Unrivaled cavalrymen, the Mamluks were the undisputed masters of the furūsiyya in their time. The furūsiyya art was the result of a combination of different equestrian and military traditions. As argued by A. Carayon in 2012, this art reached its peak under the Mamluks and became a channel of social distinction. This article examines various aspects of the practice of furūsiyya beyond military parades and competitions that were practiced by Mamluk legions. Did the passion for furūsiyya only exist among the Mamluks or did its practice extend to other social groups? As such, how did this interest in furūsiyya transcend social boundaries? Was it practiced only as a military art? Did the practice of the furūsiyya mean more to the Mamluks than mere military training and a channel to social distinction? These are some of the questions that I will attempt to answer in this discussion based on the analysis of various sources including chronicles, instruction and training manuals, and religious treatises.