Known as one of the largest museums in India and the
third largest in the country after the Indian Museum in Kolkata and the National Museum in
Delhi.
It holds an extraordinary collection of art, sculpture, manuscripts, and everyday objects that
span continents and eras. To walk through its galleries is to travel across history — from the
courts of the Mughals to the workshops of Renaissance Europe, from delicate Chinese porcelain
to Persian carpets, from intricate Indian miniature paintings to ornate French furniture. Every
artifact has a story, and together they tell the tale of one man’s passion for preserving the world’s
beauty: Nawab Mir Yousuf Ali Khan, Salar Jung III.
The Origins – One Man’s Vision
The roots of the Salar Jung Museum lie in the remarkable
life of its founder, Nawab Mir Yousuf Ali Khan, popularly
known as Salar Jung III. Born in 1889 into an illustrious
noble family of Hyderabad, Salar Jung III served as the
Prime Minister to the seventh Nizam, Mir Osman Ali
Khan, between 1912 and 1914. His political career,
however, was short-lived. At the age of just 26, he
resigned from his position, citing personal and health
reasons, and chose instead to devote himself entirely to
the pursuit of art.
Over the next 35 years, Salar Jung III embarked on an
unparalleled mission: to collect and preserve objects of
artistic, historical, and cultural significance from all
corners of the world. He traveled extensively, acquiring
artifacts from dealers, auctions, and royal households in
Europe, the Middle East, and Asia.
By the time of his death in 1949, his collection had grown
into the largest private art collection assembled by a
single individual in the world. Initially housed in his
ancestral palace, Dewan Devdi, in Hyderabad, the
collection was meticulously maintained by the Salar Jung
family.
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From Palace to Public Museum
Following Salar Jung III’s passing, the family decided to
bequeath the collection to the nation as a cultural gift.
Recognizing its importance, the Government of India
took steps to preserve and display it for the public. On
16 December 1951, Prime Minister Jawaharlal Nehru
inaugurated the Salar Jung Museum in the Dewan Devdi
palace.
As the years passed, the growing number of visitors and
the need for better preservation led to the decision to
build a dedicated museum building. In 1961, the
Parliament of India declared the Salar Jung Museum an
“Institution of National Importance” through a special
act, highlighting its role as a guardian of world heritage.
The foundation stone for the new building at Dar-ul-
Shifa was laid in 1963 by Nehru himself, and the new
museum complex was inaugurated in 1968 by President
Dr. Zakir Husain. Designed by architect Mohammed
Fayazuddin, the building allowed for proper display,
climate control, and conservation facilities befitting a
national-level institution.
Architectural Layout and Design
The Salar Jung Museum is a sprawling complex divided into three main blocks: the Central
Block, the Eastern Block, and the Western Block. Together, they house 38 to 39 galleries
spread over two floors — 20 galleries on the ground floor and 18–19 on the first floor.
The Central Block serves as the museum’s heart, housing administrative offices, the main
lobby, and several of the most important galleries. The Eastern Block includes collections
from the Far East, Manuscripts, and special thematic displays. The Western Block showcases
European art, Indian miniature paintings, arms and armor, and decorative arts. The museum
also includes modern visitor amenities:
A conservation laboratory for preserving fragile artifacts.
A research library with nearly 63,000 printed books and over 8,000 rare manuscripts.
A cafeteria, restrooms, cloakrooms, and wheelchair access.
Guided tours and interactive educational sessions for students and art enthusiasts.
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A World under One Roof –
The Collections
The Salar Jung Museum’s greatest strength is its
sheer diversity. With over 46,000 art objects, 8,000
manuscripts, and 60,000 books, the collection spans
nearly every medium, material, and style imaginable.
Here is an exploration of the major sections:
1. Indian Art
The Indian art galleries showcase the subcontinent’s
artistic heritage over centuries. Visitors can see:
Miniature Paintings from the Mughal, Deccan,
Rajasthani, Pahari, and Thanjavur schools.
Sculptures in bronze, wood, and stone, ranging
from Chola bronzes to Jain marble idols.
Bidri Ware, an intricate metal inlay craft from the
Deccan, for which the museum has one of the
largest collections in the world.
Textiles including Banarasi silks, Kashmiri shawls,
and embroidered garments from royal courts.
2. European Masterpieces
The Western galleries are a journey into the grandeur of
European art and design:
The Veiled Rebecca, a marble statue by Italian sculptor
Giovanni Maria Benzoni, is among the museum’s crown
jewels. The translucent veil carved from solid marble is a
testament to artistic genius.
The Double Statue of Mephistopheles and Margaretta,
carved from a single piece of sycamore wood, reveals two
figures when viewed from opposite sides.
Oil paintings by European masters, ornate furniture,
French glassware, and clocks from the Victorian era fill
these galleries with old-world charm
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3. Far Eastern Wonders
From China, Japan, Burma, and other Asian nations come exquisite items: Chinese Porcelain in
blue-and-white, celadon, and famille rose varieties. Japanese Lacquerware, samurai armor, and
silk screens. Bronze sculptures from Burma and intricate thangkas from Tibet.
4. Middle Eastern & Persian Splendor
The museum’s Middle Eastern collection includes:
Persian carpets with intricate floral and hunting scene motifs. Damascus steel weapons and
jeweled daggers. Glassware, metalwork, and manuscripts from Syria, Egypt, and Iran.
5. Arms and Armor
Weapons here are not just instruments of war but works of art: Mughal swords inlaid with gold
and precious stones. Shields made of rhinoceros hide. European armor, Ottoman daggers, and
Japanese katanas.
Visitor Experience
The Salar Jung Museum attracts more than a million visitors
annually, from schoolchildren on educational trips to
international tourists seeking to explore India’s cultural
diversity.
Timings: 10 AM to 5 PM daily, closed on Fridays and public
holidays. Entry Fees: ₹50 for Indian adults, ₹500 for foreign
nationals; additional charges for photography.
Facilities include guided tours, virtual walkthroughs, and an
auditorium for lectures and cultural programs
Preservation and Conservation
Efforts
Given the priceless and delicate nature of the artifacts, the
museum maintains a dedicated conservation department.
Here, skilled professionals restore paintings, clean sculptures,
and treat manuscripts to prevent deterioration. The museum
also invests in climate control systems to protect sensitive
objects from Hyderabad’s heat and humidity.
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Why the Salar Jung Museum is Unique?
What makes the Salar Jung Museum stand apart from other great museums is its origin
story. Unlike institutions that build collections through state patronage or corporate
sponsorship, this museum was born entirely out of the passion of a single man. Salar Jung
III’s eye for beauty, combined with his understanding of history, created a collection that is
both encyclopedic and deeply personal.
The museum is also unique in its inclusivity — it is not limited to a single region, religion, or
artistic style. Instead, it embraces the shared heritage of humanity, from an Egyptian coffin
to an Italian painting, from a South Indian bronze to a Japanese samurai sword.
Conclusion – A Cultural Pilgrimage
The Salar Jung Museum is not just a destination; it is an
experience that transports visitors into different worlds. In
its halls, time collapses — centuries-old jade daggers rest a
few feet away from 19th-century French furniture, and
Mughal miniatures share space with Chinese ceramics.
For Hyderabad, the museum is a source of pride,
symbolizing the city’s historical openness to global
influences. For India, it is a monument to cultural
preservation. For the world, it is a reminder that art, no
matter where it comes from, belongs to all of humanity.
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