This essay reframes the artistic and architectural culture of the Golden Horde monuments in Crimea in their larger trans-regional context. The cultural environment of the period's architectural decoration in the peninsula is analysed in the light of patrons, communities, workshop connections and the decorum on the edifices; the material is put into relationship with the socio-cultural network of patrons and craftsmen. The search for concrete formal and stylistic parallels is conducted with a focus on extant religious buildings, primarily mosques. Connections with places outside of Crimea, Transcaucasia and Anatolia (Amasya, Erzurum and Tokat) are established based on concrete examples of Anatolian 'counterparts' that have most often been considered as products originating in local workshops. Thus, Ilkhanid Anatolia's artistic language and its contact with other places are also reappraised. Finally, a hypothetical identification of the patron of the best-known edifice of the Golden Horde period, the Ozbck Khan Mosque in Qrim, is proposed based on new research.