Mausoleum of khoja ahror vali

MAUSOLEUM OF KHOJA AHROR VALI
The full name of Khoja Akhror Vali is Nasyr-ad-din Ubaydullah ibn Mahmud Shashi. Born in 1404 in the village of Bagistan in Maverannakhr, he was known as a famous religious figure throughout Central Asia. He came from a noble family, during his lifetime he managed to amass a good fortune and land, although he himself preferred a rather modest existence, devoid of wealth and luxury. As a child, he did not play with his peers, he spent a lot of time in mosques, praying and meditating. At the age of 24, he became the leader of the Nakshbandi Sufi movement, preaching spiritual perfection and the path to Truth. His main goals as a Sufi follower were to save the souls of the whole world, to help the poor and needy, simple hardworking people.
Khoja Akhror Vali was a truly great personality of that time, which is confirmed by his good deeds. He managed to achieve the abolition of the heavy tax for the people, which led to the prosperity of agriculture, to reconcile the rulers of Samarkand, Ferghana and Tashkent, who were preparing for an internecine bloody war. But his most miraculous virtue, full of mysteries and secrets, is the magical healing of Zahiriddin Bobur, the ruler of India. Once Bobur fell seriously ill and not a single doctor could alleviate his torment. Then one poor man advised him to translate the poems of Khoja Akhror Vali in order to get rid of the disease. Bobur followed his advice and, to everyone's surprise, was healed. There are rumors that Khoja Akhror Vali was a skilled healer and seer, and his amulets and poems had mystical powers.
140 years after the death of Khoja Ahror Vali, the ruler Nodir Divanbegi ordered the construction of a mausoleum in his honor as a sign of reverence and respect for the great spiritual leader. The structure with the image of tigers is painted with patterns and ornaments, and carved mosaics are laid out. The mausoleum has a winter and summer mosque, an aivan and a tower towering above them, from which, at any time of the year, the muezzins convene pilgrims who have come from all over the world to pray, find peace of mind and their way to the truth.
The Khodja-Ahrar Ensemble is a complex of buildings of memorial, religious and spiritual and educational purpose, which developed in the 15th-20th centuries on the outskirts of the ancient cemetery of Jakerdiz in the southern suburban area of ​​the city of Samarkand (Republic of Uzbekistan). A radical restructuring of the ensemble, which completely changed its original appearance, was carried out in the first half of the 17th century. Additions were made in the 19th and 20th centuries. The emergence of the ensemble is associated with the name of a prominent religious and statesman of Maverannahr, Sheikh Nasyr ad-Din Ubaydallah ibn Mahmud Shashi, better known as Khoja Akhrar Vali. His grave, which is located on the territory of the complex, is one of the most revered shrines of Islam in Central Asia.
Khoja Ahrar himself laid the foundation for the construction of religious buildings in the village of Kafshir south of Samarkand. In the second half of the 15th century, he built a khanaka here, which was called mahautai-mullayan (The dwelling place of the mullahs). The area around the Sufi hostel was surrounded by a stone wall, and an octagonal pool-house was dug in front of the building. The khanaka of Khoja Akhrar lay on the same axis as the hauz, and its side facades were parallel to the edges of the pool. The building has not survived to this day, however, it is precisely established that most of it was built into a madrasah of the 17th century. There is reason to believe that the domed building of the mosque at the madrasah was also originally part of the khanaka of Khoja Ahrar. Nasir ad-din Ubaidallah died in 1489 and was buried in the southern part of the complex he built. By order of the Timurid rulers, a white marble stele was erected over the grave of Khoja Akhrar. The epitaph carved on it is one of the masterpieces of Islamic calligraphy. Almost immediately, the grave of the Khazrati Imam became an object of worship, and next to the dakhma inside the wall surrounding the complex, burial places of noble Samarkand residents began to appear.