This durbar scene is reminiscent of the grand durbar scenes of the Padshahnama (see cat. nos 29–30). Here, however, the courtiers are gods and the attendants are demons. On the right, Chandra (the moon god) bows in homage before the throne. Even kinaras (half-human, half-horse heavenly musicians) and apsaras (celestial maidens) submit to the all-encompassing power of Hiranyakashipu.

The painting also depicts a rare, tender moment between the king and his son, Prahlada. Prahlada, has confessed his belief in Vishnu, his father's enemy, for which Hiranyakashipu decides to send him away to study. With one hand he caresses Prahlada’s head while gesturing with the other for him to join the other children leaving with the sage Shukracharya.

It had been suggested that Pandit Seu and his sons Manaku and Nainsukh may have travelled to the Mughal centres of Lahore or Delhi to gain instruction in painting techniques. It is now considered more likely that they visited such places while travelling or en route to holy sites and that they responded to the Mughal works of art they came into contact there, rather than receiving formal training in a Mughal workshop.^[195]