Kunya-Ark Citadel

The outer yard of the citadel served as a waiting area for audiences with the khan, while the second yard contained cannons. Officials gathered in the third yard, where the main door of the kurinishkhana became visible. A felt yurta (nomad tent) was set up for the khan’s use. A narrow corridor led to the harem, and a staircase provided access to the Akshikh-bobo mount. The two-layered aivan, integrated into the city wall, opened towards the city, offering a panoramic view of Khiva and its surroundings. This area was also used for military observation and was a favored resting spot for Khiva’s rulers on warm nights.

The fortress’s charm lies in its closely compacted constructions and splendid aivans. The high two-column aivan of the kurinishkhana, where receptions were held, is entirely faced with majolica. During the 18th century, the citadel suffered significant damage from an Iranian invasion, but Iltuzar-khan restored the kurinishkhana in the early 19th century. The restored structure included a throne hall, the khan’s apartments, a treasury, and a manuscript depository. The interior of the throne hall features carved plaster and a throne made of turned wood, decorated with stamped silver, crafted by the local master Mukhammad in 1816. The cold blue-white and sky-blue patterns of the majolica plates contrast with the red murals of the ceiling, showcasing the artistic freedom and picturesque arrangements by Khiva’s masters.

The mint and an asymmetric mosque with an aivan were built simultaneously, forming a single complex. The famous Khiva masters Abdulla Jin and Ibadulla were responsible for the majolica facing of the mosque, and the ceiling of the aivan is adorned with elegant golden patterns on a blue background.

In the northern part of the citadel, a harem was constructed under Mukhammad Rahim-khan II in the latter half of the 19th century. The aivans’ pillars are covered with traditional carved ornaments, and instead of complete majolica facing, there are separate colored ceramic insertions. The walls are brightly colored and simply plastered.

The Khiva aivans are renowned for their elegant decoration, with artists and architects expressing their notion of beauty through skillful carving, stone carving, and decorative ceramics.

Among the preserved architectural monuments is a bathhouse built in 1657, dedicated to Anush-khan. This semi-underground, multi-chambered structure features a system of cupolas visible from the outside. The bathhouse includes a lobby, cloakroom, main bathing hall, arched passages, rest houses around a hot-water pool, and a central hall with a cold-water reservoir. The bathhouse is warmed by a system of underfloor canals through which hot air passes. This efficient technology, combined with imaginative planning and simple construction, epitomizes the architecture of Khiva’s municipal buildings.

In the 18th century, the summer palace of the Khiva khans, Chadra-hovli, was built in the suburbs of Khiva. This four-story building includes a two-chamber winter building with a stable and warehouse on the first floor, and a dwelling with aivans facing west and south on the second floor. The aivans offer views of the surroundings from three sides. As one ascends, the weight of the floor and the thickness of the walls dynamically decrease. The northern facade features three vertically placed windows.

Constructed with adobe blocks, the building’s facade displays fluting, and the interior is trimmed with plaster. The only decorative element on the aivans is the carved wooden pillars. The Chadra-Khovli is characterized by its originality and simplicity.