The fourteenth-century North African philosopher and historian Ibn Khaldun singled out tents as one of the emblems of royal authority and luxury. Certainly, they could be of palatial dimensions. According to Clavijo, the Castilian ambassador, one of Timur’s tents, pitched on the plain of Kani-Gil outside Samarqand, was large enough to shade ten thousand people. Clavijo, who was in Samarqand in 1404, described another of Timur’s tents as having gates, a domed ceiling, upper galleries, a turret, and battlements. A fortune was spent on the inner furnishings, including tapestries, silks, and gold brocade; and it is illuminating to know that Timur, who had grown up among the nomadic Chagatay Mongols, relegated the Gok Saray, his palace in Samarqand, to the role of a storehouse and prison.
Robert Irwin, Islamic Art in Context: Art, Architecture, and the Literary World, 1997