At the end of the 13th — beginning of the14th century, viceroyalty was formed in Crimea — the Crimean Yurt, led by a tudun, who was appointed by the Khan of the Golden Horde. The tudun's headquarters were in Solkhat (now Old Crimea or Staryi Krym), a city founded by immigrant Armenians back in the Middle Ages. Tatars captured the city, ordered the residents to strengthen its walls, dig a trench and fill it with water. This is known in tatar as a "Qirim", hence the name of the entire peninsula of Crimea, which was called Tavrika before. Frequent predatory wars and profitable trade with Italian merchants enriched and strengthened the feudal Tatar nobility, which increasingly sought to distance themselves from the weakening Golden Horde.
In the first half of the 15th century, Khan Haji Giray wanted to consolidate his power in Crimea, but didn't trust the beys (Khan's sons), so he decided to move the capital from Solkhat to the south-western part of Crimea called Kirk-Op (Chufut-Calais). The already naturally impregnable plateau heights were further strengthened. Under the northern slope, the Khan's palace was built, the Khan's treasury was supposed to be kept in the city, and during feudal strife the Khan could be hide in the citadel. The fortress was also the main prison, where prisoners were mured. Relocation of the capital was timely: in 1475, the Turks seized the southern and eastern coasts of Crimea. Crimean Khanate fell into vassalage to the Turkish sultan, who became decider in appointing and dethroning the Crimean Khans. But the vassal did not want to bow before Allah's vicegerent, so the Khan decided to permanently gain a foothold in inaccessible mountainous areas further away from the Turkish forts.
The Khan soon found a convenient location for founding a new capital in a wide valley, hidden among the mountains, with abundant springs and river Churuk-Su (rotten water). The city could only be discovered upon approaching the valley, which was well guarded. The convenient geographical location at the intersection of trade routes from the eastern steppes of Crimea to the southern and western Crimea gave the khans new wealth and advantages. Son of Haji Giray, Giray Mengli, decided to build a palace that would wallow in lush gardens and vineyards. Therefore, the city became known as Bakhchisaray (Palace Gardens). That's just a brief background to the palace that is a complex architectural and artistic structure that changed its appearance throughout three centuries (16–18 centuries). The Tatars, being former nomads, had no architectural traditions of their own and used the creative achievements of the nations with whom they shared fragile political and economic ties, or were pushed together with in military campaigns. A multitude of foremen worked on the palace, including Italian, Turkish, Iranian, Russian and Ukrainian masters. Over time, new quarters were built to adjoin the main core of the palace, a first floor was added and a high stone wall was built around the Fountain Courtyard. During the campaign of Russian troops to the Crimea in 1736 the palace was badly damaged by fire. The palace was repeatedly repaired, but the restoration was carried out crudely and clumsily, so many architecturally and artistically valuable details of the palace were lost.
In the 1960's during very complex and painstaking restoration works beautiful original paintings and architectural appearance of some quarters were restored. The total area of the Khan's palace is over 4 hectares. In the center is a rectangular courtyard, where troops were assembled and parades were held. Prior to the annexation of Crimea to Russia, good stolen in military raids were sold here.
Across from the Palace is a big khan mosque, which was decorated by an Iranian master named Omer in 1763. Above the mosque tower two minarets, from which the muezzin called Muslims to prayer five times a day. Behind the mosque is a khan cemetery, for khans as well as their families and closest dignitaries, the stone monuments there are decorated with delicate ornaments and inscriptions. To the right of the entrance is a well-preserved marble monument with the inscription: "Oh (God), ever living, forever! War was the craft of the glorious Crimea Giray Khan. 1183 (1769)". Within the cemetery are two mausoleums (durbe) — architectural monuments of 16th–18th centuries, tombs of thirteen of the Crimean khans. Outside the cemetery we can see two palace baths with domed roofs — one of the few eastern architectural monuments surviving without alteration from the 15th century. One of the most ancient architectural details of the Khan's palace are the "Iron" doors leading to the Ambassador's garden, which demonstrates how the Tatars borrowed architectural traditions from various nations. In the Palace we also see a most interesting monument — the small khan mosque within the palace. The power of the Crimean Khan was limited by the Crimean Supreme Council of feudal lords — the Divan, for which the Council and Court Hall was built in the 16th century.
The talented Iranian artist Omer not only painted the palace, but also built it. He is responsible for the construction of the Summer and Fruit pavilions at the palace. The most vividly display of Omer's talent is his sculptural creation — the famous Fountain of Tears. When visiting the Bakhchisaray Palace, interesting things to see are the Harem house, as well as the Coffee room and the Ambassadorial Hall. In the living quarters of the khan are exhibits devoted to the striving of the Russian state for access to the Black Sea, the first Russian-Turkish War, the annexation of Crimea to Russia. Also of great interest is the exhibition "Pushkin in Crimea", most of which is devoted to the great poet's visit to the Bakhchisaray palace. Every year thousands of people from all corners of the earth travel to Bakhchisaray to witness the Fountain of Tears glorified by Pushkin and enjoy the skillful creations of ancient artisans.
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