Nestled in the city of Nakhchivan, Azerbaijan, stands the ancient monument of Momine Khatun. This remarkable structure was erected in the 12th century by the renowned architect Ajemi ibn Abu Bakr Nakhchivani. It is also referred to as Atabek Gumbazi, as its construction was commissioned by the ruler (Atabek) Jahan Pehlivan in memory of his mother, Momine Khatun, the matriarch of the Eldegiz dynasty, who raised two future Atabeks.
The Great Soviet Encyclopedia describes it as follows:
“The Momine Khatun mausoleum, a monument of Azerbaijani medieval architecture, was built in 1186 by the architect Ajemi. This ten-sided tower, reaching a height of 25 meters, is adorned with Kufic inscriptions, geometric patterns, and floral motifs crafted from unglazed and glazed (turquoise) bricks.”
This mausoleum is one of the tallest surviving structures from medieval Azerbaijan, surpassed only by the Maiden Tower, which stands at 28 meters, and a couple of restored buildings—though this is only because the dome of Momine Khatun has been lost. Had it retained its dome, the mausoleum would have reached a remarkable height of 34 meters, towering above even a nine-story building, setting a record for the region.
Once, it formed part of a grand complex that included the Friday Mosque and an exquisite archway with minarets known as the “Gates of Momine Khatun.” Unfortunately, aside from written accounts, only a single engraving remains, published in the book by the French writer and archaeologist Jeanne Dieulafoy. She visited Nakhchivan in 1881-1882 and captured the semi-ruined gates in her work.
A similar architectural style can be observed in the mausoleum complex located in the village of Karabaglar (12th-14th centuries), situated 30 kilometers from Nakhchivan.
This mausoleum originally soared to 34 meters above the ground, but has since lost 9 meters. Time has eroded the grand tent-like dome that once adorned its roof. The structure is designed as a decagon, with each face uniquely decorated in intricately carved Arabic script. Only one ornament appears twice—at the entrance. The entire perimeter of the mausoleum is embellished with verses from the Quran. Interestingly, the Atabek’s mausoleum lacks a traditional dome; instead, its upper section is adorned with a stalactite composition.
The burial site of the illustrious mother of the Atabek lies beneath the structure, yet access to it remains impossible. Inside, the mausoleum’s decor is relatively modest, featuring only four medallions inscribed with the names of prophets. There is speculation that the remains of Jahan Pehlivan are also interred within the mausoleum, but this remains unconfirmed.
Ajemi Nakhchivani is one of the significant figures of medieval Azerbaijan—an architect whose influence extended beyond the South Caucasus region to the entire Eldegiz (Atabek) state of Azerbaijan.
Ajemi, the son of Abu Bakr (born in the 20s of the 12th century in Nakhchivan and died in the early 13th century), is recognized as a prominent figure in the Nakhchivan school of medieval Azerbaijani architecture. He was the builder of the mausoleums of Yusuf, son of Kuseir (1162), and Momine Khatun (1186), as well as the portal-connected minarets (now lost) in Nakhchivan. His works are characterized by the monumentality of structures combined with the elegance of their divisions, employing rational construction techniques for the time (ribbed vaults, brick blocks); the decor features intricate geometric patterns, inscriptions, and a skillful use of color. The compositional and decorative techniques developed by Ajemi significantly influenced mausoleum construction not only in Azerbaijan but also in neighboring countries.
The elegance of the Momine Khatun mausoleum’s design is indeed breathtaking.
The ornamentation intricately weaves lines from the Quran. The inscription at the top reads:
“In the name of Allah, the Most Gracious, the Most Merciful. This mausoleum was commanded to be built by the wise, just, victorious king, the great sun of religion (Shams ad-Din), the protector of Islam and Muslims, Jahan Pehlivan, Atabek Abu Ja’far Muhammad, son of Atabek Eldegiz… for the glory of the world and religion, in honor of Islam and Muslims, Momine Khatun. May Allah the Almighty have mercy on her. We depart—this world remains (We shall die. This will remain as a memory). O God, avert the evil eye.”
The phrase
“We depart—this world remains; we shall die—this will remain as a memory”
is attributed to Ajemi himself. Above the arches, a recurring inscription states:
“The kingdom belongs to Allah alone, the Victor.”
What truly astonishes is the quality of craftsmanship. After 835 years in the challenging climate of Nakhchivan, the external walls have remained remarkably well-preserved. The mausoleum is constructed from brick, with each niche on its ten external sides adorned with unique, intricate carvings.
Inside, the structure takes on a circular form, which becomes apparent when viewed in cross-section. The mausoleum comprises both underground and above-ground sections, with their entrances aligned vertically.
The lower and upper parts of the mausoleum are devoid of elaborate decorations, except for the inner surface of the dome, which features four circular medallions filled with intricate patterns and inscriptions containing the names of Muhammad, Abu Bakr, Omar, Osman, Ali, Hasan, and Hussein.
Interestingly, alongside the Prophet, the names of the first caliphs—most revered by Sunnis—and three Shiite imams are also included. The mausoleum was designed to honor all, ensuring no one would feel excluded.
The renowned mausoleum of Momine Khatun is an integral part of a vast open-air museum—a landscape park adorned with tranquil ponds and cascading waterfalls. This enchanting setting showcases approximately 400 ancient stone tombstones, meticulously transported from across the Nakhchivan Autonomous Republic.
