Wahid Bux
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The present-day Lahore Museum had humble beginnings in 1864 when it was merely a single hall built for the Punjab Exhibition. As was the custom in British India to erect monuments in Queen Victoria’s memory, this museum too was established under that tradition. Years passed, and in 1890, the foundation stone for the new museum was laid by the Queen’s grandson. It was completed four years later.
It is said that after the partition of India, forty percent of this museum’s artifacts were handed over to the neighboring country. Had we attended a literary conference in Chandigarh some years ago, we would have certainly visited the Government Museum there—an institution specially created to house the artifacts that once belonged to Lahore Museum.
The unfortunate reality, however, is that while this museum generously displays the cultural heritage of other provinces, the representation of Punjabi culture is strikingly meager. The contrast becomes even more perplexing when one observes the significant space dedicated to Balochistan, Swat, and the Kalash region, whereas Punjabi heritage is scarcely acknowledged. One would have expected to see at least a hookah, a lacha/dhoti, a turban, and khussas—symbols that have long been the hallmark of Punjab’s identity.
Nonetheless, the museum does house a beautifully curated Quranic section, showcasing rare and ancient manuscripts of the Holy Quran. And then, of course, there is the famed statue of Gautama Buddha—standing prominently, awaiting your gaze. One cannot help but marvel at how, centuries ago, a master craftsman sculpted it with such precision that each rib is distinctly visible. Being ardent admirers of Gandhara civilization, we naturally lingered there for quite some time.
For visitors seeking respite, sofas are placed throughout, allowing one to sit comfortably and engage in discussion. Within the museum premises, a small bookshop also awaits those eager to take home a piece of history.
