From 1955 to 1965 restoration was carried out in full under the supervision of
Niyazi Rzaev. Two talented architects,
Kamal Mamedbekov and
Nikolai Utsyn, were involved in this work creating measurement and restoration drawings. The restoration workshop was established in the ceremonial hall on the second floor of the palace, and the rooms flanking the hall were used to accommodate the architects. The drawings developed by Mamedbekov and Utsyn formed the basis of the restoration project for the entire palace complex. Execution of the restoration work based on the drawings was entrusted to the artist F. Hajiyev and the shabaka master A. Rasulov. The last total and complete restoration from 2002 to 2004 supported by the World Bank and executed under leading of a German restoration team (Uwe Henschel, Dietrich Wellmer, Elisabeth Wellmer, Andreas Lessmeister) from company "Denkmalpflege Mecklenburg GmbH" (today "Neumühler Bauhütte GmbH"). The Khan’s Palace was thoroughly analyzed by Leonid Bretanitsky, who reviewed numerous historical documents and data. The palace has been renovated and restored several times since the 1830s and underwent several changes. The main renovation works were carried out between 1848 and 1851 under the supervision of architect Cambiaccio by the orders of Prince Vorontsov. Local Sheki masters – Usta Bagir Usta Ali oglu, Eyyub Haji Ibrahim oglu, Haji Huseyn Karbalayi Yusif oglu were involved in these works. The renovation was carried out mostly on the main façade and the ground floor. Thus, according to the written report, both the plaster and ornaments of the main façade were renewed. The interior of the main hall of the ground floor was also replastered, and wall paintings were renewed. However, the wall paintings in the side rooms were not restored after the walls were plastered. Doors, ceilings, mantelpieces were all repaired. The groundwas not altered and remained as made of three-layered rammed earth. The roof was dismantled and rebuilt using painted wood shingles from oak instead of ceramic tiles. The fountain in the central hall of the ground floor was dismantled and not restored. The report did not mention any of the other buildings included in the palace complex. These buildings were demolished by 1851.Only a two-story palace building survived until the present time built in Shaki fortress and consisting of several buildings. Although the building has repeatedly been repaired and reconstructed since it was built, all this work didn't have a serious impact on its appearance. After the Shaki Khanate joined the Russian Empire, the palace was subordinated to the local administration and repaired repeatedly. Restoration was carried out in the palace by Hussein Khan Mushtag's grandson, poet Karim agha Fateh during 1848–1851. “Restoration of khans palace” was discussed in Avercom plenum on April 25, 1991, and following decision was made: “Restoration of khans palace is under the responsibility of Narkomprosom according to the previous decision of Azverkom. 25 million rubles have been allocated from the budget of Narkomprosom for the repair of khan's palaces in Shusha and Shaki.” Restoration report was submitted based on the restoration project review by architect
Pyotr Baranovsky in a meeting of the Commonwealth Academy of Architecture held on 13 March 1939. Restoration work started in the palace within the framework of the project on "Cultural heritage protection" in 2002. Along with its pool and plane trees, the summer residence is the only remaining structure from the larger palatial complex inside the Shaki Khans' Fortress, which once included a winter palace, residences for the Khan's family and servants' quarters. It features decorative tiles, fountains and several
stained-glass windows. The exterior was decorated with dark blue, turquoise and ochre tiles in geometric patterns and the murals were coloured with
tempera and were inspired by the works of
Nizami Ganjavi. Measuring thirty-two meters by eight and a half meters on the exterior, the summer residence is a two-story masonry structure elongated on the north–south axis and covered with a wooden hipped roof with long eaves. The layout of both floors is identical; three rectangular rooms are placed in a row, separated by narrow, south-facing iwans that provide access to the rooms. The floors are accessed separately to accommodate their public and private functions. Entered from the south through the two iwans, the ground floor was used primarily by clerks and petitioners. Two stairways attached to the northern façade gave access to the first floor, which was reserved for the khan's family and their guests. The summer residence is renowned for the lavish decoration of its exterior and interior. Large portions of the residence's facade, including the entire southern elevations of the central halls on both floors, are covered by a mosaic of colored glass set in a wooden
latticework (shebeke) that was assembled without nails or glue. Muqarnas hoods crowning the four iwans are highlighted with gold on the lower level and covered with mirror fragments on the first floor. Remaining surfaces on all façades are decorated with floral tile panels and tile mosaics. The interior walls of the residence are covered entirely with frescoes painted at different times during the eighteenth century. Many of the frescoes feature flowers in vases, while a series of paintings on the first floor halls depict hunting and battle scenes. Signatures on frescoes list the names of artists Ali Kuli, Kurban Kuli and Mirza Jafar from Shemaha, Usta Gambar from Shusha, and Abbas Kuli, who may also have been the architect of the summer residence. ==History==