A Small Masterpiece of Kunya-Urgench

Originally built in the 13th century, the mausoleum was a single-chambered, domed tomb, known as a gurkhana, marking the site of Nadzhmaddin Kubra’s burial—or possibly where he was killed. In the center of the hall stood a tombstone, or sagana, alongside a four-sided, two-meter-tall prism that is believed to mark the spot where the sheikh’s severed head fell. Nearly a century later, under the rule of the Golden Horde’s governor Kutlug-Timur, a vestibule, two side halls, and a tall entrance portal, or pishtak, were added. The tombstone and its adjacent column were also adorned with majolica tiles during this period, around the first half of the 14th century. This intricate majolica decoration is considered a small masterpiece, unmatched in Turkmenistan and one of the finest examples of Eastern majolica, as noted by the renowned Orientalist Andrei Yakubovsky more than 80 years ago. Yakubovsky remarked that the forms and ornamental compositions of this work warrant dedicated study.

For the first time in decades, specialists from Turkmenistan’s National Administration for the Protection, Study, and Restoration of Historical and Cultural Monuments are not only researching but also reconstructing this unique piece of Khwarazm’s artistic heritage. The mausoleum’s artistic qualities have long been recognized by scholars, with one of the most comprehensive evaluations provided by Dr. Yosef Notkin, an architect who worked on the site half a century ago. He described the tomb’s decoration as a stylized representation of Central Asian flora, with intricate plant motifs covering the tiles. The predominantly blue and turquoise color scheme is complemented by yellow, red, green, and brown hues, creating a harmonious blend. Some tiles feature opaque engobe paints and gold leaf, while others are crafted from relief majolica. In the mausoleum’s tombstone, Khwarazmian ceramic artists showcased their finest skills, making it a remarkable example of 14th-century decorative art.

However, about 60 years ago, the tombstone and its column were shattered by the collapse of the gurkhana’s dome. For many years, the remnants of this once-splendid structure lay exposed to the elements, deteriorating further. It was not until the early 1980s that the fallen dome was restored, but it would take another 30 years before restoration work on the tombstone itself could begin. The restoration project, led by Turkmen specialists, received support from the U.S. Ambassador’s Fund for Cultural Preservation, and for the past two years, meticulous efforts have been underway to reconstruct the tomb’s original form. This involves piecing together several hundred large and small fragments of its majolica tiles.

“Our goal,” says project manager and architect Derkar Dovletov, “is to fully restore the tombstone and its prism and to repair all the surviving sections of their majolica covering. This will allow us to present these works to the public and make them available for further scientific study. Additionally, we plan to create a virtual reconstruction of the tomb’s original appearance, contributing to global restoration practices for medieval ceramic art.” One of the project’s key participants is a young restorer, Meret Charyev, a recent graduate of Turkmenistan’s State Academy of Arts. The mausoleum was the subject of his thesis, and his dream of bringing it back to life has never left him. The restoration team also benefits from the guidance of Tatiana Shaposhnikova, an experienced ceramic restorer from the Saint Petersburg Museum of the History of Religion. Soon, the richly decorated tombstone of Nadzhmaddin Kubra will once again shine in all its glory, offering pilgrims and tourists the chance to appreciate both its historical significance and the skillful restoration work that has preserved it for future generations.