Best Blue of the Bosphorus.... Blue Mosque !!!

Architecture

The design of the Sultan Ahmed Mosque is the culmination of two centuries of both Ottoman mosque and Byzantine church development. It incorporates some Byzantine elements of the neighboring Hagia Sophia with traditional Islamic architecture and is considered to be the last great mosque of the classical period. The architect has ably synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendour. It has 6 minarates along with 8 domes and 1 main one.

Exterior
 The façade of the spacious forecourt was built in the same manner as the façade of theSüleymaniye Mosque, except for the addition of the turrets on the corner domes. The court is about as large as the mosque itself and is surrounded by a continuous vaulted arcade (revak). It has ablution facilities on both sides. The central hexagonal fountain is rather small in contrast with the dimensions of the courtyard. The monumental but narrow gateway to the courtyard stands out architecturally from the arcade. Its semi-dome has a fine stalactite structure, crowned by a small ribbed dome on a tall tholobate.

A heavy iron chain hangs in the upper part of the court entrance on the western side. Only the sultan was allowed to enter the court of the mosque on horseback. The chain was put there, so that the sultan had to lower his head every time he entered the court in order not to get hit. This was done as a symbolic gesture, to ensure the humility of the ruler in the face of the divine.

The six minarets were a matter of contention and a first, since four minarets were the common maximum. Only after one more minaret was added to the Masjid al-Haram, Grand Mosque, in Mecca was the six minarets issue settled.

Interior

Interior view, featuring the prayer area and the main dome.

At its lower levels and at every pier, the interior of the mosque is lined with more than 20,000 handmade ceramic tiles, made at Iznik (the ancient Nicaea) in more than fifty different tulip designs. The tiles at lower levels are traditional in design, while at gallery level their design becomes flamboyant with representations of flowers, fruit and cypresses. More than 20,000 tiles were made under the supervision of the Iznik master potter Kasap Haci and Baris Efendi from Avanos (Cappadocia). The price to be paid for each tile was fixed by the sultan's decree, while tile prices in general increased over time. As a result, the quality of the tiles used in the building decreased gradually. Their colours have faded and changed (red turning into brown and green into blue, mottled whites) and the glazes have dulled. The tiles on the back balcony wall are recycled tiles from the harem in the Topkapı Palace, when it was damaged by fire in 1574.

The upper levels of the interior are dominated by blue paint. More than 200 stained glass windows with intricate designs admit natural light, today assisted by chandeliers. On the chandeliers, ostrich eggs are found that were meant to avoid cobwebs inside the mosque by repelling spiders.^[2] The decorations include verses from the Qur'an, many of them made by Seyyid Kasim Gubari, regarded as the greatest calligrapher of his time. The floors are covered with carpets, which are donated by faithful people and are regularly replaced as they wear out. The many spacious windows confer a spacious impression. The casements at floor level are decorated with opus sectile. Each exedra has five windows, some of which are blind. Each semi-dome has 14 windows and the central dome 28 (four of which are blind). The coloured glass for the windows was a gift of the Signoria of Venice to the sultan. Most of these coloured windows have by now been replaced by modern versions with little or no artistic merit.

The most important element in the interior of the mosque is the mihrab, which is made of finely carved and sculptured marble, with a stalactite niche and a double inscriptive panel above it. The adjacent walls are sheathed in ceramic tiles. But the many windows around it make it look less spectacular. To the right of the mihrab is the richly decorated minber, or pulpit, where the Imam stands when he is delivering his sermon at the time of noon prayer on Fridays or on holy days. The mosque has been designed so that even when it is at its most crowded, everyone in the mosque can see and hear the Imam.

The royal kiosk is situated at the south-east corner. It comprises a platform, a loggia and two small retiring rooms. It gives access to the royal loge in the south-east upper gallery of the mosque. These retiring rooms became the headquarters of the Grand Vizier during the suppression of the rebellious Janissary Corps in 1826. The royal loge (hünkâr mahfil) is supported by ten marble columns. It has its own mihrab, that used to be decorated with a jade rose and gilt^[3] and one hundred Qurans on inlaid and gildedlecterns.^[4]

The many lamps inside the mosque were once covered with gold and gems.^[5] Among the glass bowls one could find ostrich eggs and crystal balls.^[6] All these decorations have been removed or pillaged for museums.

The great tablets on the walls are inscribed with the names of the caliphs and verses from the Quran, originally by the great 17th-century calligrapher Ametli Kasım Gubarım, but they have frequently been restored.

Pope Benedict XVI's visit and silent meditation

Pope Benedict XVI visited the Sultan Ahmed Mosque on 30 November 2006 during his visit to Turkey. It marks only the second papal visit in history to a Muslim place of worship. Having removed his shoes, the Pope paused for a full two minutes, eyes closed in silent meditation,^[7] standing side by side with Mustafa Çağrıcı, the Mufti of Istanbul, and Emrullah Hatipoğlu, the Imam of the Blue Mosque.^[8]

The pope “thanked divine Providence for this” and said, “May all believers identify themselves with the one God and bear witness to true brotherhood.” The pontiff augured that Turkey “will be a bridge of friendship and collaboration between East and West”, and he thanked the Turkish people “for the cordiality and sympathy” they showed him throughout his stay, saying, “he felt loved and understood

What to See

One of the most notable features of the Blue Mosque is visible from far away: itssix minarets. This is very unique, as most mosques have four, two, or just one minaret. According to one account, the Sultan directed his architect to make gold (altin) minarets, which was misunderstood as six (alti) minarets.

Whatever the origins of the unique feature, the six minarets caused quite a scandal, as the Haram Mosque in Mecca (the holiest in the world) also had six minarets. In the end, the sultan solved the problem by sending his architect to Mecca to add a seventh minaret.

The other striking feature of the exterior is the beautifully-arranged cascade of domes that seem to spill down from the great central dome. The arcades running beneath each dome add further visual rhythm. None of the exterior is blue - the name "Blue Mosque" comes from the blue tiles inside.

The main west entrance is beautifully decorated and very much worth a look. However, to preserve the mosque's sanctity, non-worshippers are required to use the north entrance, off the Hippodrome. Hanging from this gate are symbolic chains that encourage everyone, even the sultan who entered on horseback, to bow his or her head upon entering.

Inside, the high ceiling is lined with the 20,000 blue tiles that give the mosque its popular name. Fine examples of 16th-century Iznik design, the oldest tiles feature flowers, trees and abstract patterns. The overall effect is one of the most beautiful sights in Istanbul. The Iznik tiles can be seen in the galleries and and on the north wall above the main entrance. The remaining tiles, which have a less delicate design, were made in Kütahya.

The interior is lit with 260 windows, which were once filled with 17th-century stained glass. Sadly, this has been lost and replaced with inferior replicas.

Festivals and Events

On summer evenings at 9pm, there is a historical narrative and a light show at the Blue Mosque. The commentaries are given in Turkish, English, French and German on various evenings.

enchanted by the Hagia Sophia's beauty

Hagia Sophia
Famous in particular for its massive dome, it is considered the epitome of Byzantine architecture^[5] and is said to have "changed the history of architecture."It was the largest cathedral in the world for nearly a thousand years, until Seville Cathedral was completed in 1520. The current building was originally constructed as a church between 532 and 537 on the orders of the Byzantine Emperor Justinian and was the third Church of the Holy Wisdom to occupy the site, the previous two having both been destroyed by rioters. It was designed by the Greek scientists Isidore of Miletus, a physicist, and Anthemius of Tralles, a mathematician.^[7]
The church contained a large collection of holy relics and featured, among other things, a 49-foot (15 m) silver iconostasis. It was the seat of the Patriarch of Constantinople and the religious focal point of the Eastern Orthodox Church for nearly one thousand years. It is the church in which Cardinal Humbert in 1054 excommunicated Michael I Cerularius – which is commonly considered the start of the Great Schism.
In 1453, Constantinople was conquered by the Ottoman Turks under Sultan Mehmed II, who subsequently ordered the building converted into a mosque.^[8] The bells, altar, iconostasis, and sacrificial vessels were removed and many of the mosaics were plastered over. Islamic features – such as the mihrab, minbar, and four minarets – were added while in the possession of the Ottomans. It remained a mosque until 1931 when it was closed to the public for four years. It was re-opened in 1935 as a museum by the Republic of Turkey.
For almost 500 years the principal mosque of Istanbul, Hagia Sophia served as a model for many other Ottoman mosques, such as the Sultan Ahmed Mosque (Blue Mosque of Istanbul), the Şehzade Mosque, the Süleymaniye Mosque, the Rüstem Pasha Mosque and the Kılıç Ali Paşa Mosque.
Architecture
Hagia Sophia is one of the greatest surviving examples of Byzantine architecture.^[5] Of great artistic value was its decorated interior with mosaics and marble pillars and coverings. The temple itself was so richly and artistically decorated that Justinian proclaimed, "Solomon, I have outdone thee!" (Νενίκηκά σε Σολομών). Justinian himself had overseen the completion of the greatest cathedral ever built up to that time, and it was to remain the largest cathedral for 1,000 years up until the completion of the cathedral in Seville in Spain.
Justinian's basilica was at once the culminating architectural achievement of late antiquity and the first masterpiece of Byzantine architecture. Its influence, both architecturally and liturgically, was widespread and enduring in the Eastern Orthodox, Roman Catholic, and Muslim worlds alike. The largest columns are of granite, about 19 or 20 metres high and at least 1.5 metres in diameter; the largest weigh well over 70 tons apiece. Under Justinian's orders, eight Corinthian columns were disassembled from Baalbek, Lebanon and shipped to Constantinople for the construction of Hagia Sophia.^[37]
The vast interior has a complex structure. The nave is covered by a central dome which at its maximum is 55.6 m (182 ft 5 in) from floor level and rests on an arcade of 40 arched windows. Repairs to its structure have left the dome somewhat elliptical – with the diameter varying between 31.24 m (102 ft 6 in) and 30.86 m (101 ft 3 in).
At the western entrance side and eastern liturgical side, there are arched openings extended by half domes of identical diameter to the central dome, carried on smaller semi-domed exedras; a hierarchy of dome-headed elements built up to create a vast oblong interior crowned by the central dome, with a clear span of 76.2 m (250 ft 0 in).^[5]
Interior surfaces are sheathed with polychrome marbles, green and white with purple porphyry, and gold mosaics.
The exterior, clad in stucco, was tinted yellow and red during restorations in the 19th century at the direction of the Fossati architects.

 Dome
The dome of Hagia Sophia is carried on four concave triangular pendentives, a form which was first fully realized in this building. The pendentives serve to transition from the circular base of the dome to the rectangular base below.^[38][39] These were reinforced with buttresses during Ottoman times, under the guidance of the architect Mimar Sinan. The weight of the dome remained a problem for most of the building's existence. The original dome collapsed entirely in 558; in 563 a new dome was built which included ribbing and was slightly taller than the original. Larger section of the second dome collapsed as well, in two portions. The present dome consists of two sections at the north and south that date from the 562 reconstruction. The north section covers an area of 8 ribs of the whole dome’s 40, while the south section includes 6 ribs.^[40]
The dome has spurred particular interest for many art historians, architects and engineers because of the innovative way the original architects envisioned the dome. The dome is supported by pendentives, which not only restrain the lateral forces of the dome and allow its weight to flow downwards, but also achieve a pleasing aesthetic quality by enabling the dome to transition gracefully into the square shape of the space below.

Although this design stabilizes the dome and the surrounding walls and arches, the actual construction of the walls of Hagia Sophia weakened the overall structure. The bricklayers used more mortar than brick, which weakened the walls. The structure would have been more stable if the builders at least let the mortar cure before they began the next layer; however, they did not do this. When the dome was placed atop the building, the weight of the dome caused the walls to lean outward because of the wet mortar underneath. When Isidorus the Younger rebuilt the original dome, he had to first build up the interior of the walls so that they were vertical in order to support the weight of the new dome. Additionally, Isidore the Younger raised the height of the rebuilt dome by approximately six metres so that the lateral forces would not be as strong and the weight of the dome would flow more easily down into the walls.
Another interesting fact about the original structure of the dome was how the architects were able to place forty windows around the base of the dome. Hagia Sophia is famous for the mystical quality of light that reflects everywhere in the interior of the nave, which gives the dome the appearance of hovering above the nave. This design is possible because the dome is shaped like a scalloped shell or the inside of an umbrella with ribs that extend from the top of the dome down to the base. These ribs allow the weight of the dome to flow between the windows, down the pendentives, and ultimately to the foundation.
The unique character of the design of Hagia Sophia shows how this structure is one of the most advanced and ambitious monuments of late antiquity.

Lustration urns
Two huge marble lustration urns were brought from Pergamon during the reign of Sultan Murad III. Originally from the Hellenistic period, they are carved from single blocks of marble.
Nartex and Portals
The Imperial Gate was the main entrance between the exo- and esonarthex. It was reserved only for the emperor. The Byzantine mosaic above the portal depicts Christ and Emperor Leo VI the Wise.
A long ramp from the northern part of the outer narthex leads up to the upper gallery
Upper Gallery
^{The upper gallery is laid out in a horseshoe shape that encloses the nave until the apse. Several mosaics are preserved in the upper gallery, an area traditionally reserved for the empress and her court. The best-preserved mosaics are located in the southern part of the gallery}
Loge of the Empress

The Loge of the Empress

The Loge of the Empress is located in the centre of the upper enclosure, or gallery, of the Hagia Sophia. From there the empress and the court-ladies would watch the proceedings down below. A round, green stone marks the spot where the throne of the empress stood.
Marble Door

Marble Door

The Marble Door inside the Hagia Sophia is located in the southern upper enclosure, or gallery. It was used by the participants in synods, they entered and left the meeting chamber through this door.

Decorations
Originally, under Justinian's reign, the interior decorations consisted of abstract designs of the marble slabs on the walls and mosaics on the curving vaults. Of these, one can still see the two archangels Gabriel and Michael in the spandrels of the bema. There were already a few figurative decorations, as attested by the eulogy of Paul the Silentiary. The spandrels of the gallery are revetted in opus sectile, showing patterns and figures of flowers and birds in precisely cut pieces of white marble set against a background of black marble. In later stages figurative mosaics were added, which were destroyed during the iconoclastic controversy (726–843). Present mosaics are from the post-iconoclastic period. The number of treasures, relics and miracle-working, painted icons of the Hagia Sophia grew progressively richer into an amazing collection. Apart from the mosaics, a large number of figurative decorations were added during the second half of the 9th century: an image of Christ in the central dome; Orthodox saints, prophets and Church Fathers in the tympana below; historical figures connected with this church, such as Patriarch Ignatius; some scenes from the gospel in the galleries. Basil II let paint on each of the four pendentives a giant six-winged Cherub.^[16] The Ottomans covered their face with a golden halo,^[16] but in 2009 one of them has been restored to the original state.

Mosaics
The church was richly decorated with mosaics throughout the centuries. They either depicted the Virgin Mother, Jesus, saints, or emperors and empresses. Other parts were decorated in a purely decorative style with geometric patterns.
During the Sack of Constantinople in 1204, the Latin Crusaders vandalized valuable items in every important Byzantine structure of the city, including the golden mosaics of the Hagia Sophia. Many of these items were shipped to Venice, whose Doge, Enrico Dandolo, had organized the invasion and sack of Constantinople.
Following the building's conversion into a mosque in 1453, many of its mosaics were covered with plaster, due to Islam's ban on representational imagery. This process was not completed at once, and reports exist from the 17th century in which travellers note that they could still see Christian images in the former church. In 1847–49, the building was restored by two Swiss Italian brothers, Gaspare and Giuseppe Fossati, and Sultan Abdülmecid allowed them to also document any mosaics they might discover during this process. This work did not include repairing the mosaics and after recording the details about an image, the Fossatis painted it over again. This work included covering the previously uncovered faces of two seraphim mosaics located in the centre of the building. The building currently features a total of four of these images and two of them are restorations in paint created by the Fossatis to replace two images of which they could find no surviving remains. In other cases, the Fossatis recreated damaged decorative mosaic patterns in paint, sometimes redesigning them in the process. The Fossati records are the primary sources about a number of mosaic images now believed to have been completely or partially destroyed in an earthquake in 1894. These include a great mosaic of Christ Pantocrator in the dome, a mosaic over a now-unidentified Door of the Poor, a large image of a jewel-encrusted cross, and a large number of images of angels, saints, patriarchs, and church fathers. Most of the missing images were located in the building's two tympana. The Fossatis also added a pulpit (minbar) and the four large medallions on the walls of the nave bearing the names of Muhammad and Islam's first caliphs.

 Minarets
One of the minarets (at southwest) was built from red brick while the other three were built from white limestone and sand stone; of which the slender one at northeast was erected by Sultan Bayezid II while the two larger minarets at west were erected by Sultan Selim II and designed by the famous Ottoman architect Mimar Sinan

About Hagia Sophia Museum

Hagia Sophia is considered a unique monument in world architecture, and its magnificence and functionality has been a good example in construction of countless Ottoman mosques. Hagia Sophia with its exceptional history constitutes a synthesis between east and west. This monument is one of the wonders of the world that has remained intact until the present day. One can find many attractions in Hagia Sophia – interesting forms of Byzantine architecture, mosaics of the Christian period as well as structures added during the Ottoman era. Hagia Sophia has been a Christian place of worship for 916 years, then converted into a mosque and served Muslims for 481 years. Hagia Sophia Museum was opened in 1935 and ever since it has been attracting thousands of visitors every year. According to Byzantine historians (Theophanes, Nikephoros, Grammarian Leon) the first building of Hagia Sophia church was established during the reign of Constantius I (324 – 337 AD). It was a basilica with a wooden roof, and it was burned down during a revolt. Nowadays there is no evidence of this structure. During the reign of emperor Theodosius Hagia Sophia was built for the second time and opened to the public in 415 AD. The basilica was again burned down during the Nika Revolt in 532 AD. Some ruins of this building were discovered during excavations in 1936. There were stairs indicating the entrance of the building, columns, capitals and other fragments of the building. Emperor Justinian (527 – 565 AD) wanted to build a church bigger than two previous ones, which would represent the power and magnificence of empire. The new building of Hagia Sophia was designed by two famous architects of that era – Isidoros from Miletos and Anthemios of Tralles. Many columns, capitals, marble and colourful stone were brought to Istanbul from various ancient cities in Anatolia and used in construction works of Hagia Sophia.

The works were commenced on December 23, 532 AD and completed on December 27, 537. The new building consisted of a large central nave and two side aisles, separated by columns, apse, inner and outer narthex. The size of the inner space of basilica is 100 X 70m and it is covered by the magnificent dome (diametre 30.31 m), supported by the four large piers, 55 m high.

Besides the unique architecture of the building, the mosaics are also important artefacts of the period. The oldest mosaics – gold gilded with geometrical and floral designs - may be found in the inner narthex as well as in side naves. Figural mosaics (with images of Jesus Christ, Virgine Maria etc.) from 9th – 12th centuries are located on Emperor Door, apse, exit doors and upstairs gallery.

After the conquest of Istanbul in 1453, the so-called “Turkish period” started, and several repairs were made in Hagia Sophia. The art works surrounding the mihrab includes the best samples of Turkish pottery and calligraphy. The sure is taken from the Koran inscribed on rounded plates of 7.50 m diametre by Kazasker Mustafa İzzet Efendi, a famous Ottoman calligrapher. The names of Allah, Muhammed, Ömer, Osman, Ali, Hasan, Ebu Bekir and Hüseyin are inscribed there. On the sidewalls of mihrab there are plates written and granted by Ottoman sultans.

Tombs of Sultan Selim II, Sultan Mehmet III, Sultan Murat III as well as some of their relatives, fountain of Sultan Mahmut I, primary school, soup kitchen, library, Sultan Abdülmecit's meeting place and the mosque timekeeper’s (astronomer’s) house may be found in the territory of Hagia Sophia Museum. All of the above mentioned objects, especially the tombs with their interior design, pottery and architecture are excellent examples of Ottoman tradition.

The Museum is open in between 9.30-16.30 every day.

Hagia Sophia Museum

Sultanahmet 34400

Istanbul, Turkey

Phone: +90 212 5221750 - +90 212 5220989

Fax: +90 212 5125474

Please, contact us for any questions / information concerning the Museum:,

E-mail: ayasofyamuzesi@hotmail.com