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functioning city mosque. Its facade consists of a traditional portal and two-story wings with arched entrances to the 
hujras - cells of students. At the edges are towers with bright blue domes, and from the depths you can see the large 
dome of the mosque. Inside, according to tradition, a quadrangular courtyard is framed by two floors of hujras.
The richest decoration was preserved in the temple itself - this is the painting of its upper part using the 
kundal
technique with gilding. According to the plan of Zhalantos Biy Bahadur, this madrasah was supposed to close the 
ensemble on the Registan Square from the north with its main facade, and the mosque should have been located in the 
building itself, so that students could pray without leaving the madrassah. Particularly impressive in the madrasah is 
wall painting and the rich gilding of the internal walls of the main building of the mosque. 
The main facade consists of a central portal, frontal wings with two tiers of hujras facing the square with arched niches-
loggias and corner towers - guldast. The courtyard with four aivans around the perimeter is surrounded by cells on two 
floors. The rest of the walls and vault were completely covered with 
Kundal 
painting with abundant gilding. The mihrab 
was gilded (a prayer niche in the wall facing Mecca) and the 11-step minbar (elevation for the preacher - the imam). 
The abundance of gilding in the decoration and determined the name of the madrassah - ―Tilla-Kari‖. The courtyard and 
exterior facades are lined with mosaics and majolica with various patterns - geometric, floral and epigraphic. Solid 
wooden doors are decorated with delicate ornaments. 
Now in the madrasah there is an art museum, an exposition telling about the restoration of Registan Square, souvenir 
shops where you can buy locally produced goods - scarves, dishes, ceramics and, of course, magnets. 
At the end of the 19th century, Samarkand survived a serious earthquake, and the mosque was badly damaged. Its final 
restoration was completed in the late 50s. 20th century, in 1979 the interior was restored. 
Madrasahs are an adornment of modern Samarkand and attract tourists from all over the world. In the history of 
architectural art of the whole East, these buildings occupy high places in terms of mastery of execution. One of the 
inscriptions, written in the Persian-Tajik language, on the wall of the Sher-Dor Madrasah reports that the owner of the 
finest taste, the ―emir commander, fair Zhalantos Bahadur, was its founder. 
A wise politician with a broad outlook and a subtle analytical mind, Zhalantos Bahadur went down in history, first of 
all, as a brave commander. He united around himself the best figures of science and culture, skilled architects, builders 
and craftsmen, whose beautiful creations were to serve as an indicator of the power of the state. Majestic architectural 
monuments were built under him, which to this day cause endless pride among compatriots, great interest and 
admiration among foreign guests. 
Zhalantos Bahadur is buried 12 km from Samarkand in Dagbit at the feet of his spiritual mentor. His daughters are 
buried here. His descendants live both in Samarkand and in the Kazalinsky district, and sacredly honor the memory of 
their great ancestor. The name of Zhalantos Bahadur is assigned to one of the central streets of modern Samarkand. 
Streets in the cities of Kazakhstan are named after Zhalantos: Almaty, Semipalatinsk, Pavlodar and Kyzylorda. 
It is necessary to introduce the whole world to Zhalantos as a statesman who has made a significant contribution to 
world civilization. He must be known all over the world. The selfless participation of historians, sources, folklorists, 
poets, writers, playwrights and other representatives of science and art should contribute to the solution of this problem.
The UNESCO World Convention states that monuments are ―works of architecture, monumental sculpture and 
painting, elements and structures of an archaeological character, inscriptions, caves and groups of elements that have 
outstanding universal value in terms of history, art or science‖. 
So, it is the duty of everyone in society to convey history to the next generations in all its fullness and truthfulness. And 
the future generation will study this story, live longer and gain experience. It uses the good deeds of the ancestors and 
will try not to repeat their mistakes. This has always been the case in the history o f mankind. Efforts have been made to 
keep historical events intact, so that they remain complete for future generations. 
Centuries, people, events leave, but the memory of them remains in deeds, memories, in the names of cities and 
villages, rivers and seas, streets and squares. The historical memory of the people is an enduring value; it is passed 
down from generation to generation. In conclusion, we note that it is not enough to call the names of the great streets, 
cities, to erect monuments. The memory of them must live in the heart of each of us, and we must pass this memory on 
to our younger generation. Modern society is very careful about historical and cultural monuments, since it is important 
for us to pass them on to future generations. Therefore, the problem of preserving historical and cultural monuments 
arises. The arguments for solving such a problem are very obvious and they are expressed in the value that carries, 
expresses a monument of history and culture. After all, any monument embodies the meaning that mankind has 
proclaimed - the value of nature, the value of military victory, the value of the works of the great poet, the value of 
scientific discovery, and so on. 

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