Adina Mosque

The Adina Mosque (Bengali: আদিনা মসজিদ) is a historical mosque in Malda District, West Bengal, India.^[2] It was the largest structure of its kind in the Indian subcontinent and was converted to a royal mosque during the Bengal Sultanate as a by Sikandar Shah, who is also buried inside. The mosque is situated in Pandua, a former royal capital. The mosque was built after demolition (1369-1370) of a prominent earlier Hindu temple dedicated to Lord Shiva, known as Adinath (600-700 CE).

The lower parts of the architecture was from a previous Hindu architecture, built with heavy granite, basalt rocks, which includes numerous Hindu carvings, gods and goddesses motifs, and is at least 600-700 years older than the rest ^[3]. Most of the upper half was build using brick and lime in terracotta style, that resembles the hypostyle of the Umayyad Mosque in Damascus, a style that was used during the introduction of Islam in new areas.^[4] The early Bengal Sultanate harbored imperial ambitions after having defeated the Delhi Sultanate twice in 1353 and 1359. The demolition of the previous structure was perpetrated in 1369-1370 and the Adina Mosque was commissioned in 1373. Later, during the British rule, Jitu Santhal, a prominent Santhali activist, spearheaded the first social movement for restoration of the mosque to the former Adinath temple in 1932.

Prominent historians such as Alexander Cunningham, Joseph David and Percy Brown have documented architectural features characteristic of a Hindu temple within the mosque building, suggesting evidence consistent with an earlier structure that may have been dismantled.^[3] Some of the demolished structures including pillars and sculptures have been preserved in the British Museum and Royal Scottish Museum.^[5]

Completed in 1375, it was the largest mosque in the entire Indian subcontinent at the time.^[6][7] The site is a Monument of National Importance.^[1]

The most plausible origin of its name is of the demolished previous Hindu temple of Adinath, a form of Shiva. The Islamic/ Qur'anic meaning of 'Adina' is pious," or "one who listens". Recent literature explains the name 'Adina' to mean Friday, linking the mosque to the weekly congregational prayer, though the meaning is distantly related to the Persian word 'Âdîne'. Similar names appear elsewhere, such as the Azina Mosque in Patan, Gujarat, and the Bara Azina site in Bagerhat, where Azina possibly representing a local corruption of Adina, although less likely.^[2]

The design of the mosque incorporated Bengali, Arab, Persian and Byzantine architecture. It was built with rubble masonry that was covered with brick, stone, coatings of stucco, plaster, concrete, glazing or lime smoothing.^[8] Stone flowers were integrated into the arches of the interior and exterior all around the building.^[9] The stone motifs, decorations, walls and pillars in the lower parts indicate to dismantled pre-Islamic Hindu and Buddhist structures.^[8][10] Some exterior wall sections retain carvings, such as elephants and dancing figures, reflecting this reuse. Multiple previous Hindu structures including a large granite Kirtimukha, multiple Gandharvas, Shivling, kalasha, swastikas, bhramhakamals (sacred lotus) etc. have been retained in the structure. ^[2] Brick structures beside stone structures joined with lime during the demolition depicts have caused significant erosion and wear in certain areas.

The mosque had a rectangular hypostyle structure measuring 172 by 97 metres (564 by 318 ft), with an open courtyard and several hundred domes. The added terracotta parts of the entire western wall evokes the imperial style of pre-Islamic Sasanian Persia. The mosque's most prominent feature is its monumental ribbed barrel vault over the central nave, the first such huge vault built in the subcontinent, and another feature shared in common with the Sasanian style. The mosque consciously imitated Persianate imperial grandeur.^[11] The prayer hall is five aisles deep, while the north, south and east cloisters around the courtyard consist of triple aisles. In total, these aisles had 260 pillars and 387 domed bays, all of which were acquired from the previous Hindu architecture. The interior of the courtyard is a continuous façade of 92 arches surmounted by a parapet, beyond which the domes of the bays can be seen.^[8] The interior elevated platform, which was the gallery of the Sultan and his officials, still exists. The Sultan's tomb chamber is attached with the western wall.^[9][12]

The terracotta ornamentation on the newer parts of the architecture reflects a fusion of Islamic motifs with designs derived from Buddhist and Hindu sculptures of the Pāla–Sena era, many of which were from contemporary Hindu temple architecture. Built between 1369 and 1374 CE during the Bengal Sultanate, the mosque is regarded as the first Islamic monument in Bengal to incorporate terracotta decoration. Constructed mainly of baked clay bricks set in lime and brick-dust mortar, the newer parts combined Central Asian architectural features with local artistic traditions. The decorative scheme includes rose petals, geometric patterns, hanging lamps and flute motifs, alongside Pāla–Sena elements such as the Caitya window, rows of chains, cloth-and-bell designs and lotus petals.^{[13][14][15][16]} A panel depicting a tall tree with spreading branches has been linked to the Buddhist Kalpataru. The central mihrab on the western wall, together with the mosque’s more than three hundred pillars, illustrates the integration of indigenous sculptural, Hindu gods and goddesses and architectural forms into the Indo-Islamic style of Bengal.^[13][2]

Certain motifs from earlier Hindu structure was directly incorporated into the architecture. The beaded necklace, which once contained images of divinities, was adapted into patterns of rosettes or lotuses, while the Kirtimukha motif was transformed into stylized vegetal designs. Many motifs containing Gandharvas, Saraswati, Ganesha, Shivling and other Hindu goddesses have been reused in the walls and pillars. The terracotta decoration of the mosque incorporated more local elements than any previous Islamic monument in Bengal, including representations of plants, fruits and flowers, as well as motifs such as the lotus, the beaded and tessellated necklace, tassels, multi-foil arches, and chain-and-pendant designs.^[15][2]

The artistic tradition itself had pre-Islamic roots sculptors of imported stone, who produced Buddhist and Hindu icons, were historically regarded more highly than terracotta craftsmen.^[13][14][15] With the arrival of Islam, which avoided figural stone imagery, terracotta became the primary medium for mosque decoration, elevating the status of terracotta artisans under Muslim patronage. Traces of coloured tiles and painted plaster remain visible on the building. In the nave, north of the central mihrab, survives a carved stone minbar (pulpit), approached by a staircase, which incorporates a Kirtimukha motif in its decoration.^[13][17][15]

Below is an excerpt taken directly from Indian Architecture (The Islamic Period) 3rd edition by the renowned historian Percy Brown, sourced from the Archeological Library, Archeological Survey of India (page 38)^[3]

"Although of proportions approaching the grandiose and evidently manifesting an attempt to satisfy the carving for size only, the Adina Masjid presents a certain grave and stately dignity...... Much of the upper part of the building, including the arches and domes was of brick, but a great deal of the substructure of the facade was composed of finely prepared basalt masonry. None of the stonework is original, it was all stripped from pre-existing Hindu structures at Lakhnauti (Lakshmanavati) and places in its immediate neighborhood. It is very doubtful whether the Moslem overlords ever obtained any of their stone from the natural sources of the Rajmahal quarries, all their masonry being evidently composed of ready-made spoils. Proofs of this may be seen in many parts of the Adina Mosque, of carved blocks being inserted with their figures surfaces embedded in the interior of the walls, as in the mimbar of the sanctuary; of whole doorways being placed wherever required as in the entrance to the Badshah-ka-Takht, and there is good reason to believe that all the three hundred pillars have been appropriated from Hindu structures. Many temples and places appear to have been dismantled to provide the amount of stone required and it is not improbable that the finest monuments of the Hindu capital of Lakhnauti were demolished in order to produce this one Mohammedan mosque."

On his visit to the mosque in late 19th century, Alexander Cunningham wrote (Report of a Tour in Bihar and Bengal in 1879-80, from Patna to Sunargaon: Superintendent of Government Printing, 15th edition, page 92)^[3][18][19]

"The steps leading to the pulpit have fallen down and, on turning over one of the steps I found a line of Hindu sculpture of very fine and bold execution. This stone is four feet in length, and apparently formed part of a frieze. The main ornament is a line of circular panels 7.5 inches in diameter, formed by continuous intersecting lotus stalks. There are five complete panels and two half-panels which have been cut through. These two contain portions of an elephant and a rhinoceros. In the complete panels there are 1) a cow and a calf; 2) human figures broken; 3) a goose; 4) a man and a woman and a crocodile; 5) two elephants. In the niche itself, the two side pillars which support the cusped arch are also pickings from Hindu temples."^[18]

J. D. Beglar (1845-1907), who served as assistant to Cunningham, concluded in his 'Report of a Tour through the Bengal Provinces in 1872-73' that the group of seventh century post-Gupta era temples had stood on the site. Beglar also found the pedestal of a statue, with the fragment of an inscription in post-Gupta letters.^[20][19]

S. K. Saraswati (1906-1980), a noted Bangladeshi art and architecture historian, commenced his survey of the region from Pandua in 1932-1933. In his book 'Notes on Two Tours in the Districts of Maldah and Dinajpur' (Journal of the Asiatic Society of Bengal, 1932)^[21][19], he wrote:

"The existence of lofty temples may be incontestably proved by numerous Hindu remains, both architectural and sculptural, which still exist at Pandua - some lying loose, and others built into Adina Masjid, the Eklakhi tomb, the buildings around the shrine of Nur Qutb Alam and Shah Jalal, and even into the arches of the old bridge on the road to the south of Pandua... An examination of the stones used in the construction of the Adina mosque (one of them being a Sanskrit inscription recording a mere name, 'Indranatha' in characters of the ninth century A.D.) and those lying about in heaps all around, reveals the fact, which no careful observer can deny, that most of them came from temples that stood in the vicinity. In many cases these Hindu materials were possibly not taken from distant edifices, but are still in situ. The plinth mouldings of the mosque have striking similarities with those of the 'jangha' of a Hindu temple." Evidently, historical literature provides sufficient evidence of a Hindu temple demolition event during the building of this mosque.^[21]

The mosque was built during the reign of Sikandar Shah, the second Sultan of the Ilyas Shahi dynasty of the Bengal Sultanate. The mosque was designed to display the kingdom's imperial ambitions after its two victories against the Delhi Sultanate in the 14th century.^[7] Cut off from both north India and the Middle East in the late 8th- early 9th to late 14th- early 15th centuries, Muslim Bengali monarchs enthusiastically looked far to the west for cultural inspiration. Thus, for example, the inscription on the Adina Mosque describes Sultan Sikandar as “the exalted Sultan, the wisest, the most just, the most liberal and most perfect of the Sultans of Arabia and Persia (ʿArab o ʿAjam)” (S. Ahmed, p. 38).^[11] Inscriptions on the mosque proclaimed Sikandar Shah as "the exalted Sultan" and the "Caliph of the faithful".^[22] There was no reference to any sovereign of the Indian subcontinent, where he was actually ruling (Richard M. Eaton: The Rise of Islam and the Bengal Frontier 1204-1760 CE: 1994: 47,50)^[23].The Sultan was buried in a tomb chamber attached to the wall facing the direction of Mecca.^[3]

A legend holds that Raja Ganesha (1414-1415 CE) upon breaking the Ilyas Shahi dynasty, later used the mosque as his royal court.^[2][11] The historic city of Pandua, formerly the Hindu city of Pandunagara, was the capital of the Bengal Sultanate. Pandua was a thriving and cosmopolitan trading center during the period of the sultanate. Silver coins issued for the capital during Danujamarddana Deva and Mahendra Deva (1417-18 CE), issued from Chittaong have been found.

The mosque was damaged by earthquakes in the 19th century, following which It fell into disuse. Much of Pandua also became part of the wilderness. During the late 19th and early 20th century, the Bengal Tenancy Act (1885) caused significant unrest among the Santhals of Malda. Inspired by 'Gandhi baba', Jitu Santhal organized his people and led movements against the Muslim zamindars of Kotwali (1926-1932).

In December 1932, Jitu led considerable number of santhals to Pandua and occupied Adina masjid. He declared it was originally the temple of Adinath that had been converted into mosque, and santhals would perform puja for Goddess Kali in its precincts. The then district administration sent a large force to vacate the masjid. A pitched battle was fought; six santhals including Jitu were shod dead, and the rest were captured. This was the first battle for the Adinath temple in this region. (Ashim K. Sarkar: Changing Profile of a Bengal District- Malda 1932-1953^[24]: Classique Books, 2008, 30-36).

Activists from Bharatiya Janata Party and Vishva Hindu Parishad have spoken for the restoration of the mosque which was built by demolishing an "Adinath Temple". The idea have been opposed.[1]

A PIL was filed in Calcutta High Court on 19 January 2026 by an activist, concerning the historical and religious identity of the mosque premises and demanding a Ground Penetrating Radar (GPR) survey of the site, similar to Gyanvapi case under section 16 of Ancient Monuments and Archeological sites and Remains Act, 1959. The division bench comprising CJ Sujoy Paul and Justice Partha Sarathi Sen has directed Archeological Survey of India to produce an affidavit stating the architectural history of the site. As of 10 February, 2026, ASI has requested additional time for filing. The Government of West Bengal reiterated its stance on maintaining a status quo, concerning potential communal sensitivity in the region.^[25]

On 17 February 2026, a team of devotees from Vishva Vidya Dham Trust, Mathura organized a puja of Lord Shiva at the mosque ground near the shivling ruins. The event was criticized by local Muslim population and a complaint was registered at Malda Police Station.^[26]

Sultan Sikandar ordered the following words inscribed on its western facade of the mosque:

In the reign of the exalted Sultan, the wisest, the most just, the most liberal and most perfect of the Sultans of Arabia and Persia, who trust in the assistance of the Merciful Allah, Abul Mujahid Sikandar Shah the Sultan, son of Ilyas Shah, the Sultan. May his reign be perpetuated till the Day of Promise (Resurrection).^[27]

• The central mihrab of the mosque
• Arabic inscriptions on the stone walls inside the Adina Mosque
• Arabic inscriptions on the stone walls inside the Adina Mosque
• Arches and columns in the interior of Adina Mosque. The elevated platform was the royal gallery where the Sultan prayed.
• Central prayer hall in the mosque
• Tomb of Sultan Sikandar Shah
• Detailed arabesque
• Corner of the building
• A column and an Arabic inscription from Adina Mosque, now in the British Museum
• Dancing figures carved on the walls of the Adina Mosque

• Islam in India
• List of mosques in India
• List of Monuments of National Importance in West Bengal

• Eaton, Richard M. (1993). The Rise of Islam and the Bengal Frontier, 1204-1760. University of California Press. ISBN 978-0-520-20507-9.

• Media related to Adina Mosque at Wikimedia Commons