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72-552: The Bayezid II Mosque and külliye is one of the oldest examples of an imperial mosque complex in Istanbul (preceded only by the Fatih Mosque complex ). It was constructed between 1500 and 1505 and the complex included an imaret ( public kitchen ), a caravanserai , several mausoleums ( türbe s) and a medrese ( madrasa ), completed in 1507. The architect's name has not been firmly established although Yakubşah ibn Islamşah

144-530: A frieze . According to Ralph Nicholson Wornum in 1882: "The western arabesque which appeared in the 15th century derived from Roman remains of the early time of the empire, not to any style derived from Arabian or Moorish work. Arabesque and Moresque are really distinct; the latter is from the Arabian style of ornament, developed by the Byzantine Greeks for their new masters, after the conquests of

216-491: A "fote and Couer of siluer and guilt enbossed with Rebeske worke", and William Herne or Heron, Serjeant Painter from 1572 to 1580, was paid for painting Elizabeth I's barge with "rebeske work". The styles so described can only be guessed at, although the design by Hans Holbein for a covered cup for Jane Seymour in 1536 (see gallery) already has zones in both Islamic-derived arabesque/moresque style (see below) and classically derived acanthus volutes . Another related term

288-705: A central medallion combined with acanthus and other forms" by Simon Vouet and then Charles Lebrun who used "scrolls of flat bandwork joined by horizontal bars and contrasting with ancanthus scrolls and palmette ." More exuberant arabesque designs by Jean Bérain the Elder are an early "intimation" of the Rococo , which was to take the arabesque into three dimensions in reliefs. The use of "arabesque" as an English noun first appears, in relation to painting, in William Beckford 's novel Vathek in 1786. Arabesque

360-459: A connection did exist. The case for a connection with Islamic mathematics is much stronger for the development of the geometric patterns with which arabesques are often combined in art. Geometric decoration often uses patterns that are made up of straight lines and regular angles that somewhat resemble curvilinear arabesque patterns; the extent to which these too are described as arabesque varies between different writers. The Islamic arabesque

432-671: A distinctive Islamic type was complete by the 11th century, having begun in the 8th or 9th century in works like the Mshatta Facade . In the process of development the plant forms became increasingly simplified and stylized. The relatively abundant survivals of stucco reliefs from the walls of palaces (but not mosques) in Abbasid Samarra , the Islamic capital between 836 and 892, provide examples of three styles, Styles A, B, and C, though more than one of these may appear on

504-504: A history of ornament ) of 1893, who in the process developed his influential concept of the Kunstwollen . Riegl traced formalistic continuity and development in decorative plant forms from ancient Egyptian art and other ancient Near Eastern civilizations through the classical world to the Islamic arabesque. While the Kunstwollen has few followers today, his basic analysis of the development of forms has been confirmed and refined by

576-404: A large part in the decoration of architecture . Claims are often made regarding the theological significance of the arabesque and its origin in a specifically Islamic view of the world; however, these are without support from written historical sources since, like most medieval cultures, the Islamic world has not left us documentation of their intentions in using the decorative motifs they did. At

648-476: A library, a hospital ( darüşşifa ), a dervish inn ( taphane ), a caravanserai , a market, a hamam , a primary school ( mektep ) a public kitchen ( imaret ) for poor and a collection of 280 shops. Various tombs ( türbes ) were added at a later date. The original complex covered an almost square area of 325 metres (1,066 feet) extending along the Golden Horn side of Fevzi Paşa Caddesi. The first mosque

720-465: A period of disuse in the nineteenth century, when a more minimal page layout became popular with printers like Bodoni and Didot , the concept returned to popularity with the arrival of the Arts and Crafts movement , Many fine books from the period 1890–1960 have arabesque decorations, sometimes on paperback covers. Many digital serif fonts include arabesque pattern elements thought to be complementary to

792-467: A similar layout but with four instead of three wings, arranged in a cross , each with a dome, and with another domed room in each corner. The camekan 's domes have grooved squinches , the warm room's domes have muqarnas squinches, and the hot room's domes have pendentives with arabesque -like carvings. The interior featured carved stucco decoration similar to earlier examples in Edirne , with some of

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864-533: A state of disrepair. In 2000 the hamam was expropriated and transferred to the ownership of Istanbul University . It then underwent a long restoration process starting in 2003 and continuing until 2010. In 2013 the building's conversion into a museum began, and in May 2015 it reopened as the Turkish Hamam Culture Museum ( Türk Hamam Kültürü Müzesi ), with exhibition halls and exhibits focusing on

936-498: A type often called honeysuckle , and the stems often have no tips, winding endlessly out of the space. The early Mshatta Facade is recognisably some sort of vine, with conventional leaves on the end of short stalks and bunches of grapes or berries, but later forms usually lack these. Flowers are rare until about 1500, after which they appear more often, especially in Ottoman art, and are often identifiable by species. In Ottoman art

1008-399: A viewer) a framing edge without ending and thus can be regarded as infinitely extendable outside the space they actually occupy; this was certainly a distinctive feature of the Islamic form, though not without precedent. Most but not all foliage decoration in the preceding cultures terminated at the edge of the occupied space, although infinitely repeatable patterns in foliage are very common in

1080-601: Is moresque , meaning " Moorish "; Randle Cotgrave 's A Dictionarie of the French and English Tongues of 1611 defines this as: "a rude or anticke painting, or carving, wherin the feet and tayles of beasts, &c, are intermingled with, or made to resemble, a kind of wild leaves, &c." and "arabesque", in its earliest use cited in the OED (but as a French word), as "Rebeske work; a small and curious flourishing". In France "arabesque" first appears in 1546, and "was first applied in

1152-402: Is "Foliate ornament, used in the Islamic world, typically using leaves, derived from stylised half-palmettes , which were combined with spiralling stems". It usually consists of a single design which can be ' tiled ' or seamlessly repeated as many times as desired. Within the very wide range of Eurasian decorative art that includes motifs matching this basic definition, the term "arabesque"

1224-410: Is a reflection of unity arising from diversity; a basic tenet of Islam. The arabesque may be equally thought of as both art and science . The artwork is at the same time mathematically precise, aesthetically pleasing, and symbolic. Due to this duality of creation, the artistic part of this equation may be further subdivided into both secular and religious artwork. However, for many Muslims there

1296-423: Is also used as a term for complex freehand pen flourishes in drawing or other graphic media. The Grove Dictionary of Art will have none of this confusion, and says flatly: "Over the centuries the word has been applied to a wide variety of winding and twining vegetal decoration in art and meandering themes in music, but it properly applies only to Islamic art", so contradicting the definition of 1888 still found in

1368-468: Is disputed. Arabesque art consists of a series of repeating geometric forms which are occasionally accompanied by calligraphy . Ettinghausen et al. describe the arabesque as a "vegetal design consisting of full...and half palmettes [as] an unending continuous pattern...in which each leaf grows out of the tip of another." To the adherents of Islam , the Arabesque is symbolic of their united faith and

1440-478: Is no distinction; all forms of art, the natural world, mathematics and science are seen to be creations of God and therefore reflections of the same thing: God's will expressed through his creation. In other words, man can discover the geometric forms that constitute the arabesque, but these forms always existed before as part of God's creation, as shown in this picture. There is great similarity between arabesque artwork from very different geographic regions. In fact,

1512-439: Is supported by other Turkish academics that state Ottoman architecture is an extension of "Near Eastern architectural tradition". (See also: Ottoman architectural decoration ) Arabesque The arabesque is a form of artistic decoration consisting of "surface decorations based on rhythmic linear patterns of scrolling and interlacing foliage, tendrils" or plain lines, often combined with other elements. Another definition

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1584-413: Is the most likely chief architect, the other likely candidate being Hayreddin; at least one of Yakubşah's assistants helped finish off the medrese . The Bayezid Hamam is mentioned in historical documents of 1507, meaning it must have been completed before that date. Soon after construction the hamam was donated to a vakfiye ( waqf ) for another külliye commissioned by Gülbahar Hatun , Bayezid's wife and

1656-472: Is used consistently as a technical term by art historians to describe only elements of the decoration found in two phases: Islamic art from about the 9th century onwards, and European decorative art from the Renaissance onwards. Interlace and scroll decoration are terms used for most other types of similar patterns. Arabesques are a fundamental element of Islamic art. The past and current usage of

1728-611: The Oxford English Dictionary : "A species of mural or surface decoration in colour or low relief, composed in flowing lines of branches, leaves, and scroll-work fancifully intertwined. Also fig[uratively]. As used in Moorish and Arabic decorative art (from which, almost exclusively, it was known in the Middle Ages), representations of living creatures were excluded; but in the arabesques of Raphael , founded on

1800-724: The Fatih district of Istanbul , Turkey. The original mosque was constructed between 1463 and 1470 on the site of the Church of the Holy Apostles . Seriously damaged in the 1766 earthquake , it was rebuilt in 1771 to a different design. It is named after the Ottoman sultan Mehmed the Conqueror , known in Turkish as Fatih Sultan Mehmed , who conquered Constantinople in 1453. The Sahn-ı Seman Medrese , once an important center for

1872-456: The Islamic view of the world (see above). The depiction of animals and people is generally discouraged , which explains the preference for abstract geometric patterns. There are two modes to arabesque art. The first mode recalls the principles that govern the order of the world. These principles include the bare basics of what makes objects structurally sound and, by extension, beautiful (i.e.

1944-419: The cold room or soğukluk ), an ılıklık ( warm room or intermediate room) and a hararet ( hot room ). The women's camekân is slightly smaller than the men's. The dome of the men's camekân has a diameter of 15 meters. The warm room consists of a three-winged room with a central dome and three other domes arranged at right angles around it, with two other rooms in the corners between them. The hot room has

2016-579: The European past as the Islamic world, with "grotesque" gradually acquiring its main modern meaning, related more to Gothic gargoyles and caricature than to either Pompeii -style Roman painting or Islamic patterns. Meanwhile, the word "arabesque" was now being applied to Islamic art itself, by 1851 at the latest, when John Ruskin uses it in The Stones of Venice . Writers over the last decades have attempted to salvage meaningful distinctions between

2088-570: The Great . Before the construction of the mosque, his sarcophagus had been placed in the middle of twelve other sarchophagi representing the Twelve Apostles , in the symbolic place of Christ . The Fatih Mosque was the first monumental project in the Ottoman imperial architectural tradition. It was built by the Greek architect Atik Sinan . The original complex included eight medreses ,

2160-621: The Holy Apostles was demolished to make way for the mosque. The Byzantine church had fallen into disrepair since the Fourth Crusade . Even though it was the cathedral church of the Ecumenical Patriarchate of Constantinople , the Ecumenical Patriarch was not permitted to carry out essential repairs to the structure. The church was the burial place of numerous Roman emperors , including Constantine

2232-471: The Suleymaniye Library. The caravanserai was repaired in the 1980s and combined with new shops to begin functioning as a workplace. The hospital, market, kitchens and hamam of the original complex have been lost. According to the Turkish historian Mehmet Aga-Oglu , the mosque is a representation of Islamic Persian medresse architecture and not Byzantine church architecture. This opinion

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2304-554: The ancient Græco-Roman work of this kind, and in those of Renaissance decoration, human and animal figures, both natural and grotesque, as well as vases, armour, and objects of art, are freely introduced; to this the term is now usually applied, the other being distinguished as Moorish Arabesque, or Moresque." A major use of the arabesque style has been artistic printing, for example of book covers and page decoration. Repeating geometric patterns worked well with traditional printing, since they could be printed from metal type like letters if

2376-403: The angle and the fixed/static shapes that it creates—esp. the truss ). In the first mode, each repeating geometric form has a built-in symbolism ascribed to it. For example, the square, with its four equilateral sides, is symbolic of the equally important elements of nature: earth , air , fire and water . Without any one of the four, the physical world, represented by a circle that inscribes

2448-414: The architect Mehmet Tahir Ağa . The first Fatih Mosque had one central dome supported by a single semi-dome of the same diameter on the qibla side and suspended on four arches. its dome was 26 meter in diameter. The second Baroque mosque built after the 1766 earthquake had a square plan. It has one central dome supported by four semi-domes. Only the courtyard, main entrance portal and lower portions of

2520-405: The bathhouses, and new workers had to be from either Istanbul or Anatolia, in an effort to push remaining Albanians out of the workers' guild. Although the intended effect was slow to take hold, in the long term it resulted in a greater number of Istanbul bathhouse workers coming from Anatolia, especially from Sivas and Tokat , something that remains true today. The hamam is one of the largest in

2592-506: The branches, generally of a linear character, were turned into straps or bands. ... It is characteristic of the moresque, which is essentially a surface ornament, that it is impossible to locate the pattern's beginning or end. ... Originating in the Middle East, they were introduced to continental Europe via Italy and Spain ... Italian examples of this ornament, which was often used for bookbindings and embroidery, are known from as early as

2664-421: The city and is considered a good example of hamam design in the era of classical Ottoman architecture . Its monumental appearance from the outside and its tall entrance portal earned it the name Hamam-ı Kebir ('Grand Bathhouse'). It is a double hamam, meaning that there are separate facilities for women and men. Each side consisted of an enormous domed chamber, the camekân ( undressing room ; also referred to as

2736-506: The cultures taken over by the early Islamic conquests . Early Islamic art, for example in the famous 8th-century mosaics of the Great Mosque of Damascus , often contained plant-scroll patterns, in that case by Byzantine artists in their usual style. The plants most often used are stylized versions of the acanthus , with its emphasis on leafy forms, and the vine, with an equal emphasis on twining stems. The evolution of these forms into

2808-567: The decoration of some of the corridors of the Loggie of the Vatican at Rome: grotesque is thus a better name for these decorations than Arabesque. This technical Arabesque, therefore, is much more ancient than any Arabian or Moorish decoration, and has really nothing in common with it except the mere symmetrical principles of its arrangement. Pliny and Vitruvius give us no name for the extravagant decorative wall-painting in vogue in their time, to which

2880-468: The early Italian revivers of it seem to have given the designation of grotesque, because it, was first discovered in the arched or underground chambers (grotte) of Roman ruins—as in the golden house of Nero, or the baths of Titus. What really took place in the Italian revival was in some measure a supplanting of the Arabesque for the classical grotesque, still retaining the original Arabian designation, while

2952-546: The earthquake. The türbe of the Conqueror has a lavishly decorated interior and is a popular site for official ceremonies. It was customary for new sultans to visit the tomb immediately after being invested with the Sword of Osman at Eyüp Sultan Mosque . Gulbahar's türbe is more simple, with classic lines, and may closely resemble the original. The graveyard also contains the last resting places of many important state officials, including field marshal Gazi Osman Pasha whose tomb

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3024-467: The first, comprises modern ornaments: moresques, interlaced bands, strapwork, and elements such as cartouches"—categories he goes on to discuss individually. The moresque or arabesque style was especially popular and long-lived in the Western arts of the book: bookbindings decorated in gold tooling, borders for illustrations, and printer's ornaments for decorating empty spaces on the page. In this field

3096-405: The followers of Mahomet; and the former is a term pretty well restricted to varieties of cinquecento decoration, which have nothing in common with any Arabian examples in their details, but are a development derived from Greek and Roman grotesque designs, such as we find them in the remains of ancient palaces at Rome, and in ancient houses at Pompeii. These were reproduced by Raphael and his pupils in

3168-588: The genuine Arabian art, the Saracenic, was distinguished as Moresque or Moorish." The book Opera nuova che insegna a le donne a cuscire … laqual e intitolata Esempio di raccammi (A New Work that Teaches Women how to Sew … Entitled "Samples of Embroidery"), published in Venice in 1530, includes "groppi moreschi e rabeschi", Moorish knots and arabesques. From there it spread to England, where Henry VIII owned, according to an inventory of 1549, an agate cup with

3240-570: The historical culture surrounding the hamams of Istanbul. It is also possible to view the remains of a couple of Byzantine churches that were uncovered during the restoration process. They are popularly associated with Patrona Halil , the Albanian leader of an uprising that deposed Ahmed III in 1730, who is said to have been employed as an hamam attendant ( tellak ) here. The uprising, motivated by economic grievances, resulted in Mahmud I coming to

3312-417: The large and feathery leaves called saz became very popular, and were elaborated in drawings showing just one or more large leaves. Eventually floral decoration mostly derived from Chinese styles, especially those of Chinese porcelain , replaces the arabesque in many types of work, such as pottery, textiles and miniatures. The arabesques and geometric patterns of Islamic art are often said to arise from

3384-498: The late fifteenth century. Fuhring notes that grotesques were "confusingly called arabesques in eighteenth century France", but in his terminology "the major types of ornament that appear in French sixteenth century etchings and engraving ... can be divided into two groups. The first includes ornaments adopted from antiquity: grotesques, architectural ornaments such as the orders, foliage scrolls and self-contained elements such as trophies, terms and vases. A second group, far smaller than

3456-477: The latter part of the 17th century" to grotesque ornament, "despite the classical origin of the latter", especially if without human figures in it—a distinction still often made, but not consistently observed. Over the following centuries, the three terms "grotesque", "moresque", and "arabesque" were used largely interchangeably in English, French, and German for styles of decoration derived at least as much from

3528-455: The material world, they believe, is a mere ghostly approximation of the spiritual world, which for many Muslims is the place where the only true reality exists. Discovered geometric forms, therefore, exemplify this perfect reality because God's creation has been obscured by the sins of man. Mistakes in repetitions may be intentionally introduced as a show of humility by artists who believe only Allah can produce perfection, although this theory

3600-593: The minarets survive from the original construction. The present interior of the Fatih Mosque is essentially a copy of earlier designs invented by Sinan re-used repeatedly by himself and his successors throughout Istanbul (this technique is emulative of the Hagia Sophia). The 26 meter diameter center dome is supported by four semi-domes on each axis supported by four large marble columns. There are two minarets each with twin galleries. The calligraphy within

3672-460: The modern world in wallpaper and textiles . Typically, in earlier forms there is no attempt at realism; no particular species of plant is being imitated, and the forms are often botanically impossible or implausible. "Leaf" forms typically spring sideways from the stem, in what is often called a "half- palmette " form, named after its distant and very different looking ancestor in ancient Egyptian and Greek ornament. New stems spring from leaf-tips,

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3744-482: The mosque and the mimbar exhibit a Baroque influence, but the white tiles lack the splendor of the İznik tiles used in other mosques such as the Rüstem Pasha Mosque . The mihrab survived from the original construction. As with other imperial mosques in Istanbul, the Fatih Mosque was designed as a kulliye , or complex with adjacent structures to service both religious and cultural needs. To

3816-480: The mosque precincts, has a courtyard supported by 16 different columns of verd antique and granite, probably salvaged from the Church of the Holy Apostles. Facing the dervish inn is the large Baroque türbe of Sultan Mahmud II 's mother, Nakşidil Sultan (1761-1817). The graveyard beside the mosque contains the tombs ( türbes ) of Sultan Mehmed II and his consort Gülbahar Hatun . Both were reconstructed after

3888-471: The mother of Selim I . (Though there is some confusion on this point, with some sources saying that Gülbahar commissioned the hamam herself and donated it to Bayezid II's complex.) Fragments of the ancient triumphal column from the Forum of Theodosius that once stood nearby were built into the hamam's foundation. The baths were renovated following a fire in 1714 but by the end of the 20th century they were in

3960-461: The north and south of the mosque are the Sahn-ı Seman , eight great medreses, four on each side. These buildings are symmetrical, and each contains 18 cells for four students and a dershane . Annexes behind the medrese itself were lost to road construction. The medreses provided for about a thousand students, making it a large university for its time. The dervish inn, outside the southeast corner of

4032-455: The original decoration remaining in the corners of the domes. 41°0′35.8″N 28°57′41.4″E  /  41.009944°N 28.961500°E  / 41.009944; 28.961500 (See also: Ottoman architectural decoration ) Fatih Mosque, Istanbul The Fatih Mosque ( Turkish : Fatih Camii , "Conqueror's Mosque" in English ) is an Ottoman mosque off Fevzi Paşa Caddesi in

4104-401: The popular level such theories often appear uninformed as to the wider context of the arabesque. In similar fashion, proposed connections between the arabesque and Arabic knowledge of geometry remains a subject of debate; not all art historians are persuaded that such knowledge had reached, or was needed by, those creating arabesque designs, although in certain cases there is evidence that such

4176-493: The same wall, and their chronological sequence is not certain. Though the broad outline of the process is generally agreed, there is a considerable diversity of views held by specialist scholars on detailed issues concerning the development, categorization and meaning of the arabesque. The detailed study of Islamic arabesque forms was begun by Alois Riegl in his formalist study Stilfragen: Grundlegungen zu einer Geschichte der Ornamentik ( Problems of style: foundations for

4248-485: The similarities are so pronounced that it is sometimes difficult for experts to tell where a given style of arabesque comes from. The reason for this is that the science and mathematics that are used to construct Arabesque artwork are universal. Therefore, for most Muslims, the best artwork that can be created by man for use in the Mosque is artwork that displays the underlying order and unity of nature. The order and unity of

4320-507: The spiritual world), Islam considers calligraphy a visible expression of the highest art of all; the art of the spoken word (the transmittal of thoughts and of history). In Islam, the most important document to be transmitted orally is the Qur'an . Proverbs and complete passages from the Qur'an can be seen today in Arabesque art. The coming together of these three forms creates the Arabesque, and this

4392-416: The square, would collapse upon itself and cease to exist. The second mode is based upon the flowing nature of plant forms. This mode recalls the feminine nature of life giving. In addition, upon inspection of the many examples of Arabesque art, some would argue that there is in fact a third mode, the mode of Islamic calligraphy . Instead of recalling something related to the 'True Reality' (the reality of

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4464-578: The study of theology, law, medicine, astronomy, physics and mathematics, formed part of the Fatih Mosque. It was founded by the Turkic astronomer Ali Qushji who had been invited by Mehmed to his court in Istanbul. The mosque complex was completely restored in 2009 and again ten years later. It reopened to worshippers in 2021. The Fatih Mosque complex was a religious and social building of unprecedented size and complexity built in Istanbul between 1463 and 1470 by order of Mehmed II . The 4th-century Church of

4536-755: The technique of gold tooling had also arrived in the 15th century from the Islamic world, and indeed much of the leather itself was imported from there. Small motifs in this style have continued to be used by conservative book designers up to the present day. According to Harold Osborne, in France, the "characteristic development of the French arabesque combined bandwork deriving from the moresque with decorative acanthus foliage radiating from C-scrolls connected by short bars". Apparently starting in embroidery , it then appears in garden design before being used in Northern Mannerist painted decorative schemes "with

4608-458: The term in respect of European art is confused and inconsistent. Some Western arabesques derive from Islamic art, however others are closely based on ancient Roman decorations. In the West they are essentially found in the decorative arts , but because of the generally non-figurative nature of Islamic art, arabesque decoration is often a very prominent element in the most significant works, and plays

4680-402: The throne. In the aftermath Patrona was executed along with thousands of his supporters, and bathhouses became places that governments viewed with suspicion. In 1734-35 an imperial decree ruled that all bathhouse workers needed to be registered, and measures discriminating against Albanian workers were introduced; those who left Istanbul to visit their hometown were barred from returning to work in

4752-432: The type was placed together; as the designs have no specific connection to the meaning of a text, the type can be reused in many different editions of different works. Robert Granjon , a French printer of the sixteenth century, has been credited with the first truly interlocking arabesque printing, but other printers had used many other kinds of ornaments in the past. The idea was rapidly used by many other printers. After

4824-534: The way in which traditional Islamic cultures view the world. Arabesque is a French term derived from the Italian word arabesco , meaning "in the Arabic style". The term was first used in Italian, where rabeschi was used in the 16th century as a term for " pilaster ornaments featuring acanthus decoration", specifically "running scrolls" that ran vertically up a panel or pilaster, rather than horizontally along

4896-489: The wider corpus of examples known today. Jessica Rawson has recently extended the analysis to cover Chinese art , which Riegl did not cover, tracing many elements of Chinese decoration back to the same tradition, the shared background helping make the assimilation of Chinese motifs into Persian art after the Mongol invasion harmonious and productive. Many arabesque patterns disappear at (or "under", as it often appears to

4968-438: The words from the confused wreckage of historical sources. Peter Fuhring, a specialist in the history of ornament, says that (also in a French context): The ornament known as moresque in the fifteenth and sixteenth centuries (but now more commonly called arabesque) is characterized by bifurcated scrolls composed of branches forming interlaced foliage patterns. These basic motifs gave rise to numerous variants, for example, where

5040-428: Was badly damaged in the 1509 earthquake . After that it was repaired, but was then damaged again by earthquakes in 1557 and 1754 and repaired yet again. It was then completely destroyed by an earthquake on 22 May 1766 when the main dome collapsed and the walls were irreparably damaged. Commissioned by Sultan Mustafa III , the current mosque (designed on a completely different plan) was built between 1767 and 1771 by

5112-470: Was designed by Kemaleddin Bey . The distinguished Ottoman scholar and university professor Halil İnalcık was buried here in 2016. On one side of the mosque and connected to it is the domed Carullah Efendi Library which was built in 1724. One of its doors opens onto the street, while the other two open onto the inner courtyard of the mosque. The library is undergoing repairs, and the books are under protection at

5184-521: Was probably invented in Baghdad around the 10th century. It first appeared as a distinctive and original development in Islamic art in carved marble panels from around this time. What makes Islamic arabesque unique and distinct from vegetal decorations of other cultures is its infinite correspondence and the fact that it can be extended beyond its actual limits. The arabesque developed out of the long-established traditions of plant-based scroll ornament in

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