Ark-Citadel, Bukhara

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 The general planning is being reestablished by historical documents.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.

Poi-Kalyan Ensemble, Bukhara

It 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 – it is a great vertical pillar, rising above the city. To proclaim the appeal to the pray – azal, it was enough to rise mosque roof, as it was in first centuries after Islam establishment. The word “minaret” descends from “minor” – it is a place, where something is on fire, the fire was set in leading light like this, between them in ancient world there were vast many-storey towers, like Phaross light-house of 143 meters height, dating to 283 BC.
Minarets played an exceptional role in architectual ensembles creating the city peculiarity.
In the beginning of 12 century – Arslan-khan ordered to transfer the minaret of old cathedral mosque far from fortress. When this work had been finished “someone overlooked the building”, minaret fell on the cathedral mosque and destroyed its 2/3. For the second time Arslan-khan ordered to built minaret. By inscription in turquoise majolica, under light cornice of Kalyan minaret, it was determined that it was finished in 1127. You can read “the name of Arslan-khan” on the half weight of stem. And it was found the name of master – Bano, whose burial place, local inhabitants pointed out between the next blockhouses. Kalyan minaret represents characteristic Maveranahr style of roundtrunk brick tower, decorated by the arch light. Its lower diameter – 9 meters, up diameter – 6 meters, total height is 45,6 meters. There is a brink-winding staircase inside trunk. Sixteen-arch light rotunda hangs over minaret trunk leaning on running out laying rows, decorated as stalactite cornice.
Kalyan Madrassah is dated to architecture masterpiece; it is a monument of 5 century, raised from the ruins during the years of Soviet power. In the beginning of 16 century, the mosque was partly reconstructed. The shapes of amazing arches and portal d?cor have already carried the features of new style, developed in Bukharan oasis in 16-17 centuries.
The inscription under arch portal dates time of reconstruction. This is a poem from Koran, at the end of which we can see the date 1514-1515. In 1541 at the entrance of main portal was fixed a marble board with cut text of Abdullaziz I, this order runs that Bukharan inhabitants were free of some taxes payment.

The Kalyan Mosque, Bukhara

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.

The Kalyan Minaret, Bukhara

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.

Miri-Arab Madrassah, Bukhara

It is one of the best Bukhara architectual school monuments of 16 century. Architecture and d?cor 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.

Registan, Bukhara

To the west from Ark, still before Arab period was built Registan Square, in the old days it was public sathing part. There were administrative buildings of divans (ministries) and palaces till 13 century, and then markets packed it. From 16-century trade shops Rasta and Taki-Tirgaron were at the entrance to Registan, where armourers sold their production. There were passages Taki-Org-Furushon and Tim in the center of square where headdresses and cotton fabrics were sold. Trade of meat, cereals, fancy goods, paper and inks, cradles, cattle, watermelons and melons, wooden utensils and other things was going at the square. Opposite to Ark among crowded bazars capital punishments were accomplished. At the end of Ark were weapon shops, reception-room of main commander and also large Poyand Madrassah, quartal Madrassah of butcher corporation Bozori Gusfaid and Madrassah Dorul-shifo, where future doctors studied, hospital and polyclinic departments.
The only Registan monument, reached our times, is Bolo-khauz of 18 century. Picturesque Bolo-khauz Madrassah with luxury many pillars ayvan, faced to Registan, together with minaret reflects in khauz water

Djami Mosque, Bukhara

Straight before the entrance into Ark, you can see the ayvan of palace mosque – Djami, it was built in 18 century like type of large quarterly mosque: four-pillared winter garden, surrounded by three-side ayvan. Design of interieur is typical for 19 century – beginning of 20 century. Last repairment was made in 1910-1920 with the participation of famous Uzbek master Usto-Shirin Muradov, making out fretwork on ganch

Samanids Mausoleum, Bukhara

Of all the medieval buildings in Bukhara, the Samanids Mausoleum is of special interest. This world-famous architectural masterpiece was built at the close of the ninth century. The mausoleum was erected as a family crypt immediately after the death of Ismail Samani's father. Later, Ismail himself and his grandson Hasr were also buried in it. It is interesting to note that erecting crypts was against Islamic law at that time, for Islam forbade erecting any post-mortem monuments upon the tombs of Muslim believers.

However, the prohibition was broken in the middle of the ninth century by one of the caliphs himself,
for whom a special as-Suli-biya Mausoleum was built. Ismail merely followed his example.
The Samanids Mausoleum reveals the genius of a plain design.

This is seen in its composition and the balanced design of its facades and interiors. It is composed of a semi - spherical dome resting on a cube. All of the facades are identical and marked with three-quarter domed columns on the corners. There is an upper armature and a central entrance with a visible horizontal dividing line. The core is characterized by regular kiln-dried bricks, forming horizontal, vertical, and diagonal patterns on the walls. There are also separate details in the shape of disks or rosettes.

Analysis shows that all elements in the Mausoleum are based on squares and diagonals: the elements form geometrically digressive lines. The same unification is seen in the architectural forms and kiln-dried brickwork in the interiors. The architectural design of the Samoniy mausoleum is entirely unique. It owes much to pre-lslamic Soghdian architecture, which used four-arch domed compositions and diminished forms on the top of buildings, including disks and rosettes on decoration columns (as can also be seen in the section between the dome and the drum of the interior). Although this building is connected with pre-Islamic architecture, it also anticipates the emergence of a new architectural style with comparatively small dimensions; the Samoniy Mausoleum is full of magnificence and feeling of moving from this world to the world that lasts forever.

Ulugbek Madrassah, Bukhara

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.

Abdullaziz-khan Madrassah, Bukhara

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.

Sitorai- and Mokhi-khosa Palace, Bukhara

It is the only remained sample of bukharan emir country palaces. Sitora and Mokhi-Khosa Palace was quartered on two territories.
Old palace of Abdul-Akhad-khan (1892) is a traditional three-house complex with one- and two-storey building in the spirit of bukharian dwelling houses.
New Sayid-Alim-khan Palace (1917) has pavilion, some isolated yards, thrown about in large park, they have right-angled lay-out “chorbag”, “birun” - is for spectacles; “darun” – reception-room; “garem”- main apartment, “khazina” - store-house, hayvonatkhona, zoogarden and isolated cottages. You should pay a special attention to the “White hall”, its walls are decorated with tracery fretwork on ganch, drawed on mirrors, made out by famous Bokharan master Shirin Muradov. Building one of his emir palaces, he injured his hands by frostbite forever.
Palace villas and arbours between park lawns built in 1917-1918, have the seal of European architecture and eastern style. So the first palace was built in eastern and European style. In this hall there is an exposition of things, which were presented to Bukharan khans by different ambassadors. In next palace you can see a gold-embroidery chapans of bokharan emirs, implemented in the beginning of 20 century (in the beginning of the century only men has right to embroider chapans in gold, that is why all clothes, presented in the hall, was made by men). Besides emir chapans clothes of different families presented, by clothes amount you may judge family status.
Passing the garden paths, you get to “maidenly pond, near it is a pavilion, where khan concubines lived. Straight before the pond there is summer khan arbor, where he spent his leisure.

Lyabi-Hauz Ensemble, Bukhara

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 (80 x 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 d?cor, 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.

Magoki-Attori Mosque, Bukhara

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.

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