The ancient trading posts along the fabled Silk Road have captured our imagination for centuries, thanks to not only countless stories about their grand monuments and lively bazaars, but also the cultural and intellectual exchanges between the East and the West that shaped people’s lives. Of all countries crisscrossed by the vast ancient trade routes, Uzbekistan boasts the highest concentration of what are arguably the most beautiful and captivating historical sites in Central Asia, a region at the nexus of the land-based commercial network between Asia and Europe.

We were awed by the magnificence of the centuries-old buildings in Samarkand, a city graced by the likes of the incredibly ornate Registan and the colossal Bibi-Khanym Mosque. But when we came to Bukhara, we were treated with a different ensemble of historical significance. The stately Ark and the photogenic Po-i-Kalyan complex left great first impressions on us. However, we knew there was more to Bukhara than the two places. In fact, both of them beckon visitors to go deeper into the city’s old town district, a relatively compact area that is replete with invaluable heritage buildings constructed during the heyday of the Silk Road.

As opposed to Samarkand’s more spread-out historical sites, the ones in Bukhara are mostly concentrated within approximately 2 square kilometers, the size of the city’s UNESCO-listed historic center. Walking along the main roads in the largely well-preserved old town, you would immediately notice two types of structures that appear to be a recurring theme in this area: madrasahs (Islamic learning institutions) and toqis (trading domes). This is probably the closest thing one could have when it comes to getting a glimpse of what the ancient Silk Road looked like, where exotic goods were traded and different faiths were preached.

The madrasahs were in various states of preservation, but the trading domes were never empty. The latter were where I witnessed firsthand the legendary craftsmanship of Bukharan artisans: from miniature illustrations with minute details created by highly-skilled painters, to bird-shaped scissors forged by experienced blacksmiths, there was no shortage of awe-inducing artwork for sale. Obviously, there were more generic items geared toward tourists too, but seeing how the city’s centuries-old traditions were still alive and well was very encouraging.

One of the largest trading domes in the historic center of Bukhara is the 16^th-century Tim Abdullah Khan. Built in the Persian style, the structure was occupied by carpet vendors at the time of our visit. However, despite its location along the main pedestrianized street that connects Po-i-Kalyan with Lab-i Hauz at the very heart of Bukhara’s old town district, only a trickle of visitors checked out this particular trading dome. The prices of the carpets might be high (understandably so since making one requires great skill and a lot of time), but you can just walk in and marvel at the designs of the textile product as well as the structure from the inside. No one pressured us to buy anything, making the little detour a very pleasant experience.

The atmosphere of old Bukhara grew even stronger the deeper we were in the historic center. While each structure was interesting, together they made such a great ensemble of monuments that will likely impress even the most seasoned travelers. During its heyday, Bukhara was a melting pot and a true cultural hub, especially for Persians. It was in this city where Imam Al-Bukhari, one of the most revered and influential figures who collected and interpreted hadiths (actions and sayings of Muhammad), was born. But it was also home to a sizeable Jewish community who developed their own unique traditions. Bukhara was the seat of the Samanid Empire who made it its capital toward the end of the 10^th century, and it was here where the court’s poet and musician Rudaki flourished. Even today, more than 1,000 years after his death, he is still celebrated as the most consequential figure in Persian poetry and literature.

Unlike Samarkand’s colossal ancient monuments, I found the ones in Bukhara more constrained both in size and intricacy. But that doesn’t mean they were less attractive. Take Maghoki Attori Mosque, a millennia-old mosque believed to have been built over the remains of a Zoroastrian temple. It is one of the few structures in the city that were spared from utter destruction following the Mongol invasion, and it is now a carpet museum showcasing the unique designs of carpet-making communities across Central Asia. (I found the ones from Turkmenistan particularly fascinating to look at.)

The 17^th-century Nadir Devanbegi Madrasah is another structure that is hard to miss, thanks to its brilliant tile decorations depicting the Huma, a mythical bird of Persian origin that is said to live its entire life flying high above the earth. In front of the seemingly well-maintained edifice, a bronze statue appeared to be particularly popular among the locals. But even if one was unaware of who he is, the humorous style of his portrayal would almost guarantee a gaze or two. It is Nasreddin Hodja (also known as Affandi), a 13^th-century character commonly recounted in tales across the Muslim world, and often described as a foolish yet witty person whose words carried wisdoms and truth.

The truth about Bukhara, as I learned in every step I took when exploring its atmospheric corners, was that it turned out to be a lot more captivating than I previously thought it would be. Take Kukaldosh Madrasah, for example. This centuries-old structure, embellished with more subdued ornaments than Nadir Devanbegi Madrasah that sits right across the street, might not seem that interesting from the outside and looked rather austere. But that shouldn’t stop you from going inside, which I’m glad we did.

At first, we stumbled upon the usual stalls selling souvenirs like in other places in the old town. However, as we emerged from the interior into its vast and airy inner courtyard, one particular miniature painter caught my attention. All artisans in Bukhara who were completing such delicate works with a steady stream of onlookers walking past them were men. But the one I saw at Kukaldosh Madrasah was a woman, a young one no less. We approached her and took a closer look at her works, each of them beautifully well-made, before being fixated on one where blue is the dominant color with shades of gold. Out of curiosity, I asked her about the characters depicted on it.

“This is Marco Polo, and behind him is [the Mughal Emperor] Shah Jahan carrying a picture of the Taj Mahal,” she explained, adding, “that person riding the donkey, that’s Affandi.” She further elaborated on the landmarks she painted behind the characters: St Mark’s Campanile of Venice, Kaltaminor of Khiva, the Kalyan Minaret of Bukhara, the Registan of Samarkand, and a building that looks undisputedly Chinese. We rarely buy things when we travel, but we make exceptions for items we consider special, and this miniature painting was one of them.

Shoxista. She wrote her name in the Latin alphabet – a script that has been promoted by the Uzbek government to replace Cyrillic – and added her signature at the back of the painting before carefully wrapping it. After exchanging rahmat (“thank you”) and marhamat (“you’re welcome”) with her, we left the peacefulness of Kukaldosh and delved back into the beating heart of Bukhara’s old town district. I know we paid for this painting, but somehow it felt more like a gift because it came from a place of deep reverence and love for the arts. And it certainly boosted our mood even further to explore the rest of Bukhara’s historical sites. One thing’s for sure: when you are in Bukhara, never hesitate to pop into an old madrasah or a former caravanserai as you may be in for a delightful surprise.