GOA UNIVERSITY
D. D. Kosambi School of Social Sciences and Behavioural
Studies
M. A. History Semester IV
HIS 605: Heritage Monuments Of Goa
Name of the Student: Rijvan Nasir Sheikh
Seat no: 24po150030
P.R. no: 202004861
Title of the Assignment:
“The Surla-Tar Mosque: An Insight into Goa’s Islamic
Heritage”
Introduction
Goa, the tiniest state on the western coast of India, is known not only for its wonderful beauty
but also for its rich cultural and architectural heritage. Over the centuries, Goa has been a part
of various other dynasties which ruled over it like Hindu, Islamic, and Christian. each
dynasty left behind its own imprint on the land and people of Goa. Goa has a rich culture that
includes environmental elements such as rivers, temples, beaches, and mosques as well as
religious diversity with regard to the varieties of beliefs held by its natives. 1 architectural
landscape of Goa is full of diverse cultural past, with its temples, churches, and mosques
standing as examples to the state’s composite history. Among these, the Surla-Tar Mosque in
Bicholim taluka holds a special place for its historical, cultural, and syncretic significance.
Surla-Tar is a small village located near Sanquelim in North Goa. Though remote, the site has
attracted attention from historians and archaeologists due to the coexistence of a temple and a
mosque within the same sacred complex. This unique pairing reflects the long-standing
tradition of communal harmony that characterizes much of Goa’s hinterland heritage. The
Surla-Tar Mosque is not merely an architectural structure; it is a living symbol of faith and
coexistence, where traces of Islamic and local Goan culture blend naturally.
Surla village lies about 8–10 km from Sanquelim and near the foothills of the Western Ghats.
The area was once part of an old trade and pilgrimage route that connected Goa’s hinterland
with the coastal ports. This location encouraged interactions between different communities
like farmers, traders, saints, and artisans leading to the growth of shared religious spaces.
The mosque, modest in size but rich in history, is believed to have been constructed between
the 16th and 17th centuries, possibly during the rule of the Adil Shahi dynasty, when Islamic
influence extended over parts of present-day Goa. The village is situated along the banks of a
mandovi river that served as a thoroughfare for transporting products such as rice, coconuts,
spices, and many types of crops from the countryside to market.2
Heritage monuments like this serve as important links between the past and the present. They
reveal how communities interacted, traded, worshipped, and respected one another’s beliefs.
In today’s context, when cultural identities often face division, the study of such monuments
helps us understand the shared history and mutual tolerance that define Goan society.
1
Prajal Sakhardande, “Goa Gold Goa Silver: Her History Her Heritage” from Earliest
Times to 2019 (Mumbai: Broadway Publishing House, 2019).
2
Nida Sayed, “In the Surla-Tar Masjid, Muslims and Hindus Gather in Peace,” The Times of India, 14 January
2018.
Historical Background of Surla-Tar Mosque
The Surla-Tar Mosque is one of the oldest surviving mosques in the Indian state of Goa,
situated in Surla village in the Bicholim taluka on the banks of the Mandovi River. It dates
back to the 16th century during the Adil Shahi dynasty’s rule over parts of [Link] Adil
Shahi Sultanate based in Bijapur controlled large parts of the Deccan region, including Goa
before full Portuguese domination. During this period that is roughly the early to mid-1500,
various mosques were constructed in the region. The Surla-Tar Mosque is believed to have
been built under the patronage of Ibrahim Adil Shah (1534–1557), a ruler of the Bijapur
Sultanate though exact inscriptions confirming the date are scarce. This period marked a
phase of expansion by the Adil Shahi rulers, who encouraged the building of mosques and
Sufi shrines in the territories under their control. 3 The construction of the Surla-Tar Mosque
reflects this larger historical process of the spread of Islamic influence through trade,
administration, and religious activity.4 Its location along the upper stretches of the Mandovi
River made it part of a network of inland settlements connected by waterways, which were
vital for both economic and cultural exchanges in pre-Portuguese Goa.
The Adil Shahi dynasty was one of the five major Deccan Sultanates that emerged in South
India after the decline of the Bahmani Kingdom in the late 15 th century. It was established in
Bijapur that is present day in Karnataka in the year 1490 CE by Yusuf Adil Shah, a former
governor under the Bahmani rulers. After the weakening and disintegration of the Bahmani
Sultanate (1347–1527), its provincial governors declared independence and founded separate
kingdoms. One of them, Yusuf Adil Khan, the governor of Bijapur, declared his independence
and founded the Adil Shahi dynasty in 1490 CE. He made Bijapur his capital.5
Yusuf Adil Shah was of Persian or possibly Turkish origin. Some historical accounts suggest
he might have been of noble descent from Persia that is Iran, possibly related to the Ottoman
royal family, though this is debated among scholars. Regardless of his origin, Yusuf
established a strong and independent sultanate, introducing Persian culture, art, and
administrative traditions into the Deccan. The Adil Shahi dynasty lasted for nearly two
3
Mehrdad Shokoohy, “Muslim Architecture of South India,” RoutledgeCurzon Studies in
South Asia, ed. Michael Willis (London: RoutledgeCurzon, 2003)
4
Pratima Kamat, “Goa: Its Tryst with Trade” (Panaji: Goa Chamber of Commerce and
Industry, 2009).
5
Emma J. Flatt, “The Courts of the Deccan Sultanates: Living Well in the Persian
Cosmopolis” (Cambridge: University Printing House, 2019.
centuries, from 1490 to 1686 CE. Its decline began in the mid-17 th century due to internal
conflicts, weak successors, and constant warfare with the powerful Mughal Empire. In 1686
CE, Emperor Aurangzeb invaded the Deccan and annexed Bijapur, bringing an end to the
Adil Shahi rule. The Adil Shahis left a remarkable legacy in the Deccan’s cultural and
architectural history. Their monuments such as Gol Gumbaz, Ibrahim Rauza, and Asar Mahal
stand as masterpieces of Indo-Islamic art. In Goa, their influence can be seen in early
mosques such as the Safa Masjid (Ponda) and the Surla-Tar Mosque (Bicholim), which were
constructed during the period of Adil Shahi control before the Portuguese takeover.6
The mosque was built as a local place of Islamic worship for the Muslim population which
included soldiers, traders, administrators, and Sufi saints who had settled in the region during
the Adil Shahi rule. It was built to provide a proper space for daily prayers that is namaz and
community worship for Muslims living in the northern region of Goa.
It was also seen as a symbol of Power. The Adil Shahi rulers often built mosques in newly
acquired territories as symbol of authority and faith, representing the presence of Islamic
governance and culture. It was also a spiritual Centre. The nearby dargah that is Sufi shrine of
a saint known as Pir Saheb suggests that the site also functioned as a spiritual and cultural
hub, attracting both Muslims and local Hindus who revered the [Link], the mosque at
Surla-Tar was not only a house of prayer but also a centre for Sufi teaching, interfaith contact,
and local administration, reflecting the syncretic traditions of the Deccan region. In its early
period (16th–17th centuries), the mosque was actively used by Muslim inhabitants and
travelers along the Mandovi River trade routes. Oral traditions mention that the area of Surla-
Tar was an important river-crossing point (“tar” meaning ferry point), where merchants and
pilgrims stopped for rest and prayer.7
While there is no surviving inscription giving an exact year, architectural style and historical
context suggest it was built between 1530 and 1550 CE. The rule of Ibrahim Adil Shah I, a
period when several mosques like the Safa Masjid (Ponda) and Namazgah at Ella were also
constructed in Goa. The Adil Shahi architectural style, characterized by the use of laterite
stone, arched niches, and simple yet proportionate domes, all of which match features seen at
Surla-Tar.
6
Sayed Manzoor Kadri, “Muslim Rulers in Goa” (Goa: Directorate of Archives and Archaeology, Government
of Goa, 1990).
7
Prajal Sakhardande, “Muslim History and Heritage of Goa”(Mapusa: Konkani Shanti
Publications, 2012).
Architectural Features of the Surla-Tar Mosque
The Surla-Tar Mosque, located in Surla village of North Goa, stands on the scenic banks of
the Mandovi River. Nestled amidst laterite soil, river frontage, and forested surroundings, the
mosque’s setting enhances its historical and environmental character. In earlier times, it was
accessible mainly by river routes and forest trails, which connected it to nearby villages and
trade paths. This location not only provided natural beauty but also made the mosque a
peaceful place of spiritual and social gathering.
Constructed during the Adil Shahi period in the 16 th century, the mosque was built using
locally sourced laterite stone, the most common material in Goan medieval architecture. The
laterite blocks are sometimes capped with basalt, a harder volcanic rock, to provide strength
and durability to the structure. The use of these local materials demonstrates an adaptation to
the region’s geography and traditional building practices, reflecting the builders’
understanding of their natural environment.
Architecturally, the mosque displays a plain yet graceful Indo-Islamic style, typical of small
regional mosques built under Adil Shahi influence. Its layout and proportions closely
resemble those of the Safa Masjid in Ponda, another 16 th-century Adil Shahi monument,
indicating a shared stylistic tradition in Goan Islamic architecture. While not richly
ornamented like major urban mosques, the Surla-Tar Mosque embodies the functional
elegance and spiritual simplicity characteristic of the Adil Shahi school of design, which
favored balanced proportions over decoration.
A distinctive feature of the complex is its ancient water tank that is hauz located in front of
the mosque.8 This tank is surrounded by arched structures that resemble mihrab-like niches
and are constructed from laterite stone. Historically, this water tank served for ritual ablutions
that is wudu before prayers, a typical feature of Islamic architectural complexes across the
Deccan. Although it is not used for religious purposes today, the tank remains a symbolic
reminder of Islamic ritual purity and architectural harmony.
The main prayer hall of the mosque is modest in scale and oriented westward toward Mecca
qibla.9 The hall lacks domes or minarets and instead presents a community-oriented design
8
Amita Kanekar, “The Remarkable Syncretism in Goa’s Early Modern Architecture,”
Popular Essays, October 22, 2015
9
Field visit to Surla Mosque on 15th January 2026.
with a quiet, contemplative atmosphere. Its simplicity aligns with smaller rural mosques built
during the Adil Shahi era, focusing more on spiritual use than ornamental display. The
interior once served as the gathering place for daily prayers and local assemblies, reinforcing
its social as well as religious function.
The structure’s columns and arches, though simple, reveal strong Islamic architectural
influence. The pointed arches that support the roof and frame the entrances are characteristic
of Indo-Islamic design, where arches and columns are used to replace thick load-bearing
walls, thereby creating wider interior spaces. This architectural system not only allowed for
greater openness but also gave the structure visual rhythm and stability.
The structure's lower portion is composed of laterite stone, a material typical in coastal
regions such as Goa and Karnataka that is durable and resilient to the local climate. The
mosque's facade is painted white with green accents to symbolize peace and faith, which are
essential to Islamic beliefs. The mosque’s roof is flat and basic, which is ideal for tropical
locations because it can resist severe rainfall while being structurally sound. Small decorative
minaret-like structures are strategically positioned along the roofline, adding visual appeal
and emphasizing the building’s religious character. A crescent moon and finial in the center of
the roof are important Islamic symbols, reflecting faith and the lunar calendar that regulates
Islamic rituals and festivals. The parapet is embellished with ornate balustrades, resulting in
an exquisite style that complements the building’s overall aesthetics.
Minarets, however not towering in this case, are an important part of Islamic architecture.
They represent a link between the earthly and divine and are usually employed as a call to
prayer that is adhan. The modest minaret-like structures on the Surla Mosque’s parapet serve
as a decorative accent while keeping traditional mosque architectural features. Their presence
contributes to the building’s identity as a holy place of worship with historical significance.
Arches are a distinctive aspect of Islamic design, and the Surla Mosque incorporates them
into its entryway and windows.10 The central entry is enclosed by a pointed arch, a feature of
Islamic architecture that promotes weight distribution and structural integrity. The arched
windows have elaborate latticework, which not only improves ventilation and natural
lighting, but also provides isolation. In Islamic culture, arches are more than just architectural
components; they represent strength, unity, and God’s endless nature.
10
Field visit to Surla Mosque on 15th January 2026.
The materials utilized to create the Surla Mosque, particularly laterite stone, indicate a strong
connection to indigenous building traditions. Laterite is recognized for its porous structure,
which helps regulate temperature and keeps the interior cool even in hot weather. The
application of white and green paint on the structure increases its visibility and symbolic
value. The mosque's roof is flat and basic, which is ideal for tropical locations because it can
resist severe rainfall while being structurally sound Small decorative minaret-like structures
are strategically positioned along the roofline, adding visual appeal and emphasizing the
building's beliefs.
The water tank next to the Surla Mosque is a distinct architectural feature that distinguishes
this mosque from many others. Built of laterite stone, the tank has various steps leading down
to the water, allowing for easy access regardless of the water level. The existence of a tank
within a mosque complex is unusual in Islamic construction, yet it fulfilled a vital function in
this region.11 The tank was most likely used for ablution (wudu) before prayers, allowing
worshippers to complete their religious procedures with ease. A number of arched niches and
small chambers surround the tank and are made of the same laterite stone as the mosque
itself. These chambers, known as hammams, served as rest.
Overall, the Surla-Tar Mosque reflects a blend of regional adaptation and Adil Shahi
architectural influence. While it lacks the grandeur of larger mosques in Bijapur, it embodies
the essence of Deccan mosque architecture functional, symmetrical, and spiritually resonant.
The use of local materials, the presence of the water tank, and the simple prayer hall all
illustrate how Islamic architecture in Goa evolved by integrating religious purpose, local
craftsmanship, and environmental harmony. Even after centuries, the Surla-Tar Mosque
remains a valuable heritage monument representing Goa’s 16 th-century Islamic legacy and the
architectural simplicity of the Adil Shahi era.
Religious and Cultural Significance
Surla-Tar Mosque is far more than a historical structure; it is a living centre of faith,
tradition, and inter-community harmony in the cultural landscape of North Goa. Built during
the Adil Shahi period around the mid-16 th century, its religious importance gradually
expanded to become a symbol of shared heritage and peaceful coexistence between the Hindu
and Muslim communities of the region. The mosque stands as a reminder of a time when
religion, culture, and everyday village life were deeply interconnected.
11
Kanekar, “The Remarkable Syncretism in Goa’s Early Modern Architecture.”
One of the most remarkable aspects of the Surla-Tar Mosque is its association with a Sufi
saint, locally known as Pir Saheb, whose dargah lies close to the mosque complex. This Sufi
figure is said to have arrived in Goa in the pre-Portuguese period, spreading messages of
peace, equality, and compassion.12 His teachings emphasized the unity of all faiths, and over
time, his shrine became a sacred space where both Hindus and Muslims offered prayers
together. This interfaith reverence continues even today, illustrating the deep-rooted syncretic
character of Goan culture.
A unique cultural event that highlights this unity is observed during the annual Shigmo
festival, one of Goa’s most vibrant Hindu festivals. During this time, local Hindus and
Muslims participate in a ritual known as “Bhovartalo”, in which villagers carry offerings of
coconuts, bananas, and flowers to the mosque and dargah. Accompanied by traditional music,
folk songs, and dancing, the ceremony symbolizes mutual respect and gratitude toward both
deities and saints, reflecting the belief that divine blessings transcend religious differences. 13
This tradition has survived for generations and remains a living expression of communal
peace in the village.
Historically, the mosque also functioned as a spiritual and social centre for the Muslim
families of Surla and neighboring Bicholim villages. It was here that people gathered for
Friday congregational prayers called Jumu’ah, Eid celebrations, and Qur’an recitations,
strengthening social bonds within the community. In earlier times, before the construction of
modern roads, devotees would reach the mosque by crossing the Mandovi River on wooden
rafts or walking through forested paths an effort that reflected their deep devotion and
spiritual attachment to the site. Oral traditions recall that the mosque also hosted small
gatherings for Islamic education, where children learned the basics of the Qur’an and
religious ethics.
Beyond formal religion, the mosque has long been associated with folk beliefs and
community rituals. During natural calamities such as droughts, crop failures, or epidemics,
villagers from both Hindu and Muslim backgrounds would gather near the mosque and offer
joint prayers, believing that divine mercy would protect their land and people. These customs
reveal how sacred spaces in Goa often functioned as inclusive spiritual centers that
12
Alexander Henn, “Crossroads of Religions: Shrines, Mobility and Urban Space in Goa,”
International Journal of Urban and Regional Research 32, no. 3 (September 2008): 700–
718.
13
Rajendra P. Kerkar, “Shigmo Brings Hindus and Muslims Together in Surla,” The Times
of India, March 26, 2019, [Link]
encouraged cooperation rather than division.14 In this way, the Surla-Tar Mosque became a
symbol of hope, healing, and unity in times of distress.
Today, the mosque continues to serve as a living heritage site that reflects the pluralistic ethos
of Goan society. Local residents still visit the mosque and dargah to seek blessings, while
historians, heritage students, and pilgrims admire it as a rare example of Goa’s syncretic
religious architecture.15 It stands as a reminder of the Adil Shahi influence on Goan
spirituality and culture before Portuguese colonization and embodies the message that faith
can coexist with respect, tolerance, and mutual care.
The Surla-Tar Mosque, therefore, is not merely an architectural monument but it is a sacred
symbol of cultural integration, where the boundaries between religions fade into a common
devotion to peace and humanity. Its history, rituals, and ongoing traditions together make it
one of the most meaningful examples of Goa’s living heritage, preserving a message that
remains relevant even in the modern world.
Syncretism at Surla-Tar Mosque
The coexistence of the temple and mosque at Surla-Tar is one of the most remarkable
examples of religious harmony and cultural syncretism in Goa’s history. Situated within the
same sacred landscape, these two religious structures one Hindu and one Islamic have stood
side by side for centuries, shaping a shared spiritual and cultural identity among the villagers.
Rather than dividing people along religious lines, the sacred complex became a place where
mutual respect and coexistence were central to community life.
Historical and heritage records suggest that both the mosque and the nearby temple were
established around the 16th century, a period when northern Goa was under the influence of
the Adil Shahi Sultanate of Bijapur. 16 During this era, the Adil Shahi rulers were known for
encouraging architectural and cultural growth in their domains while often allowing existing
religious traditions to continue. At Surla-Tar, the mosque appears to have been constructed by
Ibrahim Adil Shah or under his patronage during the Adil Shahi period and the temple was
14
Kanekar, Amita. “Architectural History Exposes the False Claims about Goa’s Mosques
and Temples.” [Link], July 10, 2022.
15
Interviewed with Mujawar of the Dargah
16
Sharmila Pais and Prajal Sakhardande, The Quest for Goa: History and Heritage of Goa
(Panaji: Directorate of Art and Culture, Government of Goa, 2013).
already part of the local religious landscape, creating an early example of multifaith presence
in the same sacred zone.
The spatial proximity of the two monuments is striking: the temple, with its traditional
mandapa that is pillared hall and shikhara spire, stands just a short distance from the
mosque’s laterite stone structure and arched façade. They are separated not by walls, but by
an open courtyard and shared grounds, which act as a physical symbol of mutual respect and
community dialogue rather than segregation. Local residents recount that, in earlier
generations, both Hindus and Muslims participated in each other’s festivals and celebrations.
Hindu farmers and traders assisted in preparations for the temple’s annual jatra feast, while
Hindus would visit the mosque during Islamic festivals such as Eid to convey greetings and
exchange sweets a practice rooted in shared village life rather than formal religious ritual.
This interfaith cooperation extended into everyday life, including agriculture, trade, and
social gatherings. Oral traditions emphasize that in times of natural calamities such as
droughts, epidemics, or crop failures, villagers from all faiths would gather at the temple-
mosque complex to pray together for relief, unified by a folk belief in the power of shared
devotion. Such practices reflect the deep-seated sentiment that divine influence transcends
strict religious boundaries, a belief commonly found in Goan and Konkan cultural traditions.
The shared use of space also influenced the artistic and architectural expression of both
structures. While the mosque and temple were built in different religious traditions, they both
exhibit elements of local craftsmanship, including laterite stone masonry and decorative
niches that were characteristic of the region’s medieval building practices. It is likely that
local artisans, skilled in both Hindu and Islamic architectural motifs, worked on or influenced
both monuments. This blending of design elements is a hallmark of Goa’s vernacular
syncretic architecture which points to a shared artistic heritage that crosses religious
boundaries.
One of the most vivid cultural traditions that illustrates this coexistence is the annual
bhovartalo procession at the end of the Shigmo festival, a major spring celebration among
Hindus. On this day, villagers gather at the temple and proceed together to the mosque and
the adjacent dargah (Sufi shrine) in honour of Pir Saheb, a saint who is deeply respected by
both communities for promoting peace and unity in earlier eras. 17 Participants carry offerings
17
Kerkar, “Shigmo Brings Hindus and Muslims Together in Surla.”
such as coconuts and bananas, sing folk songs, and exchange greetings, symbolizing the
blending of religious and cultural identities through shared ritual practices.
Today, although regular worship at the mosque has declined due to migration and
demographic shifts, the temple-mosque complex at Surla-Tar remains revered by local
communities. Many villagers still regard the site as spiritually powerful and visit it during
festivals and important life events. Visitors that is both local and from outside frequently note
that both the temple and mosque radiate an atmosphere of peace and unity, as if centuries of
shared faith still echo in their walls.
In a broader cultural and historical context, Surla-Tar exemplifies the Goan way of perceiving
religion not as a rigid boundary but as an inclusive, lived tradition. The enduring relationship
between the temple and mosque stands not only as a reflection of the past but also as a lesson
for the present and future, illustrating how faith can unite rather than divide communities in a
pluralistic society.
Present condition and conservation Efforts
The Surla-Tar temple–mosque complex stands today as a quiet reminder of Goa’s
composite past, though both structures show visible signs of age and neglect. Located
away from the main roads and tourist circuits, the site is not as frequently visited or
maintained as other famous monuments like the Safa Masjid in Ponda or the temples of
Tambdi Surla and Mangeshi. Yet, the very remoteness of Surla-Tar has allowed it to retain
its authenticity and simplicity, untouched by major modern alterations.
The mosque structure, built of laterite stone and roofed with Mangalore tiles, has partly
weathered over time. Portions of its outer walls show erosion and vegetation growth,
especially during the monsoon months. The tiled roof, once supported by strong wooden
beams, has weakened in some sections, and minor cracks have appeared in the stone
arches. The mihrab remains intact but faintly discoloured due to dampness. Despite this
deterioration, the overall layout and architectural integrity of the mosque are still
recognizable.
The adjacent Hindu temple is relatively better preserved, as local villagers continue to use
it for worship. The temple compound is occasionally cleaned and maintained by the
community, while the mosque area receives less attention, mainly because the local
Muslim population has decreased over time. Even so, villagers from both faiths express
deep respect for the site and are aware of its historical and cultural importance.
Environmental factors also pose serious challenges. The high humidity, monsoon rains,
and laterite erosion gradually weaken the foundations. The growth of wild vegetation
between the stones accelerates decay, and occasional human neglect such as littering or
misuse of space further threatens the site’s dignity. Occasional visits by historians and
archaeology students from institutions in Goa have brought renewed attention to the site.
Local residents often act as custodians of memory, narrating oral traditions and protecting
the area from damage. This informal guardianship helps keep the site connected to its
living cultural context. Efforts are also being made to document the monument through
photographs, oral histories, and small-scale surveys. Several heritage-based NGOs and
scholars have proposed that Surla-Tar be included in Goa’s rural heritage trails, which
would promote responsible tourism and bring awareness to lesser-known monuments.
In essence, the current condition of the Surla-Tar complex reflects both the fragility and
resilience of Goa’s heritage. Though time and neglect have left their mark, the structures
still stand strong as witnesses to centuries of faith, tolerance, and craftsmanship. With
thoughtful conservation and public awareness, Surla-Tar has the potential to become a
model site for heritage preservation and interfaith understanding in Goa.
Conclusion
The Surla-Tar Mosque stands as a timeless symbol of Goa’s shared cultural and religious
heritage. Though simple in structure, it carries a powerful message of unity, tolerance, and
coexistence. The close presence of the temple and mosque at Surla-Tar reveals how people of
different faiths once lived with mutual respect, blending their traditions in daily life and
worship. Despite the passage of time and signs of neglect, the site continues to inspire
admiration for its architectural charm and spiritual harmony. Preserving such monuments is
not only about saving old stones it is about protecting the values of peace and togetherness
that form the true essence of Goa’s heritage.
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