Samarkand - the Capital of Tamerlane

Samarkand is situated in the valley of the river Zarafshan. It is the second largest city of Uzbekistan and is of the same age as the city of Babylon or Rome. The history of Samarkand is about 2,500 years old and has witnessed a lot of upheavals during the times of Alexander the Great, the Arabic Conquest, Genghis-Khan Conquest and lastly Tamerlane's. Hence, the culture of Samarkand was developed and mixed together with the Iranian, Indian, Mongolian and a bit of the Western and Eastern cultures. Majestic and beautiful city Samarkand has a marvelous and attractive power. Poets and historians of the past called it "Rome of the East, The beauty of sublunary countries, The pearl of the Eastern Moslem World". Its advantageous geographical position in Zarafshan valley put Samarkand to the first place among cities of the Central Asia.

The Registan was the heart of the ancient Samarkand, Uzbekistan. The name Registan means "Sandy place" in Persian.

Samarkand is situated in the valley of the river Zarafshan. It is the second largest city of Uzbekistan and is of the same age as the city of Babylon or Rome. The history of Samarkand is about 2,500 years old and has witnessed a lot of upheavals during the times of Alexander the Great, the Arabic Conquest, Genghis-Khan Conquest and lastly Tamerlane's. Hence, the culture of Samarkand was developed and mixed together with the Iranian, Indian, Mongolian and a bit of the Western and Eastern cultures. Majestic and beautiful city Samarkand has a marvelous and attractive power. Poets and historians of the past called it "Rome of the East, The beauty of sublunary countries, The pearl of the Eastern Moslem World". Its advantageous geographical position in Zarafshan valley put Samarkand to the first place among cities of the Central Asia.

The Ulugh Beg Madrasa has its imposing portal with lancet arch facing the square. The corners are flanked by the high well-proportioned minarets. Mosaic panel over the entrance arch is decorated by geometrical stylized ornaments. The square-shaped courtyard includes a mosque, lecture rooms and is fringed by the dormitory cells in which students lived. There are deep galleries along the axes. Originally the Ulugbek Madrasah was a two-storied building with four domed darskhonas (lecture room) at the corners. The madrasah was one of the best clergy universities of the whole Moslem Orient of the 15th century. Abdurakhman Djami, a prominent poet, scientist and philosopher studied there. Ulugbek (Ulugh Beg) himself gave lectures there. During Ulugbek's government the Madrasah was a centre of secular science.

In the 17th century the ruler of Samarkand Yalangtush Bakhodur ordered the construction of the Sher-Dor and Tillya-Kori madrasahs. The Sher-Dor (Having Tigers) Madrasah was designed by architect Abdujabor. The decoration of the madrasah is not as refined as that on the 15th century - "golden age" of Samarkand architecture. Anyway, the harmony of large and small rooms, exquisite mosaic decor, monumentality and efficient symmetry - all these put the structure among the best architectural monuments of Samarkand.

Ten years later the Tillya-Kori Madrasah was built, the name means "Gilded". It was not only the place of training students, but also it played the role of grand mosque. It has two-storied main facade, vast courtyard fringed by dormitory cells with four galleries along axes. Mosque building (see picture 6) is situated in the western section of the courtyard. The main hall of the mosque is abundantly gilded.

The Registan Ensemble is a wonderful combination of the structures built at different times. Extensive restoration works are in the process.

To the east of Tillya-Kori Madrasah the mausoleum of Shaybanids, 16 c., is located (see picture). The real founder of Shaybanid power was Muhammad Shaybani - grandson of Abu'l Khair. In 1500, with the backing of the Chaghataite Khanate, then based in Tashkent (Uzbekistan), Muhammad Shaybani has conquered Samarkand and Bukhara from their last Timurid rulers. The founder of the dynasty then turned on his benefactors and in 1503 took Tashkent. He captured Khiva in 1506 and in 1507 he swooped down on Merv (Turkmenistan), eastern Persia, and western Afghanistan. The Shaybanids stopped the advance of the Safavids, who in 1502 had defeated the Akkoyunlu (Iran). Muhammad Shaybani was a leader of nomadic Uzbeks. During the ensuing years they substantially settled down in oases of Central Asia. The Uzbek invasion of 15 c. was the last component of the today's Uzbek nation ethnogeny.

Gur-e Amir complex with its azure dome.

Gur-e Amir is Persian for "Tomb of the King". This architectural complex with its azure dome contains the tombs of Tamerlane, his sons Shah Rukh and Miran Shah and grandson Ulugh Beg and Muhammad Sultan. Also honoured with a place in the tomb is Timur's teacher Mir Sayyid Baraka.

The earliest part of the complex was built at the end of the 14th century by the orders of Muhammad Sultan. Now only the foundations of the madrasah and khanaka, the entrance portal and a part of one of four minarets remains.

The construction of the mausoleum itself began in 1403 after the sudden death of Muhammad Sultan, Tamerlane's heir apparent and his beloved grandson, for whom it was intended. Timur had built himself a smaller tomb in Shahrisabz near his Ak-Saray palace. However, when Timur died in 1405 on campaign on his way to conquer China, the passes to Shahrisabz were snowed in, so he was buried here instead. Ulugh Beg, another grandson of Tamerlane, completed the work. During his reign the mausoleum became the family crypt of the Timurid Dynasty.

Inside the mausoleum — deep niches and diverse decoration.

The entrance portal to the Muhammad Sultan ensemble is richly decorated with carved bricks and various mosaics. The decoration of the portal was accomplished by the skilled craftsman (ustad) Muhammad bin Mahmud Isfahani.Outwardly the Gur-e Amir Mausoleum is a one-cupola building. It is famous for its simplicity of construction and for its solemn monumentality of appearance. It is an octahedral building crowned by an azure fluted dome. The exterior decoration of the walls consists of the blue, light-blue and white tiles organized into geometrical and epigraphic ornaments against a background of terracotta bricks. The dome (diameter - 15 m (49.21 ft), height - 12.5 m (41.01 ft)) is of a bright blue color with deep rosettes and white spots. Heavy ribbed fluting gives an amazing expressiveness to the cupola.

During the reign of Ulugh Beg a doorway was made to provide an entrance into the mausoleum.

Inwardly the mausoleum appears as a large, high chamber with deep niches at the sides and diverse decoration. The lower part of the walls covered are by onyx slabs composed as one panel. Each of these slabs is decorated with refined paintings. Above the panel there is a marble stalactite cornice. Large expanses of the walls are decorated with painted plaster; the arches and the internal dome are ornamented by high-relief papier-mache cartouches, gilded and painted.

The ornate carved headstones in the inner room of the mausoleum merely indicate the location of the actual tombs in a crypt directly underneath the main chamber. Under Ulugh Beg's government a solid block of dark green jade was placed over the grave of Tamerlane. Formerly this stone had been used at a place of worship in the Chinese emperor's palace, then as the throne of Kabek Khan (a descendant of Genghis Khan) in Karshi. Next to Tamerlane's grave lie the marble tombstones of his sons Miran Shah and Shah Rukh and also of grandsons - Muhammad Sultan and Ulugh Beg. Tamerlane's spiritual teacher Mir Said Baraka, also rests here.

Bibi-Khanym Mosque is a famous historical mosque in Samarkand, Uzbekistan, whose name comes from the wife of 14th-century warlord, Timur.

After his Indian campaign in 1399 Timur decided to undertake the construction of a gigantic mosque in his new capital, Samarkand. The outer walls (see picture) are 167 metres (182.63 yards) in length and 109 metres (119.20 yards) in width. The cupola of the main chamber reaches a height of 40 metres, and the entranceway is 35 metres high.There is a large marble Qur'an stand in the centre of the courtyard.

The cupola of the main chamber rises up to 40 m.

The mosque was built immediately after Timur's return in 1399 from his campaign in India using precious stones captured during his conquest of India. According to Ruy Gonzales de Clavijo, 90 captured elephants were employed merely to carry precious stones, so as to erect a mosque at Samarkand — Bibi-Khanym Mosque. Construction was completed between 1399 and 1404. However, the mosque slowly fell into disuse, and crumbled to ruins over the centuries. Its demise was hastened due to the fact it pushed the construction techniques of the time to the very limit, and the fact that it was built too quickly. It eventually partially collapsed in 1897 when an earthquake occurred.

However, in 1974 it began to undergo reconstruction by the Government of Uzbekistan, although the current mosque is effectively a brand-new building, as no original work remains. The bazaar at the foot of the Bibi-Khanym has changed little since 600 years ago.

Shah-i-Zinda (Persian meaning "The Living King") is one of the world-known necropolis of Central Asia, which is situated in the north-eastern part of Samarkand (today's Uzbekistan).

The Shah-i-Zinda Ensemble includes mausoleums and other ritual buildings of 9-14th and 19th centuries. The name Shah-i-Zinda - "The living king" is connected with the legend that Kusam ibn Abbas, the cousin of the prophet Muhammad was buried there. As if he came to Samarkand with the Arabian invasion in the 7th century to preach Islam. Popular legends speak that he was beheaded for his faith. But he took his head and went into the deep well (Garden of Paradise), where he's still living now. The Shah-i-Zinda complex was formed over nine (from 11th till 19th) centuries and now includes more than twenty buildings.The ensemble comprises three groups of structures: lower, middle and upper connected by four-arched domed passages locally called chartak. The earliest buildings date back to the 11-12th centuries. Mainly their bases and headstones have remained now. The most part dates back to the 14-15th centuries. Reconstructions of the 16-19th centuries were of no significance and did not change the general composition and appearance.The initial main body - Kusam-ibn-Abbas Complex is situated in the northeastern part of the ensemble. It consists of several buildings. The most ancient Kusam-ibn-Abbas Mausoleum and Mosque of 16th century are among them.The upper group of buildings consists of three mausoleums facing each other. The earliest one is Khodja-Akhmad Mausoleum (40s of the 14th century), which completes the passage from the north. The Mausoleum of 1361, on the right, restricts the same passage from the east.

Detail of the column

The middle group consists of the mausoleums of the last quarter of the 14th century - first half of the 15th century and is concerned with the names of Tamerlane's relatives, military and clergy aristocracy. On the western side (in a picture below - firs on the right) the Mausoleum of Shadi Mulk Aga, the niece of Tamerlane, stands out. This portal-domed one-premise crypt was built in 1372. Opposite is the Mausoleum of Shirin Bika Aga, Tamerlane's sister.

Next to Shirin-Bika-Aga Mausoleum is the so-called "Octahedron", an unusual crypt of the first half of the 15th century.

Near the multi-step staircase the most well proportioned buildings of the lower group is situated. It is a double-cupola mausoleum of the beginning of the 15th century. This mausoleum is devoted to Kazi Zade Rumi, who was the scientist and astronomer. Therefore the double-cupola mausoleum which was built by Ulugbek above his tomb in 1434-1435th has the height comparable with cupolas of the royal family's mausoleums.

Among historical monuments of Samarkand observatory takes particular place, constructed by Ulugbek in 1428-1429 on one of the hills on height, at the bottom of Chupanat altitude. By Babur’s words, which saw the observatory, it was three-storied covered with beautiful glazed titles building of round form 46 meters in diameter, 30 meters in height. In the main hall huge instrument was placed for observations of Moon, Sun, and other stars of the vault of heaven. Observatory was unique construction for its time.

The basis of observatory was giant goniometer (vertical circle), radius of circle was equal 40,212 meters, and the length of arc was 63 meters. The main instrument-sextant-was oriented with amazing exactness by line of meridian from south to north. Test establishments of modern astronomers Kastalsk and Sheglov are the evidence to it. Sizes of the main instrument, lucky construction, scientific knowledge of Ulugbek and his companion-in-arms provided amazing exactness of astronomic observations.

Contribution of creation astronomic catalog-“Zidji-Gurgani”, known as “Star tables of Ulugbek” belongs to Ulugbek. Whole galaxy of great scientists was working on them for a long period and finished them to 1437.

“Everything that observation and experience had known about planets movement, is delivered for keeping to this book”-Ulugbek was writing. In this work basics of astronomic observations are summarized, made by east scientists.

Exactness of observations of Samarkand astronomers is amazing because they were made without help of optical instruments, with unaided eye. Astronomic tables contents coordinates of 1018 stars. His catalog did not lose its value in our days. With amazing exactness made the calculation of the length of star year, which by Ulugbek’s calculation is equal to 365 days 6 hours 10 minutes 8 seconds. Actual length of star year by modern data is 365 days 6 hours 9 minutes 9,6 seconds. Thus the mistake is only less that one minute.

After Ulugbek’s death observatory was destroyed and robbed by religious fans. Only in 1908 archaeologist Vyatkin found first document where location of observatory was mentioned. Unfortunately only underground part of sextant and basis of the building were saved. By found documents scientists made the model of the observatory.

Remarkable scientific center was destroyed, valuable library was plundered, and scientists were chased away. Sheikhs announced the hill as the place of grave “Forty virgins” and built here mausoleum, place of pilgrimage, bringing big profits to hypocrites. Like this Samarkand priesthood was trying to suppress in people member of torch of science-Ulugbek and his observatory.

Bukhara also spelled as Bukhoro and Bokhara, from the Soghdian - "lucky place", is the capital of the Bukhara Province (viloyat) of Uzbekistan. The nation's fifth-largest city, it has a population of 237,900 (1999 census estimate).

The region around Bukhara has been inhabited for at least five millennia and the city itself has existed for half that time. Located on the Silk Road, the city has long been a center of trade, scholarship, culture, and religion. Bukhara the Holy City.

Bukhara is one of the most ancient cities of Uzbekistan, situated on a sacred hill, the place where sacrifices were made by fire-worshippers in springtime. This city was mentioned in a holy book "Avesto". Bukhara city is supposed to be founded in the 13th c.B.C. during reign of Siyavushids who came to power 980 years before Alexander the Great. The name of Bukhara originates from the word "vihara" which means "monastery" in Sanskrit. The city was once a large commercial center on the Great Silk Road.

Bukhara lies west of Samarkand and was once a center of learning renowned throughout the Islamic world. It was here that the great Sheikh Bahautdin Nakshbandi lived. He was a central figure in the development of the mystical Sufi approach to philosophy, religion and Islam. In Bukhara there are more than 350 mosques and 100 religious colleges. Its fortunes waxed and waned through succeeding empires until it became one of the great Central Asian Khanates in the 17th century.

Bukhara with more than 140 architectural monuments is a "town museum" dating back to the Middle Ages. 2,300 years later, ensembles like the Poi-Kalon, Kos Madras, Ismail Samani Mausoleum and the Kalian Minaret are attracting a lot of attention. The city consists of narrow streets, green parks and gardens, historical and architectural monuments belong to the different epochs, but locate very close to each other.

Ark-Citadel is a residence of Bukhara khans. According to the last excavations, it was determined the citadel was on this place from 4 century BC. For many years of building and destruction, 20 meters height artificial hill was formed; its upper layers were built over in the time of last bokharan emirs. The wooden part of Ark building was burnt down during the fire of 1920. The general planning is being reestablished by historical documents. Ark included the whole city, consisting of closely accreted houses; courts and yards with state institutions, emir, his wives, and relatives and officials lodgings. Inside the trapeziform outlines of citadel walls the planning was right-angled with traditional cruciform crossing of main streets.

Ark included: emir lodging, throe-room, police department, stables, stores of clothes, carpets, utensils, treasures, armoury, jail, jeweler’s and other workshops, mint place, mosques, mazars and other buildings. The first, you can see it is massive fortress gates of Ark - portal with two-storey towers by sides from arch aperture and latticed architecture gallery on top. Behind it there is a musical pavilion, built in 17 century, two-coloured audience chamber, surrounded by gallery. Here during a day there was performed a series of makoms – it is a musical work; through it people could know the time (it is tradition left from zoroastrizm time). From ayvan, tsarevitches was looking at solemnities and executions at Registan Square before Ark. To citadel inside leads from Ark gates the gloomy, arched and raising up passage-dalon. By its side there can be seen 12 niches, leading to damp dungeons, where prisoners were lauguishing. There were awful casemates and in dungeons under bridge of planks and Ark gates towers.

To the south of entrance from the dalon, there is the most interesting of reserved monuments – throne-room of Bukharan emir, drawing room for ceremonies and festivals. It was vast, brick-paved yard surrounded by ayvans on well-proportioned wooden pillars from 3 sides. On the long axis yard in deep ayvan there is emir throne. This marble “takht” dated to 1669, under painted, wooden canopy on fretted marble pillars, was made by Nuratian masters.

t is the main ensemble in Bukhara center, situated on the way to trade crossing of "four bazars" and Poi-Kalyan means “the pedestal of the Great” (it means “the pedestal of Kalyan minaret”). Ensemble consists of 4 monuments: Kalyan mosque and Mini-Arab Madrassah – faced to each other with main fronts; between them is Kalyan minaret; to the south of Mini-Arab there is small Amir-Allimkhan Madrassah.

Kalyan minaret. The minaret made in the form of a circular-pillar brick tower, narrowing upwards, of 9 meters (29.53 ft) diameter at the bottom, 6 meters (19.69 ft) overhead and 45.6 meters (149.61 ft) high. From the beginnings of Islam, there have been three types of mosques: Djuma mosques, which are intended for the large crowds that come to Friday services, Namazga country mosques (musalla idgoh), which are used by the male population of both the city and the surrounding countryside to celebrate the two Muslim holidays Qurban and Ramazan, and Quzar mosques, which are designed to be used as daily mosques in residential neighbourhoods.

We know very little about the thirteenth century Djuma Mosque in Bukhara, for it has been rebuilt completely since the time of its original construction. In any case, it had a vast courtyard surrounded by galleries. However, the minaret which was built in 1127 A.D. and called the Kalyan (Great) Minaret, has survived. It still dominates the skyline of Bukhara, astonishing all who see it with its magnificent and flawless shape. The minaret was designated to summon Muslims to prayer five times a day. Normally, each mosque had its own minaret, but the main minaret was situated near the Djuma Mosque. It was from the gallery, at the top of the minaret, that the muedzin summoned the believers to prayer at the top of his voice.

The Kalyan Minaret was built twice. The fact is it collapsed just before it was completed the first time, probably because of the builders did not take into account the soft ground underneath, due to the many cultural layers beneath the city. A new, more durable foundation was laid for the minaret and, by 1127, construction of this second minaret was completed. According to someone writing at the time, «there was nothing like this minaret, for it was built very beautifully». Indeed, the forty-eight m tall Kalyan Minaret is a flawless example of both civil engineering and superior architectural creation. The baked bricks it is made from form a monolithic circular tower that narrows from its thick base to its top.

The body of the minaret is topped by a rotunda with 16 arched fenestrations, from which the muedzins gave the call to prayer. In times of siege or war, warriors used the minaret as a watchtower. Earlier, the minaret apparently had another round section above the rotunda, but now only the cone-shaped top is left. The baked bricks, from which the minaret is made, are the main feature of its architectural design. The body of minaret is belted with narrow ornamental strings made of bricks. They are arranged in a chessboard order, either straight or diagonally. A frieze with inscriptions goes around the minaret upon a muqarnas (stalactite) cornice. The frieze is covered with blue glaze, which was used widely in the architectural decor of Bukhara at that time.

Kalyan Mosque (Masjid-i kalyan), arguably completed in 1514, is equal with Bibi-Khanym Mosque in Samarkand in size. Although they are of the same type of building, they are absolutely different in terms of art of building. The Kalyan Mosque is one of the outstanding monuments of Bukhara, dating back to the fifteenth century. According to data from archaeological excavations, the original Karakhanid Djuma Mosque was destroyed by fire and dismantled, apparently at the time of the Mongolian invasion. Some time later, it was rebuilt, but this reconstructed mosque did not remain long. A new mosque was built in the fifteenth century, at the time of the Sheybanids, according to written sources of the time.

Under Temur, the construction of monumental buildings was concentrated in Samarkand and Shahrisabz. However, under Ulughbek, the powerful clergy of Bukhara initiated the construction of a new Djuma Mosque on the site of the old one. Its dimensions are just slightly smaller than those of the Bibi-Khanim, Temur's congregational mosque in Samarkand. However, Bukhara's Djuma Mosque is not decorated as elaborately as the Bibi-Khanim. The layout of the Djuma Mosque (named the Kalyan Mosque) is traditional: a rectangular courtyard with a tall and large maksura room on the west side. Each of the courtyard axes has a large ayvan and the perimeter of the courtyard is built up with pillar-domed galleries (there are 208 pillars and 288 domes). The maksura is square and has deeply recessed niches on the transverse axis and a mihhrab on the main axis.

Slabbing is typical for the early fifteenth century,-an octahedron of arched pendentives supports a vaulted inner dome and is capped by a spherical blue outer dome upon a drum. This structure still dominates the skyline of Bukhara. Construction of the mosque was completed in 1514 under the direction of Ubaidulla-khan. new elements were a main facade with peshtok in the centre of it, gul-dasta (towers) and arches on the walls. The decor of the mosque is constrained, composed primarily of glazed tiles and bricks that form knots, and is concentrated mainly on the main facade and the mihrab.

Interestingly, however, beyond this facade archaeological research has revealed an earlier decor, composed of six sided tiles and a mosaic border. The earlier decor is marked with the name of the master who made it, Bayazid Purani, and dates back to the fifteenth century.

There is little known about the Mir-i Arab Madrasah origin. The construction of Mir-i-Arab Madrasah is ascribed to Sheikh Abdullah Yamani of Yemen, the spiritual mentor of early Shaybanids. He was in charge of donations of Ubaidollah Khan (gov. 1533-1539), devoted to construction of madrasah. It is one of the best Bukhara architectual school monuments of 16 century. Architecture and decor of Miri-Arab distinguish by highest culture and taste. At present in this monument, which underwent catastrophical detruction, portal and whole northern wing of main fasadewere restored up, cupola and yard-arcades construction were strengthen.

Near Miri-Arab Madrassah is Amir-Alimkhan Madrassah. It was built in the end of 19 – beginning of 20 centuries, with using of unusual shape – in look of common living and economic yards in one together. From 1924, the monument served as urban library, what is quite in order: «Noble Bukhara», as it was called in the East, always was one of the scientific and the knowledge center and had large book-depository.

Ulugbek Madrassah was found in 1417, as the inscription on the bronze plate of door runs says. There is a name of master in the portal tympanum, which was building this monument – Ismail ibn Takhir ibn Makhmud Ispfargoni. It is possible he was a grandson of one of the masters, who had been captured by Timur in Iran and left their names on the portal of Gur-Amir complex in Samarkand.

Bukhara Madrassah is the first Madrassah, built by Ulugbek. It is comparatively small, but has great forms. This is a building with two-ayvan square yard, surrounded by two-storey hudjrs, with darskhana cupola halls and mosque on the cross of entrance hall.

Opposite Ulugbek Madrassah there is Abdullaziz-khan Madrassah. Abdullaziz-khan built it in 1651 – 1652 and it is the last large Madrassah in Bukhara. The building is typical by composition, with four-ayvans yard, but with unordinary divergent fan of hudj groups after side ayvans and cupola buildings on the central axis.

It is very interesting the improvent of living lodgings, which consisted of entrance hall and hudjra, and were equipped with free-places, attic storeys, wall niches for bed clothes, dishes, decorated in conformity with the taste of inhabitants, who rented these apartments during their study.Away from Poi-Kalyan ensemble we can see trade arcades, belonging to the end of 16 century Taki-Telpak Phurushon and Taki Sarraphon.

Head-dresses were sold in Taki-Telpak Phurushon : skull-caps embroidered with beads, brocade and silk, fur-fox hats, turbans. Currency transactions were accomplished under Taki Sarraphon dome, shroffs mediates in international trade affairs.

The cupolas are inimitable in their architecture and constructions. The most expressive of them is Taki Sarraphon with cruciform passage through central hall and apartments behind its beveled corners: in one room there was mosque, in another – the entrance into old Saraphon baths, in other two ones – usurer stores. Constructive basis is four massive crossing archs, you can see inside and outside.

Architectual ensemble Lyabi-hauz is formed with three large monumental buildings: Kukeldash Madrassah in the north, khanaka and Nodir Divan-begi in the west and in the east. From the south the square was closed with Trade Street. The center of old Bukhara large ensemble became a reservoir.

The name «Laybi-khauz» means «at reservoir». According to the old legend, for a long time knan gardener Nodir Divan-begi could not buy a lot for planned building, where a house of alone woman was. Then all-powerful vizier ordered to built a channel under women's house, and the water began to washaway walls, unhappy women had to sell this lot. The khan hauz secretly was called «khauz of violence», what in arabian inscription gives numerical meaning of building date - 1620.

The khauz rectangular (36 – 46 meters height), stretched from the east to the west, is buried in shadow of venerable chinaras. Its shores are formed with stair launch to the water, made from massive blocks of yellow limestone. In old times there was «tea bazar», there sold sweets, dainties, bread and made food.

Kukeldash Madrassah (1568 - 1569) is the largest in Bukhara (80x 60 meters). It is built on traditional diagram of eastern institution – boarding school. However for the first time in madrasah built in rabid, light, ventilated hujrs leaded by loggias on the free yard to the streets of city. They open on the second floor on side-facades. Living apatment is equipped with modern amenities, as Ulugbek Madrassah in Samarkand, butr there is three-part apartmenton the first floor, consisted of ayvan, housing and household apartments. In darskhana 4 crossing archs, stretched from corner to corner diagonally with netted decor, carry the light.

On the west side of Laybi-khauz is one more architectural monument. This is Nodir Divan-begi Khanaka (1619 - 1620). It is great multicells building with central cupola hall, with undeep niches on sides. In the building corners are living hydjras. On the eastern side of khauz you can see a facade of curious architectual building – Nodir Divan-begi Madrassah. At first this building was built as caravan-saray in Madrassah, joined to main facade loggias, portal and corner towers. At this time second floor was built. On longitudinal axis, across from entrance peshtak is, traditional in caravan-saray, passage to the back yard, destined for pack cattle.

The Magoki-Attori Mosque in the city's centre is an example of an urban mosque in a residential quarter. The mosque was built on the site of the pre-lslamic Moh temple mentioned above. Excavations have revealed the fact that even under the Samanids there was a six-pier mosque, which apparently was also domed. However, it was rebuilt substantially in the twelfth century; the floor level was upgraded and the main facade received a new design that survives with little damage only. By the sixteenth century, the thickness of cultural layers had increased so much that mosque seemed to sink deep into the soil and its facade was unearthed only as a result of excavations carried out in the 1930s.

The facade of the mosque is asymmetrical. To the right it has a portal with a recessed vault, fringed with rectangular strips; the architectural decor is composed of covered bricks which form geometric shapes and tiles of carved terra-cotta bearing vegetation patterns. Carved terracotta is also used in decorating the pylons and the vaults of the arches, combined with vegetation patterns with inscriptions covered with blue glaze. All in all, the Magoki-Attori Mosque is an excellent example of Central Asian architecture during the Kara-khanid epoch.

Shakhrisabz - Tamerlane’s Hometown. Timur’s hometown Shakhrisabz is a small town south of Samarkand. By the time of birth of Timur on 9 April 1336 at the village of Hoja Ilghar, 13 km to the south from Kesh (former name of Shakhrisabz), Kesh was ruled by the Barlas clan, Mongols of the Chaghatai khanate, turkicised by their long stay in the fertile Kashkadarya valley.

Using his Barlas lineage, Tamerlane gathered a band of followers, who helped him to become from a sheep-rustler to the lord of the valley by the age of 25. A decade later he became a lord of the whole Transoxiana, making the Samarkand the capital of his empire. As he rose to power, Timur paid great effort to strengthen and beautify Kesh. He built Ak Saray, the white palace, surrounded it by high walls and a deep moat, crossed by drawbridge, and laid out green gardens which gave a new name of Shakhrisabz (Tajik for “Green Town”).

The town was almost destroyed in the 16th century by the emir of Bukhara, Abdullah Khan II, in a quest for the Shaybanid throne. Local stories claim that he became very angry, when he lost his favorite horse from exhaustion on the approach to the city that he ordered to destroy it.

Most of the Shakhrisabz’s current attractions were built here by Timur (including a tomb intended for himself) or his grandson Ulughbek. Although, the city hosts many historical sites, it is worth a visit just to check out the great man’s roots.

Remains of Ak Saray palace and old city walls can be found in just north of the city center. After the independence, the statue of the Amir Temur was built in front of the Ak Saray, reminding by its size the greatness of Amir Timur and his empire. To the south, just across the road from Amir Temur’s statue, you will find Amir Timur’s museum located in a two storey part of Chubin Madrassah.

The most beautiful historical part of Shakhrisabz, is the Kok Gumbaz mosque and Dorut Tilovat. The Kok Gumbaz was competed in 1437 by Ulughbek in honor of his father Shah Rukh. Dorut Tilovat (House of Meditation) hosts the Mausoleum of Sheikh Shamseddin Kulyal (1374), spiritual tutor to Timur and his father, and Gumbaz Seyidan (Dome of the Sayyids), which Ulughbek finished in 1438 as a mausoleum for his own descendants.

Behind the Dorus Siadat is a bunker with a wooden door lading to the crypt of Tamerlane , discovered in 1943, when a child playing football fell through the ground. The room, plain except for Karanic quotations on the arches, is nearly filled by a single stone casket. One the stone were found encryptions related to the life of Amir Timur, which is why that it is believed that the crypt was intended for him.

Shahrisabz is, above all, associated with the Ak-Saray palace. Many amazing legends are linked with the history of the palace's construction. According to one of them, Timur began to think of building a magnificent edifice, summoned an architect and set out his objective. After listening to the ruler, the architect asked to be allowed into the state exchequer. When permission was granted, the craftsman started to make foundation blocks from clay mixed with gold in full view of Timur.

Seeing that the ruler remained impassive, he broke up the blocks and returned the gold to the exchequer. When Timur asked: "Why did you do that?" the architect replied: "So as to make sure of your determination to embark on constructing a building that requires vast expenditure." A second legend recounts that, after the main building work had been completed, Timur began to tell the craftsmen to hurry up and finish the decorative facing of the palace. But they were in no hurry to cover the building with majolica and mosaic. When the angry ruler ordered the chief architect to be brought before him, it emerged that had vanished after hanging a chain in the centre of the palace's main arch. Since no other craftsman of equal stature could be found, the building remained unfinished. Some time later, however, the architect suddenly appeared and, after making sure that the chain on the entrance arch was now considerably lower, embarked on decorating the building.

When Timur demanded an explanation of his strange flight and sudden reappearance, the architect replied: "I dared not disobey my sovereign's command, but I could not carry it out either. Stern punishment awaited me in either case, since such a majestic building had to settle and bed down firmly in the ground, otherwise all the decoration on it would be destroyed." The great ruler appreciated the craftsman's wisdom and resourcefulness.

The palace building in Shahrisabz took over a quarter of a century to construct. The Spanish ambassador, Ruy Gonzalez de Clavijo, who passed through Shahrisabz in 1404 on his way to the court of Timur in Samarkand, was astounded and charmed by the architectural miracle, and he left a detailed description of it, noting, however, that the splendid artistic decoration of the palace was still unfinished. The overall layout, scale and artistic appearance of Ak-Saray can be reconstituted from the descriptions of contemporaries and eyewitnesses, as well as from the results of archaeological excavation at the site. According to written accounts, the palace consisted of several stately, living or service quarters, grouped around separate courtyards.

The overall scale of the palace is impressive: the main courtyard alone, which has been reconstituted from the microrelief, was 120 - 125 m wide and 240 - 250 m long. The size of the other courtyards and of the outer perimeter of the palace has not been reconstructed owing to severe disturbance of the microrelief in the 15th - 16th centuries. Calculation of the proportions of the surviving elements of the site makes it fairly certain that the height of the main portal reached 70 m. It was topped by arched pinnacles (ko'ngra), while corner towers on a multifaceted pedestal were at least 80 m high. The main entrance portal was 50 m wide, and the arch had the largest span, 22.5 m, in Central Asia.

The architectural decor, featuring a wide variety of designs and colours, is particularly noteworthy in the artistic appearance of Ak-Saray. When using various techniques, however, the craftsmen bore in mind that the palace's main portal faced north, towards the capital, Samarkand. Given the poor light, the architects used only flat segmentation here and hence a continuous decorative treatment. The use of brick mosaic work, mainly dark and light blue in colour, forming large geometrical and epigraphic designs on a background of polished building brick, gives the portal a special softness of colour and an air of grand mystery.

The various mosaic and majolica work in the niche of the portal is particularly refined and highly coloured. The delicately executed foliate ornamentation incorporates exquisite calligraphic inscriptions of mainly Koranic content, although secular ones are found too. In the midst of the decorative facing, an inscription has survived, giving the date of completion, 798 (1395 - 1396), and the name of the craftsman, Muhammad Yusuf Tebrizi (from the Azeri city of Tabriz). According to Clavijo, who visited Ak-Saray, "in this palace was a very long entrance and a very high portal, and by the entrance, to right and left, were brick arches covered with tiles painted with various designs. Beneath these arches was what looked like small rooms without doors, and the floor inside them was covered with tiles. This was done so that people could sit there when the king was present. Beyond this was another door and after that a large courtyard, paved with white slabs and surrounded by richly decorated galleries. In the middle of the courtyard was a large pool. The courtyard was some 300 paces wide, and it gave access to a large house, in which was a very high and wide door, decorated with gold, azure and tiles of very fine workmanship. In the middle, above the door, a lion was depicted, lying in the sun, and exactly the same picture was to be found at the edges. This was the device of the king of Samarkand. After this, the envoys were taken to look at the chamber that the king had appointed for sitting and feasting with his wives, very spacious and luxurious. Before it was a large garden with many shady and assorted fruit trees. Inside it were many pools and artfully sited meadows. By the entrance to this garden there was such a vast space that many people could have enjoyed themselves sitting there in the summertime beside the water and beneath the shade of the trees. The workmanship in the palace is so luxurious that, in order to describe everything well, one has to go and examine it a little at a time."

The Ak-Saray palace is a grandiose piece of civil architecture, and not just by Central Asian standards. Historical tradition ascribes the destruction of the majestic edifice to Abdullakhan, who, during one of the sieges of unsubdued Shahrisabz, is supposed to have ordered the splendid structures of Timur and his descendants to be demolished. Be that as it may, of the once luxurious royal palace only the pillars and part of the arch of the main portal remained by the second half of the 18th century.

Kok Gumbaz Mosque (1435-1436) takes its name from its blue dome. It was built by Amir Timur's grandson Ulug Beg in honor of his father Shah Rukh, who was Timur's son. It is the centerpiece of the madrassah Dorut Tilovat. Just below the dome, transcripts from Koran cover the big portion of the Kok Gumbaz. Dome from insude has been restored to show the original decorations.

The Doruttilovat memorial complex was formed after the death in 1370 - 1371 of the eminent religious leader Shamsiddin Kulal, the founder of Sufism, the spiritual mentor of Emir Taragay and of Timur himself, and the teacher of Bahauddin Naqshbandi. His grave immediately became a place of reverence for his numerous disciples.

Next to the tomb of Sheikh Kulal stood the building of the Doruttilovat madrasa. The remains of Emir Taragay were transferred to one of its rooms. During the reign of Timur, Kulal's tomb was faced with slabs of onyx marble. Later, under the rule of Ulughbek, a domed mausoleum was erected over the site of Shamsiddin Kulal's burial and on the remains of an earlier and more modest building. The Ko'k-Gumbaz (Blue Dome) mosque was built opposite the mausoleum and on the same axis in 1435. An inscription on its portal indicates that the mosque was built by Ulughbek on behalf of his father, Shakhrukh. It is also known as the Friday Mosque of Shahrisabz.

In 1437 - 1438, two years after the mosque's construction, a burial vault (makbarat) for the descendants and members of the Timurid clan was built, by order of Ulughbek, beside the south wall of the mausoleum of Shamsiddin Kulal. Among the marble gravestones of the 15 th - 17 th centuries transferred to the burial vault at various times from the neighbouring cemetery, there are several examples that mention the names of the Termez Sayyids. This is the origin of the second, and later, name of the vault, the Gumbazi-Sayidon (Dome of the Sayyids).

Thus, around the enclosed courtyard of the Doruttilovat madrasa, a unified memorial complex of the same name took shape throughout the 14 th and 15 th centuries - the Mausoleum of Shamsiddin Kulal, the madrasa itself with the gurkhana of Emir Taragay, the mosque and the makbarat, or burial vault, of Ulughbek. Between the two famous memorial ensembles of Shahrisabz, the Dorussaodat and the Doruttilovat, lay an old cemetery, where members of the local aristocracy and the clergy were buried.

Khiwa

Khiva is one of the ancient cities Horasmis, later known as Hvarezmi - Khorezm. Khorezm is a large country located in the west central Asia, south of the Aral Sea. Currently, these areas prmnadlezhat Uzbekistan and Turkmenistan. According arhelogicheskim data, Khiva was founded over 2,500 years ago [source not specified 173 days]. In ancient times the city was known as Heyvak. According to legend Khiva was founded by one of the prophets. In his history of the conquest of the Achaemenian city experienced periods of prosperity and where the boundaries of the ancient Khorezm extended to Kolhidy.B 1598 Khiva became the main city of Khiva, it was a small fortified town with a 10th century history. Legend tells of its origin, that the city has grown around the well Heyvak, from which the water was amazing taste, and the well was dug on the orders of Shem, the son of the biblical Noah. In Ichan-Kala (Inner City of Khiva) and today you can see this well. In a short period of Khiva became one of the spiritual centers of the Islamic world. The heyday of Khiva as a city building sets monumental architectural structures in proizhodil XVIII - early XX century, when state regulations Uzbek dynasty Kungrat. In the years 1793-1794 visited Khiva Blankennagel physician, traveled from St. Petersburg to Khiva to cure eye of the local governor, who was engaged during a trip collecting different information about this country. He left a detailed description of Khiva, its geographical location, natural resources, population and foreign trade, including data on trade with Russia.

Kalta Minar minaret

Kalta Minar minaret (short) was conceived as the largest in the Muslim East (base diameter - 2.14 m). The plan height of the minaret was 70-80 meters and the diameter would decrease sharply with altitude, which would make it more durable minaret. But construction stopped at a height of 29 m. According to the historian of Khiva Muniz, the building was not finished because of the death of Khan in 1855. A legend tells that the Emir of Bukhara, learning about the unique construction of the minaret in Khiva, wanted to build the same in Bukhara, and agreed with the master that he would do it as soon as finished in Khiva. Khan of Khiva, learning of this, gave orders to kill the wizard as soon as he finishes the construction. Then came the news and to master, and he fled, leaving the unfinished minaret. The minaret is known precisely because of its incompleteness, as well as its unique decor (Kalta Minar - the only minaret, entirely covered with glazed tiles and majolica)..

Madrassah of Muhammad Amin Khan

Madrassah of Muhammad Amin Khan (1851-1854) - an architectural monument, located in the fortress Ichan-Kala in Khiva. Madrasah is located in the western part of Ichan-Kala. Two-storey madrassa Muhammad Amin Khan. Built between 1851 and 1854. Muhammad Amin Khan - the largest not only in Khiva (260 students), but throughout Central Asia. "This is a beautiful building will forever stand in the joy of future generations." So thought the Khan of Khiva, having decided to surpass in size and comfort of all the religious schools in Khiva. In addition to religious school here was located the Office of the Supreme Muslim court. Amazing architecture of the building madrassas here for the first time in Khiva, residential hujra - two rooms, located on the first floor, and hujra, located on the second floor have balconies with access to the facade of the building. The facade is decorated with ornaments of madrassas glazed brick. At the present time in this building located hotel, travel agency, currency exchange, ticket office and cafe.

Juma Mosque

According to research by the Arab geographer Mukaddas, Juma Mosque dates back to X century. At the end of the XVIII century mosque was rebuilt with money donated by Abdurahman Khan Mehtar, who at that time was in power. Historian Munis confirms this fact. This mosque is unique in structure, it does not have portals, canopies, galleries and courtyard. To have access to the mosque on three sides. On the north side of the street called Pahlavan, Kari, with its 33-meter minaret. The ceiling of a large hall supported by 213 wooden pillars. In the ceiling there is a small hole for light and ventilation. The south wall has a stalactite niche and the right is a marble plaque showing profits and estates. Ahead of the north-west corner of the mosque, madrasa located Kazi Kalian, where earlier studied various sciences. Of particular interest are the doors and pillars, with hand-carved, which were made in 1316, 1517, 1788 and 1789, respectively..