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140-555: The mosque was built by the Ottoman ruler Orhan (known as Orhan Gazi ) and is dated to 1339–40 AD (740 AH ), as attested by a surviving Arabic inscription over the gate. The mosque was damaged by fire during the siege of Bursa by the Karamanid ruler Mehmed II in 1413, with front façade and portico being destroyed. The mosque was repaired in 1417 on the order of Sultan Mehmed I, who charged Bayezid Pasha , his grand vizier , with

280-461: A thuluth script, were also a mainstay. From the 18th century onward, this repertoire became increasingly influenced by Western European art and architecture and went as far as directly borrowing techniques and styles from the latter. Ottoman tiles attained a prominent role in decoration. Starting in the early 15th century, cuerda seca tiles in vivid colours were widely used in various buildings, using mostly vegetal arabesque motifs, of which

420-523: A thuluth script was generally favored. Other types of motifs were also used to cover the inside of domes, such as bands of rumî motifs radiating from the center or other types of rumî scrollwork . A well-preserved example of the latter is found in the dome of the Chamber of Murad III in Topkapı Palace (circa 1578), consisting of gold rumî scrollwork over a red background. The painted decoration

560-412: A Turkish emir and its main inhabitants were Turkish so it was an abode of peace . The Ottomans had to have special justification for conquering fellow Muslim Turkish principalities. In the case of Karesi, the ruler had died and had left two sons whose claims to the post of emir were equally valid. So there was a fight between the armed supporters of the two claimant princes. Orhan's pretext for invasion

700-550: A blue ground. The design features a central medallion similar to those sometimes used in Ushak carpets , around which are scrolling vegetal motifs, Chinese clouds, and saz -style elements. Another example is the painted wood under the galleries of the Atik Valide Mosque in Üsküdar (circa 1583), which features a geometric pattern of polygons filled with floral motifs. Some traces of original painting can also be seen on

840-543: A celestial or heavenly connotation to Ottoman domes. Another common element of decoration in this context is the painting of circular calligraphic medallions on the pendentives or on the spandrels of arches that support the dome. These calligraphic compositions featured the various epithets of God in Islam or the names of figures such as Muhammad and the Rashidun Caliphs . For monumental calligraphic inscriptions,

980-676: A commander of light cavalry, and he and his sons and grandsons led Ottoman troops in the Balkans. Once Bursa was captured, Orhan sent cavalry towards the Bosphorus, capturing Byzantine towns on the Marmara coast. There were even sightings of Ottoman light cavalry along the Bosphorus coast, and Ottoman forces laid siege to Nicaea (second only to Constantinople in the Byzantine Empire). In 1329, Byzantine Emperor Andronikos III led

1120-651: A deep green also appearing. The background was often discoloured, colours often ran together slightly, and the patterns were again typically limited to single tiles. The earliest recorded Tekfursaray tiles are those made in 1724–1725 for the mihrab of the older Cezeri Kasım Pasha Mosque (1515) in Eyüp, Istanbul. Tekfursaray tiles are also found in the Hekimoğlu Ali Pasha Mosque (1734), on the Ahmed III Fountain (1729) near Hagia Sophia, and in some of

1260-402: A few fragments of painted ornament have survived in architecture from this era, but a similar trend most likely occurred in this medium as well. New elements included a Chinese-inspired "cloud" motif, which took a form of curving or scrolling cloud ribbons, also apparent on contemporary tilework. In the second quarter of the century, the saz style (also mentioned above for tile decoration)

1400-572: A few surviving examples from the 15th century. One of the most important examples 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

1540-526: A gradual shift in style that can be attributed to European influence. Among other trends, shading was introduced to what had previously been areas of flat colour. The shape of flower motifs also changed and they were depicted with more petals. This is evident not only in new buildings but also in older buildings whose decoration was redone after this period. In some of the latter cases, the traditional designs were retained during restoration but they were updated to include shading. An example of this can be seen in

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1680-558: A later date, and ascribe to Murad I . Alaeddin, by his military legislation, may be truly said to have organized victory for the Ottoman dynasty. He organised for the Ottoman Beylik a standing army of regularly paid and disciplined infantry and horses, a full century before Charles VII of France established his fifteen permanent companies of men-at-arms, which are generally regarded as the first modern standing army. Orhan's predecessors, Ertuğrul and Osman I , had made war at

1820-591: A mercenary army to relieve Nicaea and regain Kocaeli. In the ensuing battle of Pelekanon (near Nicomedia, Bithynia. Present day: Maltepe, Turkey), on 10 or 15 June, Orhan's disciplined troops routed the Byzantines. Thereafter Andronikos abandoned the idea of getting Kocaeli back and never again conducted a field battle against Ottoman forces. Nicaea surrendered to Orhan after a three-year siege that concluded in 1331. Orhan captured Nicomedia in 1337 . Orhan gave

1960-551: A monk. Each of these two contestants for power was continually soliciting Orhan's aid against the other, and Orhan supported whichever side would benefit the Ottomans. Orhan was the longest living and one of the longest reigning of the future Ottoman Sultans. In his last years he had left most of the powers of state in the hands of his second son Murad and lived a secluded life in Bursa. In 1356 Orhan and Theodora 's son, Halil ,

2100-717: A new "blue-and-white" fritware which adapted and incorporated Chinese motifs in its decoration. Some of these blue-and-white ceramics appear in tile form in the decoration in the Hafsa Hatun Mosque (1522) in Manisa and in the Çoban Mustafa Pasha Mosque (1523) in Gebze . The Hadim Ibrahim Pasha Mosque (1551) also contains panels of well-executed tiles featuring calligraphic and floral decoration in cobalt blue, white, olive green, turquoise, and pale manganese purple. The most extraordinary tile panels from this period are

2240-509: A new visual effect even when otherwise traditional motifs were used. This style is found in many mosques and palaces built or restored in the 19th century. Grisaille was also used in some cases. In the Ayazma Mosque , for example, the 18th-century decoration was repainted in the 19th century by keeping the same motifs of flower vases but rendering them in shades of grey and black. Murals of naturalistic landscapes also became common from

2380-593: A recent restoration has uncovered some of the original paintwork in its dome, which is now visible. Recent restoration of Abdülhamid I's Tomb (1775–1780) has also managed to recover some of the original paintwork under layers of later repainting, revealing Rococo motifs in shades of green and pink. By the end of the 18th century, styles of painted decoration were changing again, further influenced by Europe. The new repertoire of motifs came to include garlands , ribbons, flower bouquets, and baskets of roses. Decoration could now be painted to appear three-dimensional, adding

2520-472: A revival of tile art was attempted through the establishment of a new workshop at Tekfursaray in Istanbul, but ultimately the industry faded after this and tile decoration lost its importance. Painted decoration is a highly visible feature of Ottoman interiors, especially in domes and on upper walls. However, buildings were frequently repainted during later restorations and, as a result, relatively little of

2660-454: A right to do, same as what we do with our own; and the treatment which I propose is not only lawful, but benevolent. By enforcing the enrolling them in the ranks of the army, we consult both their temporal and eternal interests, as they will be educated and given better life conditions. He also claimed that incorporating children of the conquered would induce other people to enlist: their friends and relations, who would come as volunteers to join

2800-440: A series of panels on the exterior of Circumcision Pavilion ( Sünnet Odası ) in Topkapı Palace. The tiles in this composition have been dated to various periods within the 16th century and some were probably moved here during a restoration of the pavilion in the first half of the 17th century. Nonetheless, at least some of the tiles are believed to date from the 1520s and feature large floral motifs in blue, white, and turquoise. Both

2940-529: A series of such raids, the Byzantines had to use superior forces to deal with them. Ibn Battuta gave the following account of Orhan during his reign: The greatest of the kings of the Turcomans and the richest in wealth, lands and military forces. Of fortresses he possesses nearly a hundred, and for most of his time he is continually engaged in making a round of them, staying in each fortress for some days to put it in good order and examine its condition. It

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3080-422: A severe earthquake and was therefore evacuated by its inhabitants. Suleyman refused various financial inducements offered by John VI to empty the castle and the city. The emperor pleaded with his son-in-law Orhan to meet personally and discuss the matter, but the request was either rejected or could not be carried out due to Orhan's age and ill-health. This military situation remained unresolved, in part because of

3220-485: A strong bridgehead into mainland Europe. According to Muslim scholar Ibn Battuta , Orhan was "the greatest of the Turcoman kings and the richest in wealth, lands, and military forces". Osman Gazi died in either 1323 or 1324, and Orhan succeeded him. According to Ottoman tradition, when Orhan succeeded his father, he proposed to his brother, Alaeddin , that they should share the emerging empire. The latter refused on

3360-694: Is covered in a mosaic of turquoise and indigo tiles inset into the sandstone walls to form geometric star patterns . The work still reflects a traditional style of Anatolian or Persian tile decoration similar to older Timurid examples. 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

3500-690: Is elaborately described by Byzantine writers. In the following year, Orhan and Theodora visited his imperial father-in-law at Üsküdar , (then Chrysopolis) the suburb of Constantinople on the Asiatic side of the Bosporus where there was a display of festive splendor. However, this close relationship soured when Byzantines suffered from marauding migrant Turcoman bands that had crossed the Marmara Sea and Dardanelles and pillaged several towns in Thrace. After

3640-410: Is enhanced with pieces of rock crystal set into the dome that were likely meant to emulate stars. This latter detail is something also found inside the dome of Süleyman's mausoleum in Istanbul. The intrados of large supporting arches below the domes, as well as other supporting elements like consoles , were also covered in a variety of painted interlacing motifs. The şukûfe style – developed by

3780-548: Is in the Kara Ahmet Pasha Mosque (1555), once again in the lunettes above the windows of the courtyard. Many scholars traditionally attribute these Ottoman tiles to craftsmen that Selim I brought back from Tabriz after his victory at the Battle of Chaldiran . Doğan Kuban argues that this assumption is unnecessary if one considers the artistic continuity between these tiles and earlier Ottoman tiles as well as

3920-515: Is no evidence that Sinan was closely involved in the production of tiles and it's likely that he merely decided where tile decoration would be placed and made sure that the craftsmen were capable. Doğan Kuban also argues that while the vivid tiles inside the mihrab of the Rüstem Pasha Mosque could have symbolized an image of Paradise , tile decoration in Ottoman mosques did not generally have deeper symbolic meanings. The tilework in

4060-530: Is notably decorated with Iranian-inspired banna'i tilework. The builders were likely of Iranian origin, as historical documents indicate the presence of tilecutters from Khorasan , but not much is known about them. Another unique example of tile decoration in Istanbul around the same period is found on the Tomb of Mahmud Pasha, built in 1473 as part of the Mahmud Pasha Mosque complex. Its exterior

4200-417: Is painted on oil cloth stretched over the lower part of the wooden muezzin's gallery . The most monumental painted compositions were employed in and around the domes and semi-domes of Ottoman buildings. For much of the Ottoman era, domes were typically decorated with a circular medallion -like composition at the center of the dome that was filled with a calligraphic rendition of Qur'anic verses. The motif of

4340-471: Is said that he has never stayed for a whole month in any one town. He also fights with the infidels continually and keeps them under siege. During Orhan's reign as the Ottoman emir, the Byzantine Empire declined – partly due to the ambitions of Italian maritime states and to the aggression of the Turcomans and other city Turks, but also due to civil wars within the empire. During these years

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4480-546: Is the Rüstem Pasha Mosque (1561–62), whose interior and outer portico are extensively covered in Iznik tiles. The mosque is even regarded as a "museum" of Iznik tiles from this period. Judging by comparisons with Sinan's other works, the exceptional use of tilework in this mosque may have been due to a specific request by the wealthy patron, Rüstem Pasha , rather than a voluntary decision by Sinan himself. There

4620-577: The cuerda seca technique was used in other early Ottoman monuments , particularly in the Green Mosque and the associated Green Tomb in Bursa (early 15th century). The tiles of 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

4760-676: The "New Mosque" or Yeni Cami in the Eminönü neighbourhood, completed in 1663, is a late example of lavish Iznik tile decoration in an imperial mosque. The finest tiles in the complex are reserved for the sultan's private gallery and lounge (the Hünkâr Kasrı ). 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. Tiles like this were imported in significant quantities to Egypt around this time, as can be seen in

4900-522: The Aqsunqur Mosque (otherwise known as the "Blue Mosque") in Cairo , which was renovated in 1652 by Ibrahim Agha, a local Janissary commander. Tile production in Iznik came to an end in the 18th century. 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, where a previous workshop had existed in

5040-702: The Byzantine Emperor Andronikos III Palaiologos . Orhan also occupied the lands of the Karasids of Balıkesir and the Ahis of Ankara . A series of civil wars surrounding the ascension of the nine-year-old Byzantine emperor John V Palaiologos greatly benefited Orhan. In the Byzantine civil war of 1341–1347 , the regent John VI Kantakouzenos married his daughter Theodora to Orhan and employed Ottoman warriors against

5180-508: The Murad II Mosque in Edirne, completed in 1435. However, this mosque also contains the first examples of a new technique and style of tiles with underglaze blue on a white background, with touches of turquoise. This technique is found on the tiles that cover the muqarnas hood of the mihrab and in the mural of hexagonal tiles along the lower walls of the prayer hall. The motifs on these tiles include lotuses and camellia -like flowers on spiral stems. These chinoiserie -like motifs, along with

5320-527: The Ottoman Baroque architectural style in the 1740s also brought new motifs of European origin or influence. For example, traditional Ottoman medallion designs could now be replaced with European-style cartouches . A rare example of painted decoration from this time that still survives in its original state can be found in library of the Hacı Beşir Ağa Mosque in Istanbul (1744–1745). Here,

5460-752: The Pertevniyal Valide Sultan Mosque (1871), whose overall decorative scheme mixes European, Ottoman, and Islamic revivalist motifs. Compared to the Anatolian Seljuk architecture that came before it, Ottoman architecture treated stone carving as a less important decorative medium. This may be because the artisans responsible for stone carving under the Seljuks and Beyliks were concentrated in central and eastern Anatolia, as opposed to western Anatolia, where early Ottoman architecture developed. The Ottomans also did not continue

5600-595: The Sinan Pasha Mosque in Beşiktaş , a 16th-century mosque whose interior was repainted in the 19th century. Around the same time (in the second half of the 17th century), a new style known as Edirnekārī began to appear. It primarily depicted flowers, a traditional Ottoman motif, but with an increased level of naturalism not previously seen in Ottoman art. This trend continued into the 18th century. The reign of Ahmet III ( r.  1703–1730 ), which include

5740-611: The Süleymaniye Mosque (1550–57) and the Selimiye Mosque (1568–1574), feature tile decoration restricted to certain areas. Even the Sokollu Mehmed Pasha Mosque (1568–1572), which is known for its extensive high-quality tile decoration, still concentrates and focuses this decoration onto the wall surrounding the mihrab instead of on the whole mosque interior. The major exception to this

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5880-597: The Timurid Empire further east. Painted decoration of a similar style is also found in the Mausoleum of Cem Sultan in the Muradiye complex in Bursa, dating from the late 15th century. There the motifs are more abstract and predominantly feature stylized vases of flowers, alongside calligraphic compositions, all rendered in highly vivid colours. Another floriate style that appeared in Ottoman decoration from

6020-821: The Virgin Mary , and biblical scenes. Examples can be found at the Krikor Lusaroviç Church in Tophane, Istanbul, and the Surp Astvazazin Church in Ankara, among others. Some of the tiles were exported further abroad and examples of them have been found in Jerusalem, Cairo, and Venice . A moderately successful effort to revive Ottoman tile production occurred under Abdülhamid II in the late 19th and early 20th centuries, partly under

6160-402: The qibla (direction of prayer) and contains the mosque's mihrab, which is colorfully painted. The entrance to the mosque is fronted by a domed portico. The lack of documentation from Parvillée's restoration makes it unclear how much of the current building is original. A study by Robert Ousterhout states that most of the walls are still original. Doğan Kuban believes that the dome in front of

6300-620: The "International Timurid" style, but it also demonstrates the development of an increasingly distinct Ottoman artistic style at this time. Ceramic art from Iznik reached its apogee in the second half of the 16th century, particularly with the advent of the "tomato red" colour in its compositions. At the same time, Iznik grew into its role as a major center of tile production rather than just dishware. Rather than merely highlighting certain architectural features (e.g. windows) with tile panels, large-scale murals of tilework became more common. For this purpose, square tiles were also now preferred over

6440-549: 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 the 13th century onward. In the early 16th century, the range of decorative motifs in Ottoman art expanded, as attested in other mediums of Ottoman art such as tiles and manuscript decoration. Only

6580-515: The 16th century can still be found here and there. In addition to the examples mentioned above, one important instance is found in the Kara Ahmed Pasha Mosque (circa 1554). Like many of the other preserved examples, the original paintwork visible today is found on the wooden ceilings under the mosque's galleries. The paint is combined with some low-relief plasterwork and gilding , and the predominant colours are red and gold against

6720-549: The 1766 earthquake – the original decoration was described by 16th-century writer Ramazanzade Mehmed as featuring many "sun-like disks" and medallion designs in gold and silver. (A 19th-century restoration by the Fossati brothers repainted the dome in vaguely Baroque style and this decoration has been preserved today. ) Only calligraphic inscriptions, which were often faithfully restored, have tended to be preserved to some extent. However, some examples of preserved paintwork from

6860-407: The 17th century, built over the base of an older minaret. Like many other historic structures in the city, the mosque was damaged in the 1855 Bursa earthquake and it was restored by French architect Léon Parvillée  [ fr ] in 1863–1864. The current painted decoration inside the mosque was created in 1864, according to an inscription over the mihrab . The conical lead cap of the minaret

7000-402: The 17th century, there was an overall decline in quality. This was a result of a decline in imperial commissions, as fewer major building projects were sponsored by ruling elites during this period. The Celali revolts in the early 17th century also had a significant impact, as Evliya Çelebi records that the number of tile workshops in Iznik during this time dropped from 900 to only 9. Some of

7140-503: The 18th century, motifs influenced by or borrowed from the European Baroque took over. Some of the earliest known tile decoration in Ottoman architecture is found in the Green Mosque in Iznik (late 14th century), whose minaret incorporates glazed tiles forming patterns in the brickwork (although the current tiles are modern restorations). This technique was inherited from the earlier Seljuk period . Glazed tile decoration in

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7280-500: The 19th century, European-style motifs were directly incorporated into Ottoman decoration and European techniques such as trompe-l'œil were introduced. Compared to earlier Seljuk decoration, stone carving occupied a more subtle role in Ottoman architecture. Until the classical period (16th–17th centuries), three-dimensional muqarnas or "stalactite" decoration was the most prominent motif used in entrance portals , niches , columns capitals , and under minaret balconies. Starting in

7420-551: The Anatolian side of the Dardanelles Straits . With the conquest of Karesi, nearly the whole of northwestern Anatolia was included in the Ottoman Beylik, and the four cities of Bursa, Nicomedia, Nicaea, and Pergamum had become strongholds of its power. At this stage of his conquests, Orhan's Ottoman Principality had four provinces: A twenty-year period of peace followed the acquisition of Karesi. During this time,

7560-548: The Byzantine Empire became so weak that commercial supremacy in the surrounding seas around it became a bone of contention for the Italian maritime commercial city states. The Republic of Genoa possessed Galata , a separate Genoese city across the Golden Horn from Constantinople itself. The Genoese had fought the Byzantines earlier in 1348 when the Byzantines had decreased their customs tariffs in order to attract trade to

7700-637: The Byzantine side of the Golden Horn. In 1352 the rivalry for trade led to a war between Genoa and Venice . The Genoese, in resisting a Venetian fleet attacking their ships in the Golden Horn, bombarded the sea walls of Constantinople and pushed the Byzantines to ally with the Venetians. The Venetians assembled a large naval force, including hired fleets from Peter IV of Aragon and from the Byzantine Empire of John VI Cantacuzene . The sea battle between

7840-633: The Chamber of Murad III in Topkapı Palace. Unfortunately, much of the painted decoration from the classical era of Mimar Sinan in the 16th century has been lost. The present-day painted decoration inside the domes of many mosques of the era, including the Süleymaniye in Istanbul and the Selimiye in Edirne, dates from restorations in much later centuries. In the Süleymaniye Mosque – whose dome had to be repaired following its collapse in

7980-557: The Edirne Palace and shipped to Istanbul instead. Ultimately, tilework decoration in Ottoman architecture lost its significance during the 18th century. Kütahya nonetheless did continue to produce decorative tiles up to the 19th century, though the quality deteriorated in the late 18th century. Some of the potters in the city were Armenian Christians and some of the tiles were commissioned for Armenian churches. Christian tile decoration of this period often depicted saints, angels,

8120-725: The Genoese. In the midst of the distress and confusion that the Byzantine Empire now suffered, Orhan's eldest son, Suleyman Pasha, captured the Castle of Tzympe (Cinbi) in a bold move which gave the Turks a permanent foothold on the European side of the Dardanelles Straits. He also started to settle migrant Turcomans and town-dwelling Turks in the strategic city and castle of Gelibolu ( Gallipoli ), which had been devastated by

8260-523: The Great Mosque of Mecca. These appear in multiple buildings the 18th century, but some examples of this appeared even earlier in Iznik tiles from the late 17th century. Earlier examples show the Kaaba and the surrounding colonnades of the mosque in a more abstract style. Later examples in the 18th century, influenced by European art, employ perspective in depicting the mosque and they sometimes depict

8400-500: The Ottoman forces permanently to his interests, and hoped to achieve this by giving his second daughter, Theodora , in marriage to their ruler, despite differences of creed and the disparity of age. However, in Byzantine and in Western European history, dynastic marriages were quite usual and there are many examples which were much more strange. The splendour of the wedding between Orhan and Theodora at Selymbria ( Silivri )

8540-498: The Ottoman period, particularly for entrance portals, minaret balconies, niches, column capitals , and moldings . One of the main decorative techniques in this medium was muqarnas (or "stalactite") carving, which is used in all of these aforementioned elements. Since the Seljuk era, muqarnas semi-vaults had been a typical feature of entrance portals and mihrabs, and this tradition continued in Ottoman mosques. High-quality stonework

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8680-516: The Ottoman power experienced a twenty-year period of general repose. However, as the Byzantine civil war of 1341–1347 dissipated the last resources of the Byzantine Empire, the auxiliary armies of the Emirs of Turkish principalities were frequently called over and employed in Europe. In 1346, Emperor John VI Cantacuzene recognised Orhan as the most powerful sovereign of the Turks. He aspired to attach

8820-447: The Ottoman ranks. Acting on this advice, Orhan selected a thousand of the finest boys from conquered Christian families. The recruits were trained according to their individual abilities, and employed in posts ranging from professional soldier to Grand Vizier . This practice continued for centuries, until the reign of Sultan Mehmed IV . Orhan invaded Byzantine territories in northwest Anatolia. First, in 1321, Orhan captured Mudanya ,

8960-560: The Ottoman sovereign was actively occupied in perfecting the civil and military institutions which his brother had introduced, in securing internal order, in founding and endowing mosques and schools, and in the construction of vast public edifices, many of which still stand. Orhan did not continue with any other conquests in Anatolia except taking over Ankara from the commercial-religious fraternity guild of Ahis. The general diffusion of Turkish populations over Anatolia, before Osman's time,

9100-428: The Patrona Halil rebellion in 1730, which deposed Ahmet III and executed his grand vizier, the Tekfursaray kilns were left without a patron and quickly ceased to function. The shortage of quality tiles in the 18th century also caused Iznik tiles from older buildings to be reused and moved to new ones on multiple occasions. For example, when repairs were being done at Topkapı Palace in 1738 old tiles had to be removed from

9240-437: The Rüstem Pasha Mosque also marks the beginning of the artistic peak of Iznik tile 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. Around 1560 the colour palette of Iznik tiles also shifted slightly. With

9380-425: The Seljuk tradition of constructing monumental stone portals covered in ornamentation. Lastly, as the classical Ottoman style took form, large solid walls that were common in more traditional structures were superseded by highly articulated structures with many elements joined as part of a more complex whole. This likely made the decoration of large wall surfaces a much less important element of building design. In

9520-429: The Topkapı Palace in the late 16th century and were reused here. The massive undertaking of decorating such a large building strained the tile industry in Iznik and some of the tilework is repetitive and inconsistent in its quality. The much smaller Çinili ("Tiled") Mosque (1640) in Üsküdar is also covered in tilework on the inside. The most harmonious examples of tile decoration in 17th-century Ottoman architecture are

9660-419: The Topkapı Palace. The tilework panels in the Chamber of Murad III (1578) in Topkapı Palace and in the mihrab area of the Atik Valide Mosque (1583) in Üsküdar also show a trend of using colours in more abstract ways, such as the adding of red spots on flower petals of different colours, which is a detail particular to Ottoman art. As noted by Arthur Lane in his seminal study of Iznik tiles published in 1957,

9800-525: The Topkapı tiles and the mosque tiles from this early-16th-century period are traditionally attributed to Iznik, but they may have been produced in Istanbul itself in ceramic workshops located at Tekfursaray . Even if they come from Tekfursaray, their style is related to the style of ceramics being made in Iznik around the same time. This includes the saz style : a motif in which a variety of flowers are attached to gracefully curving stems with serrated leaves. This continued to reflect earlier influences of

9940-444: The Venetian fleet under the command of Niccolo Pisani and the Genoese fleet under Paganino Doria led to defeat of Venetians and their Byzantine allies. Orhan opposed the Venetians, whose fleets and piratical raids were disrupting his seaward provinces, and who had met his diplomatic overtures with contempt. The Venetians were allies of John VI, so Orhan sent an auxiliary force across the straits to Galata, which there co-operated with

10080-487: The Yerevan Kiosk and Baghdad Kiosk in Topkapı Palace, built in 1635 and 1639, respectively. Both their exterior and interior walls are covered in tiles. Some of the tiles are cuerda seca tiles of a much earlier period, reused from elsewhere, but most are blue-and-white tiles that imitate early 16th-century Iznik work. While the craftsmen at Iznik were still capable of producing rich and colourful tiles throughout

10220-456: The agreement, John V with a Byzantine naval fleet went to Phocaea, paid the ransom demanded of 100,000 hyperpyra , and brought Halil back to Ottoman territory. In 1357 Orhan's eldest and most experienced son and likely heir, Suleyman Pasha, died after injuries sustained from a fall from a horse near Bolayir on the coast of the sea of Marmara. The horse that Suleyman fell from was buried alongside him and their tombs can still be seen today. Orhan

10360-431: The ceiling of the vestibule of the Sokollu Mehmed Pasha Mosque and under some of its galleries. The Muradiye Mosque in Manisa preserves original paintwork on its galleries, its mihrab, and its stone minbar. Traditional Ottoman motifs maintained a certain formality, with individual elements generally quite stylized. Starting in the second half of the 17th century, this formality loosened and painted decoration underwent

10500-468: The central medallion radiated outward to cover the rest of the dome, with the details filled by rumî , hatayî , or saz motifs. This type of dome decoration is well known from the 16th century onward but it probably had appeared earlier in the 15th century as well. The verses written in the central medallion were often selected from the an-Nur ("Light") chapter of the Qur'an and may have symbolically imparted

10640-546: The command of Nicomedia to his eldest son, Suleyman Pasha, who had directed the operations of the siege. In 1338, Orhan captured Scutari; most of northwest Anatolia was in Ottoman hands. The Byzantines still controlled the coastal strip from Şile on the Black Sea to Scutari and the city of Amastris (now Amasra ) in Paphlagonia, but these were so scattered and isolated as to be no threat to the Ottomans. In 1345, there

10780-430: The craftsmen is recorded as Abdallah of Tabriz. The tilework includes many different styles and techniques, including cuerda seca tiles, colourful underglaze tiles, and mosaic blue-and-white tilework. The tiles seem to have been fabricated locally rather than at centers like Iznik, despite the absence of a sophisticated ceramic production center in the region. The identification of Abdallah of Tabriz may also indicate that

10920-404: The early 16th century. Production continued here for a while but the tiles from this period are 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 a brownish-red, yellow, and

11060-401: The early 16th century. Iznik tiles became highly favoured during the rest of the 16th century and reached their artistic peak in the second half of the century. They featured stylized floral and vegetal motifs in blue, white, red, and green colours. The Iznik industry declined by the end of the 17th century, with production of lower-quality tiles shifting to Kütahya . In the early 18th century,

11200-422: The early Ottoman period, an exception to this paucity of traditional stone carving is the Green Mosque in Bursa, which features skilled carving of marble surfaces into vegetal arabesque and calligraphic motifs. This was generally not repeated in subsequent Ottoman monuments, with the partial exception of mihrabs . Nonetheless, high-quality stone carving was still used to enrich the details of buildings throughout

11340-426: The effect of Iznik tilework, when successfully employed in Ottoman domed interiors, results in a feeling of lightness and harmony, where the intricate details of the tiles themselves do not overwhelm the onlooker. Tile decoration in the provinces was typically of lesser quality to that found in the main imperial centers of patronage. However some wealthy local patrons probably imported tiles from Istanbul, which explains

11480-667: The end of the century. It is often seen on wooden doors and other wooden fixtures from this period. Examples of these are found in other parts of Topkapı Palace as well as on the wooden screen of the upper gallery in the Piyale Pasha Mosque , which was likely added in the 18th century. The style was also popular beyond the capital and can be found as far as Crimea , where the palace of the Crimean khan (an Ottoman vassal) in Bakhchisaray contains wooden panels painted in

11620-596: The entire city of Mecca. Depictions of Medina and the Prophet's Mosque also appear in other specimens of the time. Examples of these pictorial tile paintings can be seen in the collections of several museums as well as inside some mosques (e.g. the Hekimoğlu Ali Pasha Mosque) and in several rooms at Topkapı Palace, such as the tiles adorning the mihrab of the prayer room of the Black Eunuchs. After

11760-462: The eruption of hostilities between John VI and his co-emperor and son-in-law John V Palaeologus. John V was dismissed from his imperial post and exiled to Tenedos ; Cantacuzene's son Matthew was crowned as the co-emperor. But very soon John V returned from exile with Venetian help and conducted a coup, taking over the government of Constantinople. Although the two men came to an agreement to share power, John VI resigned from his imperial post and became

11900-538: The existence of a group or a school of craftsmen, the "Masters of Tabriz", who worked for imperial workshops in the first half of the 15th century and were familiar with both cuerda seca and underglaze techniques. As the Ottoman imperial court moved from Bursa to Edirne, they too moved with it. However, their work does not clearly appear anywhere after this period. Later on, the Tiled Kiosk in Istanbul, completed in 1472 for Mehmed II's New Palace ( Topkapı Palace ),

12040-620: The fact that the Ottoman state had always employed craftsmen from different parts of the Islamic world. John Carswell, a professor of Islamic art, states that the tiles are the work of an independent imperial workshop based in Istanbul that worked from Iranian traditions. Godfrey Goodwin suggests that the style of tiles does not correspond to either the old "Masters of Tabriz" school or to an Iranian workshop, and therefore may represent an early phase of tilework from Iznik; an "early Iznik" style. An important case of Ottoman tile decoration outside

12180-524: 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). Further examples can be found in a few religious structures designed by Sinan in this period, such as the Haseki Hürrem Complex (1539). The latest example of it

12320-440: 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. Tilework panels with similar techniques and motifs are found in the courtyard of the Üç Şerefeli Mosque , another building commissioned by Murad II in Edirne, completed in 1437. The evidence from this tilework in Bursa and Edirne indicates

12460-585: The grounds that their father had designated Orhan as sole successor, and that the empire should not be divided. He only accepted as his share the revenues of a single village near Bursa . According to some authorities, it was in Alaeddin's time, and by his advice, that the Ottomans ceased acting like vassals to the Seljuk ruler: they no longer stamped money with his image or used his name in public prayers. These changes are attributed by others to Osman himself, but

12600-459: The head of the armed vassals and volunteers. This army rode on horseback to their prince's banner when summoned for each expedition, and were disbanded as soon as the campaign was over. Alaeddin determined to ensure any future success by forming a corps of paid infantry, which was to be kept in constant readiness for service. These troops were called Yaya , or piyade. They were divided into tens, hundreds, and thousands with their commanders. Their pay

12740-437: The hexagonal tiles of the older Iranian tradition. Floral motifs were dominant, but calligraphic inscriptions were also important and were generally rendered in a thuluth script. Unlike Byzantine mosaics , tiles were not well-suited to curved surfaces and as a result they were not used to decorate domes, which were decorated with painted motifs instead. This was around the same time that Mimar Sinan, chief court architect,

12880-545: The high-quality tilework in some distant monuments such as the Behram Pasha Mosque (1572–73) in Diyarbakir . In the early 17th century, some features of 16th-century Iznik tiles began to fade, such as the use of embossed tomato red. At the same time, some motifs became more rigidly geometric and stylized. The enormous Sultan Ahmed Mosque (or "Blue Mosque"), begun in 1609 and inaugurated in 1617, contains

13020-669: The history of Ottoman art is the rumî style, which consists of scrolling, spiraling, and/or intertwining stems with stylized leaves. This style was already in use in Anatolia in Seljuk art and in Byzantine art . The earliest Ottoman example may be the partly-preserved painted decoration that can still be seen around a window in the Kirgizlar Mausoleum in Iznik, which is dated to the reign of Orhan ( r.  1324–1360 ). Early Ottoman decorative motifs remained similar to those found in earlier Anatolian Seljuk architecture and in neighboring Islamic cultures, as attested by

13160-559: The imperial capitals around this time was the refurbishment of the Dome of the Rock in Jerusalem ordered by Sultan Suleiman. During the refurbishment, the exterior of the building was covered in tilework which replaced the older Umayyad mosaic decoration. Inscriptions in the tiles give the date 1545–46, but work probably continued until the end of Suleiman's reign (1566). The name of one of

13300-415: The imperial palace, hired specifically to decorate the building. The patrons who commissioned the buildings may have laid down certain parameters or instructions for the decorators, such as requesting inscriptions that highlighted their social status or a political message. Early examples indicate that Ottoman decoration developed a preference for floriate motifs. One such motif that was popular throughout

13440-689: The influence of the First National Architectural Movement. This period saw tiles produced for several new mosques, schools, and government buildings. These workshops eventually closed down after the First World War. Painting was an essential part of the decoration of Ottoman buildings and it covered interior walls, ceilings, and the inside of domes. However, it has been relatively neglected in studies of Ottoman architecture, probably in part because very little original Ottoman painted decoration has been preserved to

13580-535: The intense artistic patronage of the Timurids , who controlled a large empire across the region. Doğan Kuban argues that the decoration of the Green Mosque complex was more generally a product of collaboration between craftsmen of different regions, as this was the practice in Anatolian Islamic art and architecture during the preceding centuries. The same kind of tilework is found in the mihrab of

13720-437: The introduction of tomato red, which was perfected in the following years, some colours like turquoise and manganese purple stopped appearing, while a new shade of green also appeared. This shift is partly evident in the Rüstem Pasha Mosque and especially in the extensive tilework in the tomb of Haseki Hürrem (1558) and the tomb of Suleiman (1566), both located behind the Süleymaniye Mosque. The highest artistic form of Iznik tiles

13860-568: The late 17th century and followed the stylistic changes that occurred afterwards in architecture. In the early 18th century, around the Tulip Period, diverse new floral motifs were added to the decorative repertoire of buildings. These can be found in carved reliefs, employed most prolifically on the façades of fountains and sebils, which became common types of monuments commissioned during this century. The motifs include flowers, fruits, garlands, and rosettes, as well as designs developed from

14000-538: The late 18th century onward, especially in the interior decoration of palaces. Lastly, the trompe-l'œil technique was also imported into the empire and can be found both in Istanbul and beyond. Although some minor details of earlier paintwork were suggestive of this technique (e.g. in the Ayazma Mosque), its effective use only began during the reign of Abdülmecid I ( r.  1839–1861 ), when specialists in this type of painting were most likely hired for

14140-480: The mihrab, over the qibla iwan, may date from the early 15th-century restoration by Bayezid Pasha. The upper walls and much of the rest of the roof are likely reconstructions. Robert Ousterhout compares the brick construction of the mosque and some of its related decorative details to Byzantine architecture , contrasting with the stone-built architecture of the Anatolian Seljuk tradition . He suggests that

14280-466: The most dramatic early example is the Green Mosque and Green Tomb in Bursa (circa 1424). Various examples of tilework from this century seem to show possible Iranian influence and connections to Timurid art . A distinctive style of blue-and-white fritware , influenced by Chinese motifs and often attributed to an early stage of Iznik tilework , is evidenced by the late 15th century and characterizes

14420-600: The most prominent of which include tile decoration, painted decoration, and stone carving . Beginning in the 14th century, early Ottoman decoration was largely a continuation of earlier Seljuk styles in Anatolia as well as other predominant styles of decoration found in Islamic art and architecture at the time. Over the course of the next few centuries, a distinctive Ottoman repertoire of motifs evolved, mostly floral motifs, such as rumî , hatayî , and saz styles. Calligraphic inscriptions, most characteristically in

14560-681: The original elements, such as the furnace, were removed. (See also: Ottoman architectural decoration ) Orhan Orhan Ghazi ( Ottoman Turkish : اورخان غازی ; Turkish : Orhan Gazi , also spelled Orkhan ; died 1362) was the second sultan of the Ottoman Empire from 1323/4 to 1362. He was born in Söğüt , as the son of Osman I . In the early stages of his reign, Orhan focused his energies on conquering most of northwestern Anatolia . The majority of these areas were under Byzantine rule and he won his first battle at Pelekanon against

14700-444: The original painted decoration in mosques and palaces has been preserved up to the present day. Surviving examples show that painted designs were related to those of other mediums, including tiles and manuscript decoration , and that floral motifs predominated. Until the 16th century, these motifs remained rather formal and stylized, but from the late 17th century onward they began to change under increasing Western European influence. By

14840-492: 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 this decoration were typically similar to the motifs used in other contemporary arts, such as manuscript illumination . The painters, who came from many different ethnic and religious backgrounds, were either independent artists or artisans already employed by

14980-497: The port linking the city of Bursa to the Sea of Marmara coast. He then sent a column under Konur Alp towards the west Black Sea coast; another column under Akça Koca to capture Kocaeli , and finally a column under Abdurrahman Ghazi to capture the southeast coast of the Sea of Marmara. Then, he captured Bursa by persuading its Byzantine commander to defect. As Evrenos Bey , he became

15120-460: The present day, as much of it was redone or replaced in more recent periods. 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 the second referred to applying paint onto relief decoration sculpted beforehand. The design of

15260-408: The production continued in the city of Kütahya instead of Iznik. Kütahya, unlike Iznik, had not become solely reliant on imperial commissions and as a result it weathered the changes more successfully. Many of its artisans were Armenians who continued to produce tiles for churches and other buildings. Tile manufacture declined further in the second half of the century. Nonetheless, the interior of

15400-571: The purpose. An example from this period is the Ortaköy Mosque , built in the 1850s, where the painted dome features trompe-l'oeil imagery depicting neo-Renaissance architecture mixed with rows of Islamic-style mihrabs that replicate the design of the mosque's actual mihrab below. Trompe-l'oeil is also found in the Dolmabaçe Palace (built 1843–1856), mixing both European and neo-Islamic motifs. A later example can be found in

15540-419: The richest collection of tilework of any Ottoman mosque. According to official Ottoman documents it contained as many as 20,000 tiles. The dominant colours are blue and green, while the motifs are typical of the 17th century: tulips, carnations, cypresses , roses, vines , flower vases, and Chinese cloud motifs. The best tiles in the mosque, located on the back wall on the balcony level, were originally made for

15680-403: The rival forces of the empress dowager , allowing them to loot Thrace . In the Byzantine civil war of 1352–1357 , Kantakouzenos used Ottoman forces against John V , granting them the use of a European fortress at Çimpe around 1352. A major earthquake devastated Gallipoli (modern Gelibolu ) two years later, after which Orhan's son, Süleyman Pasha , occupied the town , giving the Ottomans

15820-598: The rooms and corridors of the Harem section in Topkapı Palace. Kütahya tiles are present in Istanbul in the Yeni Valide Mosque in Üsküdar (1708–1711), the Beylerbeyi Mosque (1777–1778), and arts of Topkapı Palace, and well as in mosques in other cities like Konya and Antalya. The Kütahya and Tekfursary kilns notably produced a number of tiles and groups of tiles that were painted with illustrations of

15960-507: The same groups of builders could have been building both Byzantine churches and Ottoman mosques in the region around during Orhan's time. Like many important religious monuments built by the Ottomans, Orhan's mosque was part of a larger religious and charitable complex, or külliye . Of the other structures in this complex, only the mosque itself, the caravanserai (the Emir Han), and the hammam have survived. The mektep (primary school)

16100-454: The same manner. The more traditional rumî , hatayî , and saz styles did not disappear yet and continued to be used during this period. The two religious complexes built by Damat Ibrahim Pasha in Istanbul (1720) and in his hometown of Nevşehir (1726), both feature examples of these motifs applied in the malakâri technique. They appear to be similar to the art of contemporary Ottoman painter Ali Üsküdari (d. 1763 ). The advent of

16240-489: The scourge of the Balkans and Central Europe for a long time, until it was abolished by Sultan Mahmud II in 1826. Çandarlı proposed to Orhan to create the Janissary corps, an army entirely composed of the children of conquered places. Çandarlı argued that: The conquered are the responsibility of the conqueror, who is the lawful ruler of them, of their lands, of their goods, of their wives, and of their children. We have

16380-448: The successor of Şahkulu, Kara Memi – consists of depictions of garden flowers such as tulips , carnations , and hyacinths . Unlike the other styles mentioned above, it was rarely employed on a large scale in architectural decoration, being more characteristic of tilework and book illustrations. Instead, it appears on some smaller architectural elements typically seen at close quarters, such as wooden cupboards and window shutters found in

16520-548: The task. The oldest waqf document ( vakıf in Turkish) concerning the mosque is dated to 1360. An addition to it around 1400 describes it as a zaviye (or zawiya ). Like other buildings of this type erected in the early Ottoman period , the Orhan Mosque was originally designed to serve Sufi dervishes , providing them with lodging and a venue for their meetings and rituals. The current minaret dates from

16660-410: The tilemakers as being "Masters of Tabriz ", suggesting that craftsmen of Iranian origin were involved. Tabriz was historically a major center of ceramic art in the Islamic world, and its artists appear to have emigrated and worked in many regions from Central Asia to Egypt. The artistic style of these tiles – and of other Ottoman art – was influenced by an "International Timurid" taste that emerged from

16800-539: The tiles are further enhanced with arabesque motifs applied in gilt gold glazing over these colours. Inscriptions in the mosque record that the decoration was completed in 1424 by Nakkaş Ali, a craftsman native to Bursa who had been transported to Samarkand by Timur after the Ottoman defeat at the Battle of Ankara in 1402. In Samarkand, he was exposed to Timurid architecture and decoration and brought this artistic experience back with him later. Other inscriptions record

16940-407: The tiles were commissioned from the same workshop of Iranian craftsmen who produced earlier Ottoman tiles. This project is also notable as one of the few cases of extensive tile decoration applied to the exterior of a building in Ottoman architecture. This major restoration work in Jerusalem may have also played a role in Ottoman patrons developing a taste for tiles, such as those made in Iznik (which

17080-409: The vast majority of the oriental writers concur in attributing to Alaeddin the introduction of laws respecting the costume of the various subjects of the empire, and the creation and funding of a standing army of regular troops. It was by his advice and that of a contemporary Turkish statesman that the celebrated corps of Janissaries was formed, an institution which European writers erroneously fix at

17220-511: The vaulted ceiling is painted with a central cartouche and a field of pink and yellow ovals surrounded by European strapwork motifs. Many other Ottoman Baroque mosques have since been repainted and much of the original composition or character of their painted decoration has been lost. The interior of the Nuruosmaniye Mosque (1748–1755), one of the most important monuments of the period, has been repainted in this manner; however,

17360-633: The years of the Tulip Period (1718–1730), saw the popularization of a style featuring plentiful depictions of flowers in vases and bowls of fruit, sometimes with shading. The most vivid example of this is the so-called Fruit Room, created by Ahmet III inside Topkapı Palace in 1705, whose wooden walls are covered with such images. Derived from the Edirnekārī style, they have a greater naturalism and are evidently influenced by Western European techniques of illustration. This new style remained popular until

17500-404: Was a change of strategy. Instead of aiming to gain land from non-Muslims, Orhan took over a Turkish principality, Karesi (present Balıkesir and surroundings). According to Islamic philosophy of war, the areas under Islamic rule were to be abodes of peace and the other areas abodes of war . Conducting a war in abodes of war was considered a good deed. Karesi principality was a state governed by

17640-471: Was a double hammam, meaning it had a men's section and a women's section built side-by-side. The men's section consists of a cold room, a warm room with attached latrines, a hot room with private rooms attached, and a furnace area. The women's section contains the same sequence but is smaller than the men's. After the 1958 fire, the hammam was converted into a shopping complex known today as Aynalı Çarşı ('Mirrored Bazaar'). Two new entrances were opened and some of

17780-516: Was abducted somewhere on the Bay of Izmit. A Genoese commercial boat captain, which was conducting acts of piracy alongside commercial activity, was able to capture the young prince and take him over to Phocaea on the Aegean Sea, which was under Genoese rule. Orhan was very much upset by this kidnapping and conducted talks with his brother-in-law and now sole Byzantine Emperor John V Palaeologos. As to

17920-492: Was achieved soon after this during the reign of Selim II , who succeeded his father Suleiman, and continued until the end of the century. Some of the most exceptional tilework examples from this period can be found in the Sokollu Mehmed Pasha Mosque, the Piyale Pasha Mosque (1574), the tomb of Selim II (1576), the small Takkeci İbrahim Ağa Mosque (1592), the tomb of Murad III (1595), and in some parts of

18060-479: Was also evident in the geometric openwork in stone balustrades and in marble minbars . In addition to the common muqarnas capitals, another type of capital was sculpted with a series of flat lozenge surfaces that combined to form a transition from circular base to square top, similar to the "Turkish triangles" used as transitions between square rooms and domes. Marble surfaces were occasionally carved with tracery motifs in relief, including in rumî style, but this

18200-449: Was also reaching the pinnacle of his career. Iznik ceramics and classical Ottoman architecture thus reached their greatest heights of achievement around the same time, during the reign of Suleiman and his immediate successors. 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. For example, Sinan's most celebrated works,

18340-432: Was closer to the capital). The city of Iznik had been a center of pottery production under the Ottomans since the 15th century, but until the mid-16th century it was mainly concerned with producing pottery vessels. There is little evidence of large-scale tile manufacture in Iznik before this time. In the late 15th century, in the 1470s or 1480s, the Iznik industry had grown in prominence and patronage and began producing

18480-482: Was damaged by fire in 1544 and repaired in 1634. Its gate was destroyed by an earthquake in 1674. The building was damaged again by fire in 1788 and damaged by the 1855 earthquake, and destroyed by a major fire in the bazaar district in 1958. It was restored in 1963. The building has a typical Ottoman caravanserai layout, consisting of a large central courtyard surrounded by a two-story gallery with rooms behind it, all covered by barrel vaults. The hammam (public bathhouse)

18620-441: Was destroyed by the 1855 earthquake, the madrasa (Islamic college) once stood where the 19th-century Bursa town hall now stands, and the imaret (soup kitchen) stood nearby as late as 1907 but has since disappeared. The Emir Han, an urban caravanserai ( han ), was originally built to provide revenues for Orhan's charitable complex. It still stands today within the bazaar district of Bursa, though it has been restored many times. It

18760-480: Was developed by Ottoman artist Şahkulu . It was derived from the hatayî style and added new motifs, most notably large serrated leaves. It was less formal and geometrically rigid, allowing these motifs to be combined and arranged in a wide variety of ways to fill any space. One of the finest examples of this style surviving from the 16th century is found in the Kılıç Ali Pasha Mosque (circa 1581), where it

18900-405: Was high, and their pride soon caused their sovereign some anxiety. Orhan wished to provide a check to them, and he took counsel for this purpose with his brother Alaeddin and Kara Khalil Çandarlı (of House of Candar), who was connected with the royal house by marriage. Çandarlı laid before his master and the vizier a project. Out of this arose the renowned corps of Janissaries, which was considered

19040-723: Was in main part a push from the Mongol conquest of Central Asia, Iran and then East Anatolia. Turkish peoples had founded a number of principalities after the demise of the Anatolian Sultanate of Rum , after its defeat by the Ilkhanate Mongols. Although they were all of Turkish stock, they were all rivals for dominant status in Anatolia. After the Byzantine defeat of the Battle of Pelekanon , Orhan developed friendly relations with Andronicus III Palaeologus , and maintained them with some of his successors. Therefore,

19180-490: Was mostly limited to certain surfaces around mihrabs. Aside from these features, which were characteristic of buildings, Ottoman tombstones are notable for their very rich stone-carved ornamentation. The decoration of tombstones included vegetal and floral motifs, stone caps in the shape of headgear reflecting the social status of the deceased (usually for men), and, most consistently of all, inscriptions in graceful calligraphy. The level of tombstone ornamentation increased after

19320-408: Was redone in 1899. It was again restored in 1904. The mosque has a "T-plan" layout typical of many early Ottoman religious complexes in Bursa and elsewhere. It has a square central court covered by a dome, surrounded by three iwans, one branching off every side except the north side where the building entrance is located. Each iwan is also covered by a dome. The iwan on the south side is aligned with

19460-666: Was said to have been greatly affected by the death of his son. Orhan died soon after, likely from natural causes. It seems rather likely that the death of his son was taxing on his health, however. Orhan died in 1362, in Bursa , at the age of eighty, after a reign of thirty-six years. He is buried in the türbe (tomb) with his wife and children, called Gümüşlü Kumbet in Bursa. Orhan had at least seven consorts: Orhan had at least six sons: Orhan had at least four daughters: Ottoman architectural decoration Decoration in Ottoman architecture takes on several forms,

19600-417: Was that he was acting as a bringer of peace. In the end of the invasion by Ottoman troops the two brothers were pushed to the castle of their capital city of Pergamum (now Bergama ). One was killed and the other was captured. The territories around Pergamum and Palaeocastro ( Balıkesir ) were annexed to Orhan's domains. This conquest was particularly important since it brought Orhan's territories to Çanakkale ,

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