Khiva - Complex Atajan Tura

The Atajan Tura complex in Khiva: political testimony, religious centre and cultural heritage of the late khanate period

In the heart of the old city centre of Khiva, within the city walls of the Ichan Qal’a, stands the Atajan Tura complex – an architecturally, politically and culturally significant ensemble that was built between 1893 and 1899. The namesake, Atajan Tura, was the younger brother of Sayid Muhammad Rahim, the last independent khan of Khiva, and played a central role in a politically extremely delicate transitional phase.

Atajan Tura is remembered not only as the builder of this complex, but also as a key figure in the turbulent years following the Russian invasion of the Khanate of Khiva in 1873. In a dramatic gesture, the local elite appointed him interim Khan to mediate contact between the population and the advancing Russian troops. However, this appointment was purely symbolic and served primarily to stabilise the situation in the interests of the new rulers.

On 1 June 1873, Atajan Tura wrote an official letter to his brother Sayid Muhammad Rahim, who had gone into exile at this time, at the express request of the Governor General of Turkestan, Konstantin Petrovich von Kaufman. In it, he asked him to return to the capital and resume his rule under Russian supervision. This political manoeuvre enabled an apparent return to the old order, although the Treaty of Gandymyan signed on 12 August of the same year abolished the de facto sovereignty of the khanate and finally integrated it into the Russian Empire’s sphere of influence.

After the return of his brother and the establishment of Russian administrative structures, Atajan Tura withdrew from politics. He dedicated the remaining years of his life to the religious, social and cultural development of Khiva, with the building complex named after him representing his most important legacy. The Atajan Tura complex was not conceived as a purely religious site, but as a multifunctional complex with spiritual, educational, hygienic and social components – an expression of an Islamic-influenced ideal of urban living.

The architectural complex consists of five central building sections: a madrasa, a summer mosque, a winter mosque, a hamam (bathhouse) and a primary school (maktab). The combination of these building elements in a self-contained structure illustrates the harmonious interaction of religious education, practical lifestyle and ritual practice. This ideal corresponds to late Islamic urban planning thinking in Central Asia and reflects a social attitude that sees the individual embedded in a network of religion, knowledge and personal hygiene.

The medrese of the complex served as a religious college where classical disciplines such as tafsir (Koran exegesis), fiqh (Islamic law), hadith sciences, Arabic grammar, logic and poetics were taught. The architecture follows a simple, functional style with a rectangular courtyard around which two-storey hujras (student cells) are grouped. In its restrained design, the madrasa refers to the increasing pragmatism of the late khanate period, in which representation increasingly took a back seat to functional efficiency.

The summer mosque is an open, airy building with carved wooden columns and finely crafted capitals, which offer protection from the scorching sun under a wide overhanging roof. It served as a place of assembly and prayer during the hot months and thus follows a common construction method for seasonal mosques in Central Asia. In contrast to this is the winter mosque, a closed, solid brick domed building with good heat storage and thick outer walls. Its compact architecture made it possible to pray even in the freezing cold, which was of great practical importance for the people of Khiva, where winters could be very harsh.

The complex’s hamam was not only a place for personal hygiene, but also for socialising and ritual cleansing. Its rooms are divided into classic temperature zones: Apodyterium (changing room), tepidarium (lukewarm bath), caldarium (hot bath) and frigidarium (cold bath). The hamam was heated by a hypocaust system with underground fire ducts, which enabled the floors and walls to be heated evenly. The craftsmanship was designed for durability and functionality, with stucco and brick decorations used sparingly but stylishly.

Finally, the primary school (maktab) fulfilled an important function in the literacy and basic religious education of the youth. Here, the children learnt the Arabic alphabet, recited the Koran and were taught ethical principles – an educational concept that was closely linked to the Islamic community structure.

From a structural point of view, the Atajan Tura complex is a prime example of the late phase of Khorezm architecture. The use of burnt clay bricks dominates, complemented by decorative elements made of plaster stucco, fine brick ornamentation and sparse, selectively used faience in the entrance areas. The skilfully carved wooden columns in the summer mosque, which are among the best examples of traditional woodwork in Khiva, are particularly noteworthy.

After the end of the Soviet era, the complex was extensively restored and put to its current use as a centre for folk art and traditional crafts. The former hujras and function rooms now house workshops and exhibition spaces where local artisans showcase their skills in textile design, wood carving, ceramics, miniature painting and metalworking. Visitors can not only marvel at the workpieces, but also follow the creation of the objects directly – a concept that keeps traditional heritage alive and passes it on.

This transformation into a cultural and craft centre follows the humanistic spirit of the founder. Atajan Tura did not see religious practice, education and everyday culture as separate spheres, but as interrelated elements of a living Islam. Today’s Atajan Tura complex preserves this integrative understanding and gives the place continued relevance as a place of encounter, reflection and creative expression.

Overall, the Atajan Tura complex is not only an outstanding monument to late Khanate architecture, but also a symbol of the transformation of a society caught between tradition and colonial reorganisation. It marks the end of a political era, but at the same time preserves the cultural self-image of a people who knew how to preserve their identity even under foreign rule. In its architectural design, historical significance and present-day function, the complex embodies a rare stroke of luck in the continuity of history, faith and culture in the heart of Khiva.