Ishak Pasha Palace ( Turkish : İshak Paşa Sarayı ) is a semi-ruined palace and administrative complex located in the Doğubeyazıt district of Ağrı province of eastern Turkey .
215-575: The Ishak Pasha Palace is an Ottoman-period palace whose construction was started in 1685 by the bey of the Beyazit province Colak Abdi Pasha of the Cildirogullari, a family of hereditary pashas related to the House of Jaqeli . Construction was continued by Ishak Pasha, a descendant of Abdi Pasha, who was to give his name to the palace and became the pasha of Çıldır from 1790 to 1791. According to
430-418: 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
645-959: A takkiya in Arabic or tekke in Turkish , catered to Sufi brotherhoods and were a new type of institution that the Ottomans introduced to these regions. For Rüstem Pasha, Suleiman's grand vizier and son-in-law, Sinan also built the Rüstem Pasha Madrasa in Istanbul (1550), with an octagonal floor plan, and several caravanserais including the Rüstem Pasha Han in Galata (1550), the Rüstem Pasha Han in Ereğli (1552),
860-474: A "palace department of buildings" or "corps of royal architects" ( khāṣṣa mi'mārları ). The first documented references to this department date from the reign of Bayezid II (r. 1481–1512). It grew from 13 architects in 1525 to 39 architects by 1604. Many of the architects and bureaucrats were recruited from the Christian population of the empire through the devshirme system. The long reign of Suleiman
1075-404: A Sinan-designed mosque far from Istanbul, and has local Syrian influences such as the use of ablaq masonry, reused in part from an earlier Mamluk palace. Sinan did not visit Damascus for the project – though he had been there previously with Sultan Selim's army – and the architect in charge of construction work was Mimar Todoros, who most likely used local masons and craftsmen. As the site
1290-541: 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
1505-417: A cemetery with several mausoleums (of varying dates), and a small mektep. The tomb of Şehzade Mehmed, originally the only mausoleum in the cemetery, is among the most beautiful tombs designed by Sinan. Its design is similar to that of Selim I's tomb, with octagonal form and an entrance porch, but the decoration is more luxurious. On the exterior, the marble covering is enhanced with breccia and terracotta,
1720-409: 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. The other buildings of the Şehzade Mosque complex include a madrasa, a tabhane , a caravanserai, an imaret,
1935-533: 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
2150-554: 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,
2365-400: A high platform with commanding views on its surrounding of the historic Silk Road , which gave it strategic importance. According to UNESCO , the architecture of the palace reflects not only the Ottoman tradition but also a mixture of Iranian, North Mesapotamian and Anatolian architecture. According to UNESCO , Western architecture influence can be noted in the Ottoman designs carried out in
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#17327809344712580-425: A larger square baldaquin structure in which the weight of the dome is focused on four corner buttresses. The walls between the four buttresses are filled with numerous windows framed inside large arches, creating an unusually light-filled interior. For much of his career Sinan also experimented with variations of a "hexagonal baldaquin" design, a design that was uncommon in world architecture. He used this model in
2795-423: A library, a hammam (bathhouse), shops, a cemetery with the founder's mausoleum, and eight madrasas along with their annexes. Unfortunately, much of the mosque was destroyed by an earthquake in 1766, causing it to be largely rebuilt by Mustafa III in a significantly altered form shortly afterwards. The original design of the mosque, drawing on the ideas established by the earlier Üç Şerefeli Mosque, consisted of
3010-434: 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
3225-671: A little later). The Tomb of Hürrem Sultan has a standard form but contains excellent Iznik tiles of the period. The Tomb of Suleiman is one of the largest Ottoman mausoleums and is surrounded by a peristyle portico with a sloping eave . Its design is sometimes compared to the Dome of the Rock in Jerusalem and it may have been modeled on the latter. The structure is built in high-quality stone and Sinan designed its details to make it stand out from other Ottoman mausoleums. Rich Iznik tile panels adorn
3440-513: 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
3655-667: 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
3870-543: 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
4085-589: A rectangular courtyard with a surrounding gallery leading to a domed prayer hall. The prayer hall consisted of a large central dome with a semi-dome behind it and flanked by a row of three smaller domes on either side. The design reflected the influence of the Byzantine-built Hagia Sophia combined with the Ottoman imperial mosque tradition that had evolved in Bursa and Edirne. The Bayezid II Mosque in Istanbul, built between 1500 and 1505,
4300-426: A rectangular prayer hall. The prayer hall's interior 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
4515-459: 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
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#17327809344714730-512: 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
4945-526: A shelter over some parts of the palace, made of wood and glass. Naturally, this changed the historic character of the palace. Another restoration started in 2011. Visits are possible for a fee; visitors can view the Urartian rock tombs discovered in 1830 and said to be from centuries ago, perhaps between the 13th and the 9th century BCE. The palace is located near the Turkish border with Iran . It sits on
5160-418: A single large courtyard, which in turn is connected to another courtyard situated on a lower level which served as the madrasa of the complex. Both courtyards are planted with trees which give them the appearance of a garden. Across the street from the mosque and madrasa is a structure composed of many courtyards and domed chambers across a large area, which include the tabhane , the imaret, the darüşşifa , and
5375-579: A square courtyard leading to a square prayer hall. The prayer hall is roofed by a central dome with two semi-domes in front and behind it, while two side aisles are each covered by four smaller domes. Compared to earlier mosques, this resulted in a much more sophisticated "cascade of domes" effect for the building's exterior profile, likely reflecting influences from the Hagia Sophia and the Fatih Mosque. The classical period of Ottoman architecture
5590-599: 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
5805-530: 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 the Revan Kiosk (1635) and Baghdad Kiosk (1639) in Topkapı Palace , built by Murad IV to commemorate his victories against
6020-410: A system of eight pillars or buttresses. This can be seen in the early Hadim Ibrahim Pasha Mosque (1551) and the later Rüstem Pasha Mosque (1561), both in Istanbul. The Rüstem Pasha Mosque, one of the most notable mosques in the city, is raised on top of an artificial platform whose substructure is occupied by shops and a vaulted warehouse that provided revenues for the mosque's upkeep. Most famously,
6235-583: 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
6450-487: A year or two after, followed by the death of Safiye Sultan in 1603, caused construction to be abandoned. It was only resumed on the initiative of Hatice Turhan Sultan in 1661 and finished in 1663. The complex includes the mosque, a mausoleum for Hatice Turhan, a private pavilion for the sultan and the royal family ( Hünkâr Kasrı ), and a covered market known as the Egyptian Market ( Mısır Çarşısı ; known today as
6665-531: 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
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6880-523: Is an interesting example of the classical period. Its plan resembles that of the Şehzade Mosque except that the semi-domes are replaced by cross-ribbed vaults . In Konya , the major work of the classical period is the Selimiye Mosque , dedicated to Selim II. Although it was built during the time of Sinan, its architect and date of construction are not well-documented. It was probably finished before 1574 by an architect sent from Istanbul. Its design
7095-509: 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
7310-574: Is covered by a large single dome with four small corner semi-domes. Diyarbakir is also home to the Hasan Pasha Han (1573–1575), a finely-built caravanserai with regional decorative details such as muqarnas carvings above the windows. In Van, a few mosques were built in Ottoman style but exemplify the limits of the classical Istanbul style. The Hüsrev Pasha Mosque (1567) and the Kaya Çelebi Mosque (uncertain date but probably slightly before) are
7525-410: Is credited with designing buildings as far as Buda (present-day Budapest ) and Mecca . Sinan 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. This also demonstrates the ability of the central Ottoman state to commission and plan building projects across its vast territory at
7740-623: 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
7955-518: Is modelled on the form of the original Fatih Mosque in Istanbul, with a central dome, semi-dome at the back, and side aisles covered by smaller domes. The most important classical Ottoman monument in western Anatolia is the Muradiye Mosque in Manisa (mentioned above), designed by Sinan but executed by his assistants. Some regions on the borders of Syria and Mesopotamia resisted assimilation to
8170-421: 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
8385-542: 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,
8600-513: 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
8815-478: The qibla ) and feature large calligraphic roundels, designed by Ahmed Karahisari , painted across multiple tiles, along with other motifs along the sides. Most of the other buildings are classical Ottoman courtyard structures consisting of a rectangular courtyard surrounded by a domed peristyle portico giving access to rooms. In the madrasas, Sinan modified some details of the typical layout for functional reasons. The Salis Medrese and Rabi Medrese, located on
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9030-480: 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
9245-656: The Dolmabaçe Palace . The last decades of the Ottoman Empire saw 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
9460-539: 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
9675-643: The Kılıç Ali Pasha Complex in the Tophane neighbourhood. Notably, this mosque is a miniature version of the Hagia Sophia. It is once again possible that this unusual copying of an earlier monument was a request by the patron, Kılıç Ali Pasha . Sinan's last large-scale commission was the Atik Valide Mosque , founded by Nurbanu Sultan on the southern edge of Üsküdar. It was the largest külliye and mosque complex Sinan built in Istanbul after
9890-693: The New Mosque at Eminönü , and the 18th-century reconstruction of the Fatih Mosque). It is even found in the 19th-century Muhammad Ali Mosque in Cairo . 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
10105-560: The Nışançı Mehmed Pasha Mosque (1584–1589), whose architect is unknown, should be attributed to him based on its date and style. Scholar Gülrü Necipoğlu suggests that Sinan may have had a role in its design. Its design is considered highly accomplished and it may be one of the first 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 he died of
10320-549: The Ottoman Empire over a long period, undergoing some significant changes during its history. It first emerged in northwestern Anatolia in 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
10535-537: The Ottoman conquest of Constantinople in 1453, Sultan Mehmed II built the Fatih Mosque between 1463 and 1470, which is dedicated to his name. It was part of a very large külliye (religious and charitable complex) which also included a tabhane (guesthouse for travelers), an imaret ( soup kitchen ), a darüşşifa (hospital), a caravanserai (hostel for traveling merchants), a mektep (primary school),
10750-403: 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
10965-590: The Rüstem Pasha Han in Edirne (1554), and the Taş Han in Erzurum (between 1544 and 1561). Sinan was also in charge of civil engineering works for Istanbul. One of his most important civil works, ordered by Suleiman, was upgrading the water supply system of the city, which he carried out between 1554 and 1564. For this work he built or rebuilt several impressive aqueducts in the Belgrad Forest , expanding on
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#173278093447111180-515: 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
11395-481: 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
11610-565: 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. In the Grand Bazaar of Istanbul, fires and other damages triggered some changes. The bazaar structures were until then entirely built in wood, but some of the street roofing began to be rebuilt with masonry vaulting in
11825-867: The Sinan Pasha Mosque (1553–1555) in Beşiktaş, the Kara Ahmed Pasha Mosque (1554) in western Istanbul, the Molla Çelebi Mosque (circa 1561–1562) in Beyoğlu , the Sokollu Mehmed Pasha Mosque (1571) in the Kadırga neighbourhood, and the Atik Valide Mosque (1583) in Üsküdar. The earlier Sinan Pasha Mosque was essentially modelled on the Üç Şerefeli Mosque of Edirne, with a central dome two side domes on either side. Sinan refined
12040-475: 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
12255-812: The Takkiya al-Khassaki Sultan (roughly, 'Sufi convent of Haseki Sultan'). Due to the restricted space, the use of local craftsmen, and its incorporation of the earlier Mamluk-era Palace of Lady Tunshuq, the complex had little resemblance to the classical Ottoman style. Parts of the complex, including a madrasa and a mosque, are no longer extant today, but the Haseki Sultan Imaret (hospice or soup kitchen) has been preserved. Sinan also designed two Sufi hospices commissioned by Hürrem Sultan in Medina and Mecca, which were completed by 1552 but are no longer extant. These types of hospices and convents, known locally as
12470-479: The Timurid Empire further east. Classical Ottoman architecture Classical Ottoman architecture is a period in Ottoman architecture generally including the 16th and 17th centuries. The period is most strongly associated with the works of Mimar Sinan , who was Chief Court Architect under three sultans between 1538 and 1588. The start of the period also coincided with the long reign of Suleiman
12685-623: 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
12900-584: The Şehzade Mosque , Süleymaniye Mosque , and Selimiye Mosque . After Sinan's death, the classical style became less innovative and more repetitive. The 17th century still produced major works such as the Sultan Ahmed Mosque , but the social and political changes of the Tulip Period eventually led to a shift towards Ottoman Baroque architecture . Early Ottoman mosques up to the early and mid 15th century were generally of three types:
13115-544: The Şehzade Mosque , Süleymaniye Mosque , and Selimiye Mosque . The second half of the 16th century also saw 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
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#173278093447113330-402: 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
13545-666: The "last stage in Early Ottoman architecture", while the central dome plan and the " modular " character of its design signaled the direction of future Ottoman architecture in Istanbul . He also notes that the mosque, which is built in cut stone and makes use of alternating bands of coloured stone for some of its decorative effects, marks the decline of the use of alternating brick and stone construction seen in earlier Ottoman buildings. Ottoman sultans traditionally built monumental mosques and religious complexes in their name. After
13760-532: 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
13975-537: The 1560s or 1570s, but was definitely completed by 1584. Further afield, he designed the Sokollu Mehmed Pasha Complex in Payas , which was begun years earlier but completed in 1574. The complex is a carefully-planned group of buildings centered around an arasta or covered market street. On one side of the street is a small mosque, a tekke (Sufi lodge), a mektep , and a hammam, while on
14190-456: The 1560s onward. Blue colours predominate in the tiles, but the important "tomato red" colour began to appear. The tiles were painted with a repertoire of motifs including tulips , hyacinths , carnations , roses , pomegranates , artichoke leaves, narcissus , and Chinese "cloud" motifs. In Lüleburgaz, on the road between Istanbul and Edirne, vizier Sokollu Mehmed Pasha founded a mosque complex named after him in 1559–1560. The complex
14405-484: The 16th century it was standard for walls to be made with a rubble core and faced with cut stone , particularly cut limestone . Some buildings were still constructed with the older technique of alternating layers of brick with layers of stone, but this was more common for auxiliary structures rather than major monuments. Domes and vaults continued to be built with brick, which was lighter than stone and thus more suited for this purpose, and then typically covered with lead on
14620-663: 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
14835-486: The 17th century – closer to its present-day appearance – though the change to masonry was not widespread until after 1750. The commercial district also grew beyond the covered bazaar. The largest caravanserai in Istanbul, the Büyük Valide Han , was built nearby circa 1651 by Kösem Mahpeyker Valide Sultan . The Yeni Valide ('New Queen Mother's') Mosque at Eminönü was initially begun by architect Davud Agha in 1597, sponsored by Safiye Sultan . However, Davud Agha's death
15050-552: 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
15265-659: 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
15480-440: 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
15695-650: 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
15910-654: 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
16125-694: The Fatih Pasha Mosque (mentioned above), the Hadim Ali Pasha Mosque (1534–1537), the Iskender Pasha Mosque (1551), and the Behram Pasha Mosque (1572). The Behram Pasha Mosque, likely designed by an architect sent from Istanbul, is notable as the only building in the region to be decorated with Iznik tiles imported from Istanbul. The mosque is fronted by a double portico of columns and its prayer hall
16340-501: 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
16555-613: 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
16770-495: 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 –
16985-401: The Hagia Sophia and early Ottoman mosques is also reflected by the continuing use of semi-domes alongside the main dome and the use of pendentives to accomplish the transition from the dome to the square or polygonal space below. In the Ottoman style canonized by Sinan, the design of monumental Ottoman buildings was conceptualized with the central dome above as its starting point, rather than
17200-493: The Hagia Sophia, classical Ottoman architecture was, as before, ultimately a syncretic blend of numerous influences and adaptations for Ottoman needs. 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 a limited number of ways. Doğan Kuban describes this as the "modular" aspect of Ottoman architecture. The ingenuity of successful architects such as Sinan lay in
17415-539: 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. The master architect of the classical period, Mimar Sinan, served as the chief court architect ( mimarbaşi ) 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
17630-790: The Magnificent , which is 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. Ottoman architecture at this time was strongly influenced by Byzantine architecture , particularly the Hagia Sophia , and blended it with other influences to suit Ottoman needs. Architects typically experimented with different combinations of conventional elements including domes , semi-domes , and arcaded porticos . Successful architects such as Sinan demonstrated their skill through their meticulous attempts to solve problems of space, proportion, and harmony. Sinan's most important works include
17845-458: 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
18060-506: 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
18275-421: 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
18490-516: 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
18705-568: 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
18920-595: 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
19135-506: 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
19350-499: The Spice Bazaar). Its courtyard and interior are richly decorated with Iznik or Kütahya tiles, as well as with stone-carved muqarnas and vegetal rumi motifs. The similarly named Yeni Valide Mosque complex, built in 1708–1711 in Üsküdar , was one of the last major monuments built in the classical style in Istanbul before the rise of the Tulip Period style. Ottoman monuments continued to be constructed across Anatolia in
19565-581: 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),
19780-419: The Süleymaniye. Construction on the complex may have started as early as 1570, with the mosque probably completed by 1579 and work on auxiliary structures continuing after this. Nurbanu died in 1583 but some modifications and additions to her mosque were made between 1584 and 1586. The complex consists of numerous structure across a sprawling site. Unlike the earlier Fatih and Süleymaniye complexes, and despite
19995-528: 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
20210-435: The arches of the windows are made with alternating courses of red and white marble, the dome is fluted, and the octagonal walls are crowned with a carved stone frieze of lace-like palmettes . The interior walls of the tomb are entirely covered in extravagant cuerda seca tiles of predominantly green and yellow colours on a dark blue ground, featuring arabesque motifs and inscriptions. The stained glass windows are also among
20425-628: The best examples of their kind in Ottoman architecture. Around the same time as the Şehzade Mosque construction Sinan also built the Mihrimah Sultan Mosque (also known as the Iskele Mosque) for one of Suleiman's daughters, Mihrimah Sultan . It was completed in 1547–1548 and is located in Üsküdar , across the Bosphorus. It is notable for its wide "double porch ", with an inner portico surrounded by an outer portico at
20640-488: 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
20855-423: 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
21070-483: 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
21285-411: The buttresses and gave the exterior a greater sense of monumentality. Even the four pillars inside the mosque were given irregular shapes to give them a less heavy-handed appearance. 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. the Sultan Ahmed I Mosque ,
21500-446: 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.
21715-473: The caravanserai. The imaret and the tabhane have T-shaped courtyards and are symmetrically positioned on either side of a large central courtyard that divides them. This configuration is unique among Sinan's works. Among Sinan's last works before his death are the Murad III Mosque in Manisa, built between 1583 and 1586 under the supervision of his assistants Mahmud and Mehmed Agha , as well as
21930-430: The careful and calculated attempts to solve problems of space, proportion, and harmony. Sinan himself continuously experimented with different spatial arrangements for his buildings throughout his career, seldom using the same design more than once. After Sinan, his less talented successors showed less creativity and the later classical style became stale and repetitive by comparison with earlier periods. In what may be
22145-409: 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
22360-491: 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,
22575-536: 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
22790-516: The city he built the Haseki Hürrem Hamam near Hagia Sophia in 1556–1557, one of the most famous hammams he designed, which includes two equally-sized sections for men and women. In 1550 Sinan began construction for the Süleymaniye complex , a monumental religious and charitable complex dedicated to Suleiman. Construction finished in 1557. Following the example of the earlier Fatih complex, it consists of many buildings arranged around
23005-602: The classical period. In Tokat , the Ali Pasha Mosque (circa 1573) is an important example of the period, though the architect is unknown. In Kayseri , the Kurşunlu Mosque (1585), is similar to the Ali Pasha Mosque and was possibly designed by Sinan (whose hometown was Kayseri), although it may have been executed by a local architect. The Lala Mustafa Pasha Mosque in Erzurum , completed in 1562–1563
23220-471: The construction of the Royal Palaces in the capital cities like Bursa, Edirne and Istanbul was taken as an example in the design of Ishak Pasha Palace. The western influence in Ottoman architecture during the post-classical period can be observed... Major structural problems were found during a 2004 restoration and not fully repaired. In During a subsequent restoration, a new roof was added, as well as
23435-429: 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
23650-441: The course of the 13th to 15th centuries, progressively evolving into the classical Ottoman style of the 16th and 17th centuries. This style 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
23865-489: 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
24080-423: The culture and architectural styles of the Ottoman capital and continued to be strongly influenced by local styles. Diyarbakir , Van , and Adana were important regional centers in the empire which retained or developed their own local styles. The Great Mosque of Adana , for example, was built under Ottoman rule between 1507 and 1541 but its features are all derived from Syrian and Mamluk traditions. In Bitlis ,
24295-573: The design of the Kara Ahmed Pasha Mosque and the Sokollu Mehmed Pasha Mosque in Kadırga. Some scholars, such as Doğan Kuban, argue on the basis of this unusual decision that the final design must have been altered by someone other than Sinan, but Godfrey Goodwin argues that there is no clear reason to suppose this. The mosque is fronted by a double portico and the whole building is surrounded on three sides by
24510-541: The dome for its size and height, which is approximately the same diameter as the Hagia Sophia's main dome and slightly taller; the first time that this had been achieved in Ottoman architecture. It also became the largest dome in the Islamic world at the time. The mihrab, carved in marble, is set within a recessed and slightly elevated apse projecting outward from the rest of the mosque, allowing it to be illuminated by windows on three sides. The walls on either side of
24725-415: 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;
24940-480: The doorway and the interior of the tomb. The dome, 14 meters in diameter, is the first major example of a double-shelled dome in Sinan's architecture. 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
25155-487: 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
25370-424: The earlier Bayezid II Mosque: a central dome preceded and followed by semi-domes, with smaller domes covering the sides. The reuse of an older mosque layout is something Sinan did not normally do. Doğan Kuban has suggested that it may have been due to a request from Suleiman. 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
25585-552: The emergence of the Ottoman Baroque style in the 1740s. The Nuruosmaniye Mosque is one of 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
25800-483: The empire in this era. The mosque itself is notable as Sinan's first experimentation with a "square baldaquin" structure, where the dome rests on a support system with a square layout (without the semi-domes of the Şehzade Mosque design). Not long after this Mihrimah Sultan sponsored a second mosque, the Mihrimah Sultan Mosque in the Edirnekapı area of Istanbul. It was built between 1562 and 1565. Here Sinan employed
26015-634: The end of Selim II's reign or in Suleiman's early reign, are the Hafsa Sultan or Sultaniye Mosque in Manisa (circa 1522), the Fatih Pasha Mosque in Diyarbakir (completed in 1520 or 1523), and the Çoban Mustafa Pasha Complex in Gebze (1523–1524). Prior to being appointed chief court architect, Sinan was a military engineer who assisted the army on campaigns. His first major non-military project
26230-672: The end of a sloped roof. This feature proved popular for certain patrons and was repeated by Sinan in several other mosques. One example is the Rüstem Pasha Mosque in Tekirdağ (1552–1553). Another example is the Sulaymaniyya Takiyya in Damascus , the western part of which (including a mosque and a Sufi convent ) was built in 1554–1559. The Sulaymaniyya complex in Damascus is also an important example of
26445-409: 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
26660-469: The existing urban fabric. Thanks to its refined architecture, its scale, its dominant position on the city skyline, and its role as a symbol of Suleiman's powerful reign, 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
26875-593: 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
27090-609: 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
27305-559: 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
27520-429: The floor plan being conceived first and the roofing system after. In particular, the core of the design was 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. Whereas early Ottoman buildings relied on brick and rubble masonry for construction, in
27735-590: 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
27950-535: 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
28165-433: 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
28380-570: The grounds of the Old Palace ( Eski Saray ) built by Mehmet II, which had been damaged by fire. By this point, Suleiman had also moved his own residence and the royal family to Topkapı Palace. In order to adapt the hilltop site, Sinan had to begin by laying solid foundations and retaining walls to form a wide terrace. The overall layout of buildings is less rigidly symmetrical than the Fatih complex, as Sinan opted to integrate it more flexibly into
28595-536: The hexagonal baldaquin model for the Kara Ahmet Pasha Mosque, dispensing of the side domes and replacing them with semi-domes opening off the main dome. This change allowed for the side areas to be reduced in prominence and better integrated into the central domed space. The Sokollu Mehmed Pasha Mosque in Kadırga is one of Sinan's most accomplished designs of his late career and with this type of configuration. In this mosque Sinan completely integrated
28810-534: The important Ottoman monuments in the Balkan provinces (known as Rumelia to the Ottomans) date from the 16th and 17th century. Building activity was particularly intense in the 16th century and during the reign of Suleiman, even surpassing that of Anatolia, but it declined over the course of the 17th century. Sarajevo , Mostar , Skopje , Plovdiv and Thessaloniki , were among the most important Ottoman cities in
29025-768: 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
29240-472: The inscription on its door, the Harem section of the palace was completed by Ishak (Isaac) Pasha in 1784. The Ishak Pasha Palace is one of the few examples of surviving historical Turkish palaces. The palace was depicted on the reverse of the Turkish 100 new lira banknote of 2005–2009. Building of the palace commenced in 1685 and continued for decades. The work was finished in 1784 or 1785 CE. The palace
29455-410: The interior of the prayer hall. The exterior façades of the mosque are characterized by ground-level porticos, wide arches in which sets of windows are framed, and domes and semi-domes that progressively culminate upwards – in a roughly pyramidal fashion – to the large central dome. The four minarets are arranged at the corners of the courtyard, like in the earlier Üç Şerefeli Mosque, but the ones at
29670-420: The large available space, there was no attempt at creating a unified or symmetrical design across the entire complex. This may suggest that Sinan did not regard this characteristic as necessary to the design of an ideal mosque complex, but it has also led to scholarly arguments about whether Sinan was the only one responsible for the design. It is likely that the posthumous expansion of the mosque (of 1584–1586)
29885-661: 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
30100-500: 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
30315-432: The main dome. Sinan also made good use of the spaces between the pillars and buttresses by filling them with an elevated gallery on the inside and arched porticos on the outside. The elevated galleries inside helped to eliminate what little ground-level space existed beyond the central domed baldaquin structure, ensuring that the dome therefore dominated the view from anywhere a visitor could stand. Sinan's biographies praise
30530-465: 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
30745-409: The main mosque in the center, on a planned site occupying the summit of a hill in Istanbul. The buildings included the mosque itself, four general madrasas, a madrasa specialized for medicine, a madrasa specialized for hadiths ( darülhadis ), a mektep , a darüşşifa , a caravanserai, a tabhane , an imaret, a hammam, rows of shops, and a cemetery with two mausoleums. The site was formerly occupied by
30960-411: The mihrab and on the pendentives of the main dome, creating one of the best compositions of tilework decoration in this period. Sinan's crowning masterpiece is the Selimiye Mosque in Edirne, which was begun in 1568 and completed in 1574 (or possibly 1575). It forms the major element of another imperial complex of buildings. The mosque building consists of two equal parts: a rectangular courtyard and
31175-434: The mihrab are decorated with excellent Iznik tiles, as is the sultan's private balcony for prayers in the mosque's eastern corner. The minbar of the mosque is among the finest examples of the stone minbars which by then had become common in Ottoman architecture. The stone surfaces are decorated with arches, pierced geometric motifs , and carved arabesques. The exterior of the mosque is marked by four minarets that are some of
31390-433: The modest Ramazan Efendi Mosque in Istanbul, built in 1586. The Murad III Mosque (or Muradiye Mosque) has undergone later restorations but the plan of the building is unusual for a Sinan design because the central dome is flanked by semi-vaults instead of semi-domes. The mihrab is set within a shallow vaulted recess projecting from the back of the building, which gives it an almost T-like plan. Upon his death in 1588, Sinan
31605-419: The mosque itself at the corners of the dome. This allowed for the walls in between the buttresses to be thinner, which in turn allowed for more windows to bring in more light. Sinan also moved the outer walls inward, near the inner edge of 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
31820-429: The mosque was the most prominent element. 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. Two minarets stand on either side at the junction of these two squares. The prayer hall consists of a central dome surrounded by semi-domes on four sides, with smaller domes occupying the corners. Smaller semi-domes also fill
32035-413: The mosque's exterior portico and the walls of its interior are covered in a wide array of Iznik tiles, unprecedented in Ottoman architecture. Sinan usually kept decoration limited and subordinate to the overall architecture, so this exception is possibly the result of a request by the wealthy patron, grand vizier Rüstem Pasha . The mosque also marks the beginning of the artistic peak of Iznik tile art from
32250-422: 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
32465-418: The mosque, is the culmination of domed octagonal tombs which developed in earlier Ottoman architecture. The tomb is entered via a small porch and on either side of the door are two panels of early cuerda seca tiles characteristic of early 16th century Ottoman tilework. The architect of the tomb is named in an inscription as Acem Alisi. Other notable architectural complexes before Sinan's architect career, at
32680-443: The most emblematic of the structures of this period, the classical mosques designed by Sinan and those after him used a dome-based structure, similar to that of Hagia Sophia, but among other things changed the proportions, opened the interior of the structure and freed it from the colonnades and other structural elements that broke up the inside of Hagia Sophia and other Byzantine churches, and added more light, with greater emphasis on
32895-464: The most important examples of the period, although both have been damaged over time. Both mosques have a "minimalist" style, consisting simply of a square prayer hall covered by a large dome. The construction of the domes shows signs of Persian influence . The dome of the Kaya Çelebi Mosque has no drum . Both are constructed with alternating layers of black and white stone, similar to Diyarbakir buildings, and both have simple round minarets. Nearly all
33110-458: The necessary materials. In this period Ottoman architecture, especially under the work and influence of Sinan, saw a new unification and harmonization of the various architectural elements and influences that Ottoman architecture had previously absorbed but which had not yet been harmonized into a collective whole. Taking heavily from the Byzantine tradition, and in particular the influence of
33325-602: 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
33540-488: The northeast side of the mosque where the ground slopes down towards the Golden Horn, have a "stepped" design in which the courtyard descends in three terraces connected by stairs while the domed rooms are built at progressively lower levels alongside it. The cemetery contains two mausoleums designed by Sinan: that of his wife Hürrem Sultan (dated to 1558) and that of Suleiman himself (dated to 1566 but possibly finished
33755-708: The older Byzantine water supply system. These include the Bent Aqueduct ( Eğrikemer ), the Long Aqueduct ( Uzunkemer ), the Mağlova Aqueduct (also known as Justinian's Aqueduct), and the Güzelce ("Beautiful") Aqueduct. Doğan Kuban praises the Mağlova Aqueduct as one of Sinan's best creations. Sinan also built bridges, such as the Büyükçesme Bridge outside Istanbul, completed in 1564. Inside
33970-591: The other constructions and renovations that Suleyman ordered further south at the holy sites of Jerusalem , Medina , and Mecca , in which Sinan was generally not involved. This included the renovation of the Dome of the Rock , which began in 1545–46 and provided it with its now-famous tile decoration, and the renovation of the Kaaba in 1551–1552. Sinan did, however, design a new charitable complex in Jerusalem for Haseki Hürrem Sultan, built around 1550–1557 and identified as
34185-561: The other side of the street is an imaret, several tabhane s, and a large caravanserai . Like the Sokollu Mehmed Pasha Complex in Lüleburgaz, the complex here acted as a kind of staging post for travelers and traders in the region. In 1577 Sinan completed yet another mosque for Sokollu Mehmed Pasha, the Sokollu Mehmed Pasha Mosque in the Azapkapı neighbourhood, for which he employed the octagonal baldaquin design one last time. In
34400-413: The outer corners are shorter than those at the inner corners next to the prayer hall, thus adding to the visual impression of a heightening towards the central dome. Inside, Sinan kept the ornamentation very restrained, but this was also the first mosque in Istanbul to make significant use of underglaze -painted Iznik tiles in its decoration. These tiles cover the wall around the mihrab (niche symbolizing
34615-425: The outside. By the 16th century, the empire contained many old disused Byzantine churches and it was common practice to reuse marble columns taken from these sites, which provided much of the marble for new constructions in this period. Fresh marble was also quarried around Marmara . Occasionally, when there was a shortage of marble or in situations where marble was risky for certain structural elements, "fake marble"
34830-410: 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
35045-639: The plague right before the end of the 16th century. After this, the two largest mosques built in the 17th century were both modelled on the form of the older Şehzade Mosque: the Sultan Ahmed I Mosque and the Yeni Valide Mosque in Eminönü. The Sultan Ahmed I Mosque , also known as the Blue Mosque, was begun in 1609 and completed in 1617. It was designed by Sinan's apprentice, Mehmed Agha . The mosque's size, location, and decoration suggest it
35260-422: The post-classical era. The complex consists of following sections: The characteristic property of the palace is its combined Ottoman , Persian , and Armenian architectural style. 39°31′14″N 44°07′44″E / 39.520476°N 44.128984°E / 39.520476; 44.128984 Ottoman architecture Ottoman architecture is an architectural style or tradition that developed under
35475-484: The precincts of Hagia Sophia he built the Tomb of Selim II, one of the largest Ottoman domed mausoleums, in 1576–1577. In Topkapı Palace one of his most notable works, the Chamber or Pavilion of Murad III, was built in 1578. In 1580 he built the Şemsi Pasha Complex , a small mosque, tomb, and medrese complex on the waterside of Üsküdar which is considered one of the best small mosques he designed. In 1580–1581 he built
35690-441: 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
35905-410: The purpose. On the outside, Mehmed Agha opted to achieve a "softer" profile with 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. After the Sultan Ahmed I Mosque, no further great imperial mosques dedicated to
36120-470: The region and many of them contain monuments from the classical period, although some cities, like Skopje, were severely damaged in the wars of the late 17th century. As in other provincial areas of the empire, mosques in the Balkans generally consisted of the single-dome type with one minaret, though mosques with sloped wooden roofs were also built. One of the most beautiful and famous Ottoman monuments in
36335-474: 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,
36550-469: 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
36765-438: 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
36980-506: 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
37195-525: The single-domed mosque , the "T-plan" mosque, and the multi-domed mosque. A major step towards the style of later Ottoman mosques was the Üç Şerefeli Mosque in Edirne , begun by Murad II in 1437 and finished in 1447. The overall form of the mosque, with its central-dome prayer hall, arcaded courtyard with fountain, four minarets , and tall entrance portals, foreshadowed the features of later Ottoman mosque architecture. Scholar Doğan Kuban describes it as
37410-474: 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
37625-530: 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. An early version of this design, on a smaller scale, had been used before Sinan as early as 1520 or 1523 in the Fatih Pasha Mosque in Diyarbakir. While a cross -like layout had symbolic meaning in Christian architecture, in Ottoman architecture this
37840-416: The space occupied by the supporting elements of 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. Four semi-dome squinches occupy the corners but they are much smaller in proportion to
38055-416: 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 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
38270-467: 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
38485-409: The supporting columns of the hexagonal baldaquin into the outer walls for the first time, thus creating a unified interior space. He also accomplished a better transition between the domed portico around the courtyard and the higher portico of the mosque façade by adding corner rooms of intermediate height between them. The mosque's interior is notable for the revetment of Iznik tiles on the wall around
38700-412: 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
38915-574: The tallest Ottoman minarets ever built, standing at 70.89 meters tall. In 1573 Sinan built the Piyale Pasha Mosque , which is unusual as the only time he built a multi-dome mosque resembling the multi-dome congregational mosques of early Ottoman architecture. Another unusual building attributed to Sinan is the Zal Mahmud Pasha Mosque complex near Eyüp . It has an unknown construction date; it could have been built in
39130-432: The time, a practice that also helped to establish Ottoman sovereignty in these provinces through the construction of monuments in a visibly Ottoman style. Architects in the capital were able to draw plans and delegate them to other architects who carried them out locally, while the imperial administration developed a set of standards for planning and construction and was able to coordinate the procurement and transportation of
39345-511: 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
39560-507: 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
39775-488: 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
39990-421: The use of lighting and shadow with a huge volume of windows. These developments were themselves both a mixture of influence from Hagia Sophia and similar Byzantine structures, as well as the result of the developments of Ottoman architecture from 1400 on, which, in the words of Godfrey Goodwin , had already "achieved that poetic interplay of shaded and sunlit interiors which pleased Le Corbusier ." The legacy of
40205-480: 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
40420-401: 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
40635-438: 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
40850-400: The Şerefiye Mosque (1528) is the most notable monument from the 16th century, but it is a continuation of older Anatolian Seljuk architecture rather than of contemporary Ottoman mosques. Diyarbakir, a regional capital, includes many Ottoman-style monuments, but the regional style is distinguished by the use of black basalt stone alternating with white stone. The most important monuments are
41065-420: 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,
41280-539: 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
41495-400: 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,
41710-421: 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
41925-411: Was buried in a tomb he designed for himself at a street corner next to the Süleymaniye complex in Istanbul. 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 the Tomb of Murad III (completed in 1599). Some scholars argue that
42140-401: Was carried out by Davud Agha , Sinan's later successor. The Çemberlitaş Hamam , located across the channel on Divanyolu street, was also built by Sinan to contribute to the revenues of this complex. The plan of the Atik Valide Mosque, as mentioned earlier, is centered on a hexagonal baldaquin again. It partly reverts to the design of the earlier Sinan Pasha Mosque, while combining it with
42355-423: Was caused later when stone from the building was taken for use to build new homes. In 2000, the palace was added to the UNESCO Tentative List of World Heritage Sites . The UNESCO summary states: Palace on the Silk Route near the Iranian frontier ... It is not at all in the Ottoman tradition but is rather a mixture of Anatolian, Iranian and North Mesopotamian architectural tradition. The traditional model used in
42570-411: Was completed after his death by Suleiman in 1522. It was quite possibly founded by Suleiman too, though the exact foundation date is not known. The mosque is modelled on the Mosque of Bayezid II in Edirne, consisting of one large single-domed chamber. The mosque is sometimes attributed to Sinan but it was not designed by him and the architect in charge is not known. The Tomb of Selim I, located behind
42785-417: Was completed in 1565–1566 or in 1569–1571. In addition to the mosque it includes a madrasa, a caravanserai, a hammam, and a mektep (primary school), all of which is centered around a market street ( arasta ). The complex was designed to act as a staging post (or menzil ) for travelers and traders which formed the nucleus of a new Ottoman urban center. Similar complexes were built on many trade routes across
43000-442: 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
43215-401: Was damaged by an earthquake in 1840 and for some time abandoned, but partly restored over the next 20 years. It was again damaged during the Russo-Turkish War (1877–1878). The structure was later used by Russians and during World War I when it was damaged by gunfire. Later, the palace was used as the administrative centre for the area, and later as a military fort until 1937. Additional damage
43430-409: 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 ,
43645-533: 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
43860-579: Was intended to be a rival to the nearby Hagia Sophia. The larger complex includes a market, madrasa, and the Tomb of Ahmed I , while other structures have not survived. In the mosque's prayer hall the central dome is flanked by four semi-domes just like the Şehzade Mosque, with additional smaller semi-domes opening from each larger semi-dome. The four pillars supporting the central dome are massive and more imposing than in Sinan's mosques. The lower walls are lavishly decorated with Iznik tiles : historical archives record that over 20,000 tiles were purchased for
44075-410: Was located outside the old city walls it had plenty of open space, which allowed Sinan to design a complex with greater symmetry than most of the complexes he designed in urban Istanbul. In addition to the western part of the complex completed in 1558–1559, a madrasa (the Salimiyya Madrasa ) was added on its eastern side later, completed in 1566–1567. The Damascus complex is roughly contemporary with
44290-405: 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
44505-403: 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
44720-405: Was purely focused on heightening and emphasizing the central dome. 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 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
44935-480: Was the Haseki Hürrem Complex in Istanbul, dated to 1538–1539 and commissioned by Haseki Hürrem Sultan , Suleiman's wife. He also built the Tomb of Hayrettin Barbaros in the Beşiktaş neighbourhood in 1541. Sinan's first major commission was the Şehzade Mosque complex, which Suleiman dedicated to Şehzade Mehmed , his son who died in 1543. The mosque complex was built between 1545 and 1548. Like all imperial külliye s, it included multiple buildings, of which
45150-475: Was the Hüsrev Pasha Mosque complex in Aleppo , one of the first major Ottoman monuments in that city. Its mosque and madrasa were completed in 1536–1537, though the completion of the overall complex is dated by an inscription to 1545, by which point Sinan had already moved on to Istanbul. (The complex has since been severely damaged during the Syrian civil war . ) After his appointment to chief court architect in 1538, Sinan's first commission for Suleiman's family
45365-422: 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
45580-445: Was the culmination of the period of architectural exploration in the late 15th century and was the last step towards the classical Ottoman style. The deliberate arrangement of established Ottoman architectural elements into a strongly symmetrical design is one aspect which denotes this evolution. The mosque was again part of a larger külliye complex with multiple buildings serving different functions. The mosque structure consists of
45795-442: 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
46010-458: Was to a large degree a development of the prior approaches as they evolved over the 15th and early 16th centuries and the start of the classical period is strongly associated with the works of Mimar Sinan . During this period 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 Ottoman administration included
46225-475: Was used: usually brick covered with plaster painted to look like marble. The classical 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. Between the reigns of Bayezid II and Suleiman I, the reign of Selim I saw relatively little building activity. The Yavuz Selim Mosque complex in Istanbul, dedicated to Selim and containing his tomb,
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