[2] The mausoleum, built and named after the mother of one of the local rulers of Azerbaijan, Atabek Jahan Pahlavan of Ildegezid dynasty, is masterfully decorated with complex geometric ornaments and inscriptions from Koran.

So as not to spoil the purity and geometric simplicity of the tower's prismatic structure, the architect did not differentiate the eastern side with its double-doored entrance from any of the other walls.

Initially, the mausoleum was a modest building, and it was only shortly before her death that Atabeg Jahan Pahlavan decided to perpetuate the memory of his mother with a more solid structure.

Prof. Jafar Giyasi notes that the process of evolution of construction based on local traditions ends in the architecture of the Momina Khatun tomb.

In his work, the architect Ajami demonstrated not only the depth of artistic thinking, the subtlety of taste, but also the engineering genius, based on extensive mathematical knowledge and rich creative experience.

Getting acquaintance with the mounting system of the monument, especially with the design of the tomb, clearly shows that the architect deservedly received the title of “chief engineer” of his times.

While Ajami used an octahedral body, widespread in the architectural practice of that time, in the tomb he raised for Yusif ibn Kuseyir, he chose a rare 10-sided prism for Momina Khatun's mausoleum.

Ajami achieved a strong compositional verticality and wide planning possibilities, making the outer volume of the tomb decagonal.

The architect reinforced the upward orientation with other techniques, the corner supports were thick and conspicuous, and the cornices on the edges were narrow, deep and very high.

Raising the body on a prismatic pedestal, thus complicating the finish of the inflated pyramidal dome, greatly facilitated the ascent of artistic architectural forms.

The underground vault, which is an excellent architectural, spatial and engineering solution, played a fundamental role in ensuring the stability of the entire monument as a solid foundation.

The massiveness of the general engineering solution of the tomb is completed by a frame structure created by a high-body tin and a two-layer domed coating (internally spherical, externally pyramidal).

The rectangular entrance door of the tower is built into a shallow lancet arch, above it is a brick with the inscription "Banna Ajami Abu Akr ogly" in Kufic lines.

The date of construction of the mausoleum is written with the same line in a rectangular frame connecting the stones above into the composition of the SAI portal that includes them.

These types of patterns, which give the surfaces a high aesthetic appearance, are connected through the beauty of straight lines, the principles of overall geometric harmony, the fullness of meaning and structure.

Bright blue-turquoise tiles used in the patterns of lancet arches on the edges form spectacular accents and joints against the background of the general reddish color of burnt brick.

These accents facilitate the perception of complex patterns, enrich the color resolution, and add subtlety and visual depth to the crown surfaces.

Ajami covered these frames from head to toe with a delicate epigraphic pattern – Kufic inscriptions with amazing skill, in which the vertical elements of rectangular letters wrap around each other and become complex braids.

This epitaph stands out among others either by its place in the real composition of the monument, or by the large size of the letters (the height of the belt is 98 cm), or by the material and color, the superiority of the position was emphasized by all means.