Abstract
This article examines how architectural ornament contributed to the formation of a regional visual character in fourteenth- and fifteenth-century Bukhara. Although Timurid architecture has been widely studied through the monuments of Samarkand and other imperial centres, the ornamental systems of Bukhara have rarely been analysed comparatively as an integrated relationship between architectural form, geometry, material, colour, epigraphy, and spatial function. Addressing this gap, the study analyses the Sayfiddin Boharziy Complex, the Bayonqulixon Mausoleum, and the Ulugh Beg Madrasa through historical-cultural, comparative-typological, formal-artistic, and symbolic-interpretive methods, supported by field observation and photographic documentation. The analysis identifies continuity from restrained brick construction and ornamental concentration at the Sayfiddin Boharziy Complex to the denser glazed decoration and chromatic hierarchy of the Bayonqulixon Mausoleum, followed by the controlled coordination of geometry, brickwork, colour, and educational epigraphy at the Ulugh Beg Madrasa. Comparison with selected Timurid monuments in Samarkand indicates that the two centres shared architectural and ornamental principles but applied them differently in relation to scale, material treatment, decorative density, and building function. The findings suggest that Bukhara’s regional character resulted not from entirely unique motifs, but from the selective and consistent coordination of shared Timurid forms within local architectural and craft traditions.