A civilisation is often recognised by its art. However, little research has been done on Islamic art in this part of the world. In his book, History of Islamic Art Based on Al-Mansurah evidence Dr Shahid Ahmed Rajput has taken a huge step in this direction and delved into the details of Islamic art as found in this area, focusing his research on a thoroughly neglected topic.

He is adamant that although the archeological site of Al-Mansurah has been dug up by several archeologists who have found evidence of a great civilisation, none have given the Islamic art found there its due status.

According to him the excavation finds at Al-Mansurah reveal the level of skills possessed by the civilisation through landmarks such as sophisticated kilns for pottery and metal items. The huge 'door-knockers' are a class apart and must be celebrated for their innovative designs and remarkable craftsmanship.

The swords of Al-Mansurah were called Mo'Sind (that is, from Sind) and were of the highest quality and highly priced. The medical instruments are known to have been exported to the Caliph's court in Baghdad. According to Dr Rajput Al-Mansurah was the 'nucleus of Islamic culture in the entire Islamic world and particularly in the subcontinent'.

 
The book first gives a detailed account of who conquered Sind and how it was done. The history dating from Ashoka's time to the conquest of Muhammad bin Qasim makes up a very interesting chapter from history. The author also narrates how temples and holy shrines were respected and not molested by the various armies.

In today's world this is a noteworthy action which many of us would like to see replicated. The book also reinforces the findings that Al-Mansurah — which was earlier thought to be built on the ruins of Brahminabad — was actually 'founded by the Arabs on a virgin soil'. That it changed hands over time is also a very interesting fact. It was
finally destroyed by an earthquake in the 12th century.

Local folklore relating to Al-Mansurah has also been woven into the history of the area and gives a fascinating character to the text. Throughout the book Dr Rajput reasons as a hardcore archeologist and supports his arguments with facts that can hardly be challenged. And he talks of the artifacts and items in great detail 'A good deal of pottery was glazed in brilliant colours and some of the vessels are of a fine kind of earthware or china.'

He also describes the aesthetics of the items found 'some of the glass was beautifully stained of a deep blue colour, and other portions were worked in raised and ribbed patterns'.

The book contains numerous visuals, photographs, plates and drawings of Al-Mansurah and its artifacts. However,
the reader may get a bit confused in the beginning as the earlier visuals are not explained although the latter ones are described in detail. To make up for this the author has given details of the visuals followed by clear photographs at the end of the book.

The book also carries a detailed catalogue of the Al-Mansurah collection in the British Museum in London. All this information is of immense value to any researcher who may wish to do more research on Al-Mansurah. The book is, however, home to various editing and printing mistakes. A little focus on this would have made the book a great read for scholars and amateurs alike.

History of Islamic Art Based on Al-Mansurah evidence
By Dr Shahid Ahmed Rajput
Sang-e-Meel Publications, Lahore
ISBN 969-35-2205-2
200pp. Rs2,000