Shah-i-Zinda

Uzbekistan

Posted on: 15 April 2025

Shah-i-Zinda: The World’s Most Beautiful Tiled Necropolis

How often do you feel tempted to visit a necropolis when you travel? Probably not very. But Shah-i-Zinda is different. Shah-i-Zinda is not only one of Uzbekistan’s most beautiful tiled necropolises—but also among the most exquisite anywhere in the world. This sacred site is not just a burial ground. It is a masterpiece of architecture, art, and devotion. This necropolis is unlike anything else in the world. Here, faith, history, and breathtaking decoration come together in one extraordinary site.

A Sacred History

The name Shah-i-Zinda means “The Living King.” Local legend says and was also briefly mentioned by Ibn Battuta that a cousin of the Prophet Muhammad, Qusam ibn Abbas, is buried here. He came to Central Asia in the 7th century to spread Islam. People believe he did not die, but went underground alive and will come back. Since then, the site has been a place of pilgrimage and prayer. Among Central Asian dynasties, being buried near a revered saint, like Qusam ibn Abbas at Shah-i-Zinda, was believed to bring spiritual blessings and divine favor in the afterlife. These richly decorated tombs were public displays of wealth, power, and artistic refinement. Shah-i-Zinda, with its procession of lavish mausoleums, became a timeless monument of eternal glory and lasting remembrance for the Timurid dynasty.

The Art of Ceramics at Shah-i-Zinda

What makes Shah-i-Zinda so special is its decoration. As you walk along the narrow ceremonial path, lined with mausoleums on both sides, the experience feels intentionally immersive. These structures, built over centuries—from the 11th to the 15th—were designed not only to honor the dead but to elevate the living. Their soaring facades are clad in intricate glazed tilework, creating a vertical rhythm that naturally draws the eye upward—toward the sky, and toward heaven.

Mausoleums shine with vibrant, hand-crafted tiles—each one a testament to the artistry and devotion of generations of craftsmen. These surfaces aren’t just decorative; they tell a story. From early carved terracotta to the rich hues of painted maiolica and the precision of cut-tile mosaics, the ceramic decoration at Shah-i-Zinda reveals the evolution of Timurid tilework in Central Asia. Nowhere else can you trace this transformation so clearly—from simple geometric forms to complex, polychrome compositions that turned architecture into poetry in color and clay. The Shahi-Zinda necropolis in Samarkand stands as a museum of this ceramic legacy. The world’s greatest museums—including the Metropolitan Museum of Art, the British Museum, The Ashmolean, the University of Oxford’s museum of art and archaeology and the Louvre proudly feature Timurid tiles in their collections, recognizing them as masterpieces of Islamic art and architectural ceramic design.

Colored and glazed bricks

In the early stages of Timurid architectural decoration, artisans used simple glazed and painted bricks to introduce color, rhythm, and pattern to building facades. These bricks were often glazed in plain shades of blue, white, or turquoise—colors deeply associated with paradise, purity, and spiritual elevation. In some cases, bricks were painted in tones like white, brown, or manganese black, adding contrast and variety without the complexity of later techniques. The patterns at this stage were largely geometric, focused on symmetry, repetition, and visual harmony, rather than intricate detail. This restrained aesthetic set the stage for the more elaborate ceramic innovations that would soon follow in Timurid art.

Carved and glazed terracotta

In the 14th century, artisans perfected a technique known as carved polychrome ceramics—a process that involved deeply carving patterns into wet terracotta, then glazing the surface in radiant shades of turquoise, cobalt blue, and white. Earlier decorative styles used simpler carved terracotta with a single glaze, creating surfaces rich in texture and depth. But as the craft evolved, so did its visual language. Designs grew more intricate, blending flowing lines, floral motifs, and elegant calligraphy into unified compositions. By the early 15th century, this type of carved and molded ceramic decoration began to be used less frequently.

Maiolica Tiles in Timurid Architecture

Another breakthrough of the Timurid period was the adoption of maiolica—a technique of painting on white-glazed tiles with metal oxide pigments. Maiolica was introduced and perfected in Central Asia by the many skilled craftsmen whom Amir Timur brought from the regions he conquered. As he set out to shape the monumental architecture of the Timurid Empire, he assembled the finest architects, tile masters, and artisans—many of them from Iran, where the art of glazed ceramics was already highly developed. This allowed for more painterly expression and the use of softer, more nuanced hues. From the last third of the 14th century, painted maiolica began to gain prominence. Maiolica was not limited to large flat tiles for wall panels. It also included a variety of shaped architectural elements: cornices, stalactites, column panels, and more. These tiles weren’t just flat panels—they were shaped into stars, hexagons, stalactites, and niches. The decoration extended to every surface: domes, portals, mihrabs, and even the interiors of mausoleums.

The word maiolica comes from Majorca, the Mediterranean trade hub that connected the Islamic world with Europe. Originally, the term referred to Moorish pottery—Islamic ceramics imported into Europe through the port of Majorca—which later inspired Italian craftsmen to adopt and adapt the technique under the same name. From the 15th century onward, Italian cities such as Faenza, Deruta, and Florence became known for producing tin-glazed earthenware, which became widely referred to as maiolica. Research by Professor Timothy Wilson, a leading expert on the history of ceramics, shows that tin oxide was already in use in the Islamic world as early as 800 AD, following its discovery in Iraq. By the 14th century, tin-glazed ceramics had become a hallmark of Timurid architecture, especially in monumental sites like Shah-i-Zinda. Without diving too deeply into the origins of the term, what is clear is that the Silk Road played a vital role in the exchange of materials, techniques, and artistic ideas.

The main challenge in creating painted tiles was preventing the colors from running into each other during firing. To address this, various separation techniques were developed. One widely used method was the “dead edge,” in which the design’s contours were drawn using a refractory clay or dark pigment (like black or brown) that prevented color mixing. Another method involved embossing or stamping to create either raised or recessed designs.

Gilded Overglaze Tiles

There was also an added layer of luxury: gilding applied after firing. In some of the finest examples, maiolica was finished with delicate overglaze gold painting, enhancing the richness and spiritual symbolism of the surface. This technique was especially effective in catching and reflecting light, making the tiles shimmer with a luminous, almost ethereal quality. The interplay of light and dark tones in the painted designs—combined with relief textures and gilding—created a striking three-dimensional visual effect. This technique is seen in the decoration of this mausoleum, built in 1361.

Mosaic Faience

The development of cut-tile mosaic (mosaic faience), introduced into the architecture of Transoxiana in the 1380s, marked a pinnacle in Timurid decorative art. Even though faience and maiolica are often used interchangeably in casual conversation, in the context of Timurid architecture, they refer to distinct ceramic techniques with different functions and characteristics. The main difference between maiolica and faience lies in their material composition, surface quality, and decorative potential. Maiolica is made from porous clay and is coated with either a transparent or opaque glaze, allowing for smoother surfaces and greater plasticity. This flexibility enables artisans to create not only tiles but also complex architectural elements like cornices, stalactites, and column coverings. In contrast, faience contains a high proportion of powdered quartz, giving it a rougher texture and less plasticity, which limits its use in carved or molded forms. Faience in Timurid architecture was typically used in mosaic work, where its colored body supports transparent glazes and both underglaze and overglaze painting, but it is rarely used for large or sculptural decorative pieces. The Mausoleum of Shirin-Bika-Aka, built in 1385, is one of the earliest examples of cut-tile mosaic within the Shah-i-Zinda complex.

In the exterior of the Mausoleum of Tuman-Aka (1405), the cut-tile mosaic technique reached its peak, distinguished by exceptionally refined ornamentation. It is believed that the special attention given to its decoration reflects the high status of its owner, one of Amir Timur’s favorite wives.

Although the exact date of her death is unknown, it was common during that period to construct mausoleums while the intended occupant was still alive. Cut-tile mosaic offered exceptional expressive capabilities: a vibrant, polychrome palette combined with sharp precision in design. The monochrome turquoise glazes characteristic of earlier styles were gradually replaced by more sophisticated and vibrant combinations of deep blue, sky blue, turquoise and green. The typical palette used by majolica painters was based on five primary metal oxide pigments: cobalt for blue, antimony for yellow, iron for red, copper for green, and manganese for purple. These pigments were applied either under or over the glaze, allowing for intricate and expressive decoration that defined the grandeur of Timurid architectural ceramics. With this innovation, lush vegetal ornamentation became dominant, and relief surfaces (carving and stamping) were replaced by the smooth flatness of mosaic.

The technique involved several stages. Colored shapes were cut from thin glazed tiles (typically made of clay with fine quartz sand) following a pre-drawn pattern. These pieces were assembled face down on a horizontal surface, aligned to the outlines of the design, and then glued together using a special gypsum-based mortar mixed with ash. Once dry, the assembled panels were fixed onto the walls using the same mortar, now reinforced with loess. The precision in fitting the pieces was so high that the finished mosaics looked like they had been painted with a brush.

Timurid Architecture

What makes the Timurid Architecture unique is how it elevated maiolica beyond simple ceramics, transforming it into a full-scale architectural art form. In this context, maiolica became more than just decoration—it was a statement of power, prestige, and spiritual refinement. Even maiolica tableware was considered a luxury item in its time, so using this technique to adorn entire building facades reflected immense wealth and status. In addition, creating these decorations was extremely labor-intensive. The careful cutting, detailed painting, and slow, precise assembly of mosaic tiles took a lot of time and skill. These surfaces were not just beautiful—they were also powerful symbols of craftsmanship and imperial pride.

Decorations used at Shah-i-Zinda

At Shah-i-Zinda, three main types of decoration were used across the mausoleums: vegetal, geometric, and calligraphic motifs. Vegetal designs include stylized flowers, vines, and leaf patterns that evoke the image of paradise—an eternal garden, which in Islamic tradition symbolizes peace and the afterlife.

Geometric patterns use repeated shapes such as stars, squares, and circles, arranged in perfect symmetry. These designs reflect the beauty of logic, order, and the divine structure of the universe. Calligraphy, often drawn from verses of the Qur’an, serves both a decorative and spiritual purpose. Flowing and elegant, the script adds meaning through blessings, praises of God, or sacred texts—turning architecture into a visual expression of faith. Together, these styles create a unique visual world. The mausoleums are like pages from a book—each tells a story.

The People Behind the Mausoleums

The necropolis grew over centuries. It became especially important in the 14th and 15th centuries. The gurkhana, or funerary chamber, of the Kusam ibn Abbas Mausoleum, dating back to the 11th century, is the oldest structure in the Shah-i-Zinda complex and marks the sacred heart of the entire ensemble.

The Khodja-Ahmad Mausoleum, built in the middle of the 14th century, stands next to the shrine of Kusam ibn Abbas. Opposite the shrine to the right, next to Khoja Ahmad Mausoleum stands the Tuman-Aka Mausoleum, built in 1405–1406.

After ascending the stairs at the main entrance of Shah-i-Zinda, visitors are greeted by a striking row of four blue-tiled mausoleums, each reflecting the elegance and craftsmanship of the Timurid era.

These include the Mausoleum of Shadi Mulk-Aka (Turkan-Aka), built in 1372; the Mausoleum of Tuglu-Tekin, dated to 1376 and dedicated to the mother of Amir Hussein, one of Amir Timur’s key commanders; the Shirin Beka Oka-Mausoleum, built in 1385–1386; and the Emir-Zade Mausoleum, completed in 1386. Nearby stands the distinctive ‘Octagon’ Mausoleum, a unique eight-sided structure from the 15th century.

One of the prominent domed structures near the entrance of Shah-i-Zinda is the Sultan’s Mother Mausoleum, built in the first third of the 15th century. Its commanding position and refined decoration reflect the high status of the woman buried there, believed to be the mother of a Timurid prince.

These mausoleums are built in layers: while the beautifully tiled structures above ground often feature symbolic tomb markers, the actual burials are located in crypts beneath. What visitors see above is typically a cenotaph—a symbolic grave that honors the deceased but does not contain the body itself. In many cases, a single mausoleum houses not just one individual but several family members, including women and children, reflecting the tradition of family burials within a single sacred space.

Visit Shah-i-Zinda

Shah-i-Zinda is not just a place to visit—it is a place to feel. Whether you are drawn by history, sacred stories, or simply the beauty of hand-crafted tilework, this Timurid necropolis leaves a lasting impression on the heart. It reminds us how art can express faith, and how memory can live on through beauty. At Kalpak Travel, we believe places like Shah-i-Zinda must be seen with care and respect. Our expert guides will help you understand the meaning behind every dome and design. We offer small group tours that focus on culture, comfort, and connection. Discover Uzbekistan’s cultural treasures with Kalpak Travel—and experience the story of Shah-i-Zinda for yourself.