Its construction is traditionally attributed to Shaista Khan, Mughal governor of Bengal in the period 1678–1684; however, there are no inscriptions on the structure attesting to this.

[3] A few kilometers to the north of Pilkhana, for long the end of Mughal Dhaka, was the Jafarbad or Katasur area, originally part of mouza Sarai Begumpur.

[4] Picturesquely situated on the edge of a river, the Shat Cumbuj Mosque's exterior is the most innovative of all the Dhaka Mughal-period monuments.

Both levels have arched panels and windows, surmounted by cornice and capped by domes with kalasha (pitcher) finials planted on lotus base.

Otherwise with a bigger dome in the middle flanked by two smaller pennis, the mosque bears all the characteristic features of Shaista Khani style.

However, though the qibla facades of most such buildings remain unadorned, that of the Sat Gambuj Mosque is decorated with recessions within moulded panels, the middle portion delineated by two slender pilasters slightly protruding.

The mosque has three cusped entrance arches, the middle one being taller and edged with multi-foil arch, a late-Mughal refinement, flanked by shallow niches and rectangular panels and echoed by mihrabs on the qibla wall, slender engaged pilasters with bulbous base demarcating the central bay, mihrab surface embellished with moulded plaster relief, corner turret stretched above merlon parapet with pinnacles, mingle, openings on side walls, etc.

A distinct gateway in front of the sahn that was now subsided because of gradual rise in the surrounding levels can be climbed over for azan (prayer call).

The river Turag on which the picturesque structure was standing even few decades back, has now moved nearly a kilometer away from it due to silt, encroachment by filling up, and change of course.

[citation needed] The surrounding reclaimed lands for many years were used by small scale manufacturers, semi-permanent houses and slums.

For example, the use of terrazzo on the floor of the main prayer hall and the courtyard is contrary to normal conservation practices that would have avoided using most modern materials to maintain an authenticity.