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The Blue Mosque, officially the Sultan Ahmed Mosque (Template:Langx), is an Ottoman-era historical imperial mosque located in Istanbul, Turkey. It was constructed between 1609 and 1617 during the rule of Ahmed I and remains a functioning mosque today. It also attracts a large number of tourists and is one of the most iconic and popular monuments of Ottoman architecture.<ref name=":24" /><ref name=":0" />
The mosque has a classical Ottoman layout with a central dome surrounded by four semi-domes over the prayer hall. It is fronted by a large courtyard and flanked by six minarets. On the inside, it is decorated with thousands of Iznik tiles and painted floral motifs in predominantly blue colours, which give the mosque its popular name. The mosque's külliye (religious complex) includes Ahmed's tomb, a madrasa, and several other buildings in various states of preservation.
The mosque was built next to the former Hippodrome and stands across from the Hagia Sophia, another popular tourist site. The Blue Mosque was included in the UNESCO World Heritage Site list in 1985 under the name of "Historic Areas of Istanbul".
HistoryEdit
ConstructionEdit
After the Peace of Zsitvatorok, seen as a blow to Ottoman prestige, Sultan Ahmed I decided to build a large mosque in Istanbul in the hope of soliciting God's favour.Template:Sfn He was the first sultan to build an imperial mosque since Selim II (d. 1574), as both Murad III and Mehmed III before him had neglected to construct their own.Template:SfnTemplate:Sfn
The mosque was built on the southeast side of the old Byzantine Hippodrome, near the Hagia Sophia (the most important mosque of the Ottoman Empire<ref>Template:Cite book</ref><ref>Template:Cite book</ref>), a site of significant symbolic significance that allows it to dominate the city's skyline. The mosque's location was originally occupied by the Hippodrome's bleachers and its imperial box (where the emperor sat when attending events here). During excavations in the early 20th century, some of the ancient seats were discovered in the mosque's courtyard.<ref>Template:Cite book</ref> Given the mosque's location, size, and number of minarets, it is probable that Sultan Ahmed intended to create a monument that rivalled or surpassed the Hagia Sophia.Template:Sfn
Prior to construction, this site was occupied by the palaces of several Ottoman viziers, including Sokollu Mehmet Pasha and Güzel Ahmet Pasha, which required a costly expropriation process.Template:SfnTemplate:Sfn This, along with the fact that the empire was under economic stress, aroused the protests of the ulema (Islamic legal scholars), who argued that sultans should only fund the construction of an imperial mosque with spoils of conquest. Ahmed I had won no major victories and thus had to divert funds from the treasury for this expensive project.Template:Sfn<ref name=":0">Template:Cite journal</ref> The ulema went so far as to forbid Muslims from praying at the mosque.Template:Sfn
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Despite the opposition, the sultan went ahead with the project.Template:Sfn Construction started in 1609 and completed in 1617, when the opening ceremony was held, though the year 1616 is mentioned on some of the mosque's inscriptions.Template:SfnTemplate:SfnTemplate:Sfn Ahmed I died around the same time or very soon afterwards in 1617.<ref name=":1">Template:Cite book</ref> Scholar Godfrey Goodwin notes that the last accounting reports on the mosque's construction were signed by Mustafa I, Ahmed I's successor, which suggests that Ahmed I had died before the final completion of the project.Template:Sfn
In the end, the mosque's grandeur, its luxurious decoration, and the elaborate public ceremonies that Ahmed I organized to celebrate the project appear to have swayed public opinion and overcome the initial controversy over its construction. It became one of the most popular mosques in the city.Template:Sfn<ref name=":0" /> The mosque has left a major mark on the city and has given its name to the surrounding neighbourhood, now known as Sultanahmet.<ref>Template:Cite book</ref>
RestorationsEdit
In 1883, much of the mosque interior's painted decoration was replaced by new stenciled paintwork, some of which changed the original colour scheme.<ref name=":2" /> A major fire in 1912 damaged or destroyed several of the outlying structures of the mosque complex, which were subsequently restored.<ref name=":2" />
A major restoration of the mosque took place in the 21st century. During preparatory work in 2013, it was discovered that the mosque's northwest minaret had shifted Template:Convert over time, constituting a potential threat to its structural stability. Work to reconstruct and repair the minaret was underway in 2015.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Comprehensive restoration work on the rest of the mosque began in 2018 and was finished in April 2023.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
ArchitectureEdit
OverviewEdit
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The design of the mosque is based on that of the earlier Şehzade Mosque designed by Mimar Sinan in the early 16th century. The prayer hall occupies an area of Template:Convert and has a central dome measuring Template:Convert in diameter.Template:Sfn The dome is surrounded by four semi-domes, each of which is flanked by three smaller semi-domes or exedrae. Four smaller domes cover the corners of the prayer hall. On the outside, the mosque has six minarets, ablutions facilities, and a large courtyard preceding the prayer hall.Template:SfnTemplate:Sfn
The mosque's architect, Sedefkar Mehmed Agha, synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendor.<ref name=":24">Template:Cite book</ref> According to the architect's official biographer, the mosque was the culmination of his career.Template:Sfn Reflecting the classical Ottoman style of the period, the structure incorporates aspects of Byzantine architecture from the neighboring Hagia Sophia with Islamic architecture.Template:Sfn It was the last great mosque of this classical period.Template:Sfn
Architectural historian Doğan Kuban characterizes Mehmed Agha's style as having a more "sculptural" approach, with more attention brought on the details of the building and a willingness to break up its elements into smaller parts, whereas Sinan had placed more emphasis on rigorous spatial designs with relatively restrained decoration.Template:Sfn Scholar Gülru Necipoğlu states that the mosque demonstrates an emerging trend towards extravagance in the structure and decoration of Ottoman buildings during this time, as evidenced by its size, its profile (including the increased number of minarets), and its lavish use of Iznik tiles. A similar lack of restraint in decoration is also found, for example, in the New Mosque (or Yeni Valide Mosque) that was completed later that same century.Template:Sfn
While architectural historians have criticized some details of the mosque's structure and decoration when comparing it to the earlier works of Sinan,Template:Efn the mosque is one of the most impressive and popularly admired monuments of Ottoman architecture.<ref name=":24" /><ref name=":0" />
InteriorEdit
Layout and main featuresEdit
The mosque's interior is dominated by its dome and cascading semi-domes. The main dome reaches a height of Template:Convert.Template:Sfn The weight of the dome is supported by four massive cylindrical pillars. The transition between the central dome and the pillars is achieved by four long, smooth pendentives. Smaller pendentives are used for transitions between the semi-domes and their exedrae and between the hall's corner domes and the surrounding structure. The transitions between the smaller exedrae and the supporting walls or arches are covered by muqarnas (stalactite-like sculpting) made of stucco.Template:Sfn By employing these elements, Mehmed Agha created a softer progression from the rectangular outer walls to the round central dome.Template:Sfn A two-floor gallery, supported on columns, runs along three sides of the prayer hall, except for the southeastern (or qibla) side, where the mihrab is located.Template:Sfn Two fountains are incorporated into the two northern pillars of the mosque, similar to the Süleymaniye Mosque's prayer hall.Template:Sfn The floors are covered with carpets, which are donated by the faithful and are regularly replaced as they wear out. Template:Multiple image
At ground level, the focus of the prayer hall is the mihrab, which is made of finely carved marble, with a muqarnas niche and a two inscription panels above it.Template:Sfn It is surrounded by many windows. To the right of the mihrab is the richly decorated minbar, or pulpit, where the imam stands when he is delivering his sermon at the time of noon prayer on Fridays or on holy days. The minbar is crafted from elaborately carved marble, with a summit covered by a gold-covered conical cap.Template:Sfn The mosque has been designed so that even when it is at its most crowded, everyone in the mosque can see and hear the imam,<ref name="bluemosque3">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> with the exception of the areas behind the mosque's large pillars.Template:Sfn According to Evliya Çelebi, who saw the mosque in the 17th century, a hundred Qur'ans on lecterns inlaid with mother-of-pearl, all gifted by sultans and viziers, were placed near the mihrab.Template:Sfn
The hünkâr mahfil, or sultan's loge, is an elevated platform situated in the southeast corner of the prayer hall, where the sultan could pray. The platform has an L-shape and is supported on ten marble columns.<ref name=":2">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It has its own mihrab with rich decoration,Template:Sfn which used to include gold leaf and a jade rose.<ref name=":3">Öz, T., "Sultan Ahmet Camii' in Vakiflar Dergisi, I, Ankara, 1938</ref> The loge is reached from the outside via an "imperial pavilion", a large L-shaped structure composed of a covered ramp leading up to two rooms where the sultan could retire to rest, along with an enclosed portico or balcony on the south side overlooking the sea.Template:Sfn These retiring rooms became the headquarters of the Grand Vizier during the suppression of the rebellious Janissary Corps in 1826.<ref name=":3" />Template:Verification needed This auxiliary structure, which is awkwardly integrated into the overall mosque design, is an innovation that appears here for the first time in Ottoman architecture.<ref name=":2" />Template:Sfn It was partly destroyed by a fire in 1912 and was subsequently restored.<ref name=":2" />
DecorationEdit
The lower walls of the mosque, especially around the galleries, are covered in Iznik tiles, a style of tilework named after their main production center, İznik (ancient Nicaea). Ahmed I had a great appreciation for these tiles and the production of tiles for his mosque occupied the entire Iznik industry during its construction. Starting in 1607, orders for tiles were sent out continuously and in 1613 the sultan even forbade the production and sale of tiles for any other purpose, so that his own commissions could be completed on time.Template:Sfn
A total of 21,043 tiles, featuring over fifty different designs, are found inside the mosque. Some panels were designed specifically for the mosque, while others seem to have been reused from other buildings and amassed here, including lower-quality tiles added during later repairs.Template:SfnTemplate:Sfn The finest tiles are found on the walls of the upper gallery on the north wall, though these are difficult for most visitors to see today. They constitute a virtual museum of tile design from this period, with motifs including cypress trees, flowers, and fruit in a range of colours including blue, green, red, black, and turquoise.Template:Sfn
Nearly 75 percent of the mosque's walls, above the level of the tilework, are decorated with painted motifs.Template:Sfn The predominant colour of this paintwork is blue, one of the reasons for the mosque's popular name, though much of it has since been replaced with modern imitations of the original 16th/17th-century style.<ref name=":1" /> The painted motifs generally consist of floral arabesques.<ref name=":1" /> Other motifs include calligraphic inscriptions, including verses from the Qur'an, originally made by the famous calligrapher Seyyid Kasim Gubari, but these too have been restored repeatedly and no longer match the original calligrapher's work.Template:Sfn
Some opus sectile decoration is also used at floor level.Template:Sfn The mosque also contains some original inlaid woodwork of high quality, including the doors of the courtyard entrance, which were made by the father of Evliya Çelebi.Template:Sfn
The mosque contains some 260 windows to admit natural light.<ref name=":1" /> Each semi-dome has 14 windows and the central dome 28 (four of which are blind). Each smaller exedra of the semi-domes has five windows, some of which are blind.Template:Sfn Many of the windows were made in a traditional manner with intricate designs created with small pieces of coloured glass. Some of the glass was manufactured locally for the outer windows, but most of the glass, especially the coloured glass, was imported. Some of it was a gift from the Signoria of Venice, following a request from Ahmed I in 1610. Most of these original windows have been lost and since replaced with less elaborate modern windows.Template:Sfn The modern windows probably make the mosque's interior today brighter than the original stained glass windows would have.Template:Sfn<ref name=":1" />
The mosque is further illuminated by chandeliers hung from the ceiling. The many lamps inside the mosque were once covered with gold and gems.<ref>Naima M., Annals of the Turkish Empire from 1591 to 1659 of the Christian Era; Frazer, London, 1832</ref> Among the lamps one could find ostrich eggs and crystal balls.<ref>Tournefort, J.P., Marquis de, Relation d'un voyage du Levant, Amsterdam, 1718</ref> Adding ostrich eggs to chandeliers was a frequent traditional practice in mosques and Near Eastern churches.<ref>Template:Cite book</ref><ref>Template:Cite book</ref> It is popularly explained in Istanbul as a method to ward off spiders or mice, or to warn of earthquakes.<ref>Template:Cite book</ref> Some of the crystal balls or glass bowls also contained other curiosities, such as a model of the mosque and a model of a galley, noted by 17th and 18th century writers.Template:Sfn
ExteriorEdit
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On the outside, Mehmed Agha used the cascade of domes and semi-domes, combined with more curved and multi-tiered supported elements, to create a softer profile that builds up smoothly towards the summit of the central dome, much like he did with the interior. This approach differs slightly from that of Sinan and earlier Ottoman architects, who used the deliberate juxtaposition of curved domes and vertical elements to create a more dramatic effect.Template:SfnTemplate:Sfn
The courtyard of the mosque has three entrances: a central entrance on the northwest and two other side entrances. The central entrance is the most monumental, featuring a tall projecting portal topped by a small dome raised on a drum. A muqarnas semi-vault is set over the exterior doorway and there are two inscription panels.Template:Sfn<ref name=":1" /> From the courtyard, the prayer hall is also entered via a monumental gate on the southeast side, decorated with its own muqarnas semi-vault and inscription panel. The prayer hall also has two other lateral entrances on the outside of the mosque, where non-Muslim tourists usually enter today.<ref name=":1" />
On the inside, the mosque courtyard has a classic rectangular peristyle form, lined on each side with an arcaded and domed portico (or riwaq). There are a total of 26 columns supporting the porticos and 30 domes above them.<ref name=":1" /> Unlike the courtyards of the Süleymaniye Mosque and Selimiye Mosque designed by Sinan, where the portico in front of the prayer hall is taller than those on the other three sides, Mehmet Agha kept the arches of the southeast portico level almost with the others, thus prioritizing greater uniformity.Template:Sfn
At the center of the courtyard is the shadirvan, an octagonal domed kiosk sheltering a fountain that was used for ablutions. The outer surfaces of the kiosk are carved with low-relief foliate motifs.Template:Sfn<ref name=":1" /> Today, Muslim ablutions are not performed at this fountain but at a series of water taps available outside the courtyard, along the northeast and southwest walls.<ref name=":1" /> The inclusion of these taps under arcaded galleries along the outer walls of the courtyard was an innovative feature.Template:Sfn
A heavy iron chain hangs in the northwestern entrance (from the Hippodrome) to the outer precinct of the mosque. Only the sultan was allowed to enter the court of the mosque on horseback. The chain was put there, so that the sultan had to lower his head every single time he entered the court to avoid being hit. This was a symbolic gesture, to ensure the humility of the ruler in the face of the divine.<ref name="bluemosque4">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
MinaretsEdit
The Blue Mosque is one of the five mosques in Turkey that has six minarets (one in the modern Sabancı Mosque in Adana, the Muğdat Mosque in Mersin, Çamlıca Mosque in Üsküdar and the Green mosque in Arnavutköy). According to folklore, an architect misheard the Sultan's request for "altın minareler" (gold minarets) as "altı minare" (six minarets), a feature then-unique to the mosque of the Ka'aba in Mecca. When criticized for his presumption, the Sultan then ordered a seventh minaret to be built at the Mecca mosque.<ref name=bluemosque5>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Each of the six minaret towers is fluted and is topped by a slender, conical cap. The four minarets rising at the corners of the prayer hall each have three balconies (şerefe) while the other two at the outer corners of the courtyard have two balconies each. Each balcony is supported by muqarnas-carved corbeling. The minarets have been repaired many times in their history.Template:Sfn Historically, the muezzin had to climb a narrow spiral staircase inside the minarets five times a day to announce the call to prayer.<ref name=bluemosque5/>Template:Dead link
Other parts of the complexEdit
As in most major Ottoman religious foundations, the Sultan Ahmed Mosque is the main element of a larger complex of buildings. Unlike in previous imperial mosque complexes, the other structures of this complex are not arranged in a regular, well-organized plan around the mosque. Because the mosque was built next to the Hippodrome, the site created difficulties for a planned complex and the auxiliary buildings were instead placed in various locations near the mosque or around the Hippodrome. The mosque is surrounded by an outer court or precinct enclosed by a wall.Template:Sfn
Mausoleum of Ahmed IEdit
Template:Multiple image The mausoleum of Ahmed I is located northeast of the mosque, next to the Hippodrome square. It was begun in 1619 after Ahmed's death, and completed by his son, Osman II (Template:Reign).<ref name=":2" /> Unlike many Ottoman mausoleums, which most typically have an octagonal form, the tomb chamber has a square floor plan covered by a dome, more reminiscent of a small mosque.Template:Sfn The dome has a diameter of 15 metres. There is a small rectangular alcove at the back of the chamber whose original purpose is uncertain. The tomb is fronted by a portico with three arches.Template:Sfn Inside are the tombs of Sultan Ahmed I and some of his family, including his wife Kösem and four of his sons, Sultan Osman II, Sultan Murad IV (Template:Reign), Şehzade Mehmed (d. 1621)<ref> Bey, Mehmet Süreyya; Aktan, Ali; Yuvalı, Abdülkadir; Keskin, Mustafa (1995). Tezkire-i meşâhir-i Osmaniyye. Sebil Yayınevi. p. 68. ISBN 978-9-757-48083-9. </ref> and Şehzade Bayezid (d. 1635).<ref name=":1" />
MadrasaEdit
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The madrasa of the complex is located just outside the outer wall of the mosque's precinct, to the northeast. It was probably completed towards 1620.<ref name=":2" /> The madrasa has a generally classical layout, consisting of a rectangular courtyard surrounded on all four sides by an arcaded and domed portico. Behind each portico is a row of domed rooms that served as student sleeping quarters, with 24 rooms in total.Template:Sfn<ref name=":1" /> The main features that depart from the design of earlier madrasas are the lack of a monumental entrance portal and the placement of the dershane (a larger domed chamber serving as a classroom), which is attached to a corner of the building rather than placed in the middle of one side. The madrasa is entered via a more discrete doorway on the northwest side, behind the outer garden wall of the nearby mausoleum.Template:Sfn
A separate square structure, the darülkurra (a school that teaches reading of the Qur'an), is contained within the outer enclosure of the nearby mausoleum It was restored in 1935 and is currently used as a storage for Ottoman archives.<ref name=":2" />
The hospital and public kitchenEdit
Four other structures of the complex were built over the sphendone, the semi-circular southwest end of the Hippodrome. The largest and furthest building was a hospital ({{#invoke:Lang|lang}}), a square building arranged around an internal courtyard.Template:Sfn Its construction was begun in 1609 and completed in 1620. It included a hammam (bathhouse) and a small mosque.<ref name=":2" />
Directly northeast of this were three other buildings placed in a row, which together formed the imaret (a soup kitchen).Template:Sfn This set of buildings was begun in 1617 and probably finished in 1620.<ref name=":2" /> The three structures include a pantry, a kitchen and oven, and a dining hall. The kitchen building is a square structure with four domes and several chimneys, while the other two structures (the pantry and dining hall) are rectangular buildings with six domes. Additionally, there were guesthouses nearby but these have disappeared.<ref name=":2" />
In the 19th century, the hospital and the guesthouses were destroyed and an academy was built over the site.<ref name=":1" /> Only the hospital's hammam section and the marble fountain of its courtyard have survived to the present day.<ref name=":2" /> The academy building burned down in the 1970s but was subsequently restored and now serves as the office of the rectorate of Marmara University. The surviving buildings of the imaret have been integrated into it.<ref name=":1" />
Other structuresEdit
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The primary school (sibyan mektebi) is a small and simple rectangular structure built over the outer precinct wall on the east side of the mosque.Template:Sfn<ref name=":1" /> It was completed around 1617 and destroyed by a fire in 1912. It has since been restored.<ref name=":2" />
To the south, beyond a sloped tunnel that gives access to and from the mosque precinct, was a hammam.Template:Sfn It was probably completed in 1617. It is now partly ruined. Its furnace room, warm room, and hot room are still mostly standing, but the front part of the building, which was probably made of wood, has been lost.<ref name=":2" />
Stretching below the southeast side of the mosque precinct is an arasta, a market street that was built as part of the complex. It contains spaces for around 200 shops. It too was completed in 1617. In 1912, it was destroyed by fire but it was restored from its ruined state between 1982 and 1985. It is now open as a bazaar, catering especially to tourists.<ref name=":2" /><ref name=":19">Template:Cite book</ref>
Pope Benedict XVI's visitEdit
Pope Benedict XVI visited the Blue Mosque on 30 November 2006 during his visit to Turkey. It is the second papal visit in history to a Muslim place of worship. Having removed his shoes, the Pope paused for a full two minutes, eyes closed in silent meditation,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> standing side by side with Mustafa Çağrıcı, the Mufti of Istanbul, and Emrullah Hatipoğlu, the Imam of the Blue Mosque.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
The pope “thanked divine Providence for this” and said, “May all believers identify themselves with the one God and bear witness to true brotherhood.” The pontiff noted that Turkey “will be a bridge of friendship and collaboration between East and West”, and he thanked the Turkish people “for the cordiality and sympathy” they showed him throughout his stay, saying, “he felt loved and understood.”<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
See alsoEdit
- List of mosques in Istanbul
- Çamlıca Mosque
- Shah Mosque
- List of tallest domes
- List of tallest structures built before the 20th century
NotesEdit
ReferencesEdit
CitationsEdit
SourcesEdit
External linksEdit
- Website of the Blue Mosque, Istanbul
- Photographs by Dick Osseman, PBase
- 360 panorama of the mosque's northern gallery and Iznik tiles (hosted on Google Maps)
Template:Fatih Template:Mosques in Turkey Template:Proximate landmarks of Istanbul Template:Ottoman architecture