Bukhara - Secret of Samanid Mausoleum

Secret of Samanid Mausoleum in Bukhara: A masterpiece of architecture and symbolism

To the west of Registan Square, nestled in the greenery of a park and located in the old ‘Naukand’ cemetery in holy Bukhara, stands a perfect architectural creation – the Samanid Mausoleum. This monumental building, which was probably erected in the late IX to early X centuries. It still harbours a fascinating secret and is one of the most important masterpieces of Islamic architecture.

A mausoleum with historical depth
The Samanid Mausoleum is generally regarded as the burial place of the Samanid rulers and is considered one of the earliest examples of Islamic mausoleum construction. It is believed that its construction was an architectural response by the Samanids to the Abbasid Caliphate, which created a new model for funerary architecture in 862 with the mausoleum of Qubba al-Sulabiyya over the tomb of Caliph al-Muntasir.

Of particular significance is the fact that the Samanid mausoleum was the first to use the so-called ‘Qubba dome’ in its original form, an element that was to have a lasting influence on Islamic architecture. However, it is not only its construction, but also its highly symbolic design that sets the mausoleum apart from other buildings of its time.

The secret of the brick decoration
One of the most fascinating mysteries of the Samanid Mausoleum lies in its ornate brick decoration. The masterfully designed brick patterns are not merely decorative elements, but conceal deeper symbolic meanings. Many scholars see in these ornaments a strong influence of the pre-Islamic culture of ancient Sogdiana, which has led to speculation about an even earlier origin of the mausoleum. Some interpreters have even labelled the building as a former Zoroastrian sun temple, a hypothesis that is still the subject of controversy today.

The symbolism of the cosmogram
A central element of the mausoleum is its main symbolic composition, which can be found in the arches of the building and is interpreted as a cosmic diagram – a cosmogram. This composition is reflected in a characteristic square sign placed symmetrically on both sides of the entrance.

Each of these signs consists of four nested squares, the innermost of which encloses a circle – a highly symbolic representation of the unity of heaven (circle) and earth (square). The outer edge of these squares is adorned with 40 ‘pearl rings’, which correspond to the 40 arched openings in the upper part of the walls. In addition, there are large and small ‘two-winged’ signs in the squares, the exact meaning of which is still the subject of research today.

The square as a central symbol
The entire architecture of the mausoleum is based on the principle of the square, which is repeatedly repeated in its floor plans, façades and decorations. This emphasises the central importance of the square as a symbol of the stability of the earth and cosmic order. It is possible that this formal language also reflects the influence of the Kaaba image – the sacred, cube-shaped building in Mecca that forms the centre of the Islamic faith.

Three central symbols that characterise the symbolism of the mausoleum can be derived from this basic square structure:

The circle in a square: This symbol stands for the original shape of the mausoleum and symbolises the unity of heaven and earth.
The square within a square: This is a representation of cosmic harmony and order, symbolising the infinity of the universe.
The two squares with forty pearls: This motif connects the 40 ‘pearls’ on the outer sides with the 40 arched openings of the mausoleum and refers to the spiritual ascent of the soul.

To the west of Registan Square, nestled in the greenery of the park on the old ‘Naukand’ cemetery in holy Bukhara, rises the Samanid Mausoleum – an architectural masterpiece and a testimony to the fusion of Islamic and pre-Islamic symbolism. Built between the late 9th and early 10th centuries, this building is considered to be the final resting place of the Samanid rulers and harbours a rich symbolism within its walls that still fascinates today.

The chortaku-like structure: gates to the four cardinal points
The characteristic feature of the mausoleum is its chortaku-like opening on all four sides, which symbolises the building’s connection to the four cardinal points and the source of its spiritual power. This architectural feature emphasises the spiritual significance of the mausoleum: entering through one of the four gates marks the transition from the profane to the sacred.

The orientation-shifted inner square, whose corners indicate the entrance location, is particularly symbolic. The wing motifs above the arches of the mausoleum are reminiscent of the wings of angels and are considered traditional symbols of spirituality. They refer to the overcoming of worldly vanity when entering the building and the initiation into the divine.

Cosmic symbolism: the unity of macrocosm and microcosm
The Samanid Mausoleum combines numerous symbols in its structure that point to a deeper cosmic order. A key motif is the ‘square within a square’, which can be interpreted as a representation of the ‘unity of macrocosm and microcosm’. The movement from the inner to the outer square symbolises the expansion of the universe, while the reverse movement represents the journey inwards and the spiritual path.

The sacred number 40: protection and spiritual connection
Another central symbol of the mausoleum are the ‘two squares with forty beads’, which refer to the sacred significance of the number 40 in the Islamic tradition. The number 40 is deeply embedded in spiritual rituals: it is said that the soul remains on earth for 40 days after death and enters the body 40 days before birth.

In the local tradition, the 40 beads symbolise the ‘chiltan’ – the ‘forty saints’ or ‘secret people’, who are regarded as the spiritual protectors of the world. Uzbeks, Tajiks, Kazakhs and Kyrgyz tell legends about these mythical figures, which later merged with Sufi and Ishmaelite beliefs. In the context of the mausoleum, the square ‘fence’ of 40 beads embodies the protection of these saints and emphasises the spiritual connection between the buried Samanid ruler and them.

Pre-Islamic influences: The legacy of the Siyavush cult
The veneration of the number 40 in the Maverannahr and Khorezm region dates back to the early Middle Ages. In pre-Islamic Bukhara in particular, the sacred number was associated with the Siyavush cult, a solar deity whose worship was integrated into calendrical-agrarian rituals. The chief priests of this cult were also rulers of the region – a combination of spiritual and worldly power that is also expressed in the mausoleum.

The Samanids, who proclaimed their independence from the Abbasid Caliphate in the 9th century, consciously drew on these local traditions. The architecture of the mausoleum thus manifests the fusion of Islamic beliefs with pre-Islamic symbols – proof that the people of Bukhara continued to practise their pagan rituals despite the official adoption of Islam.

The secret of the Samanid mausoleum
The ‘secret’ of the Samanid Mausoleum is revealed in its unique combination of religious traditions, spiritual symbols and architectural mastery. It unites Islamic and pre-Islamic world views in a composition that takes the viewer on a journey through cosmic orders and spiritual levels. The 40 beads and the 40 arched windows are more than just decorative elements – they stand for sources of light that break through the darkness and symbolise the protection of sacred powers.

The Samanid Mausoleum remains to this day a monument to the cultural heritage of Central Asia and a testimony to the deep spiritual connection between past and present. It is not only a place of remembrance, but also a symbol of dialogue between cultures and faiths that has retained its magic right up to the present day.

A timeless legacy
The Samanid Mausoleum fascinates not only with its architectural mastery, but also with the depth of its symbolism. It combines the influences of pre-Islamic cultures with the achievements of early Islamic architecture and remains an unrivalled monument to the cultural heritage of Central Asia to this day.

Its mystery lives on in the ornate brick patterns and symbolic architecture – a testimony to the search for the divine and the eternal connection between heaven and earth. In the silent shadows of the Naukand cemetery rests not only the history of the Samanids, but a whole universe of meanings that is still waiting to be deciphered.