Mosque of Kartalab Khan

Belabo Bazar Mosque,a grand mosque constructed with Tk 35 million, was inaugurated on 8th of November 2008. At least 12,000 people can say their prayers at a time at the mosque of 200 feet length and 125 feet width. Renowned industrialist of Narsingdi district Abdul Kadir Mollah carried the whole construction cost of the mosque.

The first founder and land owner of the Moque named 'Alhajj Mahmud Ali Bhuiyan' donated his land for building this Mosque. Who is known as 'Mamdi Bepari'. Later Abdul Kadir Mollah announced his grand donation on a public place in Belabo to build this Mosque as a Mega Structure. Local people feels proud to be the inhabitants of this Upazila. Many people from different direction come to visit this Mosque everyday.

Mahisantosh Mosque located near the India-Bangladesh edge about 13 km northern western of Dhamorihat Thana Sadar in Naogaon place. Mahisantosh, known from Pre-Muslim periods, came to reputation during the guideline of Sultan Ruknuddin Barbak shah (1459-1474) who raised its place to an excellent town and known as it Barbakabad after him. Many traditional hemorrhoids, located in different places of the town, can still be monitored. In 1916 the varendra analysis team conducted a traditional excavation at Mahisantosh in the remains of the Jami Masjid heap. A little element of the mosque was exposed. Very lately individuals, after removing weeds, vegetation and junk of the Jami Masjid heap have developed up a new chauchala tin shade kacha creating on the old ranking of the mosque to perform Sunday desires. From the present remains it is still possible to recover the exclusive design of the mosque.

The 2.25m large materials of the rectangle-shaped mosque (24m X 16.20m externally) with semi-octagonal place techniques at the four aspects were designed of rock and bricks; the main was designed of rocks and the inner and external activities were secured with rock places. The top aspect act was provided with five (arched) doorways. Most probably the main one was larger than the flanking ones. There were three (arched) areas each on the south east aspect of and southern region aspects.

The inner of the mosque (19.50m X 11.70m) was divided by two selections of rock assistance supports, each having four assistance supports. Each main was status on an office rock foundation. The foundation of each main was divided into three sections: the decreased place, about 0.40m, was rectangle-shaped shape with pie design on its face; the middle element, about 1.55m, was decagonal with pattern and gong components and the greater element, about 0.96m, was polygonal (16 sided) with pattern and gong components and suspended pearl-string of 50% team design.

The main nave of the mosque, larger than the element ones, had three rectangle-shaped places and was perhaps secured over by Persia chauchala bins. Hemispherical domes, 12 in all, might have secured the element chicken wings. Thus the ceiling top program was almost just like that of the shatgumbad mosque at Bagerhat (1459 AD).

There are five mihrabs in the Qibla materials invert the top side aspect possibilities. The main mihrab, a little bit larger than the element ones, was removed from here and is now managed in the varendra analysis collection. Originally it was designed from 1 product of rock with amazing eye-catching schemes; pattern and gong, lotus and palmetto are its main ingredients. The extant mihrab at the southern region end also contains amazing developed design. It seems to have been designed of three places of rock. The main element of the mihrab industry is developed with attractive pattern and gong art work. On the element of the pattern is suspended a hand crafted series. A complete bloomed lotus weighs from the end of the pattern. The sidepieces of the rock places have geometric styles in round and rectangle-shaped shape types. The rosettes in the top and platform increase the beauty of the mihrab. It may be described here that the pattern and gong design, a very familiar eye-catching program, is also seen in mosques like darasbari, chhota sona and kusumba.

Stone-blocks calming propagate in and around the mosque involved eye-catching components on their activities. These developed stone-blocks indicate that the external outside of the materials of the mosque may have been developed with rock styles. The attractive devices are mostly geometric in design with flowery styles, palmette, nailheads, pie styles, look for components, pattern and gong components and suspended 50 % round jewelry. Some developed clay-based rocks were also exposed at a lot of period of removing junk. These clay-based rocks might have been used on the inner encounter of the drums equipment of the domes. Similar eye-catching program is seen in other mosques e.g., Darasabari, Chhota Sona and Kusumba.

When the Varendra Research Community conducted excavation on the website they discovered an epigraph product. It authorized the growth of a mosque during the guideline of Alauddin Husain shah in 912 AH/1506 AD. Very lately, another epigraph product was exposed at a lot of period of removing junk from the mosque. Currently it is calming before aspect of the lately designed kacha mosque creating. The epigraph contains two selections of writing and is developed on dark-colored basalt rock. It keep in mind the development of a mosque in a lot of period of Sultan Ruknuddin Barbak Shah by Ulugh Khan Hasan in the 867 AH/1463 AD.

Growth of these two individual from the same ruinous mosque improves some issues about the period of your energy and energy of growth of the mosque. Was the mosque developed in a lot of period of Sultan Barbak Shah or during a lot of period of Alauddin Husain Shah? Was it developed in a lot of period of Barbak Shah and therefore redesigned (or reconstructed) during the guideline of Alauddin Husain Shah? Or, was one of these two individual collected from outside and kept in the mosque when the mosque was in an amazing condition of preservation? It is not possible to figure out any of the above possibilities. It is, however, quite likely that the mosque was developed during the guideline of Sultan Barbak Shah in 867 AH (1463 AD) and knowledgeable a renovating during a lot of period of Sultan Alauddin Husain Shah in 912 AH (1506 AD).

Choyani Para Two dome Mosque was built in 15^th century. It has its own architectural pride. There were no dui Gombuj masjid in Bengal in 15^th century. Locals claim that the Government needs to give attention regarding its preservation.

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Sonargaon contains quite a number of Archaeological evidences, helping the scholars to reconstruct the Medieval History of Sonargaon area of Bangladesh. Goaldi Mosque, one of the very few surviving medieval monuments in the city of Sonargaon. About 6 km north-west of the little township of Panam, near Sonargaon in Narayanganj district, there are two such precariously surviving old single-domed mosques in the sequestered hamlet of Goaldi, virtually hidden behind thick bamboo brakes and clusters of mango and jackfruit tree groves.

Built in 1519, the graceful, single-domed Goaldi Mosque is the most impressive of the few extant monuments of the old capital city, and a good example of pre-Mughal architecture. This mosque is one of the few remnants from the Sultanate period in Sonargaon, during the reign of Sultan Hussain Shah in 925 Hijri (1519 AD). It was built by Mulla Hizabar Akbar Khan in the early 16th century, during the reign of Alauddin Husain Shah at a place called Goaldi - half a mile northeast of Panam village in Sonargaon. Sonargaon was the administrative center of medieval Muslim rulers of East Bengal. It became as the capital of Bengal during Isa Khan's ruling. The area falls under present-day Narayanganj District, Bangladesh. This mosque is more elegant and ornate in comparison to the earlier Sultanate mosques at Bagerhat.

There are some ornamental black stone pillars inside the prayer hall for the support of the roof. Corresponding to the three arched doorways on the east there are three richly decorated mihrabs on the west wall, of which the central one is bigger and beautifully embellished with curved floral and arabesque relief on dark black stone, but the flanking side mihrabs are ornamented with delicate terracotta floral and geometric patterns. The central stone mihrab is framed within an arched panel with an expanded sunflower motif in the centre. Below that the spandrels of the multi-cusped arch of the mihrab are decorated within a rectangular frame. The engrailed arched recess is carried on stunted octagonal pillars faceted at stages. Four round-banded turrets at the outer corners rise up to the curvilinear cornice.