The heritage of the most ancient city of the Valley is not exhausted by potters’ workshops. A ten-minute walk from the house of the famous master Nazirov, up the street (simply put – to the left, if you stand with your back to the doors of the workshop) meets the Khoja-Ilgar Mosque, which occupies a couple of blocks. Erected in the year 1905 under the patronage of Shokir Mingbashi, this magnificent edifice bears testimony to the rich cultural heritage and Islamic traditions of the region.
The Khoja Ilgor Mosque, also known as “Xoʻja Ilgʻor masjidi” in Uzbek, is built in the traditional Islamic architectural style. This mosque exemplifies the distinctive features of Ferghana’s multi-columned, frontally-opened cultic buildings. Today, it stands proudly as an active place of worship and a cherished symbol of the community’s faith.
The mosque, boasting a rectangular shape measuring 40 by 13 meters, is adorned with intricate architectural details that reflect the craftsmanship and ingenuity of its builders. Its winter prayer hall, supported by three columns, is enveloped by a three-sided veranda, known as an ayvan, adding to its architectural grandeur. The cornice line, characterized by a three-tiered form ascending towards the central axis, is adorned with ornate motifs and geometric patterns, captivating the eye of beholders.
At the heart of the mosque lies the mihrab, a beautifully crafted niche in the western wall, adorned with intricate carvings and embellishments. Serving as the focal point for prayer, the mihrab symbolizes the spiritual orientation towards the Kaaba in Mecca, the holiest site in Islam. Surrounding the mosque are lush greenery and ancient trees, creating a picturesque landscape that enhances the tranquility and serenity of the sacred space.
One of the most striking features of the Khoja Ilgor Mosque is its exquisite ceiling adorned with vibrant murals and decorative motifs. The intricate designs, characterized by their graphic precision and rich color palette, are a testament to the masterful artistry of the craftsmen who adorned the mosque’s interior. Delicately painted floral patterns and geometric motifs adorn the ceiling, creating a mesmerizing tapestry of color and form that captivates the senses of worshippers and visitors alike.
Uncharacteristic for other regions of Central Asia, its ceilings are painted in blue-green colors – and this is probably a fragment of some craft tradition of Rishtan that has not survived the twentieth century.
Even in the neighboring aivans of the same mosque the ceilings are habitually red:
Nearby is a chain of cells with a dome:
Behind the cells – the necropolis of potters (though of course not only them), who remain potters even in their afterlife:
A sharp-pointed mausoleum resembling a Saka cap – seemingly a replica, at least in its present form it was built 50-60 years ago… but the replica is probably made of faded clay ruins: there is a version that it is the remains of a Zoroastrian temple from the 8th century (although if we look for an ancient origin, it has much more in common with a Buddhist stupa).
As well as the descent to the underground cell on the other side of the garden, behind a gnarled old mulberry tree:
