The construction of the mausoleum provided important advances in building technology, displaying unsurpassed records of all kinds in terms of its vaulted constructions and artistic innovations.
The achievements derived from the mausoleum's erection, together with the Timurids’ patronage of music, calligraphy, Persian miniature painting, literature, and various scientific pursuits, gave birth to a distinct Islamic artistic style, to be known as Timurid.

The spacious structure employed a radially symmetrical plan for spatial arrangement.
The visual balance created by the precise construction became a characteristic aesthetic feature of Timurid buildings—one which would famously be adopted by the Mughal Architecture of India, especially in the gardens and structures of Humayun's Tomb and Taj Mahal, both commissioned by descendants of Timur.

The double dome technique executed in the mausoleum made possible the huge domes of the Timurid era.
The dome is created by employing a squinch, or corner bracketing, that allows for the transition from a square, octagonal or 16-sided base to a dome top.
Indeed, the mausoleum's main dome remains the largest existing brick dome in Central Asia.

The use of glazed tiles, mosaics, patterned brickwork, and Islamic calligraphy was also influential.
Advances in pottery techniques allowed for the mass production of glazed tiles used for various decorative functions.
Among the techniques devised for tile decoration are:
Banna’i technique: the "builder's technique," consists of revetment of glazed bricks set within unglazed ones to form geometric patterns
Haftrangi: a technique that permits the creation of multi-colored patterns on the same tile before firing without letting the colors mix
Faience: a patterned arrangement of closely fitted small pieces of tiles which have surface glaze of different colors
The employment of tiles and muqarnas bear strong influence from Iran, where many of Timur's architects were from.
The covered surfaces create visual effects based on how the observer would view the building, and "read" the calligraphic messages.

Timurid tile work did not merely embellish a building as an 'applied' decoration.
Rather, in the hands of the architect it was viewed as an intrinsic element of its conception, as a perfect object.
Most tile patterns were based on a complex system of proportions and measurements or girih.
Skilled artisans permutated the girih system and produced highly sophisticated and fractal 'quasi-crystalline' wall patterns.
Historians also narrate how building settings combined with theatrical props such as silk curtains, awnings, vertical screens and lamps reflecting in giant mirrors to produce memorable spaces.

— Dr. Manu P. Sobti, School of Architecture and Urban Planning, University of Wisconsin–Milwaukee
The tile work was also used to obscure the structural joints of the building.
The use of turquoise and azure-blue as the prominent color of choice for many structures were meant to contrast with the bright sunlight of the Central Asian desert.

The mausoleum's construction at a time when many other Central Asian settlements had been experiencing building sprees under Timur's political ideology allowed for the exchange of ideas and techniques across the empire.
Master builders and laborers from the conquered cities congregated to build projects.
The employment of Persian architects in leading the major construction activities resulted in the introduction of Persian elements in the Timurid style.
This and the Timurids’ general patronage of the arts have made them the greatest patrons of Iranian culture.

The landmark architectural and artistic solutions realized in the erection of the Mausoleum of Khoja Ahmed Yasawi were immediately utilized in other building endeavors, such as contemporary works in Samarkand, Herat, Meshed, Khargird, Tayabad, Baku and Tabriz.
It is thought that the peak of Timurid Architecture could be found in the buildings of Samarkand.
Timur filled his capital with both secular and religious monuments, as well as a plethora of gardens, which fe
The construction of the mausoleum provided important advances in building technology, displaying unsurpassed records of all kinds in terms of its vaulted constructions and artistic innovations. The achievements derived from the mausoleum's erection, together with the Timurids’ patronage of music, calligraphy, Persian miniature painting, literature, and various scientific pursuits, gave birth to a distinct Islamic artistic style, to be known as Timurid.
The spacious structure employed a radially symmetrical plan for spatial arrangement. The visual balance created by the precise construction became a characteristic aesthetic feature of Timurid buildings—one which would famously be adopted by the Mughal Architecture of India, especially in the gardens and structures of Humayun's Tomb and Taj Mahal, both commissioned by descendants of Timur.
The double dome technique executed in the mausoleum made possible the huge domes of the Timurid era. The dome is created by employing a squinch, or corner bracketing, that allows for the transition from a square, octagonal or 16-sided base to a dome top. Indeed, the mausoleum's main dome remains the largest existing brick dome in Central Asia.
The use of glazed tiles, mosaics, patterned brickwork, and Islamic calligraphy was also influential. Advances in pottery techniques allowed for the mass production of glazed tiles used for various decorative functions. Among the techniques devised for tile decoration are:
Banna’i technique: the "builder's technique," consists of revetment of glazed bricks set within unglazed ones to form geometric patterns
Haftrangi: a technique that permits the creation of multi-colored patterns on the same tile before firing without letting the colors mix
Faience: a patterned arrangement of closely fitted small pieces of tiles which have surface glaze of different colors
The employment of tiles and muqarnas bear strong influence from Iran, where many of Timur's architects were from. The covered surfaces create visual effects based on how the observer would view the building, and "read" the calligraphic messages. 
Timurid tile work did not merely embellish a building as an 'applied' decoration. Rather, in the hands of the architect it was viewed as an intrinsic element of its conception, as a perfect object. Most tile patterns were based on a complex system of proportions and measurements or girih. Skilled artisans permutated the girih system and produced highly sophisticated and fractal 'quasi-crystalline' wall patterns. Historians also narrate how building settings combined with theatrical props such as silk curtains, awnings, vertical screens and lamps reflecting in giant mirrors to produce memorable spaces.
— Dr. Manu P. Sobti, School of Architecture and Urban Planning, University of Wisconsin–Milwaukee
The tile work was also used to obscure the structural joints of the building. The use of turquoise and azure-blue as the prominent color of choice for many structures were meant to contrast with the bright sunlight of the Central Asian desert.
The mausoleum's construction at a time when many other Central Asian settlements had been experiencing building sprees under Timur's political ideology allowed for the exchange of ideas and techniques across the empire. Master builders and laborers from the conquered cities congregated to build projects. The employment of Persian architects in leading the major construction activities resulted in the introduction of Persian elements in the Timurid style. This and the Timurids’ general patronage of the arts have made them the greatest patrons of Iranian culture.
The landmark architectural and artistic solutions realized in the erection of the Mausoleum of Khoja Ahmed Yasawi were immediately utilized in other building endeavors, such as contemporary works in Samarkand, Herat, Meshed, Khargird, Tayabad, Baku and Tabriz. It is thought that the peak of Timurid Architecture could be found in the buildings of Samarkand. Timur filled his capital with both secular and religious monuments, as well as a plethora of gardens, which fe
Mausoleum of Khoja Ahmed Yasawi