Hotel search
Photos
Monuments in Bukhara

The Lyabi Khauz Ensemble

The Lyabi Khauz, i.e. "at the pond", is the title given to the area surrounding one of the few remaining Hauz or ponds surviving in the city of Bukhara. Until the Soviet period there were many such ponds, which were the city's principal source of water, but they were notorious for spreading disease and were mostly filled in during the 1920s and 30s. The Lyab-i Hauz survived because it is the centrepiece of a magnificent architectural ensemble, created during the 16th and 17th centuries, which has not been significantly changed since.

The ensemble comprises three monumental structures: Kukeldash Madrasah in the north, Khanaka (1619-20) in the west and NAdir divan-begi Madrasah (1622/23)  in the east. The small Qazi-e Kalyan Nasreddin madrasah (now demolished) was formerly located beside the Kukeldash Madrasah

The Kukeldash Madrasah (1568/69)

The word "kukeldash" literally means "foster-brother". In a hierarchy of power inherited from Genghis-khan this word designates one of the most important positions of khans' court. The sponsor of Kukeldash Madrasah was highly influential emir Kulbaba, who held a post of Kukeldash under several khans of the Shaibanid dynasty. It is historically proven, that emir Kulbaba Kukeldash gave help to Abdulla-khan II (1561-1598) - the most powerful khan of the Shaibanid dynasty - to come to power. According to the hallowed tradition of consecration of the khan inherited from Mongols - in the states that appeared after disintegration of the empire - each new khan ought to be lifted lying on the sheet of white felt. The power to strain the sheet from four corners had four men recognized as most influential figure in a commonwealth. Emir Kulbaba was one of four men who consecrated Abdulla-khan II. The title "khan" could be given only to "tore" - agnate lineal descendant of Genghis-khan.

The greatest in size (80 x 60 meters and over 130 hujras) among other madrasahs in Bukhara, Kukeldash Madrasah became a symbol of the steadfast state under Abdulla-khan. The madrasah also famed as splendid example of "white interior". The entrance gate is of particular interest, inlay fixtures are devoid of glue or nails. The main front is adorned with geometrical ornaments.

Impact of Nadir Divan-begi

Historical background
Divan-begi is a title that designated the post right after khan in the Bukhara khanate. Nadir Divan-begi held this position during the reign of Imam Quli-khan (1611-1642), the strongest khan of the Ashtarkhanid (Janid) dynasty (established in 1599). The rulers of Janid dynasty was alien to powerful Shaibanid feudal lords, therefore Imam Quli-khan hardly retained his power by force. The devotion to Islam tradition in the state under Janid dynasty was pale before the eagerness of the time of prominent Shaibanid khans. These two important peculiarities of the power were soon expressed in remarkable architecture tendency. In 1619 Yalantush-biy who virtually independently governed Samarkand had begun the construction of grand madrasah (Sher-Dor Madrasah). The rich colored finishing and the depiction of sun, tigers and antelopes tell of a pioneering approach to artistic expression, unique in the Islamic world.
The Nadir Divan-Begi Madrasah (1622/23)
In three years Nadir Divan-begi followed Yalantush-biy by construction of his own revolutionary structure (Nadir Divan-Begi Madrasah). Originally Nadir Divan-begi intended the building to be a caravanserai (not that it was allowed to portray human or animal figures on them either but it was marginally better than on a madrasah). But at the inauguration ceremony, Imam Quli-khan unexpectedly proclaimed the supposed caravanserai is to be a madrasah. So Nadir Divan-begi was obliged to rearrange the caravanserai, by adding on to the front the loggias and angular towers. He also constructed an additional storey with cells (hujras). At the same time the madrasah does not have a lecture room!

The entrance portal has depictions of 2 phoenix birds, 2 misshapen white deer and a "man-in-the-sun" face.
The Khanaka of Nadir Divan-begi (1619/20)
This Khanaka a rectangular edifice topped with a dome. The building has non-traditional narrow and prolate main portal along with two lateral entrances. The hall (dhikr-hana) has excellent acoustic properties. The inner walls of the hall are recessed with niches fringed with stucco moldings. The dwelling space occupies corners and lateral exterior walls of the building. The finishing of the main entrance gate is made quite conservatively, with an exception of some floral elements in ornamentation. The edges of the main portal are overworked with epigraphy ornaments. The main front of the khanaka is cornered with towers cut at a level of the walls.

The khanaka, owing to its location and size (side of the square hall is 11,2 m. - 36,75 ft.) in the course of centuries was the prominent cultural and religious centre of Bukhara.
The story
According to local story, when Nadir Divan-begi built the Khanaka, near the site of the building there, was a large holding, owned by an old Jewish widow. Nadir Divan-begi had decided that this site would be the perfect place for pond. However, the widow turned down his offer to buy the property. Then Nadir Divan-begi brought her before Imam Quli-khan in the hope that he would coerce her into selling. Imam Quli-khan ordered a congress of muftis to inquire into the question. However, these specialists in Muslim law decided that there was no legal way to purchase the property, other than with the widow's consent, since Jews had rights on a par with Muslims if they paid the Jizyah or poll tax on non-Muslims.

Therefore, Nadir Divan-begi had to build a small reservoir near the house of that stubborn Jewess. Nevertheless, he dug an aryk - an irrigation ditch - to his new pond in such a way that the water ran right near the Jewish widow's house, although it was more expensive. Soon the water began to undermine the foundations of the widow's house. When she came to Nadir Divan-begi for justice, he confirmed his readiness to buy her house for fair price. The widow rejected the money, laying down her own conditions instead. She promised give up her property if the Bukhara rulers would give to her another piece of land with permission to build a synagogue. In return for the widow’s holding Nadir Divan-begi gave her a plot of land, belonging to him, in residential area, which later was named the "Jewish quarter" (Mahalli Kuma).

Soon the first synagogue at Bukhara and a large pond, the last element of the complex, were built. People started to call it the "Lyab-i Hauz", which means "at the pond". The date of its construction is about 1620. However, folk memory retains another epithet - "Haus-i Bazur" i.e. "made with a force".
The pond
Today Lyab-i Hauz is a right-angled pond (46 x 36 meters), which stretches from the east to the west. Its edges have the form of the descending staircase made of massive blocks of yellowish limestone.

The Magak-i Attari Mosque

Before the Arab conquest there was a bazaar close by the site of the Magak-i Attari Mosque, i.e. the "Mosque in pit". It was a market for idols, potions and spices - attar (perfumes). Besides this, there, was formerly a Temple of the moon (Mokh) at this place.

During this time Bukhara functioned as a cult center for the worship of Sin the god of the moon. The two chief seats of Sin's worship were Ur in the south and Harran to the north of Mesopotamia. The cult of Sin spread to other centers, and temples of the moon-god are found in all the large cities of Babylonia and Assyria. The moon-god is by excellence the god of nomadic peoples, since the moon is their guide and protector at night when they undertake their wanderings. Therefore, the cult most likely arose at the place of Bukhara from the very outset of the first settlements because of inter-nomadic connections.

Approximately once a lunar cycle, the inhabitants of the Zaravshan Valley exchanged their old idols of Sin for new ones. The trade festival took place in front of the Moon (Mokh) Temple. This festival was important in assuring the fertility of land on which all inhabitants of the delta of Zaravshan depended. Because of the trade festivals, Bukhara became a center of commerce.

Abu Bakr Muhammad ibn al-Narshakhi of Bukhara, who had completed his book in 943 A.D. (A.H. 332), mentions the mosque, which was built on the site of former Mokh Temple. He used the name "magok", i.e. "in a pit", because even then half of it was concealed from view by the rising soil level. Hence, the mosque, perhaps, is one of the earliest religious buildings of Islamic era in Bukhara. Choice of place for the mosque also proves this assumption, because Arab conquerors built their sanctuaries first of all at the places of prostrated cults. In Bukhara, it had taken place at least once more; the very first cathedral mosque was built at the place of destroyed temple of fire-worshippers. There is opinion that the Kalyan Mosque was afterwards built exactly at that place.

Before the construction of the first synagogue in the 17-th century Jews had shared a place in the Magak-i Attari Mosque with Muslims. Some say that Jews and Muslims worshipped alongside each other in the same place at the same time. Other sources insist that Jews worshipped after Muslims. This perhaps explains the Bukharan Jewish custom of saying "Shalom Aleyhim" ("Peace be with you") after morning prayer. This custom is lacking amongst European Jews.

Abdul-Aziz-khan I (gov. 1533-1550) had made thorough repairs of the mosque in 1549. New eastern upper portal was built, because the ancient southern portal remained under the ground. Now released the southern portal represents genuine masterpiece of early Islamic architecture in Bukhara.

Chor-Minor

Chor-Minor is situated on an esplanade down the road a bit to northeast from Labi-hauz. Chor-Minor i.e. "four minarets" it is well-preserved structure built by Khalif Niyaz-kul - rich inhabitant of Bukhara, Turkmen by origin. The date of construction 1807 often indicated is not precise, because archival documents keep data, which prove, that in Bukhara at the close of the 17-th century there was a residential area (quarter) Khalif Niyaz-kul named after madrasah of the same name.

Design of Chor-Minor is such unusual that it is just flat-out confusing. Therefore, some consider the structure with four towers as a gate to lost madrasah behind. However, on closer examination one can see that Chor-Minor (even in the state that it got up to our days) is all-sufficient complex of buildings that have at least two destinations - ritual and dwelling.

Main edifice cornered with towers is a mosque. In spite of its unusual outward shape, the mosque has quite customary interior. The primary purpose of the mosque was to serve as a place for the five daily prayers (masjid-y panchvakty). Owing to cupola the room has good acoustic properties, therefore it takes on special significance of dhikr-hana hall, a place for ritualized dhikr ceremonies of Sufi, the liturgy of which often include recitation, singing, and instrumental music.

On either side of a central edifice are located dwelling rooms. Some of them collapsed, only basement remained. Consequently, for full functioning of madrasah only of classroom and some utility rooms is lacking. However, there is no intimation that they ever existed, only guesswork. If to suppose that madrasah was not such huge that extant buildings were only a front of it; intact solid structures can be madrasah in itself for 15-20 students.

On the esplanade to the right from Chor-Minor is a pool, most likely of the same age with the complex of buildings.

It was common practice that so-called madrasahs had no lecture rooms or, even if they had, no lectures had been given in them. These madrasahs were employed as student hospices. For example the Goziyon hurd (Small Goziyon) madrasah and even the Nadir Divan-Begi Madrasah (which has no lecture room). In the 19-th century at the quarter Garibia, there was a mosque. There was also a row of dwelling rooms for students near by to this mosque, which (the row) was called the Gabria madrasah. At the quarter Miraqon, there was a khanaka. Khanaka in itself is a hospice for dervishes. However, because there lived students, it was called madrasah. At the quarter Sesu, near to ancient mosque there was hospice composed of only seven hujras (dwelling rooms). The hospice also was called madrasah. The same situation was at the quarter Volida-honi-shahid.

Each of four towers (minarets) has different shape. Some say that elements of decoration reflect religious-philosophical purport of four world religions. At least, one can easily find some elements are reminiscent of cross, Christian fish and Buddhist praying-wheel.

The Namazgoh Mosque

Namazgoh is one of the oldest constructions of Bukhara in the South of present-day city. The first known Namazgoh at this place was developed in the 9-th century, during the reign of the Samanid dynasty. One of the characters of this time is stabilization of the power under Islam ideology. Because of it, Bukhara became one of the major Islamic centers on the East. It was the time of general construction of ritual buildings (mosques, namazgohs), educational institutions (madrasahs) and other structures peculiar to usages of new religion such as khanaka, minaret and so on.

The word "Namaz" derives from two Sanskrit roots "Nama" and "Yajna" meaning bowing and worshipping. In Persian it is loan-word from Arabic word "Salah". Salah, also salat, namaz, solat, solah, solaat, solaah, salaat, namaaz, shalat and other spellings refer to the five daily ritual prayers in Islam.

The word "Namazgoh" (Namazgah) has the same meaning with the Arabic word “Musalla”, which comes from the root word “Salah”. Salah means “prayer” - Musalla literally means, “prayer performed”. Thus, words Namazgoh and Musalla refer to a place where Namaz can be performed as it is performed in the Sacred Mosque. The musalla may be an area, room or prayer rug used by Muslim people to provide for themselves a clean space to pray.

Known as musalla or festival mosques, namazgohs are open-air mosques capable of accommodating large crowds or camping armies and were often built outside cities, or along major roads.

Existent structure of the Namazgoh of Bukhara was originally constructed in 1119 under Qarakhanid ruler Alp Arslan Khan Mukhammad. Then the namazgoh was significantly modified in three subsequent stages. The first stage, dating to the 12th century is a baked brick qibla wall, approximately 38 meters long. It consists of a central mihrab niche flanked by a blind arch on either side. The broad forecourt is thought to have been partially fenced in, to demarcate sacred territory. The space immediately in front of the mihrab may have been roofed, as seen in similar structures in Merv and Nissa.

The second stage consisted of the addition of geometric brick and terracotta decoration during the 13th century under Mongol Il-Khanid rulers. Timurid reign in the 15th century added decorative bands made of glazed tile. Astrakhanid rulers in the 17th century commissioned the final and the most extensive modifications. A new facade with a three-bay portico, centered about a pishtaq or a projecting portal was attached to the original qibla wall, raised on a stone plinth. A brick minbar - in Islam, the pulpit from which the sermon (khutbah) is delivered - perhaps replacing a wooden predecessor was added to the northern corner of the portico facing the congregation.

There is an octagonal hauz, or stepped lake made of hewn stone, to the north east of the qibla that was possibly used for ablutions. The namazgoh is made of baked brick, terracotta and ganch, or alabaster panels, resulting in a predominantly monochromatic ochre composition. The incised terracotta panels, especially in the interior, bear traces of polychromatic decoration. The pishtaq is lined with blue ceramic bands with kufic calligraphy. Its tympanum is filled with interlocking stars and hexagons in blue ceramic.

The structure had extensive damages to its plinth and roof, caused by water seepage, now it is under reconstruction. Since nowadays it is within the city the namazgoh has lost its ritual significance what has resulted in its disuse and neglect. Today other significant out-of-town religious centers (such as the Bakha ad-Din Nahshbandi Ensemble or Kasim-shaikh mausoleum in Kermine) play a role of namazgoh in Bukhara province.

The Ulugh Beg Madrasah

The Ulugh Beg Madrasah (1417+) is the only structure of such scale in Bukhara, which remained from the epoch of the Timuride dynasty.

Ulugh Beg (March 22, 1394 - October 27, 1449), born Muhammad Taragai ibn Shakhrukh ibn Timur Gurgan. Ulugh Beg, meaning "Great Ruler" or "Patriarch Ruler" was the grandson of Timur and the son of Shakhrukh. Ulugh Beg was born in Sultaniyeh in Iran. He showed an aptitude for scientific pursuits from an early age. His father and grandfather attracted scholars to Samarkand, and Ulugh Beg took full advantage of this. With Timur's death, and the accession of Ulugh Beg's father to much of the Timurid Empire, Ulugh Beg settled in Samarkand which had been Timur's capital. After Shah Rukh moved the capital to Herat (in modern Afghanistan), sixteen-year-old Ulugh Beg became the governor in Samarkand in 1409. In 1411 he became a sovereign of the whole Mavarannahr khanate.

The teenaged ruler set out to turn the city into an intellectual center for the empire. In 1417-1420 he built the madrasa ("university" or "institute") on Registan Square in Samarkand, and invited numerous Islamic astronomers and mathematicians to study there. In addition to the madrasah in Samarkand Ulugh Beg also built the same institution in Bukhara, supposed to be a real center of the enlightenment in the area. The construction of the Ulugh Beg Madrasah in Bukhara was also initiated in 1417. His own particular interests concentrated on astronomy, and in 1428 he built an enormous observatory in Samarkand.

Interestingly, he was very strongly devoted to the search for truth and accuracy, to the point of using his position of power to advance a false idea, then chastizing people who agreed with him out of deference to his rank and power.

His father, Shakhrukh, died in 1447 and passed control of his kingdom to Ulugh Beg, which drew him away from his scientific pursuits. Ulugh Beg's politics were not up to his science and, after his father's death, he was unable to retain power despite being an only son. Ulugh Beg was assassinated in 1449 under the orders of his son, Abdul Latif, who was himself murdered a year later.

The life of Ulugh Beg paralleled the life of another prominent figure of the 15-th century - Sheikh Uboydullo Khodja Ahror (1404-1490). Sheikh Uboydullo Khodja Ahror was born in Bogiston village near to Tashkent. Uboydullo Ahror was quite young man when he became a head of the Sufi order Naqshbandiyya. He noticeably improved doctrine, and in the middle of the 15th c. he became a leader of Muslim clergy of all the State that was inherited from Timur, where during the 14th and 15th centuries, the Naqshabandiya was the dominant Sufi order. Using his important position Khoja Ahrar became powerful political broker. There is opinion that Khodja Ahror opposed the secular education in madrasahs. After Ulgh Begh's death he moved his residency from Tashkent to Samarkand (in 1451), where in the rest of his life he had enormous influence in spiritual and temporal power. Ulugh Beg's death and the strengthening of the clergy power in the state put an end to the astronomical work at Samarkand.

Perhaps the madrasah of Ulugh Beg in Bukhara built almost at the same time with his madrasah in Samarkand is the witness of inceptive confrontation between Ulugh Beg and religious opposition of Nakshbandiya, whose center was in Bukhara. At least an inscription entwined with astral elements of decor, which predominates in ornamental finishing of the main entrance of the madrasah, throws down a challenge. It says: "Pursuit of knowledge is the duty of each follower of Islam, man and woman". They say there was another inscription, lost in renovation in the 16-th century, "Let the doors of God's blessing will open over a circle of peoples, versed in the book wisdom".

The architects of the Ulugbek Madrasah in Bukhara were best professionals of that time, Nadjmetdin Bukhari and Ismail Isfagani.

The Saif ed-Din al-Boharsi Mausoleum and the Bayan-Quli Khan Mausoleum

In the settlement, called Fathabad, to the east from medieval Bukhara, in the past was vast religious complex. The initial core of the complex was the grave of Saif ed-Din al-Boharsi (1190-1261) - very popular poet, sheikh, and theologian - who lived in thirteenth century. The followers of the sheikh al-Boharsi have built up at this area of rabad (rabad - an outskirt) many dormitories (khanakas) for dervishes, who lived there on donations of the Kubravi Sufi order members. The Fathabad settlement later had joined the city.

The Chagatay ruler Bayan-Quli Khan had expressed a wish to be interred near by respected burial place of al-Boharsi, and it is there that he is buried. In 1358, the Mausoleum of Bayan-Quli Khan  had appeared there. The extant mausoleum of Saif ed-Din Boharsi dates from the end of 14-ht century.

The Saif ed-Din al-Boharsi Mausoleum together with the Bayan-Quli Khan Mausoleum (on Bukhara map Buyan Kulikhan Mausoleum) are an admirable architectural ensemble. However, these monuments make even more great interest because of their religious-historical and cultural importance.

The Baha-ud-Din Naqshband Complex

The Baha-ud-Din Naqshband Complex  is situated at the place of the former center of Sufi order (tariqa) Naqshbandi (Naqshbandiyya). This order is one of the major Sufi orders of Islam. Formed in 1380, the order is considered by some to be a "sober" order known for its silent dhikr (remembrance of God) rather than the vocalized forms of dhikr common in other orders.

The Naqshbandi order is also notable as it is the only Sufi order to trace its spiritual lineage (silsilah) to Muhammad through Abu Bakr, the first caliph. In contrast, most other tariqas trace their lineage Ali ibn Abu Talib, Muhammad's cousin, son-in-law, and fourth caliph.

The word Naqshbandi is Persian, taken from the name of the founder of the order, Baha-ud-Din Naqshband Bukhari. Some have said that the translation means "Way of the Chain" or "Golden Chain", and others consider Naqshbandiyya means to "tie the Naqsh very well". “The "Naqsh" is the perfect engraving of Allah's Name in the heart of the murid. As they say the designation of the Naqshbandi Golden Chain has changed from century to century. From the time of Abu Bakr as-Siddiq to the time of Bayazid al-Bistami it was called as-Siddiqiyya. From the time of Bayazid to the time of Abdul Khaliq al-Ghujdawani it was called at-Tayfuriyya. From the time of Abdul Khaliq al-Ghujdawani to the time of Sheikh Naqshband it was called the Khwajaganiyya. From the time of Sheikh Naqshband through the time of Ubaidullah al-Ahrar and Ahmad Faruqi, it was called Naqshbandiyya.

Sheikh Baha-ud-Din Naqshband

Muhammad Bahauddan Uways al-Bukhari, known as Sheikh Naqshband, the Imam of the Naqshbandi Tariqa, was born in the year 1317 A.D. in the village of Qasr al-carifan (Qasr-i-Arifon), located at the present time at the Kagan district near to Bukhara. After finishing of first course of religious education, at the age of 18, he became a fellow of the Shaikh Muhammad Baba as-Samasi, who was an authority in hadith ( The Arabic word hadith is a narration about the life of the Prophet or what he approved - as opposed to his life itself, which is the Sunnah) in Central Asia. After the latter's death, he followed Shaikh Amir Kulal who continued and perfected his training in the external and the internal knowledge.

The students of Shaikh Amir Kulal used to make dhikr aloud when sitting together in association, and silent dhikr when alone. Sheikh Naqshband, however, although he never criticized nor objected to the loud dhikr, preferred the silent dhikr. Concerning this he says, "There are two methods of dhikr; one is silent and one is loud. I chose the silent one because it is stronger and therefore more preferable." The silent dhikr thus became the distinguishing feature of the Naqshbandiyya among other tariqas.

Sheikh Naqshband performed Hajj (Pilgrimage) three times, after which he resided in Merv and Bukhara. Towards the end of his life he went back to settle in his native place of Qasr al-carifan. His teachings became far-famed. Visitors from far and wide came to see him and to seek his advice. They received teaching in his school and mosque, a complex which at one time accommodated more than five thousand people. This school became the largest Islamic center of learning in Central Asia and still exists in our days. It was recently renovated and reopened after surviving seventy years of soviet rule.

When Sheikh Naqshband died (in 1389) he was buried in his garden as he requested.

Developing of the Complex

The succeeding Khans of Bukhara took care of his school and mosque. By the 16th century, the Baha-ud-Din Naqshband Complex acquired characteristic features of a necropolis combined with the ritual/educational complex. In 1544 Abdul Aziz-khan I had rearranged a burial place of Sheikh Naqsband by building dakhma platform above sheikh's grave with a carved marble fence. At the same time and at the short distance from dakhma was built the biggest ever khanaka (42,5x38 m.).

To the other sights of the complex belong the Mosque of Muzaffar-khan - approx. the thirties of the 16-th century - and the Mosque of Khakim Kushbegi with small madrasah and minaret. Another curiosity is the picturesque arched saqqakhana. The saqqakhana (literally, the water-carrier's house) in oriental tradition can be a little building or niche in a wall, or even just a shelf containing a tap or fountain or jug, usually set behind an iron grille. Passersby can not only quench their thirst but also ask for fulfillment of pious requests after leaving a small votive gift. There as also large pool with lifeless ritual mulberry-tree ashore. Many famous people belonging to the Bukhara history are buried here at the territory of vast necropolis to the west from dakhma.

Supplementary information

The respected in all Islam World, Sheikh Baha-ud-Din Naqshband is arguably considered as the one whose life by some way was connected to the life of Timur (1336 - 1405) - the 14-th century warlord, conqueror of much of Western and central Asia, and founder of the Timurid Empire (1370-1405) in Central Asia. It is said that in his youth, Sheikh Baha-ud-Din was a weaver working on silks, with gold embroidery; therefore he is considered as arts' patron. Visiting of his tomb is believed a very pious act. They believe that baraka (Baraka (or Barakah) is a term referring to a sense of divine presence, charisma, wisdom, and/or blessing) of Baha-ud-Din Naqshband still rests on his grave. Before Islam the village was a center of so-called "Red Rose" pagan cult.

Chor-Bakr

Chor-Bakr (16-th - 17-th cc.) is a necropolis in Sumitan settlement near to Bukhara. It has developed around the graves of Khodja Abu Bakr Sa'd and Imam Abu Bakr Ahmed, whose activity dates from the time of Islam dissemination in Bukhara. Their descendants - khojas of Juibar - were the keepers of esteemed burial places - mazars. (Khoja or Khwaja, a Persian word literally meaning "master", was used in Central Asia as a title of the descendants of the earliest four successors (righteous caliphs) of Mohammad (Abu-Bakr, Omar, Osmon and Ali). The khoja(s) often played, or aspired to play, ruling roles in Muslim community in Turkistan).

In the 16-th century famous Khoja Islam Juibariy (died in 1563 AD) virtually founded a powerful dynasty called the Juibar khojas. Abdullah-khan II (gov. 1561-1598) was a disciple (murid) of Khoja Islam from his youth, he then came to power with the help of Khoja Islam, therefore Abdullah-khan always gave support to the clan. He built many religious and civil installations for them.

When Abdullah-khan became firmly established in Bukhara, he issued an edict on inclusion in a southwest part of the city of settlement Sumitan in order to protect the graves of Khoja Abu Bakr Sa'd and imam Abu Bakr Ahmed as well as other property of Juibar khojas. Around the graves Abdullah-khan constructed a complex of structures, which is mostly intact up to now. New sections of city wall together with gate called Darvaza-nau «New Gate» were built there. Later on, the completion up of all complex took much time.

The central complex consists of the khanaka, mosque and madrasah. The minaret stresses a large scale of main buildings. A narrow path sunk into the ground leads to a group of funeral family yards - hazira with entrance gates and eivans of memorial mosques. The architect of "Khoja Kalon Mosque" of the Khodja Gaukushan Ensemble also has been buried in Chor-Bakr

Varakhsha

Varakhsha (locates at a distance of 40 kilometers (25 miles) to the west from Bukhara; area – 100 ha (247 a); cultural layers – about 10 m. (33 ft.); most flourished in the period of the 7-th and 8-th centuries A.D.; collapsed in the 11-th century) is the site of ancient settlement with former residence of Bukhar Khudas - the rulers of Bukhara in time before Arab invasion. Among other reasons for decline and following collapse of Varakhsha is often assigned an irrigative dehydration of the area.

Historical significance of Varakhsha

Apart from the political and religious significance connected to its residence status, well-fortified Varakhsha was an important military outpost on the western border of the oasis. It was also a considerable trade center situated on the road between Bukhara and Khoresm and in the contact zone between the nomads and sedentary population. Varakhsha was also a major center of crafts. This statement is supported by the discovery of the traces of industrial quarters in Varakhsha's environs. In addition to it Varakhsha was the center of a large agricultural area "irrigated by the twelve canals".

Varakhsha played the important role in local history during the dramatic period of the Arab conquests. At that time, the old Bukhara ruling family moved the royal court to Varakhsha, thus turning it into the scene of many tragic events of their dynastic history.

Varakhsha excavations

The large-scale archeological investigations of ancient cultures of the area started in the second half of the 1930s. Soviet archaeologist Vasilii Shishkin became the real discoverer of Varakhsha in 1937. Once on the site, Shishkin noticed the outlines of rooms on the surface of the elevation to the east of the citadel. This looked promising, and the first excavation spot was set there. One of the rooms turned out to be filled with the fragments of ornamental and figurative decorative stucco in early (what was then considered Sasanian) style. This find became a true archaeological sensation. That is how the palace of Varakhsha became the very first Sogdian monumental edifice to undergo archaeological excavations.

The palace of Varakhsha

The palace is the only archaeologically known Sogdian architectural structure, which has a written history. Indeed, in the Tarikh-i Bukhara composed in 332 AH/943-4 A.D. by Muhammad ibn al-Narshakhi there is a special passage devoted to this building. According to Narshakhi it was built “more than a thousand years ago”. “This palace had been destroyed and abandoned for many years when Khnk Khudah restored it. It again fell into ruins, and again Bunyat b. Toghshada, Bukhar Khudah, rebuilt it in Islamic times and made his court there till he was killed in it. [Narshaki - Frye 1954, pp. 17-18]

The original building of the palace dates to the reign of Khunak (689-709 A.D.). The first remodeling took place during the reign of Toghshada and the paintings on the blue background (the Eastern Hall and an early layer of paintings in the Red Hall) most likely belong to the period of his “apostasy” around 719. The new paintings of the Red Hall belong to the later part of Toghshada’s reign, which ended in 738 A.D.. The fourth stage in the history of the building was connected to the enthronement of his son Qutaiba b. Toghshada (738-753 A.D.). Finally, Buniyat b. Toghshada (753-782) was responsible for the major reconstruction of the palace and the first stucco decoration. He was assassinated for his supporting of Mukanna’s anti-Arabic insurrection (70-80 of the 8-th c.)

The content and genre characteristics of the Varakhsha paintings as well as their fate reflect the political instability of the time and the dubious position in which the rulers of Bukhara found themselves. Bukhar Khudas had to balance between their own pretension to rule over the Bukharan oasis and the overwhelming power of the Arabs. This position required a sophisticated maneuvering between the old national and religious traditions on the one hand and the attempt to present themselves to Arabs as pious converts to Islam on the other.

The Sitora-I-Mohi-Hosa Palace

The summer-palace of Bukhara emir Sitora-I-Mohi-Hosa (from Persian "House of the Moon and the Star") is located at a distance of 4 kilometers (2,5 miles) to the north from Bukhara. The construction of the palace began at the end of the 19-th century, when the best artisans sent by the order of the Bukhara emir Ahadhan to St. Petersburg and Yalta for studying of experience of Russian architects had returned from Russia. Therefore, architecture of the ensemble is a mix of the elements typical for European architecture with ornate interior design of Isfahan palaces and the centuries-old experience of local construction traditions.

Most interesting is the New Palace, which consists of several noteworthy structures, such as a triumphal arch of entrance gates with expressionless mosaic finishing; galleries with straight pylon, around the yard; a section of European architecture with a greenhouse in front of a big pond (1917-1918) and rooms of emir's harem in the heart of the garden.

The main section of the palace consists of several waiting rooms and emir's private apartments. The most famous room of this section is the White Hall. The construction of the hall took 2 years (1912-1914). The group of 25-30 skilled workman, under the direction of the storied artisan - Usto Shirin Muradov had made amazing finishing sparkling with glaringly whiteness of gulganch (carved stucco), which covered walls and ceiling.

Far earlier of the construction of the palace this place was famous for pure and cool air. They say that even uncooked meat could remain unspoilt in fresh air for 11 days. That explains choice of the place for emir's summer mansion-house.

Other sights out of Bukhara

The minaret in Vabkent

The minaret in Vabkent is one of the most refined works of local architecture. The date of the beginning of its construction (1196-97) is visible in the form of Kufic inscription in the lower decorative belt round the trunk of the minaret. The inscription also mentions the name of Burkhan-ad-Din Ayud-al-Aziz II, who probably ordered the construction. In the upper decorative belt it is written in the form of Divani inscription that the minaret was completed in 595 A.H., i.e. in 1198-99.

Ghujdawan

Ghujdawan - a district administrative centre along the road to Samarkand - is famous first of all as a native place of Abdul Khaliq al-Ghujdawani, the founder of Sufi order (tarica) called Khwajaganiyya the predecessor of Naqshbandiyya. Together with Ahmad Yasavi young Abdul Khaliq Ghujdawani was one of four successors of Yusuf ibn al-Husayn al-Hamadani (the prominent Sufi master of his time). Al-Ghujdawani has died in about 1220 when he was 95. In 1433, to the west of al-Ghujdawani's mazar, by order of Ulugh Beg, was built the latest of three his madrasahs.

Rabat-i-Malik and the Malik sardoba

On the roadside in the Malik Steppe, one can see the portal of the 12th century, which leads to the ruins of the fortress Rabat-i-Malik -"Prince's rabat". The word "rabat" means "castle", or "fortress". It refers to the fortified settlements and places of rest along caravan routes. During the heyday of the Silk Road, travelers and merchants gathered within the walls of this fortress on the road from Samarkand to Bukhara. The remainders of finishing - carved stucco, figured ornamental brickwork and unglazed carved ceramics - give food for reflection about the lost beauty.

The inhabitants of the rabat took water from the Malik sardoba, a gigantic underground brick tank covered with a dome. Water to sardoba, by passing through subterranean canal - "kiaryz", comes from Zaravshan River.