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Hoja Amin Mausoleum

The Timeless Beauty of Hoja Amin Mausoleum

The Hoja Amin Mausoleum in Namangan stands as a fascinating monument of the past. According to legend, it is the final resting place of Amin Hoja, the successor to one of the most renowned sheikhs of Tashkent, Shaykhantaur. The tomb is not inside the mausoleum but behind it, and next to it stands a fragment of a dried-up tree, clearly much older than the surrounding structures.

Constructed in the second half of the 18th century, when Namangan became one of the major cities of the Fergana Valley, the mausoleum was built using traditional Central Asian architectural styles. If one were unaware of its construction date, it might be mistakenly assumed to be from pre-Mongol times. This is because this style of architecture was typical in pre-Mongol Central Asia, where the main decoration was intricate patterns of terracotta and decorative bricks. Few authentic pre-Mongol stone buildings remain in Central Asia, such as the Kalan Minaret and the Samanid Mausoleum in Bukhara, the minarets and mausoleums of Uzgen and Burana, Taraz and Talas. The facade of the Hoja Amin Mausoleum resembles them, differing only in being newer and more intact.

The Fergana Valley’s main architectural feature is its preservation of pre-Mongol traditions, thanks to its relatively limited exposure to the Mongol invasion and its long influence from Kashgar. This tradition survived here and persisted until the 18th and 19th centuries, an era of general decline in Central Asia.

A wooden painted mosque with two rows of halls was built near the mausoleum much later.

The mausoleum is adorned with intricate terracotta carvings, a technique that was reintroduced in the early 14th century by Central Asian architects, using a colorful glaze. While monuments in Samarkand from the 14th and 15th centuries and those in Bukhara from the 16th and 17th centuries boast stunning mosaics made from colorful tiles, the Hoja Amin Mausoleum surprises with its revival of terracotta carvings, crafted with skillful and confident hands in the late 18th century.

The name of the master who constructed the monument is inscribed in relief above the entrance to the mausoleum: “Created by Usto Muhammad Ibrahim, son of Abduraim.” “Usto” in Tajik means master.

The main facade of the building features a traditional portal with a pointed arch and flanking columns at the corners. The portal arch is framed by P-shaped bands alternating narrow and wide strips filled with floral and geometric ornaments. The wide bands are adorned with terracotta tiles, while the narrow ones are executed in the technique of two-layer carving on alabaster.

It is known that the lower layer was originally painted red and served as a background for brightly white carving. Currently, both layers appear monochromatic and almost indistinguishable in tone from the terracotta tiles.

Upon gazing at the mausoleum, one cannot help but be filled with admiration for the talent and patience of the craftsmen of that time, who managed to preserve the artistic traditions of past centuries to the present day.

The symmetrical proportions of the commemorative mosque, erected near the mausoleum, are striking in their precision and finish. The complex also includes a khonaqo, a cultic arsenal created in the style of hospitable houses.

Only upon closer inspection can one understand that its walls are not painted but covered with the finest relief pattern.

The Hoja Amin Mausoleum is a splendid example of the finest traditions of the architectural school of the Fergana Valley. Muhammad Ibrahim skillfully developed the stylistic techniques of architecture from past centuries and created an extraordinary monument that far surpassed the architectural level of his era.