 between the 15th and the 17th century A.D. India was the site of a unique synthesis of two cultures, the ancient Hindu and the new Islamic culture, which had been introduced by rulers of Central Asian or Afghan origin. This creative interaction is particularly reflected in marvels of Indian architecture built at that time. One of the places where this fusion flared in a particularly vivid way is Hoshang Shah's tomb, built by Sultan Hoshang Shah in Manu. The Islamic dome of this building is conspicuous, yet the flow of movement is structured as in a temple or in a stupa. Since the porch of the tomb faces north, while the entrance is located on the tomb south, the pilgrim has to do a typical Pradakshina or circumambulation through the surrounding courtyard before entering the sacred central structure. As if to underscore this fusion, the composition of the entrance combines the pointed Islamic arch with the ancient auspicious lotus motif of India. This synthesis was pushed even further in the Chaturbhuj temple in Orchha in central India. The rulers of Orchha patronized the Vaishnav Bhakti sect. This Hindu reformist cult had a more egalitarian congregational form of worship. Large spaces were therefore required in the temple as it needed to accommodate vast numbers of devotees. The architects used massive shikharas outside to maintain the appearance of a traditional temple. But inside, they boldly decided on the dome and arch structural system, usually used in mosque architecture. This was done as it was the only familiar structural system that could create the immense congregational space they required. Thus, need for space led to a break from traditionally narrow and dark temple interiors. This demonstrates the open-minded and practical attitude prevalent during a period marked by the ascendance of the greatest of the Mughal emperors, Akbar. A Muslim himself, Akbar followed a state policy guaranteeing equal treatment to all religions. He formed close alliances with some of the Hindu Rajput kings who were given relative autonomy in their own kingdoms, provided they accepted Akbar's serenity as the emperor. This open-minded policy is particularly visible in the great mosque of Fatehpur Sikri, the new capital he created in 1571, a creation that is linked to the Sufis, free-thinking Islamic mystics noted for their austerity and piety who rejected official power. The story behind Fatehpur Sikri's creation as popularized by Akbar's official chroniclers is that Akbar, desperate for a long-awaited son, went one day to Sheikh Salim Chishti, a pious Sufi living in the heart at Sikri. The Sheikh prophesied that Akbar would be blessed with not one but three sons. Soon Akbar's Rajput Queen Jodabai gave birth to the first son. This son, who later became Emperor Jahangir, was named Salim in homage to the Sheikh. It is in recognition of the Sheikh's prophecy that Akbar decided to build a new capital at Sikri village. When Sheikh Salim Chishti died in 1571, Akbar built a magnificent tomb in his memory, a tomb which is to this day a pilgrimage site. By placing Sheikh Salim Chishti's tomb within Fatehpur Sikri's great congregational mosque, Akbar put both the Orthodox and the Mystic Indian Islam in the same space. By this, he affirmed the legitimate role of the Sufis in Islam, a symbolic and political statement that surely was deliberate. The way the Jama Masjid's main prayer hall's roof has been covered is another political sign. Though the main central dome is a conventional central squinch arch dome, the halls on both its sides have a flat ceiling, supported by an elegant system of pillar and beam construction, usually used in temples. The spirit of open-minded creativity is further demonstrated by the way the unusual ribbed domes in the other two halls are supported by the unique and highly original cobbled penditives. Moreover, the domes are all crowned by Mahapadman Kalashfinial. This traditional crowning element, often used in temple architecture, is actually a very practical waterproofing device. The medieval Indian architects, artisans and their patrons, both Muslims and Hindus, who created these highly original marvels of Indian architecture, didn't allow themselves to be shackled by religious or dogmatic traditional practices. Their open-minded approach inspires us to this day.