The dynasty was established by the powerful eunuch Malik Sarwar (also known as Malik-as-Sharq, meaning "peer of the east") in Jaunpur after the decline in Tughlaq dynasty power, precipitated by both internal decline due to factors such as profligate spending by Firuz Tughlaq and by the sack of Delhi by Timur in 1398.

[2] Malik-as-Sharq seized control of Jaunpur, a city founded in 1360 by Firuz Shah near a Hindu town whose temples he desecrated, in 1394 and declared himself an independent Sultan in 1398 after the sack of Delhi.

[4] The foundation of the mosque was laid in 1438 by Ibrahim Shah but the first steps of construction above ground level only began in 1440 with his death.

[11][12][13][14] In contrast to this view, Ram Nath argues that Sikandar Lodi's status as a devout Muslim precluded him from damaging mosques and that the absence of non-religious buildings is due to their not having ever existed on account of Sharqi incompetence.

In 1783, William Hodges made a sketch of the entrance of the mosque, published in his book Select Views in India.

Michael S. Dodson argues that while the picturesque painters used this theme to speculate about the impermanence of the British Empire a latent aspect of the identification of India with ruin was the idea that the colonial government should take charge of restoration.

Karamat Ali Jaunpuri reformed this un-Islamic ritual and with great effort issued adhan in Jaunpur's mosques.

Instead of adhan and prayers, this mosque was used for worldly gatherings like baraat, clubbing and marriage ceremonies regardless oreligion.

Similarly, after Jama Masjid Jaunpur, he started a series of Friday sermons which continued for many years after his death.

According to Michael S. Dodson the focus of this style is the enormous and visually dominating pishtaq (portal) which obscures the dome behind it.

[24] All mosques in this style are arranged around a courtyard with four large gateways facing North, South, East, and West.

This may tie into the project of Orientalist James Prinsep, creator of the AIS (Führer's patron organization), to argue that Indian artistic traditions were derivative of Greek art.

This lack of sepulchral architecture, as opposed to the Lodi dynasty is interpreted by Abha Narain Lambah as symbolizing the military simplicity of the Sharqi monarchs.

[39] Abha Narain Lambah argues that the Jama Mosque functioned as a continuation and fulfillment of the Tughlaq style of architecture.