More than four centuries ago, a great Mughal Emperor had all the luxuries of a royal life but no male heir to take care of his vast kingdom. He consulted many holy people and sages but in vain. After receiving a divine message in his dream, he sought the blessings of Muslim saint Salim Chishti, who had set up a small hermitage on a barren ridge. The saint foretold the birth of three male children to the emperor. His words came true. The emperor was blessed with three sons and he named his first son Salim (Jahangir).
Overjoyed, the king met the saint on August 9, 1571, and expressed his gratitude. He marked this occasion by ordering the construction of splendid palaces and lofty edifices in the city. Thousands of labourers were pressed into service, who swiftly constructed impressive palaces, private residences, royal gardens, baths, stables, and courtyards. The emperor established his court at his new capital, while work progressed for as long as twelve years. Thus came into existence a landmark city in red sandstone — Fatehpur Sikri, the capital of the Mughal kingdom. The Mughal king was Akbar.
Once you enter the Jami Masjid Complex, a grand panorama of unrestrained space and inexpressible beauty opens up. This abode of peace and tranquillity resonates with morning prayers and with the salaam offered by devotees at the mausoleum of Salim Chishti.
The Jami Masjid can accommodate 10,000 men at a time. Akbar ordered the construction of the mosque in 1564 AD and it was completed in 1572 AD. The vast courtyard is surrounded by cloisters, while a series of square chhatris (kiosks) above the parapet (one over each pillar) create a beautiful skyline and a pleasing effect. The prayer hall is roofed by a big dome and is flanked by one smaller dome on each side. The central mihrab in the prayer hall is ornamented with inlaid mosaic of stones and glazed tiles. A dazzling scheme of interior colour embellishment makes it one of the most richly decorated mosques in the world.
There can be no comparison of the lyrical charm and captivating beauty of Salim Chishti’s marble mausoleum (1580 AD). It is delicately and profusely carved and appears like carved ivory rather than chiselled marble. The screens which enclose the verandah are beautifully perforated in ornamental interlacing pentagons, stars and diamond-shaped designs.
Akbar replaced the original southern entrance of the mosque with the Buland Darwaza in 1601 AD. The lofty monumental gateway facing south is an integral part of the mosque. It is said to have been inspired by the colossal gateway of the Bibi Khanam’s monument in Samarkand. At the palace complex, the so-called Diwan-i-Khas (Hall of Private Audience) is a unique and unusual square building in the entire range of Indo Islamic architecture. In its interior, a massive red sandstone column rises from the exact centre of the hall. This pillar is a square at the base, octagonal at the shaft, a 16-sided form near the capital and above it takes a circular form, and further above, it branches out into 36 tier brackets, which support a circular platform. The gradual transformation of the square pillar into a full-fledged flowery pattern reflects Akbar’s love for creativity.
We relaxed in the shade of the large Panch Mahal resembling a Buddhist Vihara and saw its reflection in the still waters of the nearby Anup Talao. The Panch Mahal comprises five storeys. The ground floor (first storey), second, third, fourth and fifth storeys have 84, 56, 20, 12 and 4 pillars respectively. The Anup Talao, a square tank with a square island platform in the centre, is approachable from all four sides by stone causeways. Jahangir mentions that the tank contained copper and silver coins worth over one crore rupees. Poor people continued to pour in large numbers for drawing the charity from the tank for nearly three years during the reign of Akbar.
Akbar was very fond of fine arts and is said to have received his musicians, painters, poets and artists in the Mariam Palace (Painted House). Persian verses composed by Faizi are still visible in bits all around the hall in ornamental foils. This palace also has scenes showing elephant fights, hunting and battles, pairs of swans and ducks.
Fatehpur Sikri was deserted after Akbar left it in 1585 AD. Shaik Ibrahim, Salim Chishti’s nephew, took care of the royal palaces till his death in 1591 AD. Soon the city lapsed into desolation.
Plague raged at Agra in 1619 AD and Prince Salim (then ruling as Jahangir) stayed at Fatehpur Sikri for three months.
By evening, tourists started leaving the palace. The crimson glow turned into a hazy grey and darkness enveloped the palace complex. We retraced our steps to Jami Masjid where the marble mausoleum of Salim Chishti was shining bright under a full moon and a group of singers were singing a qawwali in his praise. Childless women visit his mausoleum, seek his blessings, tie a coloured thread in the shrine; and return to untie the knot whenever their wish is fulfilled.
We sat in the courtyard thinking of how this mausoleum has survived as a symbol of communal harmony and ensured a continuous flow of visitors to Fatehpur Sikri, since the Mughal times.
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