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178-479: It is an example of the classical Ottoman architecture . Due to the extensive renovation required, it was renovated in 1845. It is rectangular and the only mosque in Cyprus to exhibit a typical Turkish dome. A large central dome covers the main body of the mosque and three smaller ones cover its entrance. Four more cover its corners. This mosque consists of a large hemispherical dome (about 6 metres diameter) carried on

356-418: A darüşşifa (hospital), a caravanserai (hostel for traveling merchants), a mektep (primary school), a library, a hammam, shops, a cemetery with the founder's mausoleum, and eight madrasas along with their annexes. The buildings largely ignored any existing topography and were arranged in a strongly symmetrical layout on a vast square terrace with the monumental mosque at its center. The original mosque

534-702: A Baroque appearance in its use of strong curves but it features an eclectic mix of styles, except for the imperial pavilion in front which is entirely Neoclassical. The mosque is covered in highly ornate and sculptural details that recall the style of the Ceremonial Hall and gates of the Dolmabahçe Palace. The Pertevniyal Valide Mosque in Istanbul was built in the Aksaray neighbourhood of Istanbul in 1871 in honour of Abdülaziz's mother . It

712-541: A brownish-red, yellow, and a deep green also appearing. The background was often discoloured, colours often ran together slightly, and the patterns were typically limited to single tiles. The Tekfursaray kilns ceased to function after the Patrona Halil rebellion in 1730, which deposed Ahmet III. Ultimately, tilework decoration in Ottoman architecture lost its significance during this century. Painted decoration

890-818: A building called the Cité de Pera , which contained shops on the ground floor and luxury apartments above. Other well-known examples include the Avrupa Pasajı (1874), the Atlas Pasajı (1877), the Halep (Aleppo) Pasajı (1880–1885), and the Suriye Pasajı (1908). Other commercial building types that appeared in the late 19th century included hotels, such as the Londra Hotel (1891) and Pera Palace Hotel designed by Alexandre Vallaury (1895), and banks, such as

1068-597: A building or structure in Cyprus is a stub . You can help Misplaced Pages by expanding it . This article about a mosque or other Islamic place of worship in Europe is a stub . You can help Misplaced Pages by expanding it . Ottoman architecture Ottoman architecture is an architectural style or tradition that developed under the Ottoman Empire over a long period, undergoing some significant changes during its history. It first emerged in northwestern Anatolia in

1246-533: A completely unified interior space and for ways to emphasize the visitor's perception of the main dome upon entering a mosque. One of the results of this logic was that any space that did not belong to the central domed space was reduced to a minimum, subordinate role, if not altogether absent. In 1550, Sinan began construction for the Süleymaniye complex , a monumental religious and charitable complex dedicated to Suleiman. Construction finished in 1557. Following

1424-450: A door on which a shield is carved with the bearing of two lions affronted, may be seen stuck in the ground. But the most singular survival from the ancient church consists of a small collection of 14th century gravestones. A number of fragmentary inscribed stones amongst which the most interesting contain the names of Gaspar Mavroceni of the well-known Venetian family of that name, 1402, and Hugh de Mimars, 1324. Many of these fragments are in

1602-509: A feature that appeared in the 18th century (e.g. Beylerbeyi Mosque ) but which was further refined here. The prayer hall largely retains a traditional single-domed layout. From Mahmud II's time, the Tomb of Nakşidil Sultan (1818) is one of the finest Ottoman Baroque tombs and one of the best examples of late Baroque monuments. It also incorporates some influence from the Empire style , which

1780-554: A group, as was the case at Topkapı Palace, the Edirne Palace , and others. However, at some time during the 18th century there was a transition to palaces consisting of a single block or single large building. Beyond Istanbul, the greatest palaces were built by powerful local families, but they were often built in regional styles that did not follow the trends of the Ottoman capital. The Azm Palace in Damascus, for example,

1958-542: A large wooded park ( Yıldız Park ) on a hillside overlooking the Bosphorus. The area had been a private garden of the sultans since the 17th century and was known as the Çırağan garden during the Tulip Period. Selim III, Mahmud II, Abdülmecid and Abdülaziz each erected various pavilions here, but it was Abdülhamid II (r. 1876–1909) who transformed it into an imperial palace, residence, and seat of government. After

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2136-434: A limited number of ways. The ingenuity of successful architects such as Sinan lay in the careful and calculated attempts to solve problems of space, proportion, and harmony. This period is also notable for the development of Iznik tile decoration in Ottoman monuments, with the artistic peak of this medium beginning in the second half of the 16th century. The master architect of the classical period, Mimar Sinan, served as

2314-513: A market, a caravanserai , a primary school , or others. Ottoman constructions were still abundant in Anatolia and in the Balkans ( Rumelia ), but in the more distant Middle Eastern and North African provinces older Islamic architectural styles continued to hold strong influence and were sometimes blended with Ottoman styles. The first Ottomans were established in northwest Anatolia near

2492-448: A more purely "Turkish" style. They were also among the first to make measured drawings of historic Ottoman monuments and to study them as a national heritage. The Ottoman Revival architecture of this period was based on modern construction techniques and materials such as reinforced concrete, iron, steel, and often glass roofs, and in many cases used what was essentially a Beaux-Arts structure with outward stylistic motifs associated with

2670-405: A multi-level appearance. Other towers across the empire varied considerably in style. The Adana Clock Tower (1882), by contrast with the Istanbul examples, is a severe brick structure resembling the medieval Italian towers of San Gimignano . Other towers were built in a form resembling a minaret, such as the Çorum Clock Tower (1896). In 1901 Sultan Abdülhamid II (r. 1876–1909) encouraged

2848-723: A preference for floriate motifs. One such motif that was popular throughout the history of Ottoman art is the rumî style, whose existence predates the Ottomans and which consists of scrolling, spiraling, and/or intertwining stems with stylized leaves. Another floriate style that appeared in Ottoman decoration from the 15th century onward is hatayî , which consists in large part of peonies and leaves shown in varying stages of budding and blooming. This style had its origins further east in China or Turkestan and it appeared in Islamic art from

3026-509: A reaction to influences in the previous 200 years that had come to be considered "foreign", such as Baroque and Neoclassical architecture, and was intended to promote Ottoman patriotism and self-identity. This was an entirely new style of architecture, related to earlier Ottoman architecture in rather the same manner was other roughly contemporaneous revivalist architectures related to their stylistic inspirations. New government-run institutions that trained architects and engineers, established in

3204-543: A rectangular courtyard leading to a domed prayer hall. The latter was covered by a large central dome with a semi-dome behind it (on the qibla side), flanked by a row of three smaller domes on either side. After Mehmed II, the reign of Bayezid II (1481–1512) is again marked by extensive architectural patronage, of which the two most outstanding and influential examples are the Bayezid II Complex in Edirne and

3382-459: A roughly pyramidal fashion – to the large central dome. After designing the Süleymaniye complex, Sinan appears to have focused on experimenting with the single-domed space. In the 1550s and 1560s, he experimented with an "octagonal baldaquin" design for the main dome, in which the dome rests on an octagonal drum supported by a system of eight pillars or buttresses. An example of this is

3560-512: A series of panels on the exterior of Circumcision Pavilion ( Sünnet Odası ) in Topkapı Palace. At least some of these tiles are believed to date from the 1520s and feature large floral motifs in blue, white, and turquoise. They exemplify the advent of the saz style : a motif in which a variety of flowers are attached to gracefully curving stems with serrated leaves, appearing in the 16th century. This continued to reflect earlier influences of

3738-399: A small promontory along the Bosphorus shore, has a very similar design that is considered more successful. The mosque was once again designed by Garabet Balyan and his son Nikogos and was built between 1854 and 1856 – although Goodwin and Kuban cite the year of construction as 1853. The Balyans likely worked as a team in order to produce so many works in such a short period. The mosque has

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3916-413: A somber Neoclassical façade and slender minarets that look like Corinthian columns . This section leads to an octagonal mosque lit by large windows, with a mihrab and minbar fashioned of dark grey marble. The sacred relic is kept inside another smaller octagonal building directly behind the mosque. The Tanzimat reforms began in 1839 under Abdülmecid I ( r.  1839–1861 ) and sought to modernize

4094-660: A stand-alone fountain at the center of a city square , was introduced for the first time in this period. The first and most remarkable of these is the Ahmed III Fountain built in 1728 next to the Hagia Sophia and in front of the outer gate of Topkapı Palace. The construction of stand-alone library structures was another new trend influenced by European ideas, as the Ottomans traditionally did not build libraries except as secondary elements attached to religious complexes. The earlier Köprülü Library , built in 1678

4272-583: A trend towards increasingly direct imitation of Western styles, particularly from France. The Tanzimat reforms that began in 1839 under Abdülmecid I sought to modernize the Ottoman Empire with Western-style reforms. In the architectural realm, this resulted in the dominance of European architects and Ottoman architects with European training. Among these, the Balyans , an Ottoman Armenian family, succeeded in dominating imperial architecture for much of

4450-529: A wide variety of materials including stone, wood, stucco, and iron. Reflecting the continued eclecticism of the 19th century, they were also mixed with other styles such as neo-Baroque, neo-Ottoman, and Empire, such that Art Nouveau buildings were not always distinguishable from other genres. For example, the Hamidiye Fountain (1896–1901), originally erected in Tophane but later moved to Maçka Park ,

4628-410: Is Neoclassical in style and distinguished by its minarets which are shaped like Corinthian columns up to their balcony levels. It is a single-domed building fronted by a large and imposing imperial pavilion. The mosque's upper windows are arranged in a semi-circular wheel-like design under the arches that support the dome. The Ortaköy Mosque (or Büyük Mecidiye Mosque), located further northeast on

4806-519: Is a more eclectic work designed by D'Aronco. The final period of architecture in the Ottoman Empire, developed after 1900 and in particular after the Young Turks took power in 1908–1909, is what was then called the "National Architectural Renaissance" and since referred to as the First national architectural movement of Turkish architecture. The approach in this period was an Ottoman Revival style,

4984-520: Is a unique religious building in Ottoman architecture which was designed to house the Holy Mantle ( Hırka-i Şerif ), a relic of Muhammad . (Another mantle and relic, the Hırka-i Saadet , is housed in Topkapı Palace. ) Because of this special function, the mosque has an unusual design. It was built and decorated in a purely Empire or Neoclassical style. It is fronted by an imperial pavilion with

5162-531: Is achieved through a series of triangular carvings known as "Turkish triangles", a type of pendentive which was common in Anatolian Seljuk and early Ottoman architecture. In 1334–1335, Orhan built a mosque in İznik that no longer stands but has been excavated by archeologists. It is significant as the earliest known example of a type of building called a zaviye (from Arabic zawiya ), "T-plan" mosque, or "Bursa-type" mosque. This type of building

5340-509: Is characterized by a central court, typically covered by a dome, with iwans (domed or vaulted halls that are open to the courtyard) on three sides, one of which is oriented towards the qibla (direction of prayer) and contains the mihrab (wall niche symbolizing the qibla ). The front façade usually incorporated a portico along its entire width. The iwans on the side and the other various rooms attached to these buildings may have served to house Sufi students and traveling dervishes , since

5518-623: Is dedicated), in December 1755. Doğan Kuban describes it as the "most important monumental construction after the Selimiye Mosque in Edirne", marking the integration of European culture into Ottoman architecture and the rejection of the classical Ottoman style. It also marked the first time since the Sultan Ahmed I Mosque (early 17th century) that an Ottoman sultan built his own imperial mosque complex in Istanbul, thus inaugurating

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5696-421: Is notable for being completely dominated by a single massive dome, whose view is unimpeded by the structural elements seen in other large domed mosques before this. This design is the culmination of Sinan's spatial experiments, making use of the octagonal baldaquin as the most effective method of integrating the round dome with the rectangular hall below by minimizing the space occupied by the supporting elements of

5874-516: Is sometimes described as belonging to the Empire style, but is considered by art historians Godfrey Goodwin and Doğan Kuban as one of the last Ottoman Baroque mosques. Another art historian, Ünver Rüstem, describes the style as moving away from the Baroque and towards an Ottoman interpretation of Neoclassicism . Goodwin also describes it as the last in a line of imperial mosques that started with

6052-555: Is the Sirkeci Railway Station , built in 1888–1890 as the terminus of the Orient Express . It was designed in an Orientalist style by German architect August Jasmund (also spelled "Jachmund"). The other major railway station of the era was Haydarpaşa Station , first built in 1872 when the railway to Baghdad was completed. The original building was a mix of Neoclassical, Baroque, and Orientalist styles. It

6230-609: Is the Office of Public Debts (now serving as the Istanbul Erkek Lisesi ), erected in Istanbul in 1897. The orientalist and Ottoman revivalist trends of this period, of which Vallaury was a major figure, eventually led to the First National Architecture movement which, alongside Art Nouveau, dominated architecture in the last years of the Ottoman Empire. The eclecticism and European imports of

6408-542: Is the multi-domed congregational mosque known as the Grand Mosque of Bursa or Ulu Cami . The mosque was commissioned by Bayezid I after the Battle of Nicopolis in 1396 and finished in 1399–1400. It consists of a large hypostyle hall divided into twenty equal bays in a rectangular four-by-five grid, each covered by a dome supported by stone piers. After Bayezid I was defeated at the Battle of Ankara in 1402,

6586-513: Is the oldest example of the Ottoman single-domed mosque, consisting of a square chamber covered by a dome. Another early single-domed mosque is the Green Mosque in İznik (1378–1391), which is the first Ottoman mosque for which the name of the architect (Hacı bin Musa) is known. The main dome covers a square space and the transition between the round base of the dome and the square chamber below

6764-457: Is usually attributed to the Italian architect Montani Efendi or to Agop Balyan, although it's possible that both were responsible for different aspects of the design. The mosque is an intense mix of styles including Ottoman, Gothic, and Empire styles. One notable change from previous mosques is the decrease in the imperial pavilion's size relative to the mosque, reversing the previous trend of

6942-531: The 1873 World Exposition in Vienna and had official support from the Ottoman state. It was drafted by Marie de Launay and Pietro Montani, under the supervision of Ibrahim Edhem Pasha , the Minister of Trade and Public Works at the time. The volume sought to define Ottoman architecture as a cohesive and rational architectural tradition and to make it compatible with emerging European discourses on architecture at

7120-741: The Balat neighbourhood. It was the first steel building in Istanbul, designed by architect Hovsep Aznavu. Its pieces were fabricated abroad and then assembled in Istanbul. Among examples of 19th-century Armenian churches , the Surp Asdvadzadzin Church in Beşiktaş (not to be confused with the Surp Asdvadzadzin Patriarchal Church ) was built in 1838 by Garabet Balyan. Its style deviated from traditional Armenian architecture in Istanbul and reflected instead

7298-476: The Balyan family . In the late 19th century, an Orientalist fashion mixed neo-Ottoman and other traditional Islamic architectural elements into new buildings, seen in many of the designs by Alexandre Vallaury . Art Nouveau also appeared towards the end of the century, promoted most notably by Raimondo D'Aronco . The last decades of the Ottoman Empire saw the development of a new architectural style that

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7476-480: The Bayezid II Mosque in Istanbul. The Bayezid II Mosque in Istanbul, built between 1500 and 1505, again features a courtyard leading to a square prayer hall. However, its prayer hall makes use of two semi-domes aligned with the main central dome, while the side aisles are each covered by four smaller domes. Compared to earlier mosques, this results in a much more sophisticated "cascade of domes" effect for

7654-539: The Golden Horn inlet. The palace grounds included a long marble-lined canal, the Cedval-i Sim , around which were gardens, pavilions, and palace apartments in a landscaped setting. This overall design probably emulated French pleasure palaces as a result of the reports about Paris and Versailles brought back by Ottoman ambassador Yirmisekiz Çelebi Mehmed Efendi . The regular inhabitants of Istanbul also used

7832-587: The Nuruosmaniye (1748–1755). Despite its relatively small size the mosque's tall proportions creates a sense of height, marking the culmination of a trend that likely began with the Ayazma Mosque (1757–1761). During the reign of Mahmud II (r. 1808–1839) the Empire style , a Neoclassical style which originated in France under Napoleon , was also introduced into Ottoman architecture. This marked

8010-533: The Ottoman Bank building also designed by Vallaury (1890). These new buildings were also concentrated in the Beyoğlu district and many were again designed in a Neoclassical style, though eclecticism remained apparent in the details or interior decoration. The construction of railway stations was a feature of Ottoman modernisation reflecting the new infrastructure changes within the empire. The most famous example

8188-403: The Patrona Halil revolts of 1730, when Ahmed III was overthrown. These years of peace inaugurated a new era of growing cross-cultural exchange between the Ottoman Empire and Western Europe. From the 18th century onward, European influences were thus introduced into Ottoman architecture as the Ottoman Empire itself became more open to outside influences. The period saw significant influence from

8366-515: The Rüstem Pasha Mosque (1561) in Istanbul. This mosque is also famous for its wide array of Iznik tiles covering the walls of its exterior portico and its interior, unprecedented in Ottoman architecture, contrasting with the usually restrained decoration Sinan employed in other buildings. Sinan's crowning masterpiece is the Selimiye Mosque in Edirne, which was begun in 1568 and completed in 1574 (or possibly 1575). Its prayer hall

8544-481: The Rüstem Pasha Mosque (1561–62), which also marks the beginning of the artistic peak of Iznik ceramic art from the 1560s onward. Blue colours predominate, but the important "tomato red" colour began to make an appearance. The repertoire of motifs includes tulips , hyacinths , carnations , roses , pomegranates , artichoke leaves, narcissus , and Chinese "cloud" motifs. In the early 17th century, some features of 16th-century Iznik art began to fade, such as

8722-658: The Sultan Ahmed I Mosque , the New Mosque at Eminönü , and the 18th-century reconstruction of the Fatih Mosque). Despite this legacy and the symmetry of its design, Sinan considered the Sehzade Mosque his "apprentice" work and was not satisfied with it. During the rest of his career he did not repeat its layout in any of his other works. He instead experimented with other designs that seemed to aim for

8900-503: The Timurid Empire further east. Ottoman architecture in the 19th%E2%80%9320th centuries This article covers the history of Ottoman architecture from the 19th century up to the end of the Ottoman Empire in the early 20th century. The 19th century saw an increase of architectural influences from Western Europe in Ottoman culture. The Ottoman Baroque style , which emerged in the 18th century, continued to be evident in

9078-623: The Yildirim Bayezid I Mosque (completed in 1395), and the Green Mosque built by Mehmed I (1412–1424). The Green Mosque is notable for its extensive tile decoration in the cuerda seca technique. It is the first instance of lavish tile decoration in Ottoman architecture. These mosques were all part of larger religious complexes ( külliye s) that included other structures offering services such as madrasas (Islamic colleges), hammams (public bathhouses), and imarets (charitable kitchens). The most unusual mosque of this period

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9256-402: The "International Timurid" style, but it also demonstrates the development of an increasingly distinct Ottoman artistic style at this time. The architect Mimar Sinan generally used tile decoration in a fairly restrained manner and seems to have preferred focusing on the architecture as a whole rather than on overwhelming decoration. An exception to this austerity is the extensive tilework in

9434-532: The 13th century onward. One of the most important examples of early Ottoman painted decoration is the partially-preserved mural decoration inside the Murad II Mosque in Edirne, which still dates back to its construction circa 1436. The ornamentation inside the southeastern (qibla) iwan depicts natural landscapes with stylized flowers and trees that appear to reflect the same artistic styles used in book illustrations and miniatures , particularly those from

9612-610: The 1740s a new Ottoman or Turkish "Baroque" style emerged in its full expression and rapidly replaced the style of the Tulip Period. This shift signaled the final end to the classical style. The political and cultural conditions which led to the Ottoman Baroque trace their origins in part to the Tulip Period, when the Ottoman ruling class opened itself to Western influence. After the Tulip Period, Ottoman architecture openly imitated European architecture, so that architectural and decorative trends in Europe were often mirrored in

9790-566: The 1740s, a new Ottoman Baroque style emerged in its full expression and rapidly grew dominant in imperial architecture. This signaled the final end to the classical style. After the Tulip Period, Ottoman architecture began to openly imitate European architecture, so that architectural and decorative trends in Europe were mirrored in the Ottoman Empire. Changes were especially evident in the ornamentation of new buildings rather than in their overall forms, though new building types were eventually introduced from European influences as well. Some of

9968-467: The 17th century but became less innovative and more repetitive. Cultural shifts in the early 18th century, particularly during the Tulip Period ( c.  1718  – c.  1730 ), triggered a shift away from this style, as the Ottoman ruling class opened itself to Western influence. New decorative trends and new building types became evident in the architecture of this era . During

10146-437: The 17th century until its demolition to make room for the current palace. Dolmabahçe Palace was designed by Garabet Balyan, though his son Nikogos was known to collaborate with him and may have designed the Ceremonial Hall and the palace gates. The palace consists mainly of a single building with monumental proportions. These characteristics represented a radical rejection of traditional Ottoman palace design. The style of

10324-656: The 17th century, there was an overall decline in quality, caused in part by the devastation of the Celali revolts and by an overall decline in commissions. Some of the production continued in the city of Kütahya instead of Iznik. Tile manufacture declined still further in the second half of the century. By this period, blue and turquoise colours increasingly predominated, and many commissioned works limited their patterns to single tiles instead of creating larger patterns across multiple tiles. Tile production in Iznik came to an end in

10502-659: The 18th century. The shortage of quality tiles in the 18th century caused Iznik tiles from older buildings to be reused and moved to new ones on multiple occasions. Ahmet III and his grand vizier attempted to revive the tile industry by establishing a new workshop between 1719 and 1724 at Tekfursaray in Istanbul. Production continued here for a while but the quality was not comparable to earlier Iznik tiles. Pottery production also continued and even increased at Kütahya, where new styles developed alongside imitations of older classical Ottoman designs. The colours of tiles in this period were mostly turquoise and dark cobalt blue, while

10680-555: The 18th-19th centuries. The use of Ottoman revival features in this mosque is also an indication that the foundations for a future Ottoman revivalist movement were already being laid at this time. Another eclectic-style mosque of the same period is the Aziziye Mosque in Konya , built in 1872. This is the only imperial mosque built in Anatolia during the late Ottoman period. The Tanzimat reforms also granted Christians and Jews

10858-446: The 19th century eventually led to the introduction of Art Nouveau , especially after the arrival of Raimondo D'Aronco in the late 19th century. D'Aronco came at the invitation of Sultan Abdülhamid II and served as chief court architect between 1896 and 1909. Istanbul became a new center of Art Nouveau and a local flavour of the style developed. The new style was most prevalent in the new apartment buildings being built in Istanbul at

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11036-440: The 19th century eventually led to the introduction of Art Nouveau, especially after the arrival of Raimondo D'Aronco in the late 19th century. D'Aronco came at the invitation of Sultan Abdülhamid II and served as chief court architect between 1896 and 1909. Istanbul became a new center of Art Nouveau and a local flavour of the style developed. The new style was most prevalent in the new apartment buildings being built in Istanbul at

11214-462: The 19th century. The construction of railway stations was a feature of Ottoman modernisation reflecting the new infrastructure changes within the empire. The most famous example is the Sirkeci Railway Station , built in 1888–1890 as the terminus of the Orient Express . It was designed in an Orientalist style by German architect August Jasmund (also spelled "Jachmund"). In the Beyoğlu district of Istanbul, Parisian-style shopping arcades appeared in

11392-654: The 19th century. Some consisted of a small courtyard filled with shops and surrounded by buildings, while others were simply a passage or alley ( pasaj in Turkish) lined with shops, sometimes covered by a glass roof. Other commercial building types that appeared in the late 19th century included hotels and banks. A local interpretation of Orientalist fashion steadily arose in the late 19th century, initially used by European architects such as Vallaury. This trend combined "neo-Ottoman" motifs with other motifs from wider Islamic architecture. The eclecticism and European imports of

11570-535: The Balyans under Sultan Abdülaziz. The mosque, designed by Sarkis Balyan for Abdülhamid II and dated to 1886, has no resemblance at all to the traditional form of Ottoman mosques and looks more like a church. It is decorated with neo-Gothic and Orientalist details, some of which recall the decoration of the earlier Çırağan Palace and the Pertevniyal Valide Mosque (discussed below). After

11748-637: The Buyukada terminal by Mihran Azaryan (1915). Another example is the Sultanahmet Jail (1916–1917), now a Four Seasons Hotel. In Ankara , the earliest building in the style is the building that now houses the War of Independence Museum and served as the first house of the Turkish Republic's National Assembly in 1920. It was built in 1917 by Ismail Hasif Bey as the local headquarters for

11926-650: The Ceremonial Hall, a grand domed hall. The different sections of the palace are also centred around cruciform halls, another feature retained from the Ottoman tradition. Many other palaces, residences, and pleasure pavilions were built in the 19th century, most of them in the Bosphorus suburbs of Istanbul. The small single-story Ihlamur Pavilion , built in 1849–1855, and the slightly larger two-story Küçüksu Pavilion , built in 1856, were both designed by Nikogos Balyan and feature very ornate façades. They were originally used as recreational pavilions or resting areas and did not contain bedrooms, though bedrooms were later added to

12104-501: The French Rococo style (part of the wider Baroque style ) that emerged around this time under the reign of Louis XV . In addition to European influences, the decoration of the Tulip Period was also influenced by Safavid art and architecture to the east. Although the new architectural style that emerged at this time is generally associated with the Tulip Period, constructions from the first years of Ahmed III's reign, such as

12282-613: The French Rococo style in particular, but this terminology varies from author to author. The first structures to exhibit the new Baroque style are several fountains and sebils built by elite patrons in Istanbul in 1741–1742. The most important monument heralding the new Ottoman Baroque style is the Nuruosmaniye Mosque complex, begun by Mahmud I in October 1748 and completed by his successor, Osman III (to whom it

12460-495: The Green Mosque complex generally have a deep green ground mixed with combinations of blue, white, and yellow forming arabesque motifs. A large portion of the tiles are cut into hexagonal and triangular shapes that were then fitted together to form murals. Some of the tiles are further enhanced with arabesque motifs applied in gilt gold glazing over these colours. The artistic style of these tiles – and of other Ottoman art –

12638-560: The Küçüksu Pavilion when it was used to house foreign dignitaries. The Mecidiye Kiosk in the Fourth Court of Topkapı Palace is another small single-story structure in a similar style, designed by Sarkis Balyan and built in 1840. The Beylerbeyi Palace , along the shore of the Bosphorus, was designed by Sarkis Balyan and his brother Agop Balyan in a Neoclassical style with eclectic and Orientalist interior decoration. It

12816-522: The Mausoleum of Suleiman and in multiple other mausoleums. Nonetheless, they were not the norm and the Ottomans more regularly used single-shelled domes in almost every context. For example, the huge dome of Sinan's masterpiece, the Selimiye Mosque in Edirne, is a single-shelled construction. When double-shelled domes were used, the outer and inner shells had the same shape, thus maintaining

12994-652: The Neoclassical or Empire style that the Balyans used during the reign of Mahmud II, including an Ottoman-style dome. The Surp Asdvadzadzin Church in Gaziantep (later converted to the Kurtuluş Mosque ) was built between 1878 and 1893 in an eclectic style that references European styles as well as local influences such as ablaq masonry, demonstrating that eclecticism was present far outside Istanbul. Later on,

13172-562: The New Palace ( Yeni Saray ) and later as the Topkapı Palace ("Cannon-Gate Palace"). It was mostly laid out between 1459 and 1465, but it has since been repeatedly modified over subsequent centuries by different rulers and today it is an accumulation of different styles and periods. The palace consists of multiple courtyards, enclosures, and pavilions spread across a precinct delimited by an outer wall. Its seemingly irregular layout

13350-607: The Nusretiye Mosque, one of the earliest mosques designed by the Balyan family is the Küçuk Mecidiye Mosque in Istanbul, near Yıldız , which was built in 1848. At the same time as the Dolmabahçe Palace was being built, Garabet and Nikogos Balyan also built the nearby Dolmabahçe Mosque , commissioned by Bezmi'alem Valide Sultan in 1853 but finished after her death by her son Abdülmecid in 1855. The mosque

13528-625: The Nusretiye Mosque, which was rebuilt in more monumental form by Abdülmecid in 1848 or 1849. The largest and most impressive clock tower in Istanbul is the Dolmabahçe Clock Tower (near Dolmabahçe Palace), which was built by Abdülhamid II in 1890–1894. It mixes late Baroque decoration with the Neoclassical and eclectic style of the 19th century. Both these towers, along with the Yıldız Clock Tower (1890), Bursa Clock Tower (rebuilt in 1905), and many others, are designed with

13706-421: The Ottoman Empire at the same time or after a short delay. Changes were especially evident in the ornamentation and details of new buildings rather than in their overall forms, though new building types were eventually introduced from European influences as well. The term "Turkish Rococo", or simply "Rococo", is also used to describe the Ottoman Baroque, or parts of it, due to the similarities and influences from

13884-496: The Ottoman Empire with Western-style reforms. In the architectural realm, this period resulted in the dominance of European architects and of Ottoman architects with European training. Among these, the Balyans , an Ottoman Armenian family, succeeded in dominating imperial architecture for much of the century. They were joined by European architects such as the Fossati brothers , William James Smith, and Alexandre Vallaury . After

14062-516: The Ottoman capital until 1402, becoming a major center of patronage and construction. Orhan also captured İznik in 1331, turning it into another early center of Ottoman art . In this early period there were generally three types of mosques: the single-domed mosque, the T-plan mosque, and the multi-unit or multi-dome mosque. The Hacı Özbek Mosque (1333) in İznik is the oldest Ottoman mosque with an inscription that documents its construction and it

14240-568: The Ottoman capital was moved to Edirne in Thrace . The last major multi-dome mosque built by the Ottomans (with some exceptions), is the Old Mosque ( Eski Cami ) in Edirne, built between 1403 and 1414. In later periods, the multi-dome building type was adapted for use in non-religious buildings instead, such as bedestens (market halls). The reign of Murad II ( r.  1421–1451 ) marked an important architectural development in

14418-595: The Ottoman sultans and their family continued to build new rooms or remodel old ones throughout the 18th century, introducing Baroque and Rococo decoration in the process. Some examples include the Baths of the Harem section, probably renovated by Mahmud I around 1744, As in the preceding centuries, other palaces were built around Istanbul by the sultan and his family. Previously, the traditional Ottoman palace configuration consisted of different buildings or pavilions arranged in

14596-583: The Republic of Turkey . It was in the late 19th century that the first modern scholarly attempts to define historic Ottoman architecture as a distinctive style or tradition were undertaken. The first work to do so was the Uṣūl-i Mi'marī-i Osmānī ("Fundamentals of Ottoman Architecture"), published in 1873 simultaneously in Ottoman Turkish , French, and German. The publication took place in the context of

14774-621: The Revan Kiosk (1635) and Baghdad Kiosk (1639), built by Murad IV to commemorate his victories against the Safavids . Both are small pavilions raised on platforms overlooking the palace gardens. Both are harmoniously decorated on the inside and outside with predominantly blue and white tiles and richly-inlaid window shutters. The historical period known as the Tulip Period or Tulip Era is considered to have begun in 1718, during Ahmed III 's reign ( r.  1703–1730 ), and lasted until

14952-581: The Sufi brotherhoods were one of the main supporters of the early Ottomans. Variations of this floor plan were the most common type of major religious structure sponsored by the early Ottoman elites. The "Bursa-type" label comes from the fact that multiple examples of this kind were built in and around Bursa, including the Orhan Gazi Mosque (1339), the Hüdavendigar (Murad I) Mosque (1366–1385),

15130-544: The Tomb of Şah Sultan (1800–1801). In other trends, Selim III established the monumental barracks as a new and prominent type of building in Istanbul's urban landscape. This took place in conjunction with Selim III's reform attempts, the Nizam-i Cedid ("New Order"), which among other things created a new Western-style army . Selim III built a barracks building for his "New Artillery" regiment in Tophane , near

15308-546: The Tomb of Murad III (completed in 1599). Some scholars argue that the Nışançı Mehmed Pasha Mosque (1584–1589), whose architect is unknown, should be attributed to him. Its design is considered highly accomplished and it may be one of the first Ottoman mosques to be fronted by a garden courtyard. Davud Agha was one of the few architects of this period to display great potential and to create designs that went beyond Sinan's designs, but unfortunately he died of

15486-465: The Tower of Justice or Divan Tower in Topkapı Palace was also rebuilt in its current form under Mahmud II in 1820, adopting Renaissance and Palladian elements. Empire style motifs, such as colonettes and composite capitals , continued to be widely used throughout the 19th century alongside other styles. The Hırka-i Şerif Mosque , built between 1847 and 1851 under Abdülmecid I (r. 1839–1861),

15664-484: The Young Turks' Committee of Union and Progress . Originally, this style was meant to promote the patriotism and identity of the historically multi-ethnic Ottoman Empire, but by the end of World War I and the creation of the Turkish Republic, it was adopted by the republican Turkish nationalists to promote a new Turkish sense of patriotism. In this role, it continued into, and influenced the later architecture of

15842-584: The apogee of certain Ottoman decorative arts , most notably in the use of Iznik tiles . Beginning in the 18th century, Ottoman architecture was opened to external influences, particularly Baroque architecture in Western Europe . Changes appeared during the style of the Tulip Period , followed by the emergence of the Ottoman Baroque style in the 1740s. The Nuruosmaniye Mosque is one of

16020-493: The book, Parvillée endorsed and promoted the idea that Ottoman architecture had originated from multiple older traditions and synthesized them into a unique style with specific principles. Parvillée was employed as an architect by the Ottoman state and was responsible for the restoration of many historic Ottoman monuments in Bursa, including some damaged by the 1855 earthquake . In the process, he also shaped modern understandings of

16198-488: The borders of the Byzantine Empire . Their position at this frontier encouraged influences from Byzantine architecture and other ancient remains, and there are examples of architectural experimentation under many local Turkish dynasties in the region during this period. One of the early Ottoman stylistic distinctions that emerged was a tradition of designing more complete façades in front of mosques, especially in

16376-423: The building's exterior profile. This design, with its deliberate arrangement of established Ottoman architectural elements into a strongly symmetrical plan, is another culmination of previous architectural exploration and represents the last step towards the classical Ottoman style. The start of the classical period is strongly associated with the works of the imperial architect Mimar Sinan . During this period

16554-543: The bureaucracy of the Ottoman state, whose foundations were laid in Istanbul by Mehmet II, became increasingly elaborate and the profession of the architect became further institutionalized. The long reign of Suleiman the Magnificent is also recognized as the apogee of Ottoman political and cultural development, with extensive patronage in art and architecture by the sultan, his family, and his high-ranking officials. In this period, Ottoman architecture, especially under

16732-446: The buttresses, so that the latter were less visible inside the mosque. On the outside, he added domed porticos along the lateral façades of the building which further obscured the buttresses and gave the exterior a greater sense of monumentality. The basic design of the Şehzade Mosque, with its symmetrical dome and four semi-dome layout, proved popular with later architects and was repeated in classical Ottoman mosques after Sinan (e.g.

16910-409: The cascade of domes and the various curving elements, differing from the more dramatic juxtaposition of domes and vertical elements seen in earlier classical mosques by Sinan. It is also the only Ottoman mosque to have as many as six minarets. On the inside, the mosque's lower walls are lavishly decorated with thousands of predominantly blue Iznik tiles; along with the painted decoration on the rest of

17088-686: The centuries. One of the oldest, the Ahrida Synagogue in Balat, was rebuilt in its current form in 1709 and reflects the architecture of the Tulip Period, though it was restored and refurbished again in the 19th century. Some notable 19th-century examples include the Italian Synagogue , built in the 1880s with a neo-Gothic façade, and the Ashkenazi Synagogue , inaugurated in 1900 with a European-style façade. Among

17266-437: The century. They were joined by European architects such as the Fossati brothers , William James Smith, and Alexandre Vallaury . After the early 19th century, Ottoman architecture was characterized by an eclectic architecture which mixed or borrowed from multiple styles. The Balyans, for example, commonly combined Neoclassical or Beaux-arts architecture with highly eclectic decoration. As more Europeans arrived in Istanbul,

17444-536: The chief court architect ( mimarbaşi ) for some 50 years from 1538 until his death in 1588. Sinan credited himself with the design of over 300 buildings, though another estimate of his works puts it at nearly 500. He is credited with designing buildings as far as Buda (present-day Budapest ) and Mecca . He was probably not present to directly supervise projects far from the capital, so in these cases his designs were most likely executed by his assistants or by local architects. Sinan's first major imperial commission

17622-520: The construction of clock towers across the empire for the celebration of the 25th anniversary of his accession to the throne. The Konak Clock Tower in Izmir is one example built that year. Eventually every sizeable Ottoman town was equipped with a clock tower. In the Beyoğlu district of Istanbul, Parisian-style shopping arcades appeared in the 19th century. Some arcades consisted of a small courtyard filled with shops and surrounded by buildings, as with

17800-429: The corners. Smaller semi-domes also fill the space between the corner domes and the main semi-domes. This design represents the culmination of the previous domed and semi-domed buildings in Ottoman architecture, bringing complete symmetry to the dome layout. Sinan's early innovations are also evident in the way he organized the structural supports of the dome. Instead of having the dome rest on thick walls all around it (as

17978-489: The courtyard into the prayer hall. The prayer hall is centered around a huge dome which covers most of the middle part of the hall, while the sides of the hall are covered by pairs of smaller domes. The central dome is larger than any other Ottoman dome built before this. The mosque has a total of four minarets , arranged around the four corners of the courtyard. Its southwestern minaret was the tallest Ottoman minaret built up to that time and features three balconies (from which

18156-522: The development of a new architectural style called neo-Ottoman or Ottoman revivalism, also known as the First National Architectural Movement , by architects such as Mimar Kemaleddin and Vedat Tek . Ottoman dynastic patronage was concentrated in the historic capitals of Bursa , Edirne , and Istanbul ( Constantinople ), as well as in several other important administrative centers such as Amasya and Manisa . It

18334-415: The dome. The dome is supported on eight massive pillars which are partly freestanding but closely integrated with the outer walls. Additional outer buttresses are concealed in the walls of the mosque, allowing the walls in between to be pierced with a large number of windows. Sinan's biographies praise the dome for its size and height, which is approximately the same diameter as the Hagia Sophia's main dome;

18512-487: The earlier Bayezid II Mosque: a central dome preceded and followed by semi-domes, with smaller domes covering the sides. In particular, the building replicates the central dome layout of the Hagia Sophia and this may be interpreted as a desire by Suleiman to emulate the structure of the Hagia Sophia, demonstrating how this ancient monument continued to hold tremendous symbolic power in Ottoman culture. Nonetheless, Sinan employed innovations similar to those he used previously in

18690-524: The early 19th century under the reigns of Selim III and Mahmud II . Empire style and Neoclassical motifs also began to be introduced around this time. Subsequently, a trend towards eclecticism became prominent in many types of buildings, particularly during the Tanzimat period (1839 and after), as exemplified by the Dolmabaçe Palace and many mosques of this era designed by architects of

18868-412: The early 19th century, Ottoman architecture was characterized by an eclectic architecture that mixed or borrowed from multiple styles. The Balyans, for example, commonly combined Neoclassical or Beaux-arts architecture with highly eclectic decoration. As more Europeans arrived in Istanbul, the neighbourhoods of Galata and Beyoğlu (or Pera) took on very European appearances. The Dolmabahçe Palace

19046-465: The example of the Hazzopulo Pasajı, begun in 1850 and completed in 1871. Others were simply built as a passage or alley ( pasaj in Turkish) lined with shops. They were commonly built in a Neoclassical style with some European Baroque-style decoration, and were sometimes covered with a glass roof. One of the best-known examples is the Çiçek Pasajı ("Flower Passage") built in 1876 as part of

19224-409: The example of the earlier Fatih complex, it consists of many buildings arranged around the main mosque in the center, on a planned site occupying the summit of a hill in Istanbul. The Süleymaniye Mosque complex is one of the most important symbols of Ottoman architecture and is often considered by scholars to be the most magnificent mosque in Istanbul. The mosque itself has a form similar to that of

19402-726: The finest landmarks of the First National Architecture Movement. The style was also employed for mosques, of which the traditional-looking Bebek Mosque (1913) by Kemaleddin Bey is among the best examples. Other important extant examples include the Istanbul ferryboat terminals built between 1913 and 1917, such as the Besiktas terminal by Ali Talat Bey (1913), the Haydarpaşa ferry terminal by Vedat Tek (1913),

19580-593: The first time on similar tiles in Selim I's tomb, built behind his mosque in 1523. A more extravagant example of this type of tilework can be found inside the tomb of Şehzade Mehmed in the cemetery of the Şehzade Mosque (1548). In the late 15th century, in the 1470s or 1480s, the ceramic industry in the city of İznik was growing and began producing a new "blue-and-white" fritware which adapted and incorporated Chinese motifs in its decoration. The most extraordinary tile panels from this stage of Ottoman ceramic art are

19758-609: The first time that this had been achieved in Ottoman architecture. After Sinan, the classical style became less creative and more repetitive by comparison with earlier periods. Davud Agha succeeded Sinan as chief architect. Among his most notable works, all in Istanbul, are the Cerrahpaşa Mosque (1593), the Koca Sinan Pasha Complex on Divanyolu (1593), the Gazanfer Ağa Medrese complex (1596), and

19936-559: The flexible placement of the various components of the complex around a garden enclosure is more reflective of the new changes in tastes. The interior of the mosque is decorated with tiles from the Tekfursaray kilns, which were of lesser quality than those of the earlier Iznik period. One group of tiles is painted with an illustration of the Great Mosque of Mecca , a decorative detail found in other examples from this era. During

20114-650: The focus on blue and white colours, most likely reflect an influence from contemporary Chinese porcelain – although the evidence for Chinese porcelain reaching Edirne at this time is unclear. Another stage in Ottoman tiles is evident in the surviving tiles of the Fatih Mosque (1463–70) and in the Selim I Mosque (1520–22). In these mosques the windows are topped by lunettes filled with cuerda seca tiles with motifs in green, turquoise, cobalt blue , and yellow. Chinese motifs such as dragons and clouds also appear for

20292-678: The forefront of Ottoman architecture. The most important representatives of this architectural period are Vedat Tek (or Vedat Bey) and Ahmed Kemaleddin Bey. One of the earliest and most important examples is the Istanbul Grand Post Office in Sirkeci, completed in 1909 and designed by Vedat Tek. The most important example of Kemaleddin Bey's works is the Vakıf Han , also in Sirkeci, begun in 1914. Both of these buildings, which have grand facades with corner domes, are among

20470-535: The form of a portico with arches and columns. Another early distinction was the reliance on domes. The first Ottoman structures were built in Söğüt , the earliest Ottoman capital, and in nearby Bilecik , but they have not survived in their original form. They include a couple of small mosques and a mausoleum built in Ertuğrul 's time (late 13th century). Bursa was captured in 1326 by the Ottoman leader Orhan . It served as

20648-433: The form of the Üç Şerefeli Mosque , built in Edirne from 1437 to 1447. It has a very different design from earlier mosques, with a nearly square floor plan divided between a rectangular courtyard and a rectangular prayer hall. The open-air courtyard has a central fountain and is surrounded by a portico of arches and domes, with a decorated central portal leading into the courtyard from the outside and another one leading from

20826-823: The influence of the Hagia Sophia and early Ottoman mosque designs, the central dome was often accompanied with semi-domes and the transition from the base of the dome to the space below was typically accomplished through pendentives . The focus on the central dome also led Ottoman architects to emphasize verticality in their designs. The dome itself remained geometrically simple in Ottoman architecture. While many different types of domes had previously developed in Islamic architecture and while contemporary European architecture experimented with ostentatious dome constructions, Ottoman architects consistently used simple hemispheric domes. Sinan knew of double-shelled domes, which were used in earlier Islamic architecture, and he employed them in

21004-697: The largest and most famous Catholic church in Istanbul, the Church of St. Anthony in Beyoğlu, was built between 1906 and 1912 in a neo-Gothic style by architect Giulio Mongeri. In addition to places of worship, new educational institutions and colleges associated with churches were built. In Fener , near the Greek Orthodox Patriarchal Church , the Phanar Greek Orthodox College (or Megalio Scholio in Greek)

21182-584: The largest and most interesting is the Şale or Chalet Pavilion, so-called because it was built to resemble a Swiss mountain chalet in the Alps . The palace complex also included a theatre , a greenhouse , stables, and an official mosque, the Hamidiye Mosque . Several other pavilions stand in the park outside the private palace enclosure such as the Malta Kiosk and the Çadır Kiosk, both designed by

21360-528: The last clearly Ottoman Baroque monuments to be constructed were those built under Selim III ( r.  1789–1807 ) and Mahmud II ( r.  1808–1839 ). At the end of the 18th century, one of Selim III's major projects was rebuilding the Eyüp Sultan Mosque between 1798 and 1800. Other family members and high state officials built new monuments in the same area around this time, such as Mihrişah Sultan's charitable complex (1792–1796) and

21538-556: The last in a line of imperial mosques that started with the Nuruosmaniye. Despite its relatively small size the mosque's tall proportions creates a sense of height, which may the culmination of a trend that began with the Ayazma Mosque. During the reign of Mahmud II (r. 1808–1839) the Empire style , a Neoclassical style which originated in France under Napoleon , was introduced into Ottoman architecture. This marked

21716-483: The late 13th century and developed from earlier Seljuk Turkish architecture , with influences from Byzantine and Iranian architecture along with other architectural traditions in the Middle East . Early Ottoman architecture experimented with multiple building types over the course of the 13th to 15th centuries, progressively evolving into the classical Ottoman style of the 16th and 17th centuries. This style

21894-440: The late 19th century and further centralized under the Young Turks, became instrumental in disseminating this "national style". The dome was a paramount feature of Ottoman architecture for most of its history. In religious architecture, the dome and the integration of the interior with the central domed space could be a symbol for the "oneness of God" ( tawhid ). Especially after Sinan, the design of monumental Ottoman buildings

22072-597: The late 19th century and further centralized under the Young Turks, became instrumental in disseminating this "national style". The earlier Uṣūl-i Mi'marī-i Osmānī was influential in this movement and was used as a textbook at the Academy of Fine Arts in Istanbul (founded in 1883), but new Turkish architects also rejected some of the eclectic and revivalist impulses encouraged by that work. They choose instead to draw their ideas directly from observations of old Ottoman and Seljuk monuments, so as to elaborate what they viewed as

22250-546: The later site of the Nusretiye Mosque . This was destroyed by fire in 1823 and rebuilt by Mahmud II in 1824. The Selimiye Barracks was built in southern Üsküdar between 1800 and 1803. It was rebuilt in stone by Mahmud II between 1825 and 1828 and further expanded to its current form by Abdulmecid between 1842 and 1853. The construction of the Selimiye Barracks was followed by the construction of

22428-465: The main material for walls after the early period. Wood was used for the centring during construction. On the outside, early domes were commonly covered with terracotta tiles but by the 16th century they were generally covered with lead. Glazed tile decoration in the cuerda seca technique was used in early Ottoman monuments. The most extensive example is the Green Mosque and the associated Green Tomb in Bursa (early 15th century). The tiles of

22606-477: The massive single-block palace buildings like Dolmabahçe, the Yildiz Palace returned to the older tradition of creating many different structures with no overarching site plan. Unlike Topkapı Palace though, the structures are not linked together around courtyards and they instead resemble a kind of rural mountain village. Moreover, the palace and inner gardens were separated from the adjacent wooded park which

22784-480: The mosque's name derives). This new design was a culmination of previous architectural experimentation and foreshadowed the features of later Ottoman mosque architecture. After he conquered Constantinople (present-day Istanbul) in 1453, one of Sultan Mehmed II 's first constructions in the city was a palace, known as the Old Palace ( Eski Saray ). In 1459, he began construction of a second palace known as

22962-407: The most important examples of this period. The architecture of the 19th century saw more influences imported from Western Europe, brought in by architects such as those from the Balyan family . Empire style and Neoclassical motifs were introduced and a trend towards eclecticism was evident in many types of buildings, such as the Dolmabaçe Palace . The last decades of the Ottoman Empire saw

23140-446: The nearby Selimiye Mosque complex between 1801 and 1805. The complex included the usual mosque dependencies, but more innovative was the construction of factories, shops, and modern facilities such as a printing house, all arranged to form the nucleus of a new neighbourhood with a regular grid of streets. The mosque incorporates a wide imperial pavilion (a small lounge or residence for the sultan) that stretches across its front façade,

23318-524: The neighbourhoods of Galata and Beyoğlu (or Pera) took on very European appearances. A number of mosques built in the 19th century reflect these trends, such as the Ortaköy Mosque and the Pertevniyal Valide Mosque in Istanbul. The Tanzimat reforms also granted Christians and Jews the right to freely build new centers of worship, which resulted in new constructions, renovations, and expansions of churches and synagogues. Most of these followed

23496-537: The new types of monuments introduced to Ottoman architecture during this era, clock towers rose to prominence over the 19th century. One of the earliest towers, and the earliest Ottoman clock tower featuring a bell, was the clock tower built by Izzet Mehmed Pasha in Safranbolu in 1798. Sometime between 1835 and 1839 Mahmud II erected the oldest clock tower in Istanbul, the Tophane Clock Tower near

23674-761: The original architecture from which it was inspired. The main difference between this style and the previous orientalist/revivalist trends led by European architects was a more conscious study of past Ottoman architecture and pre-Ottoman Turkish architecture in Anatolia in the search of a more uniform "Turkish" style. The new style focused outwardly on forms and motifs seen to be traditionally "Ottoman" such as pointed arches, ornate tile decoration, wide roof overhangs with supporting brackets, domes over towers or corners, etc. It also adapted these traditional elements for more modern building types such as railway stations, government offices, and other public buildings. The emergence of this movement also brought Turkish architects back to

23852-456: The palace is fundamentally Neoclassical but is characterized by a highly eclectic decoration that mixes Baroque motifs with other styles. The monumental gates that lead to the palace grounds are especially ornate and distinguished by highly sculptural and eclectic decoration in stone, marble, and plaster. The decoration of the palace goes beyond the usual eclecticism seen in contemporary Western architecture, as it mixes multiple different styles in

24030-410: The plague right before the end of the 16th century. The Sultan Ahmed I Mosque, begun in 1609 and completed in 1617, was designed by Sinan's apprentice, Mehmed Agha. The mosque's size, location, and decoration suggest it was intended to be a rival to the nearby Hagia Sophia. Its design essentially repeats that of the Şehzade Mosque. On the outside, Mehmed Agha opted to achieve a "softer" profile with

24208-441: The previous 200 years that had come to be considered "foreign", such as Baroque and Neoclassical architecture, and was intended to promote Ottoman patriotism and self-identity. This was related to earlier Ottoman architecture in rather the same manner as other roughly contemporaneous revivalist architectures related to their stylistic inspirations. New government-run institutions that trained architects and engineers, established in

24386-474: The return of this tradition. The Ayazma Mosque in Üsküdar was built between 1757–8 and 1760–1. It is essentially a smaller version of the Nuruosmaniye Mosque, signaling the importance of the latter as a new model to emulate. Although smaller, it is relatively tall for its proportions, enhancing its sense of height. This trend towards height was pursued in later mosques. In Topkapı Palace,

24564-501: The right to freely build new centers of worship, which resulted in the significant construction, renovation, and expansion of churches and synagogues. Most of these new constructions followed the same eclecticism that prevailed in the rest of Ottoman architecture of the 19th century. Among the notable examples of Greek Orthodox churches is the Hagia Triada Church , a prominent building near Taksim Square in Beyoğlu which

24742-469: The same building. It lacks some consistency and unity as a result. Aside from the European-inspired design, the organization of the palace still reflected a traditional Ottoman division between the selamlık (official section), which occupies the southwestern wing of the palace, and the harem (private section), which occupies the northeastern wing. The two wings of the palace are separated by

24920-469: The same eclecticism that prevailed in the rest of Ottoman architecture of the 19th century. Many palaces, residences, and leisure pavilions were built in the 19th century, most of them in the Bosphorus suburbs of Istanbul. The most significant is the Dolmabahçe Palace , constructed for Sultan Abdülmecit between 1843 and 1856. It replaced the Topkapı Palace as the official imperial residence of

25098-438: The same profile on the outside as on the inside. Ottoman domes were not raised on prominent drums , unlike their Byzantine predecessors, but their outer edge usually rested on a circle of alternating buttresses and windows. Since the early Ottoman period, domes were usually built with brick, a relatively light material that was thus convenient for this purpose. This remained the usual practice even after stone replaced brick as

25276-506: The second referred to applying paint onto relief decoration sculpted beforehand. The design of the ornamentation was often stenciled onto the plaster first, using paper pierced with pin holes in the shape of the motifs, over which coal dust was rubbed to leave outlines on the walls that were then painted. The motifs of painted decoration were typically similar to those used in other contemporary arts, such as manuscript illumination . Early examples indicate that Ottoman decoration developed

25454-474: The so-called Fruit Room created in 1705 within Topkapı Palace, demonstrate that the new style was already in existence by then. One of the most important creations of the Tulip Period was the Sadâbâd Palace , a new summer palace designed and built by Damat Ibrahim Pasha in 1722–1723 for Ahmed III. It was located at Kâğıthane , a rural area on the outskirts of the city with small rivers that flow into

25632-467: The sultan. The palace consists mainly of a single building with monumental proportions, which represented a radical rejection of traditional Ottoman palace design. The style of the palace is fundamentally Neoclassical but is characterized by a highly eclectic decoration that mixes Baroque motifs with other styles. Various new types of monuments were also introduced to Ottoman architecture during this era. For example, clock towers rose to prominence over

25810-412: The surrounding area as a recreational ground for excursions and picnics. This was a new practice in Ottoman culture that brought the public within close proximity of the ruler's abode for the first time. The culmination of the Tulip Period style is represented by a series of monumental stand-alone fountains that were mostly built between 1728 and 1732. Water took on an enlarged role in architecture and

25988-401: The time. The final period of architecture in the Ottoman Empire developed after 1900 and in particular after the Young Turks took power in 1908–1909, in what was then called the "National Architectural Renaissance" and since referred to as the First national architectural movement of Turkish architecture. The approach in this period was an Ottoman Revival style, a reaction to influences in

26166-519: The time. It was also the first work to hail Sinan as a figure of prime importance in Ottoman architectural history who was worthy of universal recognition. A year later (1874), Léon Parvillée  [ fr ] , a student of Eugène Viollet-le-Duc , published L’architecture et décoration turque in French ("Turkish architecture and decoration"). While Viollet-le-Duc himself questioned the concept of an Ottoman architectural tradition in his preface to

26344-616: The time. The Camondo Stairs in Galata, donated to the city by a local Jewish family in 1860, are an early Art Nouveau example. The Botter Apartment building (1900–1901) on Istiklal Street and the Tomb of Sheikh Zafir in Yıldız (1905–1906) are among the most notable examples designed by D'Aronco, in addition to some of his buildings in the Yıldız Palace. Art Nouveau decoration was applied to

26522-569: The trend towards increasingly direct imitation of Western styles, particularly from France. The purest example of the Empire style in Istanbul is the Tomb of Mahmud II (1840), an imposing octagonal monument designed by Ohannes and Bogos Dadyan. Other examples are the Cevri Kalfa School on Divanyolu Street , dated to 1819, and the tomb and library complex of Hüsrev Pasha in the Eyüp neighbourhood, dated to 1839. The upper section of

26700-507: The urban landscape of Istanbul during the Tulip Period. In the first half of the 18th century, Istanbul's water supply infrastructure was renovated and expanded. In 1732, an important water distribution structure, the taksim , was first built on what is now Taksim Square . The new fountains were unprecedented in Ottoman architecture. Previously, fountains and sebils only existed as minor elements of larger charitable complexes or as shadirvan s inside mosque courtyards. The maidan fountain, or

26878-488: The use of embossed tomato red. At the same time, some motifs became more rigidly geometric and stylized. Production was pushed to the limit for the enormous Sultan Ahmed Mosque (or "Blue Mosque"), begun in 1609 and inaugurated in 1617, which contains the richest collection of tilework of any Ottoman mosque. According to official Ottoman documents it contained as many as 20,000 tiles. While the craftsmen at Iznik were still capable of producing rich and colourful tiles throughout

27056-510: The usual Byzantine cruciform plan with pendentives. In front of the mosque is a porch covered with three smaller domes. No moulded or carved details relieve the severe simplicity of this characteristic Turkish monument. The current structure dates from 1845. On the site of the Arab Ahmet Mosque stood a church of which a few mutilated fragments still survive scattered about the mosque enclosure, and in neighbouring houses. A lintel from

27234-482: The usual type of medieval Greek script. There are also two tomb-slabs of the same design, in the low relief renaissance style of Italy of the 16th century which seem never to have been completed with inscriptions or the coats of arms for which shields have been provided. These two slabs are the only ones in the collection in the relief style. 35°10′38″N 33°21′28″E  /  35.1771°N 33.3579°E  / 35.1771; 33.3579 This article about

27412-540: The walls, this has given the mosque its popular name, the Blue Mosque. After the Sultan Ahmed I Mosque, no further great imperial mosques dedicated to a sultan were built in Istanbul until the mid-18th century. Mosques continued to be built and dedicated to other dynastic family members, but the tradition of sultans building their own monumental mosques lapsed. Some of the best examples of early 17th-century Ottoman architecture are also to be found in Topkapı Palace, at

27590-401: The work and influence of Sinan, saw a new unification and harmonization of the various architectural elements and influences that it had previously absorbed but which had not yet been fully synthesized into a collective whole. Ottoman architecture used a limited set of general forms – such as domes, semi-domes, and arcaded porticos – which were repeated in every structure and could be combined in

27768-438: The Şehzade Mosque: he concentrated the load-bearing supports into a limited number of columns and pillars, which allowed for more windows in the walls and minimized the physical separations within the interior of the prayer hall. The exterior façades of the mosque are characterized by ground-level porticos, wide arched walls on the sides framing an array of windows, and domes and semi-domes that progressively culminate upwards – in

27946-472: Was a mixture of native Turkish tradition and influences from the Hagia Sophia , resulting in monumental mosque buildings focused around a high central dome with a varying number of semi-domes . The most important architect of the classical period is Mimar Sinan , whose major works include the Şehzade Mosque , Süleymaniye Mosque , and Selimiye Mosque . The second half of the 16th century also saw

28124-420: Was a reflection of a clear hierarchical organization of functions and private residences, with the innermost areas reserved for the privacy of the sultan and his innermost circle. Mehmed II's largest contribution to religious architecture was the Fatih Mosque complex in Istanbul, built from 1463 to 1470. It was part of a very large külliye which also included a tabhane (guesthouse for travelers), an imaret,

28302-539: Was an essential part of the decoration of Ottoman buildings, covering interior walls, ceilings, and domes. However, very little original painted decoration has been preserved in Ottoman buildings, as they were frequently repainted during later restorations. Paint, as well as gold leaf , was applied on a variety of mediums including plaster, wood, leather or cloth, and stone. For plaster decoration, there were generally two types: kalemişi and malakâri . The first refers to paint being applied directly to plaster, while

28480-425: Was being introduced in Istanbul around this time. Some of the Baroque mosques from this period feature elliptical domes, such as the small single-domed Küçük Efendi (or Fevziye) Mosque in Istanbul (1825) and the multi-domed Kapı Mosque in Konya (1812). The Nusretiye Mosque, Mahmud II's imperial mosque, was built between 1822 and 1826 at Tophane. This mosque was the first major imperial work by Krikor Balian. It

28658-400: Was built around 1750 in a largely Damascene style. In eastern Anatolia, near present-day Doğubayazıt , the Ishak Pasha Palace is an exceptional and flamboyant piece of architecture that mixes various local traditions including Seljuk Turkish, Armenian , and Georgian . It was begun in the 17th century and generally completed by 1784. The Nusretiye Mosque , Mahmud II's imperial mosque,

28836-421: Was built between 1822 and 1826 at Tophane. The mosque is the first major imperial work by Krikor Balyan. It is sometimes described as belonging to the Empire style, but is considered by Godfrey Goodwin and Doğan Kuban as one of the last Baroque mosques, while Ünver Rüstem describes the style as moving away from the Baroque and towards an Ottoman interpretation of Neoclassicism . Goodwin also describes it as

29014-488: Was built by the architect Vasilaki Ioannidi in 1880. Another is the Hagia Kyriaki Church in the Kumkapı neighbourhood, which was built in 1895 by local architects for the Karaman Greek community. Hagia Kyriaki is one of the few modern churches in Istanbul built in the Byzantine tradition, using a central-domed layout. The Stefan Sveti Church (or Church of St. Stephen of the Bulgars) is a Bulgarian Orthodox church built between 1895 and 1898 in an eclectic style, located in

29192-426: Was built in 1881 to house a much older Greek educational institution. The structure is one of the most dominating features of the skyline in this area. The architect Konstantinos Dimandis most likely designed it with a neo-Byzantine style in mind. The synagogues of Istanbul's longstanding Jewish community were comparatively unpretentious structures and few ancient synagogues have survived earthquakes and fires over

29370-478: Was built in an Orientalist style, but its appearance makes more use of non-Ottoman Islamic architecture styles like Mamluk architecture than it does of Ottoman features. The iconic clock tower of Izmir (1901) was also built in a highly Orientalist style. Alexandre Vallaury, in collaboration with Raimondo D'Aronco , designed the neo-Ottoman-style Imperial School of Medicine in Üsküdar, built between 1893 and 1903. Another building with neo-Ottoman motifs by Vallaury

29548-471: Was completed in 1864–1865 and replaced an earlier structure by Krikor Balyan from the reign of Mahmud II. The palace was used as the sultan's summer residence and as a guest residence for foreign dignitaries. Like Dolmabahçe Palace, its interior is divided into selamlık and harem sections separated by a large central hall. Soon after this, the Çırağan Palace was commissioned by Sultan Abdülalziz (r. 1861–1876) and completed in 1872. Nikogos or Sarkis Balyan

29726-442: Was conceptualized with the central dome above as its starting point, rather than the floor plan being conceived first and the roofing system after. Under Sinan, the core of the design was more specifically the domed baldaquin, which is to say the dome and its basic structural support system: a set of pillars or buttresses in a square, hexagonal, or octagonal configuration – involving four, six, or eight pillars, respectively. Thanks to

29904-446: Was constructed for Sultan Abdülmecid between June 13, 1843, and June 7, 1856. Construction was finished by 1853 or 1854, but the sultan did not move into the palace until 1856. It replaced the Topkapı Palace as the official imperial residence of the sultan. It was built on a site along the Bosphorus that had been previously occupied by the old Beşiktaş Palace and its gardens, which had been used and expanded by various sultans since

30082-409: Was in these centers that most important developments in Ottoman architecture occurred and that the most monumental Ottoman architecture can be found. Major religious monuments were typically architectural complexes, known as a külliye , that had multiple components providing different services or amenities. In addition to a mosque , these could include a madrasa , a hammam , an imaret , a sebil ,

30260-533: Was influenced by an "International Timurid" taste that emerged from the intense artistic patronage of the Timurids , who controlled a large empire across the region. The same kind of tilework is found in the mihrab of the Murad II Mosque in Edirne, completed in 1435, along with the first examples of a new technique with underglaze blue on a white background, with touches of turquoise. The motifs on these tiles include lotuses and camellia -like flowers on spiral stems. These chinoiserie -like motifs, along with

30438-490: Was more rigorously neo-Ottoman and revivalist , often known as the First National Architectural Movement , by architects such as Mimar Kemaleddin and Vedat Tek . Following the Ottoman conquest of Constantinople (present-day Istanbul ) in 1453, Ottoman architecture evolved progressively into what became the classical Ottoman style , which was consolidated in the 16th century under the long tenure of Mimar Sinan as imperial architect. The classical style remained during

30616-405: Was mostly destroyed by an earthquake in 1766 . Its design has been reconstructed by scholars using historical sources. It likely reflected the combination of the Byzantine church tradition (especially the Hagia Sophia ) with the Ottoman tradition that had evolved since the early imperial mosques of Bursa and Edirne. Drawing on the ideas established by the earlier Üç Şerefeli Mosque, it comprised

30794-578: Was open to the public. One part of the palace complex formed its own private harem section. The most imposing structure in the center of the palace is the Büyük Mabeyn Köşk erected by Abdülaziz and designed by Agop and Sarkis Balyan. It has a traditional divanhane layout typical of earlier Ottoman pavilions and a Neoclassical design with Orientalist decoration similar to the contemporary Çırağan Palace. The many subsequent buildings built under Abdülhamid II are less monumental and many of them were designed by Raimond D'Aronco in an Art Nouveau style. One of

30972-403: Was previously common), he concentrated the load-bearing supports into a limited number of buttresses along the outer walls of the mosque and in four pillars inside the mosque itself at the corners of the dome. This allowed for the walls in between the buttresses to be thinner and able to accommodate more windows to bring in more light. Sinan also moved the outer walls inward, near the inner edge of

31150-431: Was probably responsible for the design. It has a severe Neoclassical appearance except for the decoration, which is Orientalist and includes carved openwork in the windows. The palace was destroyed by fire in 1910, leaving only the seaside façade standing which was later integrated into a hotel in 1987. One of the last major Ottoman imperial creations was the Yıldız Palace , a sprawling complex of buildings set amidst

31328-534: Was rebuilt in its current form in 1906–1908 by German architects Otto Ritter and Helmet Cuno in a German neo-Renaissance style . Both Sirkeci and Haydarpaşa stations were designed with a U-shaped layout with platforms in the center. A local interpretation of Orientalist fashion steadily arose in the late 19th century, initially used by European architects such as Vallaury . This trend combined "neo-Ottoman" motifs with other motifs from wider Islamic architecture . The Sirkeci Railway Station (1888–1890), for example,

31506-422: Was the Şehzade Mosque complex, which Suleiman dedicated to Şehzade Mehmed , his son who died in 1543. The complex was built between 1545 and 1548. The mosque has a rectangular floor plan divided into two equal squares, with one square occupied by the courtyard and the other occupied by the prayer hall. The prayer hall consists of a central dome surrounded by semi-domes on four sides, with smaller domes occupying

31684-442: Was the first of its kind, but other early examples date from the reign of Ahmed III during the Tulip Period. One of the few major religious complexes built in this period and one of the last major monuments of the Tulip Period stage in Ottoman architecture is the Hekimoğlu Ali Pasha Mosque complex, completed in 1734–1735 and sponsored by the grand vizier of the same name . This mosque still reflects an overall classical form but

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