Tash Khauli Palace Khiva

"Tosh Hovli Palace – A Masterpiece of Royal Luxury.

Built in the first half of the 19th century, the Tosh Hovli Palace (meaning “Stone House”) was intended as a luxurious new residence for Allakuli Khan, designed to surpass the older Kuhna Ark in elegance and comfort. Located in the eastern part of Ichan Kala, it is a shining example of Khiva’s domestic palace architecture and refined taste.

The palace complex includes more than 150 rooms arranged around three main courtyards: one for formal receptions, one for the harem, and one for family and private use. Each section reflects a different aspect of royal life, carefully designed for privacy, hierarchy, and ceremony.

What distinguishes Tosh Hovli is its ornate tilework, painted wooden ceilings, and carved pillars, particularly in the harem quarters. The blend of geometric, floral, and calligraphic decoration creates a richly textured environment, balancing formality with comfort. The palace’s elaborate ayvans (open summer halls) are especially admired for their cool elegance and craftsmanship.

Today, Tosh Hovli Palace is open to visitors and serves as both a historical monument and a cultural showcase. Walking through its courtyards, one experiences the graceful lifestyle of Khivan royalty, making it a highlight for those seeking both beauty and history in this UNESCO-listed city."

Lefteris Stamatelatos

"The palace was built from 1830 to 1841 for the ruler of the Khiva Khanate, Allah Kuli Bahadur Khan, and includes more than 260 rooms around three courtyards: that of the Harem in the northern part, that of the Ichrat Khaouli (Audience hall), built in 1830–1832, located in the southeast quarter and finally that of the Arz Khaouli (Court of justice), in the southwest quarter (1837–1838)."

Lets Travel To (Nouna)

"Toshhovli Palace’s harem was the first stone laid, a complex spun around a modest courtyard with five lodges propped on carved wooden pillars—four for the Khan’s legitimate wives, the largest for himself. Across the sprawling palace of over 150 rooms and nine courtyards, the left housed wives while the right sheltered up to 41 concubines squeezed into smaller chambers. Those fallen from favor found themselves banished to narrow balconies, a grim reminder of shifting power. Each apartment boasted a high summer loggia and a cozy winter room, all wrapped in blue and white maiolica tiles painted by Abdullah Djinn, their wooden ceilings glowing with mustard yellows and crimson reds. Walls told a story in jade-green inlays and swirling geometric patterns, nodding to an ancient Zoroastrian past. The labyrinthine harem hid secret passages and winding courtyards, a woven maze where power, beauty, and betrayal played out beneath ornate carved wood. Here, in the palace’s northern heart, life was a delicate dance of shadow and splendor"

George Benaroya