Futtypore Sikri—Two of the Marbled Screens in the Tomb of Sheik Selim Chisti

The screens form part of the tomb’s interior, where light and shadow interact with the delicate stonework to create an ethereal effect. Their geometric and floral patterns reflect Islamic artistic traditions, emphasizing harmony and precision. The mausoleum itself commemorates Sheikh Salim Chisti, a Sufi saint whose intercession Akbar credited with securing his heir, underscoring the spiritual significance of the site.

The marble screens display jali work, a technique involving perforated stone carving that allows light to pass through while maintaining structural integrity. The patterns combine calligraphic and vegetal motifs, typical of Mughal architecture, achieving a balance between openness and enclosure. The photograph’s composition highlights the contrast between the solid stone and the luminous voids, emphasizing the screens’ craftsmanship.

The tomb was commissioned by Akbar in 1580–1581, shortly after the saint’s death, and completed under his patronage. The photograph was taken by Samuel Bourne, a British photographer who documented Indian landscapes and monuments in the 1860s. Bourne’s work, produced using large-format cameras and glass plates, contributed to Western awareness of Mughal architecture during the colonial period.

Fatehpur Sikri served briefly as Akbar’s capital before being abandoned due to water shortages. The tomb’s construction reflects the emperor’s devotion to Sufi mysticism and his efforts to legitimize his rule through spiritual patronage. The photograph emerges from a broader 19th-century interest in cataloging non-Western architectural traditions, often framing them within colonial narratives of discovery and preservation.

The Tomb of Sheikh Salim Chisti remains a prominent example of Mughal architecture, recognized for its aesthetic and spiritual dimensions. Bourne’s photograph preserves a visual record of the site’s condition in the mid-19th century, offering insight into both the monument’s endurance and the historical practices of colonial photography. The image continues to inform studies of Mughal art and architectural heritage.