The Mekhmandarov Estate, a remarkable historical site, is nestled in the miniature city of Shusha, which is divided into 17 traditional Muslim neighborhoods, known as mahallas. Each of these neighborhoods boasted its own mosque and source of drinking water, and the residents proudly referred to themselves as “galaly,” akin to the inhabitants of Baku’s Icheri Sheher. Established in 1752 by Panahali Khan Javanshir, the ruler of the Karabakh Khanate, Shusha flourished as a hub of exquisite residential estates (imarats), adorned with murals painted by talented monumental artists. By the late 19th century, Shusha had transformed into a cultural stronghold not only for Northern Azerbaijan but for the entire South Caucasus, giving rise to the unique Karabakh architectural style. Notably, the city was originally designed as an administrative center, reminiscent of St. Petersburg’s establishment, where the architects’ ideas required the highest approval.
Leading architecture expert Elturan Avalov identifies three distinct phases in the city’s construction. The first phase corresponds to the founding of Shusha, characterized by the construction of fortress walls and castles, along with the development of the lower eastern section and the formation of the Lower Quarters (Ashağı mahalla). The second phase occurred during the reign of Ibrahim Khan (1763–1806), which saw the establishment of the Upper Quarters (Yuxarı mahalla). The third phase, linked to the construction boom of the 19th century, involved the active development of the western part of the city, culminating in a cohesive architectural ensemble.
Shusha owes its unique appearance to the talent of Kerbalaï Safikhan Karabakhi, who successfully stylistically unified the city amidst competition with Russian architects. He undertook a wide range of projects, including grand mosques, luxurious estates, caravanserais, baths, and modest homes. Safikhan Karabakhi skillfully blended local architectural traditions with the romanticism that was fashionable in Europe at the time, incorporating vaulted structures, external galleries, and grand staircases. He was the architect behind two of Shusha’s prominent mosques: the Lower Govhar Agha and the Upper Govhar Agha, embedding his name in the decorative elements: “Made by Kerbalaï Safikhan, the architect of Karabakh.” The minarets of the lower mosque captivated artist Vasily Vereshchagin during his visit to Shusha in 1865, inspiring him to create a graphic series showcasing various perspectives of Govhar Agha.
Around the same time, construction began on the estate of the Mekhmandarovs in the historic Teze neighborhood, commissioned by Mustafa-bek Mekhmandarov. The title of “mekhmandar” has its roots in the Safavid dynasty, referring to a ceremonial master responsible for hosting guests, as “mekhman” translates to “guest.” Mirza Ali-bek, who served as a mekhandar for both Ibrahim Khalil Khan of Karabakh and his son Mehtigulu Khan, was granted land in Teze as a token of appreciation for his loyal service. His descendants continued to acquire adjacent plots, leading to the family name “Mekhmandarov,” as recorded by the Russian administration. In the 19th century, Mustafa-bek Mekhmandarov decided to construct his estate on this land.
The estate comprised a large and small (main) house, a mosque, and a spring, all accessible to the residents of Shusha. Historian Sabukhi Akhmedov, who developed the concept for a new exhibition, explains: “The house mosque was built in an unusual manner—at the very edge of the property, allowing access both from the estate and from the mahalla. Thus, the family mosque also served the neighborhood. Importantly, all maintenance costs were borne by the Mekhmandarov family, not the community.” The Mekhmandarov Mosque (also known as the Teze Mahalla Mosque) was constructed in 1885. Interestingly, despite its modest size, it structurally resembles a cathedral mosque, featuring a central column, a base, and a “güldeste” for the muezzin (a balcony replacing the minaret). The mihrab and supporting ceiling pilasters were exquisitely decorated, with a carved wooden partition separating the men’s and women’s areas. During the Soviet era, amid the struggle against religious prejudices, there were plans to demolish the mosque; it was saved when Abdul Kerim Mekhmandarov proposed to establish a “Green Pharmacy” there, selling herbal medicines. Since 1989, it has housed a Museum of Medicinal Plants.
The spring at the estate deserves special mention. “The fact is,” Sabukhi Akhmedov recounts, “Shusha, built on a cliff, had a limited supply of drinking water, and as the population grew, the shortage became increasingly evident. The imperial administration was slow to establish a water supply system. The city’s water supply, designated as a district center, relied on the generosity of benefactors. The first water pipeline in Shusha was constructed at the personal expense of the poetess and descendant of khans, Natavan, between 1871 and 1872. Later, wealthy landowners developed springs and established pipelines within their neighborhoods. In Shusha, rectangular stone reservoirs, roughly the size of a small house, were built to receive the water directly from the pipeline, where it was filtered before reaching the taps. The Mekhmandarovs were responsible for bringing water to the Teze mahalla (the spring was located just five meters from the mosque entrance). A commemorative plaque at the spring indicates that it was established by Misha Mirza Mustafa-bek and Kasum-bek Mekhmandarov in 1899. The spring operated until 1992, after which it was abandoned, neglected, and soon ceased to function.
The main house of the estate was square in plan. Three of its four rooms served as personal bedrooms, opening onto a wooden terrace at the back; this balcony was designed in the traditional Azerbaijani style known as “eyvan.” The large room with a bay window functioned as a guest hall, its vaulted windows adorning the main facade. This guest hall, used for social evenings and receptions—a tradition borrowed from the salons of St. Petersburg—was a source of particular pride for the owners. The third side of the house featured a long balcony that offered a splendid view of the lower quarters and the mausoleum of the poet Vagif.
Travelers often noted in their journals that the estates of Shusha were distinguished from those in other Caucasian cities by their wall frescoes and stained glass windows known as shebeke. These intricately carved windows, spanning from floor to ceiling, replaced entire walls in the main room. The shebeke, combined with colorful carpets and vividly ornamented wall paintings, created a festive atmosphere. Art historian Natalia Miklashevskaya, who studied the interior of the Mekhmandarov house, wrote: “The shebeke, with its lace-like weaving and small colored glass pieces, forms whimsical patterns of stars and circles that complete the room’s unique decor.” Writer Chingiz Abdullayev noted in his book “Old Shusha” that “craft production was well-developed in Shusha, and there were no issues finding craftsmen or wood for making the traditional Azerbaijani shebeke. The window frames and grilles were assembled from local wood species using wooden pegs without nails. A square meter of shebeke consisted of five thousand wooden pieces, with the chosen pattern symmetrically repeated multiple times. The windows were operable, constructed in the same manner as in Sheki.”
The walls of the Mekhmandarov estate and its house mosque were adorned by the renowned ornamental artist Usta Gambar Karabakhi. In his decorative work on the walls and ceilings of the Mekhmandarov home, Usta Gambar employed a unique motif not found elsewhere—a rhythmic floral pattern depicting exotic birds perched on branches. Karabakhi often deviated from the traditional canons of Muslim painting, allowing for certain liberties. The wall panel in the house, featuring depictions of deer and a pomegranate tree, appears very realistic, suggesting that the artist relied on personal observations rather than ornamental tradition. The frescoes in the Mekhmandarov house are considered Karabakhi’s first significant work. Following this, the artist was invited to the Palace of the Sheki Khans, where he applied techniques developed in the Mekhmandarov house to decorate the halls, rooms, walls, and even ceilings.
By the end of the 19th century, the estate passed to Mustafa-bek’s son, Abdul Kerim-bek Mekhmandarov, and his wife, Princess Zari Khanum, an heir of the illustrious Azerbaijani Qajar dynasty. Kerim-bek was among the first Azerbaijanis to graduate from the Medical and Surgical Academy in St. Petersburg. A veteran of the Russo-Turkish War, he returned to Karabakh in 1883 and, ten years later, was appointed the county doctor in Shusha while also serving as the head of the prison infirmary. The responsibilities of a doctor at that time included providing care to the city’s residents and those in nearby villages, all under conditions of acute staff and medication shortages. Along with two paramedics, he represented official medicine in a district with a population of around 55,000. Due to the absence of hospitals, patient consultations sometimes took place directly within the family estate. Kerim Mekhmandarov successfully halted a cholera epidemic that swept through Karabakh in the early 20th century and disproved the belief among some physicians that it was impossible to persuade the Muslim population to comply with sanitary regulations.
Kerim-bek and his wife were active members of the educational society “Neshri-Maarefat,” established by the local intelligentsia of Karabakh. Mekhmandarov successfully advocated for the opening of three reading libraries and a youth club in the city. His efforts culminated in the establishment of the first Russian-Azerbaijani girls’ school in Shusha in 1912. Kerim-bek personally visited homes to encourage families to send their daughters to the new school, emphasizing the importance of education for women.
During World War I, he focused on training medics. Following the establishment of the Azerbaijan Democratic Republic (1918–1920), he led the Military Paramedic School and the Military Hospital in Shusha. “The Bolsheviks viewed him with skepticism,” recounts historian Sabukhi Akhmedov, “after all, he was an aristocrat and a former imperial official. However, his authority in the city was significant, and he often treated patients at his own expense. Consequently, in 1923, Abdul Kerim was appointed the chief physician of the Central Hospital of Shusha, which was located in his own estate.”
Ironically, during the Soviet era, the Mekhmandarov estate was adapted not only for use as a hospital (located in what is now the lost “big house”) but also as a maternity ward with an attached pharmacy. Later, the hospital was named after Abdul Kerim Mekhmandarov. The main house of the estate was transformed into a branch of the Azerbaijan State Museum of Carpet and Applied Arts. By 1992, the museum housed 246 exhibits, of which only 183 were evacuated to Baku before the occupation. The courtyard mosque suffered significant damage during the tumultuous 1990s.
In October 2021, restoration work commenced at the Mekhmandarov estate, organized and funded by the Heydar Aliyev Foundation. Efforts included repairing roofs, relaying floors, restoring ceilings, wall paintings, and shebeke windows. Art historian Natalia Miklashevskaya had previously documented the wall paintings in detail (her sketches were preserved in the National Museum of Arts), allowing restorers to accurately restore many of the intricate details. The dome section of the mosque was also restored, and the spring was cleared and reopened for the enjoyment of all residents. Additionally, a phaeton from the early 20th century located in the courtyard was also given a new lease on life.
Following the restoration, a museum exhibition titled “The House of a Karabakh Nobleman” was opened at the estate, showcasing the daily life of a Shusha intellectual from a noble lineage. This exhibition utilized materials from the Azerbaijan National Archive of Film and Photodocuments, the National Museum of History of Azerbaijan, the Azerbaijan National Museum of Arts, and the Institute of Archaeology, Ethnography, and Anthropology of ANAS. Given that the guest hall serves as the “face” of the estate, all of its historical elements were meticulously restored.