Kutbu-d din marched from Kohram 'and when he arrived at Mirat -which is one of the celebrated forts of the country of Hind, for the strength of its f… - Qutb-ud-din Aibak

In 1195 when Raja Bhim was attacked by Aibak 20,000 slaves were captured, and 50,000 at Kalinjar in 1202. “The temples were converted into mosques,” writes Hasan Nizami, “and the voices of the summoners to prayer ascended to the highest heavens, and the very name of idolatry was annihilated.”... Farishtah specifically mentions that during the capture of Kalinjar “fifty thousand kaniz va ghulam, having suffered slavery, were rewarded with the honour of Islam.” Thus enslavement resulted in conversion and conversion in accelerated growth of Muslim population.

About this time they wrote to the heavenly throne, that the Rai who had fled from Dehli had raised an army of idolatrous, turbulent, and rebellious tribes, the vapour of pride and conquest havingentered his thoughtless brain." Kutbu-d din pursued him, " and when the wretch was taken, his head was severed from his body and sent to Dehli, which had been his residence and capital." Kutbu-d din then himself returned to Dehli, and sent " written accounts of his capture of forts and strongholds, and his victories and holy wars" to Ghazna, to which capital he was invited to receive thanks in person from Muizzu-d din Sam Ghori.

The congregational mosque at Delhi named, purposefully, as the Masjid Quwwatul Islam (Might of Islam), was commenced by Aibak in 592/1195 within two years of its conquest. It was built with materials and gold obtained by destroying 27 Hindu and Jain temples in Delhi and its neighbourhood. A Persian inscription in the mosque testifies to this. The mosque at Ajmer erected by Qutbuddin Aibak soon after its occupation and known as the Arhai din ka Jhonpra, was also built from materials obtained from demolished temples. The Qutb Minar, planned and commenced by Aibak sometime in or before 1199 and completed by Iltutmish, was also constructed with similar materials, “the sculptured figures on the stones being either defaced or concealed by turning them upside down.” “In this improvisation,” rightly observes Habibullah, “was symbolised the whole Mamluk history”.