The Shirvanshahi-era Pir-i Husayn khanqah is a unique monument, exemplifying a syncretism of a Caucasian cut-stone-constructed fortified ensemble, embellished with lustre tiles and a carved stucco mihrab belonging to the Iranian Ilkhanid artistic tradition. Its inscriptions, rich in information on patronage, construction and decorative interventions, attracted early scholarly attention. Nevertheless, the distribution of the khanqah’s lustre tiles and carved stucco mihrab between museum collections (Baku, Tbilisi, St. Petersburg, etc.) caused them to become de-contextualised. Dynastic (Shirvanshah vs. Ilkhanid) and territorial (Azerbaijan vs. Iran) divisions distort their meanings in the context of the history of Islamic art and architecture. The khanqah’s monumental stucco mihrab (National Literature Museum, Baku) has escaped detailed scrutiny and requires further study alongside other lustre tiles from the same monument.