The Zhetysu Mosque, whose uniqueness captivates visitors at first glance, stands as a vibrant artifact on Kazakhstan’s cultural map. This Muslim structure seamlessly blends Chinese and Buddhist architectural styles, a testament to the vision of its architect, Hong Pike, from neighboring China. Alongside the finest craftsmen from the region, he realized his long-held dream, gifting the town of Zhetysu a place of prayer and worship for newly arrived Muslims in 1896.
This breathtaking structure features prominently in all travel guides to the Republic of Kazakhstan. Travelers flock to the Almaty region to explore this 19th-century architectural gem and immerse themselves in its atmosphere.
The monument is located 265 kilometers east of the capital, just 29 kilometers from the Chinese border in the city of Zhetysu (Zharkent). The mosque occupies 1,500 square kilometers of the Panfilov district, with 52 columns surrounding the minaret, two mosques enclosed by a stone wall adorned with an exquisitely crafted portal.
In the late 19th century, amid conflicts with China, part of the borderlands was ceded to the Russian Empire by treaty. Old settlements remained, and a new village was established where the new subjects—Kazakhs, Uyghurs, Russians, and Ukrainians—coexisted. To accommodate the newly arrived Muslims, mosques were constructed, and during this time, the prominent landowner Uali Akhun Yuldashev announced fundraising for the construction of a grand mosque.
The initiator of the mosque and the educational institution for Muslim children, the madrasah, was a passionate individual seeking an architect who could design the complex without using a single nail. The plan was to construct the entire structure from ancient Tien Shan fir trees. The talented Chinese subject Hong Pike presented a design that delighted the discerning merchant, who sought an architect knowledgeable in the nuances of Muslim buildings—a specialty that was scarce in the area.
To assist, the finest Uyghur craftsmen and around a hundred workers from various nationalities were gathered. Several translators fluent in Chinese and Turkic languages were hired to facilitate communication among the diverse workforce. Thus, Mukan (as the Asian guest was called here) began the construction.
Preparation took three years. Tien Shan fir trees were delivered in perfectly dried condition to ensure that the columns and the entire structure would endure through the ages. Soil and clay were also brought in to meticulously level the foundation, achieving the necessary material density. Only after complete drying could the buildings begin to rise. The bricks for the main hall were made from 13 types of sand, specially ordered from Kapshagai.
The mosque’s framework consisted of 122 columns connected by beams. These incredibly heavy structures were lifted using several teams of oxen. All wooden joints were made through special cuts, without the use of nails. The columns were placed on stone bases to protect the durable and reliable wood from moisture.
The columns lacked capitals; instead, the eastern Dougong system, with specially positioned beams and brackets, replaced these elements, creating a unique air space beneath the ceiling. Externally, this manifestation of Chinese architecture features an unusual design of curved roofs.
Every decorative element was intricately carved and elegantly prepared for installation.
The meticulous preparation allowed for the swift construction of the complex, though the exact date of completion remains a mystery. Some suggest 1895/96, while others claim Mukan completed his masterpiece by 1892.
In Zhetysu, it is said that the idea of building a Muslim place of worship in a Buddhist style had long been in Hong Pike’s mind, as if he had even sought permission to create this masterpiece in his homeland, which was denied. The talented designer had executed several masterpieces in China, after which, according to rumors, he became the envy of his colleagues. They threatened him with violence, and fleeing from death, he met Yuldashev in the nearest settlement. At that time, local architects lacked knowledge of Muslim architectural traditions, so the talented architect was quickly employed. He was entrusted with realizing an incredible project that remains a source of pride for the Kazakhs to this day.
Residents of Zhetysu say that Hong Pike worked for free, merely to fulfill his long-held dream. However, the subsequent history of his life is vague and dissolves into local lore. After completion, Mukan resolved to return to his native China, where he was soon met with death at the hands of his compatriots—either out of envy or for revealing the secrets of “Buddhist” construction.
Interestingly, the site features only one minaret, standing 19 meters tall. Typically, such prayer buildings are characterized by multiple towers.
On the northeastern side, visitors can relax in a small courtyard, while to the south of the main building, near the eastern gates, lie the madrasah buildings. Flanking the courtyard are student dormitories, comprising 14 living quarters that form a pleasant central space. All school doors open into the courtyard, while the windows face outward toward the external side of the educational building, which includes utility structures.
After the earthquake in the early 20th century, two guldastas (small towers) were added to the gates and the main mosque in place of the destroyed minaret. These towers invite prolonged admiration, filled with exquisite details. Among the unique features are intricate cartouches with epigraphs that weave the stories of those who once lived here into the fabric of the place.
Admiration for this monument extends beyond its exterior. The interior decor evokes equal awe for the architects. Forbidden images of animals and birds in Islamic culture freely adorn the walls and ceilings, coexisting with Arabic calligraphy.
Paintings of plants, flowers, and clouds do not diminish the religious significance of this place; rather, they breathe life into the prayer walls. Indeed, the culture of the Celestial Empire imbues them with symbols of the source of life and light.
The colorful ornaments never repeat; they embellish every beam of the high vault, inviting visitors to gaze upward in wonder. The pulpit from which sermons are delivered is adorned with exotic arabesques, its decor meticulously designed down to the smallest detail, encouraging a long study of the artist’s incredible work.
Every element of the space is rich in decor, showcasing exquisite lace-like arabesques, still lifes, landscapes, and vibrant patterns. Most colors reflect exotic shades, which could easily lend a garish appearance; yet here, they add a sense of lightness to the intricate paintings. The architect’s rich imagination flourished in this masterpiece of artistic expression.
The diversity of stylistic elements does not detract from the building’s unique character. Both the exterior and interior are adorned with intricate wood carvings, including elements of Uyghur art—all fitting within the festive hall of the sanctuary. The space is illuminated by eight massive, handcrafted Eastern lamps, each uniquely designed, ensuring no two patterns are alike. The beams feature depictions of medicinal plants, a tribute to Eastern medicine and a metaphor: “Prayer is the healing of the soul.”
In its time, the two-story city mosque welcomed all members of the Islamic community. Women were given space on the second level, while men prayed below, where approximately 1,000 people could gather.
The first misfortune struck in the 1910s when a significant earthquake in the Kemin region destroyed decorative towers, damaged some domes, and left cracks in the walls and ceilings. Soon after, two-story minarets were added in place of the tower.
The first restoration efforts began in the 1940s, followed by a return to the cultural heritage site in the 1960s.
After the collapse of the Russian Empire, like many religious architectural structures in the Soviet Union, the Kazakh mosque in Panfilov (as the city was known at that time) was repurposed for non-religious use. The historical site became a marketplace for goods and clothing, at one point housing stables and serving as a grain storage facility.
As the Soviet Union neared its end, the madrasah was used for cinema screenings on a large screen. Prior to this, the former student rooms served as dormitories for border guards, and later, the former school was transformed into a tea house.
Despite these changes, cultural life continued to thrive in the area. Films such as “Trans-Siberian Express,” “The End of the Ataman,” and “Year of the Dragon” were shot here. Later, in the 2000s, the mosque became a filming location for the movie “Kazakh Khanate.”
Explore historic Panfilov Park
Visit Almaty’s vibrant Green Bazaar
Discover scenic Ili Alatau Mountains
Cable car ride to Kok Tobe
Trek through Charyn Canyon’s canyons
Immerse in Kazakh nomadic traditions