'Prince Salim' by Dharmdas along with his fellow artist Kesav Kalan, which was painted in the 16th century (approximately between 1590-1595) focuses on the birth of Prince Salim (later known as Jahangir) during the reign of his father Akbar The Great . Before his birth, Akbar had suffered the loss of two infant sons which led him to go on a spiritual journey to Seikh Salim Chisti at Sikhri where his prayers were answered. Later, one of his Hindu Begums gave birth to Salim at Sikhri and Akbar following traditions , visited his osn after a while , thus ordering a new city to be built at the Sikhri which later came to be known as the Fatehpuri Sikhri. This painting catches a glimpse into the hurrem of Akbar where we can see the royal celebrations surrounding the birth of Prince Salim and the newly announced Mariam-uz-Zamani as well as awaiting the arrival of the Mughal emperor. The painting encapsulates Dharmdas's unique style of exquisite figure modelling where he puts dark, fine shadows to give a three dimensional look to the otherwise flat paintings. The use of bold colours , which is again a very popular Dharmdas' style as well as that of his co-painter Keshav Kalan also makes the viewers feel the regal and royal celebrations surrounding the birth of the future heir. The detailed focus on Mughal architechture and individual actions of the subjects really bring out the liveliness of the painting.
Looking at this vibrant slice of Mughal history, the painting feels less like a detached imperial record and more like a profound celebration of relief, divine grace, and the deeply human side of a legendary empire. Beyond its political function of legitimizing the birth of the future Emperor Jahangir, the artwork beautifully bridges the spiritual and the earthly, capturing the exact moment Akbar's agonizing grief over his lost sons was transformed into profound gratitude through the answered prayers of Sheikh Salim Chishti. What strikes me most emotionally is how Dharmdas and Kesav Kalan managed to turn a monumental state event into something intensely alive and intimate; the clever use of three-dimensional shading and a rich, festive palette pulls you right into the bustling chaos of the harem, making you feel the kinetic energy of the musicians, the attendants, and the anxious joy of a court on the precipice of a new era. By masterfully layering the grand Mughal architecture with the candid, individualized actions of everyday people, the piece serves as a timeless reminder that behind the imposing stone walls of Fatehpur Sikri and the sweeping narratives of empires, there are universal human truths, anxiety, hope, and the overwhelming vulnerability of a parent finally welcoming a long-awaited child.
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By: Dev
Overall, the image shows an aerial view of the court and beautifully depicts various people of the royal court on the joyous occasion of the birth of their future ruler, Jahangir. The artist has chosen bright hues of reds, greens, oranges and blues to covey the feelings of joy and celebration. The attention to details by the artist be it the tiles in the bedchamber, the peacock, the decoration on the walls or the clothes is remarkable and characteristic of Mughal art.
