Ensemble of Khodja Akhrar in Samarkand
Ensemble of Khodja Akhrar
The Ensemble of Khodja Akhrar in Samarkand is one of the city’s most historically significant architectural complexes, blending religious, memorial, and educational buildings developed over several centuries. Located on the southern outskirts of Samarkand near the ancient Dzhakerdiz cemetery, this ensemble reflects the dynamic history and architectural heritage of Uzbekistan.
History and Origins
The emergence of the Khodja Akhrar ensemble is intimately tied to the life of Sheikh Nasyr ad-din Ubaidallah ibn Mahmoud Shashi, better known as Khodja Ahrar Wali, a revered religious leader and statesman of Maverannahr. In the second half of the 15th century, Khodja Ahrar initiated the construction of religious buildings in the village of Kafshir, just south of Samarkand. He built a khanaka, known as Makhautai-Mullayan (Mullah Habitat), surrounded by a stone wall with an octagonal pool, or hauz, in front of it. Though the original structures did not survive, the area remains sacred, as Khodja Ahrar himself was buried there in 1489.
By order of Timurid rulers, a white marble stele adorned with a masterful epitaph was placed over Khodja Ahrar’s grave, transforming the site into a significant pilgrimage destination. Nobles and dignitaries from Samarkand began to establish their burials within the complex, enhancing its spiritual and historical importance.
Development in the 17th Century
In the early 17th century, the ensemble underwent significant expansion under the patronage of Nodir Mirzai Tagay Devonbegi, vizier of Imamkuli Khan. In 1630-1631, construction began on a grand madrasah near the mazar of Khodja Ahrar. The main architect Dust Mohammed and master builder usto Khodja Hashim oversaw the project, which was completed in 1635-1636. During this period, a summer mosque was also built, followed by a winter mosque and additional aivans (open halls) in the early 19th century, creating a harmonious row of religious buildings.
Challenges and Restoration
Over the centuries, the Khodja Akhrar ensemble suffered significant damage from earthquakes, particularly those in the early 19th and early 20th centuries. The Nodir Devonbegi Madrasah lost much of its decorative cladding, with its portals and structural elements severely damaged. Urgent repairs in the early 1900s replaced the intricate upper portions of the portals with simple brickwork, altering the ensemble’s original appearance.
Comprehensive restoration began in 1978, led by the Uzbek Scientific Research and Design Institute of Restoration and skilled craftsmen under the supervision of usto Abdugaffar Hakkulov. The efforts successfully revived much of the original architectural grandeur, preserving this essential part of Samarkand’s cultural heritage. In 2007, the madrasah became home to museum-workshops dedicated to traditional Uzbek crafts.
Architectural Features
The Khodja Akhrar ensemble is a remarkable example of architectural planning, integrating buildings with differing axes into a cohesive whole. The Nodir Devonbegi Madrasah, measuring 84.5 by 50 meters, features a four-courtyard layout surrounded by hujras (cells), though it notably lacks the typical corner lecture halls (darskhans). Instead, the corners are designed as five-sided niches connecting to the hujras, accommodating the ensemble’s alignment with the original khanaka and ritual pathways.
The madrasah’s main entrance portal on the eastern facade is richly adorned with geometric girih patterns crafted from glazed bricks and stone mosaics. Its tympanum depicts a hunting scene of a tiger-lion chasing a gazelle, reminiscent of motifs from the Sherdor Madrasah on Registan Square, earning it the nickname “the mirror of Sherdor.”
The Mosque and Aivans
Aligned with the madrasah’s entrance is a mosque featuring a portal-dome composition. The mosque’s square chamber, with deep niches and a sphere-conical dome covered in blue tiles, is crowned by a high drum. Inside, the western niche holds a beautifully crafted mosaic mihrab, while side passages lead to two-chamber galleries beneath small domes.
The north and south facades of the madrasah also feature ornate aivans. The northern aivan is closed off and invisible from the exterior, while the southern aivan includes a passage leading directly into the complex’s courtyard. Around these aivans are single-story hujras, providing both functional space and architectural harmony.
The Khodja Akhrar Mosque
The Khodja Akhrar Mosque complex extends over more than 60 meters, with alternating open aivans and enclosed spaces. The section closest to the madrasah includes a winter mosque with a wooden aivan supported by marble-based columns and adorned with intricate majolica tiles in deep blues, yellows, and whites. The architectural style suggests it was built concurrently with the Nodir Devonbegi Madrasah in the 17th century.
Further sections include a central summer aivan supported by six paired wooden columns, with relief ceilings formed from painted panels and star-shaped caissons. The mosque’s mihrab, along with arched niches and mosaic details, exemplifies the rich artistry typical of Samarkand’s sacred architecture. Across from the aivan stands a five-meter minaret, enhancing the spiritual atmosphere of the ensemble.
The Ensemble of Khodja Akhrar remains an enduring symbol of Samarkand’s Islamic heritage, blending religious devotion, architectural mastery, and historical significance into one harmonious complex.