As reported by Muratalli Tajimamat Abdurahimov, the person responsible for the mosque, a farmer named Mamayusup Khoji decided to build a temple for the local believers. He financed the construction from his own funds and invited craftsmen from well-known Uzbek cities such as Samarkand and Khiva to decorate the walls and ceilings of the mosque. The original area of the building was 13 by 12 meters.
With the arrival of Soviet power, which denied religion, the premises of the mosque were repurposed for the consumer cooperative of the Kara-Sui district.
In the post-war years, a bakery was organized in this building, where navat was produced.
In 1981, at the request of local residents, the mosque was reopened and received the name "Bokiy," which translates to "Eternal."
However, in the early 1990s, the descendants of the mosque's founder appealed for it to be returned to its original name.
Thus, the mosque was once again called Mamayusup Khoji-Ata, in honor of the man who built it.
It should be noted that in the 16th and 17th centuries, the art of calligraphy and bookbinding reached significant heights in religious and cultural monuments. The artistic decoration of the interior spaces of buildings included elegant calligraphy and intricate ornaments executed in watercolors. The Central Asian school of floral painting and miniatures became renowned in the cities of the Great Silk Road. Various styles also developed here, each distinguished by the refinement of architectural forms and the high skill of the artisans.
