as depictions of a horseman or of falconry. Following Islamic convention, Oljeitu’s tomb was placed in a garden, known in the Quran as a rawda. This word was also added to the railing of the Prophet Muhammad’s tomb in Medina. Because of this, rawda became the label for funerary structures in Iran. Thus, Oljeitu’s tomb was referred to as a rawda. Additionally, Oljeitu ensured that water could be successfully stored and utilized in the complex, through the use of qanats and wells. A qanat is a downward sloping channel intended to transport water. Due to this, the flora and fauna surrounding the tomb were able to survive for a long time; specifically, “the gardens around the tomb complex were still being maintained in the seventeenth century.” A 16th c. illustration made by Matrakçı Nasuh reveals that the face of the complex was split into two stories and was “flanked by minarets and surmounted by five domes.” According to a later drawing of the tomb by Flandin and Coste, one can see possible evidence of a cap wall projecting from the northeast corner. The presence of a cap wall guarantees that there were arcades attached to the tomb. Additionally, once the site was excavated, potential proof of a limestone court encompassing the east, north, and west of the tomb was found. Influence on other monuments Because Oljeitu’s tomb was one of the most significant works of its time, it became an inspiration for many other complexes, both within and outside of Ilkhanid culture. Distinct features of the complex were later found on many other monuments, such as placement of paired minarets above a portal. This trend began in the Seljuq period, then became a normal inclusion in Ilkhanid buildings. The Tomb of Oljeitu, like other Ilkhanid tombs, was integrated into a great complex--which no longer remains. These complexes were the “precursors of the type of large, planned funerary complexes, known as kulliye, that (were) built by the Ottomans at Bursa and elsewhere beginning in the second half of the fourteenth century.” Another trend derived from Oljeitu’s tomb is the style of five domes placed above the portal. The Blue Mosque built by Saliha Khanum in Tabriz was inspired by this design; its portal and projecting sanctuary were very similar to Oljeitu’s complex. This famous tomb of Oljeitu remained an inspiration for several imperial Mongolian tombs, even the Taj Mahal. Dome of