Registan Square stands as the crowning jewel in the midst of Samarkand’s ancient splendor, a testament to the city’s historical grandeur and architectural magnificence. This renowned square has etched its name on the global stage, celebrated for its majestic architectural complex that epitomizes the zenith of oriental design. Enclosed on three sides by imposing madrassahs, their facades majestically facing the square’s center, each edifice boasts a distinctive decor that sets it apart.
The very essence of Registan Square is encapsulated in its name, derived from the Uzbek word for ‘sandy place,’ harking back to a time when the square was blanketed in sand. The illustrious madrassahs that now define its periphery were not always present; they emerged over time, adding to the square’s significance. Historically, this central square served as a gathering place where city officials proclaimed the khan’s decrees, hosted grand celebrations, carried out public executions, and mustered troops for battle.
The square once buzzed with the activity of trade rows, where local craftsmen and farmers hawked their wares. It was the nexus of Samarkand’s thoroughfares, a hub of commerce and social interaction that pulsed with life and energy.
Over the centuries, rulers have come and gone, each altering the square’s primary function to suit their era. Yet, through all these transformations, Registan has remained the pulsating heart of Samarkand’s social sphere.
Dominating the square are three illustrious madrassahs: Ulugh Beg, Sherdor, and Tilla-Kori. These institutions stand as the city’s premier attractions, each a legacy of different rulers who left their mark on the city’s architectural and cultural heritage.
The Ulugh Beg Madrassah, founded by the eponymous astronomer-king, serves as a symbol of the enlightened pursuit of knowledge that characterized his reign. The Sherdor Madrassah, with its striking façade featuring mythical creatures, reflects the artistic and symbolic aspirations of its time. Lastly, the Tilla-Kori Madrassah, adorned with gold, exemplifies the opulent aesthetic that prevailed during its construction.
Together, these madrassahs narrate the story of a square that has been a witness to trade, scholarship, and the unfolding of history. They stand as silent sentinels, reminders of a time when Samarkand was a crossroads of cultures and a beacon of learning in the ancient world.
The Ulugh Beg Madrassah, a beacon of learning and architectural splendor, was established by the renowned mathematician and astronomer Ulugh Beg, who rose to power in 1409. In 1417, he commissioned the construction of a madrassah on Registan Square, which would later bear his name, marking the first monumental structure in this historic ensemble. The term «madrassah» originates from Arabic, signifying a place dedicated to education and scholarship.
By 1420, the madrassah’s construction was complete. Architecturally, it presents a rectangular exterior on the western edge of the square, enclosing a square courtyard that leads to student chambers (housing approximately 100 scholars) and lecture halls. The façade, facing the square, is flanked by two soaring minarets. The interior of the building is a testament to artistic mastery, with glazed bricks forming exquisite patterns against the walls’ warm hues. The madrassah’s portal is particularly noteworthy, embellished with ten-pointed star motifs that pay homage to the celestial interests of its founder.
During its zenith, the Ulugh Beg Madrassah was the preeminent center of scientific and educational excellence in Samarkand. It was a hub for the study of philosophy, astronomy, mathematics, and theology. In conjunction with the madrassah, Ulugh Beg also established a caravan-sarai and a khanqah (hanaqa), enriching the city’s cultural and intellectual fabric.
Two centuries later, the architectural narrative of Registan Square was further enriched with the addition of two more madrassahs, constructed on the sites of former vendors’ shelters and the khanqah. This trio of educational institutions now forms the complete and awe-inspiring architectural complex that stands today as a testament to the enduring legacy of Ulugh Beg and the Timurid dynasty.
The Sher-Dor Madrassah, an architectural marvel, was conceived under the auspices of Yalangtush Bahadur, who became the emir of Samarkand in 1612. Known for his political acumen and military expertise, Yalangtush Bahadur embarked on an ambitious project to construct a new madrassah on Registan Square, directly across from the one built by Ulugh Beg.
The vision for the Sher-Dor Madrassah was to mirror the existing structure on the square’s eastern side. However, due to the passage of two centuries since the erection of Ulugh Beg’s madrassah, which had settled into the ground, and the elevation of the square by two meters, the new madrassah inadvertently stood taller, although this difference is subtle to the observer’s eye.
The site chosen for the Sher-Dor Madrassah was previously occupied by Ulugh Beg’s dilapidated khanqah, which was dismantled to make way for the new construction, repurposing much of its material. The construction spanned over two decades, concluding in 1636, with Emir Yalangtush Bahadur’s intent that his edifice rival Ulugh Beg’s in grandeur and scale.
Although the façade of the Sher-Dor Madrassah closely resembled its predecessor, the construction incorporated advanced techniques not utilized in the 14th century, reflecting the progressive approach of the builders.
Upon its completion, the madrassah was initially named after its patron. However, it was the populace that bestowed upon it the name ‘Sher-Dor,’ meaning ‘adorned with tigers,’ inspired by the striking imagery on its portal. This depicted majestic golden tigers, with suns upon their backs, in pursuit of white fallow-deer. This iconic motif would later ascend to become a national symbol of Uzbekistan, encapsulating the spirit and artistic heritage of the nation.
The Tilla-Kori Madrassah, a crowning jewel in the architectural triad of Registan Square, was envisioned by Yalangtush Bahadur, the ruler of Samarkand, a decade after the completion of the Sher-Dor Madrassah. His ambition was to erect a structure that would not only complement but also complete the majestic ensemble.
In 1646, the construction commenced on the northern side of Registan Square, supplanting the former caravan-sarai. The architect’s intent was to mirror the existing edifices, positioning the new madrassah centrally to achieve a harmonious architectural unity. The design of the façade was meticulously planned to visually enclose the square, creating an intimate yet grandiose atmosphere.
The building process of the Tilla-Kori Madrassah spanned over 14 years, culminating in 1660. The façade is distinguished by its two-tiered structure; the central portal is accentuated by a deeply recessed five-arched niche, leading to the inner courtyard. To the left of the portal stands a mosque crowned with a blue dome, flanked by two minarets that gracefully complement the frontal aspect of the madrassah, maintaining the stylistic coherence of the square.
The madrassah’s moniker, «Tilla Kori,» which translates to «gilded,» was inspired by its opulent décor. The artists employed the «kundal» painting technique, predominantly utilizing gold, resulting in a lavish ornamentation that captivates all who behold it. Among the trio of madrassahs, the Tilla-Kori stands out for its richly adorned walls, a testament to the luxurious aesthetic favored during its creation.
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