Unique doors from the mausoleum of Khoja Ahmed Yasawi have been restored by the staff of the Almaty scientific restoration laboratory "Ostrov Krym." Elina Altynbekova, a leading employee of the laboratory, shared the findings of her research during the lecture "Secrets of Ancient Art: From Saka to Amir Temir," organized by the multimedia project Qalam in the city of Shymkent.
The door is located inside the building and separates the main hall of Kazandyk from the tomb of Khoja Ahmed Yasawi himself. "The door is not just an interior element. It is a transition to another world, to a different state. Therefore, the mausoleum door, which is over 600 years old, held special significance and was richly decorated," Elina Altynbekova explained. The door had not previously undergone scientific study.
During the examination of the door, numerous issues were discovered. "There are cracks and deformations—the wood has begun to split. Additionally, the door itself is covered in grease, dirt, oils, and glue. At one time, people attempted to enhance its appearance using various materials," the restorer explained.
The door featured a significant number of inlays—various elements made from other materials such as bone, tin, and several types of wood were set in the recesses. There are even inserts made from materials that imitate gold. The carving itself is very complex and multi-layered.
The restoration encompassed various directions, including field studies, the use of computational systems, X-rays, laboratory research, and neutron tomography, involving various specialists. Neutron tomography is a type of computer tomography that allows for three-dimensional imaging of objects through neutron beam irradiation.
In the first phase, the door was studied on-site within the mausoleum. Specifically, an X-ray examination and scanning of each section were conducted to create a copy that later replaced the original. "Initially, we studied and traced all the patterns and elements that were transferred to the copy. The replacement was carried out at night when the mausoleum was closed, so visitors would not be disturbed," Elina Altynbekova reported.
"All of this was sealed in ancient times with a compound that turned out to be rice mastic—a sort of adhesive. It was used to smooth the surface of the door. However, over time, the mastic began to fall out along with remnants of the inlays, and the bone inlays yellowed and became indistinguishable from the wood," the speaker continued. In addition, traces of nails and damage caused by termites, which left holes in the wood structure, were discovered.
Elina Altynbekova noted that various types of wood were used in the creation of the door's inlays. "Among them are two types of ebony from Africa. Another type is Far Eastern maple. Just imagine where Turkestan is and where Africa or the Far East is," she said, adding that the door itself was made of walnut.
To study the metal plates that hold the boards together, scientists utilized the resources of the Nuclear Physics Institute located near Almaty. The institute's nuclear reactor, used for scientific research, allowed them to see the structure of the iron plates. "Initially, we thought they were just pieces of iron and nothing more. But X-ray research and work at the Nuclear Physics Institute revealed that they have inscriptions in Arabic script made with silver and gold patterns. What is written will be the work of Arabists, who will now engage in deciphering these inscriptions," Altynbekova shared.
The restoration team insists that the door should not be returned to its original place but rather transferred to a museum. "In the mausoleum, the door will again perform its original function—people will start opening and closing it, touching and wiping it. If we want to preserve it, it should go to the museum—there it will receive the proper attention and all conditions for long-term and correct storage will be met," Altynbekova explained.
Elina Altynbekova is a renowned Kazakhstani restorer and designer, a leading employee of the scientific restoration laboratory "Ostrov Krym," founded and headed by the famous Kazakhstani artist-restorer Krym Altynbekov. She is a co-author of the reconstruction of the Sarmatian warrior, a curator of exhibitions, and an author of restoration training sessions.