Saturday, March 25, 2017

BEYKOZ PAVILION

Beykoz Grove, Beykoz - İstanbul - Turkey

GPS : 41°08'17.4"N 29°04'53.7"E / 41.138167, 29.081583

Beykoz Pavilion / Istanbul photo beykoz_pavilion110.jpg

PHOTOGRAPHS ALBUM

The construction of Beykoz Pavilion started by the order of Mehmed Ali Pasha, Governor of Egypt in 1845 and upon his death completed in 1854 by the order of his son as a present to Sultan Abdülmecid who used to go Beykoz Çayırı and Tokat Promenade on the hills of Hünkar İskelesi. As it was dedicated to Sultan Abdülmecid, it’s also called Mecidiye Pavilion.

Close to Hünkar Quay, Beykoz Pavilion was built by Mehmet Ali Pasha, Khedive of Egypt, for Sultan Abdülmecit and designed by Nigogos and Sarkis Balyan. The construction work, which was initiated in 1855, were later completed by Said Pasha, son of Mehmet Ali Pasha, in 1866. The first brick structure on the Bosphorus, the pavilion was given as a gift to Sultan Abdülaziz when it was completed.

It’s situated on the top of a grove park with a landscape design of layered terraces beginning from the seaside. In its early days Sultan was used here as a short time residence while riding in the area, but later foreign statesmen and ambassadors were received there. Although it was meant to be an imperial building because of its uptown location and pleasant weather it was assigned for public service even in Ottoman period and became an orphanage.

During the following years, the pavilion functioned initially as an orphanage and later as a Trachoma hospital. The building, later became a Tuberculosis Research Hospital in 1963. It is now Children Thoracic Diseases Hospital. In 1920s it became a preventorium and then a Chest Diseases Hospital for children until 1999 when it was taken over by Head Department of National Palaces and restoration works began to open it to public as a museum.

The two-storeyed, half-timbered building has a symmetrical plan and neo-classical façade and designed as a hall in the middle with rooms surrounded. Photographs of the pavilion taken during the reign of Sultan Abdülhamid II reveal its rich decoration with gilded furnitures, upholsteries and curtains of Hereke fabrics, Baccarat vases and big crystal chandeliers.

The stones used on the facade of this pavilion were brought from Italy. This two storey square planned structure’s rooms are located adjacent to the halls on floors. In the pavilion, in whose interior space marble was used, there is no kitchen and bath since it was not used for accommodation.

There’s a resting pavilion in the garden, known as “Mountain Hamam (ancient Turkish bath)”; its inner walls are covered with oyster shells. An artificial cave, within the two hundred acre garden, two domed rooms and the walls were decorated with oyster shells.

LOCATION SATELLITE MAP



WEB SITE : Department of National Palaces / Beykoz Pavilion

MORE INFO & CONTACT
E-Mail : millisaraylar@tbmm.gov.tr
Phone : +90 212 236 9000
Fax : +90 212 259 3292

These scripts and photographs are registered under © Copyright 2017, respected writers and photographers from the internet. All Rights Reserved.

FLORYA ATATÜRK MARINE MANSION

Florya, Bakırköy - Istanbul - Turkey

GPS : 0°58'23.0"N 28°46'58.0"E / 40.973056, 28.782778

Florya Ataturk Marine Mansion / Bakirkoy - Istanbul photo florya_mansion107.jpg

PHOTOGRAPHS ALBUM

A settlement on the coast of the Marmara Sea between Yeşilköy and Küçükçekmece, Florya is known to be a resort for hunters in the 19. Century. Florya, which gained importance with Atatürk’s interest, has transformed gradually to a summer resting centre.

According to historical documents, Florya coast was full of nice villages in 17th century within its border to Yeşilköy, known as Ayastefanos at the time. Kalatarya district with its oftenly visited church and holy spring and also Imperial Filurya Garden was close to the area. It’s understood from the phrase seen in 18th century documents as "Filoriye garden with its fresh water and Sultan’s palace inside..." there was an Otoman settlement in the area.

Florya and its environs were mostly fishing areas in 19th century and previously. In the late Ottoman Empire urban development began there along with the construction of railway lines and it gained extra importance with the interest of Atatürk in the early Republican period. An area of 230 hectares were afforested and Florya became a summer resort in time. İstanbul Municipality organized a competition for a mansion project in 1935 which planned to have been built in Florya coast where Atatürk used to go for resting. It’s thought to be helpful for his recovery to stay there.

The awarded project designed by architect Seyfi Arkan was in Bauhaus style that was common in European architecture of the period. The building complex designed as a relaxing place consists of Atatürk Mansion, General Secretariat Building and Aides’ Building. There was also the White, Blue and Red pavilions then, but they don’t exist now. The construction was finished in August 14, 1935. The mansion was constructed over the columns stuck to the sea base and was connected to the land with a bridge.

In the mansion opened to visitors on August 14, 1935, Atatürk lived for a long period over the June and July in 1936, used the mansion for political and scientific meetings and hosted certain guests like Edward VIII, the king of Great Britain and Madame Simpson. Atatürk didn’t use the mansion just for resting but occasionally managed the affairs of state while he was in İstanbul, held political and scientific conferences and hosted many important guests there among whom were King Edward III of England and Mrs. Simpson. He stayed there for the last time in May 28, 1938.

During the period he stayed at Dolmabahçe Palace, Atatürk came to the mansion by boat and enjoyed swimming surrounded by local people. He used the mansion for the last three years of his life as a summer office as well as for recreation. In 1936, he stayed from June 6 until July 28 at the mansion. His last stay was on May 28, 1938, about six months before his death.

After his death it was used as a Presidential summer residence by İsmet İnönü, Celal Bayar, Cemal Gürsel, Cevdet Sunay, Fahri Korutürk and Kenan Evren.

This group of structures was transferred to the Department of National Palaces under the Turkish Grand National Assembly (TGNA) by the Presidency of the Republic on September 16, 1988. After the completion of its restoration, decorated with the furniture of that period suiting the style of the mansion which was designed with a modern understanding in its period the mansion was made an Atatürk Museum and a permanent photograph exhibition named "Atatürk is in Istanbul" was formed in it.

Some of the buildings of Yaverlik and General Secretariat constructed behind the Atatürk mansion could not survive till today and the rest were restored to become TGNA social facilities. In the empty place between these buildings a structure serving as a cafe and a restaurant was annexed.

The Presidency assigned its management to TBMM, Head Department of National Palaces in September 16, 1988 and it was opened to public as "Atatürk Museum" at 1993 after being restored. It was erected on steel piles driven into the sea bottom and linked to the mainland by a bridge of 90 meters in length. The one-storeyed building has a modest facade design and seems like a floating boat.

ARCHITECTURE AND INTERIOR DESING

The tower situated on the north entrance facade is in the geometrical and aesthetic form of modern architecture. The perpendicular part to the shore consists of service and staff rooms, bathrooms and toilets. Atatürk’s study room, bathroom and bedroom are on its east side. The walnut and bird’s eye veneered bookcase, tape player in Artdeco style, furnitures like the armchair with spring balance function and lighting fittings are compatible with mansion’s modest, modern and original architectural design.

Designed in the Bauhaus style by architect Seyfi Arkan, who was given the commission in 1935 by the municipality of Istanbul, the mansion was completed on August 14 the same year, and was gifted to Atatürk.

The building is constructed on steel piles driven into the seabed and is connected to the sandy beach about 70 m (230 ft) away with a wooden pier. The L-shaped, one-floor mansion consists of a reception hall, a reading room, bedrooms and bathroom. There are also service and staff rooms at the complex. The total area covered by the mansion including the pier is 602 m2 (6,480 sq ft).

It was erected on steel piles driven into the sea bottom and linked to the mainland by a bridge of 90 meters in length. The one-storeyed building has a modest facade design and seems like a floating boat. The tower situated on the north entrance facade is in the geometrical and aesthetic form of modern architecture.

The perpendicular part to the shore consists of service and staff rooms, bathrooms and toilets. Atatürk’s study room, bathroom and bedroom are on its east side. The walnut and bird’s eye veneered bookcase, tape player in Artdeco style, furnitures like the armchair with spring balance function and lighting fittings are compatible with mansion’s modest, modern and original architectural design.

A grove was created in the yard of the ruined Agios Stefanos Monastery as the garden for the mansion on Atatürk's taking possession. This grove is called "Florya Atatürk Grove" (Turkish: Florya Atatürk Korusu) and is today a public park. The mansion is considered an example of the "Turkish Early Republican architecture".

Museum
Due to the encroaching urban development and the consequent pollution of the sea at the site, the mansion fell into disuse as an official residence. On September 6, 1988, the building was handed over to the National Palaces Department of the Turkish Grand National Assembly. It was then renovated and opened in 1993 to the public as a museum.

A section of the mansion is reserved as a social facility for members of parliament. The museum exhibits furniture, tableware, personal belongings including swimwear, as well as a collection of Atatürk's photographs taken at the site.

LOCATION SATELLITE MAP



WEB SITE : Department of National Palaces / Florya Atatürk Marine Mansion

MORE INFO & CONTACT
E-Mail : millisaraylar@tbmm.gov.tr
Phone : +90 212 236 9000
Fax : +90 212 259 3292

These scripts and photographs are registered under © Copyright 2017, respected writers and photographers from the internet. All Rights Reserved.

TOPHANE MANSION

Tophane, Beyoğlu - İstanbul - Turkey

GPS : 41°01'38.0"N 28°58'56.2"E / 41.027222, 28.982278

Tophane Mansion / Beyoglu - Istanbul photo tophane_mansion110.jpg

PHOTOGRAPHS ALBUM

The Tophane Pavilion gets its name from Tophane neighborhood, meaning Cannon factory in Turkish, where there was one. It's located next to the Nusretiye mosque and was one of the most important buildings on the Tophane Square during the Ottoman period. The kiosk was ordered by Sultan Abdülmecid and built by the British architect William James Smith in 1852.

 It was especially used by the sultans visiting these weapons factories in the neighborhood and also to receive foreign guests coming to the port by the sea, such as the Russian Czar's brother Grand duke Konstantin.

Many important events took place at this mansion. The Russian Tsar's brother Grand Duke Constantine was welcomed there by Sultan Abdülmecid. The 1897 International Conference which put an end to the Ottoman-Greek War was held at the Tophane Mansion. As was the convening of the International Straits Commission as a follow up to the Lausanne Treaty.

The mansion is parallel to the sea, rectangular and two stories high. On the exterior of the building there are baroque styled projections from the second story floor ledges. Internally the ceiling murals and marble fireplaces are the most striking features.  It has a European style like all other mansions of the same period, with fine hand work ceiling decorations and marble fireplaces.

At the moment Tophane Kiosk is closed to visitors and administrated by the Fine Arts faculty of Mimar Sinan University.

LOCATION SATELLITE MAP



These scripts and photographs are registered under © Copyright 2017, respected writers and photographers from the internet. All Rights Reserved.

Friday, March 24, 2017

IHLAMUR PAVILION

Ihlamur, Beşiktaş - İstanbul - Turkey

GPS : 41°03'03.0"N 29°00'06.0"E / 41.050833, 29.001667

Ihlamur Pavilion / Besiktas - Istanbul photo ihlamur_pavilion115.jpg

PHOTOGRAPHS ALBUM

Lovely imperial rest house "Ihlamur Kasrı" was built in the midst of Linden trees, where you can have a cup of coffee, or as the Turkish word Ihlamur implies, a cup of Linden tea. Ihlamur Palace (Turkish: Ihlamur Kasrı), is a former imperial Ottoman summer palace located in Istanbul, Turkey. It was constructed during the reign of Sultan Abdülmecid I (1839-1860). It is under the administration of the Turkish Department of National Palaces.

Ihlamur Valley, located between Beşiktaş, Yıldız and Nişantaşı is known as an excursion area belonging to Hacı Hüseyin Ağa, superintendent of the Navy Yard, and so called as “Hacı Hüseyin Vineyards” in 18th century. Although it was transformed into a “Hasbahçe” (imperial garden) belonging to the sultan during the reign of Sultan Ahmed III (1703-1730), this territory, known as “Hacı Hüseyin Vineyards” until second half of 19th century, took the attention during the reign of Sultan Abdülhamid I (1774-1789) and of Sultan Selim III (1789-1807) too.

It is mentioned in some sources that in the middle of the 18th century, there had previously been a kiosk on the site that that belonged to Hüseyin Efendi. In other sources, it is mentioned that there was an imperial garden (Has Bahçe) where linden trees grew at the beginning of the 18th century.  However, all the existing buildings were demolished and the present buildings were constructed by the Armenian-Turkish architect, Nikogos Balyan, between 1849-1855.

When Sultan Abdulmecid (1839-1861), ascended the Ottoman throne, construction of Ihlamur Pavilions were initiated on the area where Ihlamur Excursion is located. These two buildings, situated within a 24,724 square meters of woodland, bordered by high surrounding walls in patches and by cast fences at some places, have been called sometimes as “Nüzhetiye” and sometimes as “Ihlamur Pavilions” since their construction in 1849-1855.

Ceremonial Kiosk, which is the main building, has an impressive architecture at the front face with its staircase carrying Baroque characteristics which reflects the taste of the period and with its interesting and dynamic reliefs. For the interior ornaments of the pavilion consisting of an Entrance Hall and one room at each side, a decoration in compliance with the Western decoration understanding, which was preferred at Ottoman artworks during 19th century, was implemented.

A particular integrity was achieved with the furniture and furnishing elements in various European styles. The Merasim Kiosk was reserved for the sultan’s personal use. The Maiyet Kiosk, the simpler of the two, was used by the sultan’s entourage and family members, and it currently serves as a beautiful cafeteria. The Merasim Kiosk has been garnished with Baroque style carvings. The ceiling of the kiosk is covered with landscape pictures.

The porcelain ornaments decorating the fireplace are products of Yıdız Oven. The kiosk is decorated with crystal chandeliers, European-style furniture, Hereke carpets, and decorated vases.

The most sophisticated Merasim Köşk, was reserved for the Sultan's own use. A twisting baroque staircase frames the entrance and intense decoration surrounds the façade. The interior decoration is typical of l9th century Turkish architecture, highly westernized but eclectic, in keeping with the furnishings and fittings in various European styles. The Imperial Gate was reserved for the Sultan, his family and royal visitors only.

Maiyet Kiosk, used by sultan’s entourage and sometimes by his harem, is a less ornate building with respect to the other one. It exhibits a more traditional schema with its space arrangement which consist of corner rooms opening to a central sofa. The walls of Maiyet Kiosk are covered with stucco which look like marble, in different colours.

Ceremonial Kiosk of Ihlamur Pavilions is kept open to visits as a museum-palace and Maiyet Kiosk is organized as a winter cafeteria. The garden of the pavilion, around the Maiyet Kiosk and the garden around the pool at the interior part are also used as a summer cafeteria.

Sultan Abdülaziz (1830-1876) organized cock and ram fights as well as the wrestling competitions in which he personally participated in the garden of the Maiyet Kiosk. Sultan Abdülmecid I (1823-1861) welcomed Lamartine, a famous French writer, poet, and politician, in this kiosk. Sultan Mehmet Resat V accepted the king of Bulgaria and Serbia here.

The sultan's entourage or family members who accompanied him used the plainer and slightly smaller Maiyet Köşk.  The other two gates were used by foreign diplomats and guests. The large central pool, baroque in style and adorned with statues of lions was once surrounded by rose-beds.

There is a cafe in the Maiyet Köşk and part of the garden, and as at the other palaces and pavilions private receptions may be held here by prior arrangements. A newer building in the grounds that used to be accommodation for employees is now used to hold courses in painting, sculpture and drama mainly for children.

The pavilion was not used for a long time after the foundation of the Republic. The Ihlamur Pavilions were placed under the support of the National Palaces in 1966 as museum-palaces and are open to the public. The Merasim Kiosk was converted into “the Museum of Tanzimat,” and the Maiyet Kiosk into “The Historical Kiosks Museum.” Both Kiosks were completely restored during the 1980s. The pavilion was opened to visitors along with its garden in 1987.

Before the royal lodges were constructed here Abdülmecid used to visit this pleasant wooded valley frequently. There was nothing in the park but a tiny plain building and here Lamartine, the famous French writer and poet, was received by Sultan Abdülmecid in the mid 19th century. In his account of the occasion Lamartine could not disguise his disappointment at the humble setting in which he met the Ottoman sovereign. Lamartine would not have been disappointed by the Ihlamur Palace shortly afterwards.

HISTORY

Ihlamur Valley, located between Beşiktaş, Yıldız and Nişantaşı is known as an excursion area belonging to Hacı Hüseyin Ağa, superintendent of the Navy Yard, and so called as “Hacı Hüseyin Vineyards” in 18th century.

Although it was transformed into a “Hasbahçe” (imperial garden) belonging to the sultan during the reign of Sultan Ahmed III (1703-1730), this territory, known as “Hacı Hüseyin Vineyards” until second half of 19th century, took the attention during the reign of Sultan Abdulhamid I (1774-1789) and of Sultan Selim III (1789-1807) too. When Sultan Abdulmecid (1839-1861), ascended the Ottoman throne, construction of Ihlamur Pavilions were initiated on the area where Ihlamur Excursion is located.

The Ihlamur Pavilion is located at the intersection of Nüzhetiye Street between Ihlamur and Teşvikiye and has an area of about 25,000 square meters. It is mentioned in some sources that in the middle of the 18th century, there had previously been a kiosk on the site that that belonged to Hüseyin Efendi. In other sources, it is mentioned that there was an imperial garden (Has Bahçe) where linden trees grew at the beginning of the 18th century. However, all the existing buildings were demolished and the present buildings were constructed by the architect, Nikogos Balyan, between 1849-1855.

Ihlamur Valley lying behind the district of Beşiktaş was a popular picnic place in the early 18th century, when the vineyards here belonged to Hacı Hüseyin Ağa, superintendent of the Naval Arsenal. Although this attractive spot became an imperial estate during the reign of Ahmed III (1703-1730), it continued to be known by this name until the mid-19th century. Abdülhamid I (1774-1789) and his son Selim III (1789-1807) frequently visited this park.

Ihlamur Pavilions were part of the ambitious building programme initiated by Sultan Abdülmecid (1839-1860), including Dolmabahçe Palace at Beşiktaş and Küçüksu Pavilion on the Bosphorus.

Before the royal lodges were constructed here Abdülmecid used to visit this pleasant wooded valley frequently. There was nothing in the park but a tiny plain building and here Lamartine was received by Sultan Abdülmecid in the mid-19th century. In his account of the occasion the famous French poet could not disguise his disappointment at the humble setting in which he met the Ottoman sovereign.

Sultan Abdülaziz (1861-1876) was not as fond of Ihlamur as his elder brother, and seems to have come here only to watch cock and ram fights in the garden. Sultan Abdülaziz (1830-1876) organized cock and ram fights as well as the wrestling competitions in which he personally participated in the garden of the Maiyet Kiosk. Sultan Abdülmecid I (1823-1861) welcomed Lamartine, a famous French writer, poet, and politician, in this kiosk. Sultan Mehmed V Reşad (1909-1918) came here occasionally, and it was at Ihlamur that he received the kings of Bulgaria and Serbia.

The pavilion was not used for a long time after the foundation of the Republic. The Merasim Kiosk was converted into “the Museum of Tanzimat,” and the Maiyet Kiosk into “the Historical Kiosks Museum.” Both Kiosks were completely restored during the 1980s. The pavilion was opened to visitors along with its garden in 1987.

ARCHITECTURE AND INTERIOR DESING

These two buildings, situated within a 24,724 square meters of woodland, bordered by high surrounding walls in patches and by cast fences at some places, have been called sometimes as “Nüzhetiye” and sometimes as “Ihlamur Pavilions” since their construction in 1849-1855.

Ceremonial Kiosk, which is the main building, has an impressive architecture at the front face with its staircase carrying Baroque characteristics which reflects the taste of the period and with its interesting and dynamic reliefs. For the interior ornaments of the pavilion consisting of an Entrance Hall and one room at each side, a decoration in compliance with the Western decoration understanding, which was preferred at Ottoman artworks during 19th century, was implemented. A particular integrity was achieved with the furniture and furnishing elements in various European styles.

The Merasim Kiosk was reserved for the sultan’s personal use. The Merasim Kiosk has been garnished with Baroque style carvings. The ceiling of the kiosk is covered with landscape pictures. The porcelain ornaments decorating the fireplace are products of Yıdız Oven. The kiosk is decorated with crystal chandeliers, European-style furniture, Hereke carpets, and decorated vases.

The most elaborate of the two, known as the Merasim Köşk, was reserved for the sultan's own use. A curving baroque staircase frames the entrance and dense decoration swathes the façade. The interior decoration is typical of 19th century Ottoman architecture, highly westernised but eclectic, in keeping with the furnishings and fittings in various European styles.

The plainer and slightly smaller Maiyet Köşk was used by the sultan's entourage or family members who accompanied him. Maiyet Kiosk, used by sultan’s entourage and sometimes by his harem, is a less ornate building with respect to the other one. It exhibits a more traditional schema with its space arrangement which consist of corner rooms opening to a central sofa. The walls of Maiyet Kiosk are covered with stucco which look like marble, in different colours.

Lamartine would not have been disappointed by the two lodges which were built at Ihlamur shortly afterwards, however. Built by the architect Nikoğos Balyan between 1849 and 1855, they have been variously called the Nüzhetiye and Ihlamur Pavilions.

LOCATION SATELLITE MAP



WEB SITE : Department of National Palaces / Ihlamur Pavilion

MORE INFO & CONTACT
E-Mail : millisaraylar@tbmm.gov.tr
Phone : +90 212 236 9000
Fax : +90 212 259 3292

These scripts and photographs are registered under © Copyright 2017, respected writers and photographers from the internet. All Rights Reserved.

YILDIZ ŞALE PAVILION

Yıldız, Beşiktaş - Istanbul - Turkey

GPS : 41°03'12.0"N 29°00'50.0"E / 41.053333, 29.013889

Sale Pavilion / Yildiz, Besiktas - Istanbul photo sale_pavilion118.jpg

PHOTOGRAPHS ALBUM

Yıldız Palace and Yıldız Park covered an area of 500,000 square meters on the hillside overlooking the Bosphorus between Beşiktaş, Ortaköy and Balmumcu. Şale Pavilion is a residence building within the premises of Yıldız Palace in Istanbul. The sultan’s residence was in the Şale Kiosk or pavilion. The pavilion was built for foreign statesmen in the 19th century. It is the best maintained structure of the palace with the original furnishings and the inner decoration.

Yıldız Şale Köşkü is a 60-room Ottoman imperial palace of wood and stone built at the top of a hill in Yıldız Parkı overlooking the Bosphorus in the Beşiktaş district of Istanbul. It is the residential part of a larger palace complex that included administrative offices and guards' barracks. Begun on orders of Sultan Abdul Hamid II in 1880, it reached its final form in 1898 after several expansions.

HISTORY

This area of natural woodland became known as Kazancıoğlu Park after the Turkish conquest, and probably became an imperial estate during the reign of Sultan Ahmed I (1603-1617). Sultan Murad IV (1623-1640) is known to have enjoyed excursions here, and Selim III (1789-1807) had a country pavilion or köşk known as Yıldız built here for his mother Mihrişah Valide Sultan. It is after this köşk that the park came to be named.

Selim's successor Sultan Mahmud II (1808-1839), Sultan Abdülmecid (1839-1861) and Sultan Abdülaziz (1861-1876) had new mansions and pavilions constructed in the park, and in the late 19th century Sultan Abdülhamid (1876-1909) abandoned Dolmabahçe to make this complex his home. He greatly expanded the palace with many new buildings during his reign.

Yıldız Palace became the fourth seat of Ottoman government in Istanbul, after Eski Saray (the Old Palace) which stood where Istanbul University is today, Topkapı Palace and Dolmabahçe Palace.

ARCHITECTURE AND INTERIOR DESING

The building has two floors and a basement and constructed from a mix of wood and stone. It was constructed in three phases. The first part was built in the 1870s and was designed to resemble a Swiss chalet, hence the name Şale. Set in its own walled garden, Şale consists of three adjoining sections built at different dates. The original section dates from 1880, the second section designed by Sarkis Balyan from 1889, and the third section known as the Merasim Köşkü (literally Ceremonial Pavilion) was designed by the Italian architect Raimondo D'Aronco and completed in 1898.

 It was during this phase that the Sedefli Salon (Mother-of-Pearl Salon) was added. The name derives from the extensive use of mother-of-pearl that covered almost all of its surfaces. There are also detailed painted landscapes on the ceiling. The third section was also built for Kaiser Wilhelm II in 1898. The reception chamber was built during this period and remains the most impressive room in the entire Şale Pavilion.

Elegant features of the chamber include a gilded, coffered ceiling and large mirrors. Sultan Abdülhamid II was a skilled carpenter and actually made some of the pieces of furniture that can be found in the Şale Pavilion.

Each of the additional wings was built for two separate state visits by the German emperor Wilhelm II, since accommodating state guests was one of the Şale's main functions. The building has two main storeys and a basement, and is built of both timber and masonry. In keeping with traditional Ottoman houses, the Şale consists of two separate sections which could be used as Harem and Selamlık when required. There are seven entrances, and the windows have wooden shutters. Three elegant staircases, one of marble and the other two of wood, connect the two main floors.

The informal air of a country house is deceptive, as both the scale of the building and the opulence of the interior show. Behind the façade we find not a modest pavilion but a small palace, whose grandiose reception rooms are decorated with mural landscapes, geometric moulding, and painted designs in a mixture of baroque, rococo and Islamic style. Most imposing of all is the Ceremonial Hall, with its single piece Hereke carpet, custom made to fit the room and measuring 406 square meters, its gilded coffered ceiling and large pier mirrors.

The Banqueting Room has a more oriental atmosphere with doors intricately inlaid with mother-of-pearl, while the focal point of the Yellow Room is the landscapes which adorn the ceiling. The valuable furnishings imported from various European countries, the elegant porcelain stoves, magnificent vases, and splendidly carved bedroom suites bear witness to the sumptuous tastes of the period.

After the fall of the monarchy the Şale was being restored to its original function as a guest house for visiting heads of state and royalty. Among the famous names who have stayed here are Şah Rıza Pehlevi of Iran, King Faisal of Saudi Arabia, King Hüseyin of Jordan, President Sukarno of Indonesia, King Haile Selassie of Ethiopia, and President De Gaulle of France.

MUSEUM

Today the Şale Pavillion at Yıldız Palace is open to the public as a museum-palace, and private receptions are held in its gardens.

Among the group of buildings of Yildiz Palace, a part of the stables named as Istabl-ı Amire-i Ferhan and the maneage buildings gained new functionality after the completion of their restorations. Classical Turkish Arts Center is situated at one of the buildings. Maneage building was transformed into a conference hall which can be allocated to congresses and seminars.

LOCATION SATELLITE MAP



WEB SITE : Department of National Palaces / Şale Pavillion

MORE INFO & CONTACT
E-Mail : millisaraylar@tbmm.gov.tr
Phone : +90 212 236 9000
Fax : +90 212 259 3292

These scripts and photographs are registered under © Copyright 2017, respected writers and photographers from the internet. All Rights Reserved.

ABDÜLMECİD EFENDİ PAVILION

Bağlarbaşı, Üsküdar - İstanbul - Turkey

GPS : 41°01'41.4"N 29°02'29.5"E / 41.028167, 29.041528

Abdulmecit Efendi Pavilion / Uskudar - Istanbul photo abdulmecit_mansion105.jpg

PHOTOGRAPHS ALBUM

This is located on Gümüşyolu Street, accross from the Jewish graveyard. It was built for the last caliph Abdülmecid, when he was a prince. The area, known as the grove of Abdülmecid Efendi, measures about 160 acres. It is located in Bağlarbaşı, and descends down towards Nakkaştepe and Beylerbeyi. Before Abdülmecid, it used to belong to Hidiv Ismail Paşa.

On the enamelled tiles above the gate it is written: "There is no victor but Allah." This statement was used in the palaces, mosques and coins of the Andalusian Ummeyyades.

The same statement can be seen in the Yıldız Palace, which was built by Sultan Abdülhamid II, modeled on the Andalusian palaces. The gate is the most beautifully ornamented pavilion gate in İstanbul. On the walls and above the doors there are written many verses taken from Turkish and Arabic poets.

Abdülmecid Efendi (1 June 1868-23 August 1944) was born in Dolmabahçe Palace as the son of Sultan Abdülaziz and Hayranidil Kadınefendi, in his younger ages he was enrolled in the artillery branch of the army and he was educated by Halil, Hüseyin and Said Paşas. He was interested in horsemanship, hunting, wrestling, fencing and painting and music, he developed his art as a painter.

Abdülmecid Efendi who knew French, Persian, Arabic in good level, learned also German and English as much as to follow the publications. Abdülmecid Efendi who was in close relations with art and literature circles, during his princehood worked in Feriye Palace in winters and in the ateliers situated in Bağlarbaşı Köşkü in summers.

When he became hair apparent, he continued working in Dolmabahçe Hair Section and in his atelier in Dolmabahçe, when he settled here as caliph. Abdülmecid Efendi became the honorary president of the Ottoman Painters Association founded in 1909 and he supported financially for the publication of Ottoman Painters Association Newspaper.

The first of 1914 generation besides supporting Galatasaray exhibitions opened in Galatasaray Dormitory in 1916, he himself participated in this activity by his paintings. The supports and interest of Abdülmecid Efendi for the painting was not limited with this. Another one is the activity named as Şişli Atelier. The art works produced in Şişli Atelier took their place in Vienna Exhibition in 1918 that was the first exhibition opened in Europe by Turkish painters.

Abdülmecid Efendi, participated to 1918 Vienna exhibition by his paintintings, “Otoportre”, “Harem’de Goethe”, “Harem’de Beethoven” and “I.Sultan Selim”. In 1 November 1922 as the sultanate and the caliphate were separated and as Sultan Vahideddin left Istanbul in 17 November 1922, Abdülmecid Efendi was chosen caliph by Turkish Grand National Assembly.

In 3 March 1924 caliphate was abolished by law and the Ottoman Emperor was sent abroad. Abdülmecid Efend first went to Switzerland then to Nice in France and he settled in Paris. In 1944 he died here and he was buried in Medine Cenetül-Baki tomb.

Today, the pavilion is used for the social activities of Yapı Kredi Bank.

LOCATION SATELLITE MAP



WEB SITE : Department of National Palaces / Abdulmecid Efendi Pavilion

MORE INFO & CONTACT
E-Mail : millisaraylar@tbmm.gov.tr
Phone : +90 212 236 9000
Fax : +90 212 259 3292

These scripts and photographs are registered under © Copyright 2017, respected writers and photographers from the internet. All Rights Reserved.

Thursday, March 23, 2017

MASLAK PAVILION

Maslak, Sarıyer - Istanbul - Turkey

GPS : 41°07'10.1"N 29°01'33.7"E / 41.119472, 29.026028

Malta Pavilion / Yildiz, Besiktas - Istanbul photo malta_pavilion173.jpg

PHOTOGRAPHS ALBUM

Facilities
Cafe (Located in the garden of the Palace), Toilettes (Located at the garden of the Palaces), Parking (Located at the entrance of the Palace)

The Maslak Pavilion is located on Büyükdere Street, at the intersection of Istinye and Tarabya. The hilltop site of these royal lodges overlooking the Bosphorus is between the districts of Levent and Ayazağa on the European shore. The Maslak Pavilion was used for hunting and as a resting place by Sultan Abdülhamid II who learned how to become the new Sultan of the Ottoman Empire in this pavilion.

HISTORY
Sultan Mahmud II (1808-1839) first had a pavilion constructed here, and Sultan Abdülhamid II (1876-1909) lived in the later pavilion as a young man. Exactly when the royal lodges were constructed and by whom is unknown, but most can be roughly dated to the reign of Sultan Abdülaziz (1861-1876).

ARCHITECTURE AND INTERIOR DESING

Set in a wooded park with an area of 170,000 square meters, the Maslak Royal Lodges consist of the main Kasr-ı Hümayün (imperial kiosk), the Mabeyn-i Hümayün (imperial court) with its adjoining Conservatory, the Çadır Köşk and Paşalar Dairesi. Commanding a magnificent view over the Bosphorus strait and set amongst green woodland, the kasırs are outstanding examples of late 19th century Ottoman architecture.

Compared to other pavilions of the Ottomans, it has a simple structure in that only the sultan's signature has been is used to decorate the different sections of the pavilion. Sultan Abdülhamid II had his study and bedroom in the Kasr-ı Hümayün, and it was here that he was informed of his accession to the Ottoman throne.

Kasr-i Hümayun
The Kasr-i Hümayun (imperial kiosk) contains the bedroom and working room of Sultan Abdülhamit II. It is a two story structure that has a basement and and attic with a view of the sea. On both sides of the entry, there are columns on which the balcony is placed. The ceilings of all the rooms and the walls of the hall are decorated with engraved pictures.

Mabeyn-i Hümayun
The Mabeyn-i Hümayun (imperial court) was the private flat of the sultan, and consists of a single storey made of stone. There are invaluable plants, camellias, ferns, and banana trees in the lemon mansion. There is also a beautiful greenhouse located in the middle of the lemon mansion.

Çadır Kiosk
The Çadır Kiosk is a fancy two story structure in the shape of an octagon. It has wide valances on the roof, a balcony ringing the kiosk, and is built out of wood.

Paşalar Dairesi
Paşalar Dairesi (General's room): It is a beautiful structure made of stone with a single storey and has a Turkish bath in the building.

MUSEUM

Today, Kasr-ı Hümayun has been restored in the light of the documents, memoirs and old photographs and opened to the visits as a museum-palace in 1986. Mabeyn-i Hümayun and its annexes Limonluk and Çadır Kiosk and its garden have similarly been handled and restored and transformed into cafeterias where visitors may take a rest.

The camellias in the Limonluk, which especially bloom during the winter months, are the oldest examples of their kinds in the city. The gardens of the Maslak Pavilions can be allocated to national or international receptions.

Maslak Royal Lodges Cafe give the chance to rest within historic environments with cold-hot drinks, snack food and breakfast services in Maslak Pavilion.

LOCATION SATELLITE MAP



WEB SITE : Department of National Palaces / Maslak Pavillion

MORE INFO & CONTACT
E-Mail : millisaraylar@tbmm.gov.tr
Phone : +90 212 236 9000
Fax : +90 212 259 3292

These scripts and photographs are registered under © Copyright 2017, respected writers and photographers from the internet. All Rights Reserved.

SEPETÇİLER PAVILION

Sarayburnu - Istanbul - Turkey

GPS : 41°01'00.0"N 28°58'54.0"E / 41.016667, 28.981667

Sepetciler Pavilion / Sarayburnu, Fatih - Istanbul photo sepetciler_pavilion120.jpg

PHOTOGRAPHS ALBUM

Sepetçiler Pavilion is one of the pavilions that remained intact to this day, located in the external garden of Topkapı Palace on the sea walls. The construction of Sepetçiler Pavilion was started in 1591 by Grand Vizier Sinan Pasha in Sultan Murat III’s era (1574-1595) and was completed in the first year of the grand vizier office of Ferhat Pasha.

The materials that were used in the construction of the pavilion, built on the walls from the era of Byzantium Emperor Theodosius II, were brought from various places of Anatolia: the red marble was brought from Darıca and Rusçuk, tiles came from İznik, and iron accessories and nails came from Samakoy and Salonika.

According to the text on the epigraph on the door arch of the pavilion; the pavilion, which was located within the borders of Topkapı Palace in the era when it was constructed, was reconstructed in 1643 in Sultan İbrahim’s era (1640-1658), and renewed in 1739 in Sultan Mahmut I’s era (1730-1754).

It was repaired in the middle of the 19th century. Being one of the most magnificent structures constructed during the Ottoman era, there are several rumors about Sepetçiler Pavilion. One of them is that this pavilion was called Sepetçiler because the old buildings in Edirne Palace were called Sepetçi or Sultani.

According to another rumor, Sultan Ibrahim received help from sepetçi traders (basket makers) when he decided to reconstruct the old manor here, as he protected the mat makers and basket makers located behind this pavilion. In reality, basket makers continued their work around the pavilion after its construction and the pavilion actually received its name because of the basket makers located there.

Sepetçiler Pavilion’s significance for the urban life of Istanbul was that it is where the imperial boats were docked. Before the railway cut off the connection of the pavilion with Topkapı Palace, sultans’ boats were protected here mostly were small boats, and 5-6 boat houses for galleys here.

Sepetçiler Pavilion has an architectural layout with face stone square plan, domed, with iwans at four edges. The dome is wooden and hidden inside the roof. The parts with iwans effused with cantilevers from the square location with domes over its display a half square plan. There is a three part double partite entrance with a dome in the middle in front of this location. There are service areas under this area.

Having been abandoned for a long period of time, the building was restored by the Directorate General of Old Works and Museums in 1980. After the restorations made in 1980 by the Directorate General of Foundations in 1980, it was used as the International Press Centre of the Directorate General of Press. The Eminonu Service Foundation restored the pavilion in 1998. Sepetçiler Pavilion has served in various capacities, such as a restaurant in addition to as the Directorate General of Press, and was used as the Project Office of European Capital of Culture until June 2011.

Allocated to Turkish Green Crescent Society as of 2011, Sepetçiler Pavilion is now used as the General Headquarters building of the Turkish Green Crescent Society. The Green Crescent is a non-profit and non-governmental organization that empowers youth and adults with factual information about drugs so they can make informed decisions against different kind of addictions including alcohol, tobacco, drug, gambling etc. The Green Crescent was established in 1920 and given the status of Public-Beneficial Society (public beneficial society status is given to the organizations that serve for public benefits) by the Turkish government in 1934.

LOCATION SATELLITE MAP



WEB SITE : Turkish Green Crescent - Headquarters

MORE INFO & CONTACT
E-Mail : info@yesilay.org.tr
Phone : +90 212 527 1683
Fax : +90 212 522 8463

These scripts and photographs are registered under © Copyright 2017, respected writers and photographers from the internet. All Rights Reserved.

KÜÇÜKSU PAVILION

Anadolu Hisarı, Beykoz -  Istanbul - Turkey

GPS : 41°04'43.0"N 29°03'54.0"E / 41.078611, 29.065000

Kucuksu Pavilion / Beykoz - Istanbul photo kucuksu_pavilion139.jpg

PHOTOGRAPHS ALBUM

Küçüksu Palace or Küçüksu Pavilion, aka Göksu Pavilion, (Küçüksu Kasrı) is a summer palace in Istanbul, Turkey, situated in the Küçüksu neighborhood of Beykoz district on the Asian shore of the Bosphorus between Anadoluhisarı and the Fatih Sultan Mehmet Bridge. The tiny palace was used by Ottoman sultans for short stays during country excursions and hunting.

The green area between Göksu and Küçüksu rivers rising .on the slopes of Alemdağ and flowing into Bosphorus near Anadoluhisarı was one of the imperial gardens of sultans and became one of the most favourite promenade in time. Evliya Celebi, the famous traveller of 17th century described Göksu as a "river like adam’s ale" where people used to go boating, a peaceful area surrounded with rose gardens, small mansions and imperial mills.

Sultan Murad IV (1623-1640) ordered to landscape Küçüksu and its environs covered with dense cypress trees up to Kandilli and named the area as "Silver Cypress". The first construction in the imperial garden began during the reign of Sultan Mahmud I (1730-1754). His Grand Vizier Divitdar Emin Mehmed Pasha ordered to built a timber pavilion for Sultan between the years 1751-1752 who used to go there to hunt and target practice.

During the reign of Sultan Selim III (1789-1807) this two-storeyed building by the sea side was restored and in 1806 he ordered to built a fountain there for his beloved mother Mihrişah Valide Sultan. The pavilion which was also used during the period of Sultan Mahmud II (1808-1839) was demolished by the order of Sultan Abdülmecid (1839-1861) and Küçüksu Pavilion was built there between the years 1856-1857.

Its facade decoration was restored and enriched during the reign of Sultan Abdülaziz (1861-1876). The pavilion which was also one of the most popular places for Atatürk in Republican period was opened to public as a museum in 1996.

Küçüksu Pavilion was designed by Nikoğos Balyan and completed in 1857. The pavilion has a ground area of 15 x 27 meters and consists of a basement and two main storeys, the basement containing a larder, kitchen and servants' quarters. Both first and second floors have four corner rooms opening onto a central gallery, a plan which reflects that of the traditional Turkish house.

The pavilion was designed for short stays when the sultan took country excursions or went hunting in the woodland here. Unlike other imperial buildings Küçüksu was not surrounded by high walls but by castiron railings with gates on all four sides. During the reign of Sultan Abdülmecid's younger brother Sultan Abdülaziz (1861-1876) more elaborate decoration was added to the façade. All the outbuildings which once belonged to the pavilion have since been demolished.

The ornate seaward façade and double flight of steps sweeping exuberantly around the ornamental pool and fountain are decorated with diverse western motifs. This European exterior is echoed in the interior furnishing and decoration executed by Sechan, stage designer at Vienna Opera House.

The ceilings are richly decorated with carton-pierre moulding and painted designs. There are so many fireplaces made of Italian marble of various colours in diverse styles, that Küçüksu is like a museum of 19th century fireplace design. The elegant parquet floors have different patterns in each of the rooms, which are furnished with European style furniture, carpets and paintings.

The pavillion is garnished with rococo ornaments which added a fresh complexion to the pavilion with perfect external engraving. Sultan Selim III dedicated the Baroque style fountain to his mother, Valide Mihrişah Sultan, in 1807. The fountain and the pool in the garden are well integrated with the Küçüksu Pavilion. The pavilion was late returned into a museum showcasing carvings, crystal chandelers, carpets, and the the fireplace. All these give an intense visionary pleasure for visitors.

The building consists of two main stories and a basement on a footprint of 15 x 27 m. Unlike other palace gardens with high walls; its garden is surrounded by cast iron railings with one gate at each of the four sides. The basement was appointed with kitchen, larder, and servant's quarters, with the floors above reflecting the design of a traditional Turkish house - four corner rooms surrounding a central hall.

The rooms at the waterfront have two fireplaces while the others have one each, all fashioned from colorful Italian marble. The rooms boast crystal chandeliers from Bohemia, with curtains, furniture upholstery, and carpets woven in Hereke. The halls and the rooms exhibit paintings and arts objects; Sechan, stage designer at Vienna State Opera, was charged for the decoration of the interior.

After the establishment of the Turkish Republic, Küçüksu Pavilion was used as a state guest house for some years, but today is open to the public as a museum-palace. The pavilion was extensively restored in 1994 and the surrounding garden and parkland, nearby fountain and quay are now being transformed into a park where the public can enjoy picnics and excursions as in previous centuries. When this project is completed, the garden of Küçüksu Pavilion will be available for private receptions upon application.

Küçüksu Pavilion give the chance to rest within historic environments with cold-hot drinks, snack food and breakfast services. There is a cafeteria in the courtyard where you can sit and enjoy the ships passing while sipping your Turkish tea or Turkish coffee.

LOCATION SATELLITE MAP



WEB SITE : Department of National Palaces / Küçüksu Pavilion

MORE INFO & CONTACT
E-Mail : millisaraylar@tbmm.gov.tr
Phone : +90 212 236 9000
Fax : +90 212 259 3292

These scripts and photographs are registered under © Copyright 2017, respected writers and photographers from the internet. All Rights Reserved.

Wednesday, March 22, 2017

İZZET PAŞA TEKKESİ (VEZİR TEKKE)

Eyüp - İstanbul - Turkey

GPS : 41°02'40.4"N 28°55'46.0"E / 41.044556, 28.929444

Izzet  Pasa Tekkesi (Vezir Tekke) / Eyup - Istanbul photo vezirtekke_eyup103.jpg

PHOTOGRAPHS ALBUM

Ayvansarayî’nin Hadikatül Cevami’sinde Sadrı Esbak İzzet Paşa, Hacı Mehmet İzzet Paşa veya İzzet Mehmet Paşa Tekkesi adıyla anıldığı belirtilen Vezir Tekkesi, Sofular Mahallesi’nde, Vezir Tekke Sokağı’nda Eyüp Bulvarı üzerindedir. İzzet Paşa’nın 1796 yılında bizzat kurduğu vakıf tarafından yaptırılan bu tekke, vaktiyle Nakşîbendi tekkesi olarak hizmet veriyordu.

The Vezir Derwish Lodge founded 1796 by İzzet Mehmet Paşa, which was located on Vezir Tekke Str. in Sofular district of Eyüp, Istanbul, which had partly been damaged and also been partly in ruins.

The restoration and renovation works of the church which was made of wood is become more of an issue due to it is being destroyed a little more every day. The Lodge which was a non-governmental organizations of the time was built by the Grand Vizier named İzzet Mehmet Paşa and allocated to the use of a sheikh of Sufi order.

Attention was drawn to the restoration project of the lodge in the report  approved by the Municipal Council in which the restoration project of the Eyüp Vezir Dervish Lodge was approved by the Istanbul 2nd Cultural and Natural Estates Conservation Board.

It was stated in the report titled Under the Project it is aimed to renovate the Eyüp Vezir Dervish Lodge to make a contribution to the social and cultural life of the city.

LOCATION SATELLITE MAP



WEB SITE : İzzet Paşa Tekkesi (Vezir Tekke)

MORE INFO & CONTACT
E-Mail : bilgi@sahniseman.org
Phone : +90 212 613 1805
Fax : +90 212 613 1806

These scripts and photographs are registered under © Copyright 2017, respected writers and photographers from the internet. All Rights Reserved.

HASIRIZADE ELİF EFENDİ TEKKESİ

Sütlüce, Beyoglu - İstanbul - Turkey

GPS : 41°02'55.0"N 28°56'29.6"E / 41.048624, 28.941564

Hasirizade Elif Efendi Tekkesi / Sutluce - Beyoglu photo elifefendi_lodge112.jpg

PHOTOGRAPHS ALBUM

Hasırızade Elif Efendi Tekkesi  was built in 1784. Elif Efendi, Hasırızade (b. in Sütlüce, Rajab 1266 / May 1850; d. 28 Jomada I 1345 / 4 December 1926), Turkish poet and scholar. He was the son of Aḥmad Moktar Efendi, the shaikh of the takiya (dervish lodge) at Sütlüce in Istanbul. On 1 Sawwal 1280 / 10 March 1864 his father entrusted him to the Mawlawī reciter Ḥosam-al-Din Efendi. After his initial education, he studied Arabic with well-known scholars.

In 1303 / 1885-86 he received his ejaza (q.v.), while also taking lessons in calligraphy and attending lessons in Rumi’s Matonawi taught by Ṣalaḥ-al-Din Efendi, the shaikh of the Mawlawī lodge at Yenikapı. Elif Efendi then began to teach the Mesnevi, and in 1316 / 1898-99 he donned the Mawlawi turban and garment.

When in 1297 / 1879-80 Aḥmad Moktar Efendi went on pilgrimage to Mecca, he placed his son in charge of the takiya during his absence. The shaikh resumed his post after his return, while Elif Efendi remained his deputy (nayeb) until his father’s death. At that point he succeeded his father as the takiya’s shaikh and devoted all his time to the teaching of the Mesnevi.

He also wrote poetry in Arabic and Persian. A considerable part of his Divan includes Persian qaṣidas and gazals. His Divan has not yet been published. His prose works comprise a few resalas, including one called Moktar al-enbaʾ fi’l-ḥoruf wa’l rosuf wa baʿż al-asmaʾ in Turkish and a commentary (sarḥ) on Komayl b. Zīad’s Semerel al-ḥads fī mazīyat al-nafs, which consists of responses Komayl received from ʿAlī b. Abī Ṭāleb (q.v.) to questions about the soul (nafs).

LOCATION SATELLITE MAP



WEB SITE : Hasırızade Elif Efendi Lodge

MORE INFO & CONTACT
E-Mail : info@elifefendidergahi.com
Phone : +90 212 255 7171

These scripts and photographs are registered under © Copyright 2017, respected writers and photographers from the internet. All Rights Reserved.

BAHARİYE MEVLEVİ TEKKESİ

Bahariye, Eyüp - İstanbul - Turkey

GPS : 41°03'21.3"N 28°56'22.5"E / 41.055917, 28.939583

Bahariye Mevlevi Tekkesi / Eyup - Istanbul photo bahariye_lodge125.jpg

PHOTOGRAPHS ALBUM

The Beşiktaş Mevlevi Lodge (the Beşiktaş Mevlevihanesi) is the third Mevlevi lodge established in Istanbul. Another peculiarity of this lodge is that it is the last Mevlevi lodge to be allocated by government officials. Other Mevlevi lodges established in Istanbul were allocated by Mevlevi Dedes (Kasımpaşa, Üsküdar and Bahariye).

The Beşiktaş Mevlevi lodge was the third establishment after Galata and Yenikapı Mevlevi houses and established in 1613 by the Ottoman Grand Vizier Ohrili Hüseyin Pasha for Ağazade Mehmed Dede in Beşiktaş, Istanbul. The Beşiktaş Mevlevihane was a building that suffered a number of misfortunes; first of all it was demolished to make way for the Çırağan Palace and rebuilt next to the graveyard in Maçka.

The founder of this Mevlevi lodge was one of the leading government officials of XVII, Ohrili Hüseyin Pasha. (Died in May 1622). The Mevlevi lodge had functioned until 1284/1867 in Besiktaş, in that year it was deconstructed by Sultan Abdulaziz in order to build Çırağan Palace in its stead; firstly it was moved to Karacehennem Ibrahim Pasha Mansion in Fındıklı and then moved to its own place in Maçka after it was completed in 1288/1871.

It was again demolished to make way for the new barracks being built on the orders of Sultan Abdülaziz, and rebuilt yet again on a site beside the Golden Horn in the Bahariye neighbourhood, which is on the road leading from Eyüp to Alibeyköy, thus gaining a new lease of life. This moving took place in 1873. Bahariye Mevlevihane was left unattended and neglected just like the other places after the closing down of lodges and was destroyed in the course of time.

But when this lodge was demolished in 1291/1874 for construction of military barracks, it was moved to Hatap Emin Mustafa and Huseyin Efendi Mansions in Eyüp, and after its construction was completed in 1294/1877, it was moved to new building in Eyüp Bahariyesi and it functioned as Bahariye Mevlevi lodge until 1925.

The first sheikh of Beşiktas Mevlevî lodge was Ağazade Mehmed Hakiki Dede who was the sheikh of Gelibolu Mevlevi lodge at the same time. (1063/1652). While Kaptan-ı Derya (literally the Captain of all seas) Ohrili Huseyin Pasha was returning from his Mediterranean Sea expedition, he took hand from Ağazade Mehmed Dede and got the good news that he would soon be given the seal of the Grand Vizier.

In March 1030/1621 Grand Vizier Huseyin Pasha constructed the Beşiktaş Mevlevi lodge and asked Mehmed Dede to be the first postnishin (sheikh) here, Mehmed Dede accepted it and the his mission as a sheikh started in the Gelibolu and Beşiktaş Mevlevi lodges and continued until Hüseyin Pasha’s murder in the same year. After Ağazade Mehmed Dede, chronologically, Sheikh Süleyman Dede (died in. 1065/1654), Hasan Dede (died in. 1071/1660), Nâcî Ahmed Dede (died in.1122/1710), Çengî Yusuf Dede (died in.1080/1669), Eyyûbî Mehmed Memiş Dede (died in. 1136/1723) Memiş Dede’s son Ahmed Dede (died in. 1177/1763) Memiş Dede’s son Mehmed Sâdık Dede (died in. 1178/1764), Abdülahad Dede (died in. 1180/1766), and Trabluslu Ahmed Dede (died in. 1185/1771) served in the Besiktas Mevlevi lodge.

Hüseyin Fahreddin Dede, the last Sheikh of the Beşiktaş/Bahâriye Mevlevî lodge, was a composer, ney player, poet and was well known with his poetry and music love around mystic and art circles. Hüseyin Fahreddin Dede was a distinguished gentle character of his era, his proficiency with his performances of ney and his compositions were thought to be matchless.

Hüseyin Fahreddin Dede’s musical success made Bahariye Mevlevi lodge one of the best musical centers of Istanbul through the end of XIX century and they performed music with Celaleddin Dede, the sheikh of the Yenikapı Mevlevî Lodge, Ataullah Dede, the sheikh of the Galata Lodge and all the famous musician masters of that period such as Hafız Şevki Bey, Medenî Azîz Efendi, Tanbûrî Kemal Bey, Yeniköylü Hasan Efendi, Bolahenk Nuri Bey, Dr. Suphi Ezgi and Rauf Yekta. With those who are accepted as the most important composers and musicians of the 20th century; Udî Mehmed Sabri Efendi (died in 1914), Mehmed Raûf Yektâ Bey (ö. 1935), Ahmed Avnî Konuk (died. 1938), Şeyh Rıza Efendi, Kazım Uz, Şeyh Osman Dede, they performed music.

They brought up Zekâizâde Ahmed Nureddin, Râşid Efendi (an officer in Telgraf Nezareti, like PTT today), Doktor Subhî Bey and Arif Bey, Münir Kökden, Sabri Efendi, Nurullah Kılıç and Cemal Dede.(Neyzen-in-chief) The characteristic of the Beşiktaş/Bahariye Mevlevi lodge in the last century was that there were many Mevlevis here who were in a manner of Bektaşi. The Mevlevî lodge was left alone in 1925, it became ruined as the times passed, and in 1986 all the remains of the lodge vanished in the scope of the Golden Horn project.

The Bahariye Mevlevihane, which consisted of a number of timber buildings resembling mansions, added a further dimension of beauty to this part of the Golden Horn. However, after the closure of the dervish convents these buildings were either destroyed by fire or demolished and nothing survives to indicate where it once stood. Today only the mescid section of the lodge is intact. The restoration of Bahariye Lodge that started in 2007 was completed in 2011. It is used for civil purposes of culture and art.

Bahariye Mevlevihanesi, last dervish lodge of Istanbul, raised many artists up. Zekai Dede Efendi, his son Ahmet Irsoy, Rauf Yekta, Suphi Ezgi are couple of important musicians who grown up in here. Abdülbaki Gökpınarlı who is known as the last important figure of Sufi literature, was also grown up in the same dervish lodge.

Bahariye Mevlevihanesi (lodge used by Mevlevi dervishes) was in a very bad situation, but Eyüp Municipality restorated there paying large sum of money and turned it into a very nice cultural centre by Eyüp Belediyesi Kültür ve Sosyal İşler Müdürlüğü.

LOCATION SATELLITE MAP



WEB SITE : Human And Civilization Movement

MORE INFO & CONTACT
E-Mail : bilgi@imh.org.tr
Phone : +90 212 501 3171
Fax: +90 212 501 3105

These scripts and photographs are registered under © Copyright 2017, respected writers and photographers from the internet. All Rights Reserved.

Tuesday, March 21, 2017

UMMİ SİNAN TEKKESİ

Düğmeciler, Eyüp - İstanbul - Turkey

GPS : 41°02'49.6"N 28°55'32.7"E / 41.047111, 28.925750

Ummi Sinan Tekkesi / Dugmeciler - Eyup photo ummisinan_lodge101.jpg

PHOTOGRAPHS ALBUM

This lodge is located on Ümmi Sinan Street in the Dü¤meciler neighbourhood, and contains the tomb of Pir Sheik Ibrahim Ümmi Sinan of the Sinaniyye branch of the Halvetiyye order, thus being accepted as the home of the founder of the Sinaniyye. The original facility must have been a modest lodge founded in the middle of the 16th century by Nasuh Dede, one of the caliphs of Pir Ümmü Sinan.

After the death of the Pir, a tomb was added in front of the wall of the ceremonial hall containing the mihrab, and over time a small graveyard was established to the south and west of the tomb. Sultan Mahmud II renewed the ceremonial hall-tomb building, probably between 1826-1839, with its foundations (and even part of the eastern wall) protected, and a small imperial Sultan’s pavilion with a separate entrance and a gallery added to the east.

The whole structure was subject to a complete overhaul at the end of the 19th century with the help of Sultan Abdülhamid II and some state dignitaries who were members of the order, during which the wooden harem and Selaml›k were completely reconstructed. During the Republican era, the lodge remained in the possession of the family of the last leader Sheik Yahya Galib (Kargı) Efendi (died 1942), who used it as a residence, and thus it was spared from ruin.

Some benefactors restored the ceremonial hall-tomb in the 1980s, and with its authentic details and furnishings it is protected like a museum. The Selamlık is used for the study of Sufi music. The low-arched main gate located in the eastern corner of the site opening onto Ümmi Sinan Street, and the small fountain with a pointed arch opposite it have survived from the original construction of the lodge. They were built of cut sandstone in the classic style.

The main building stands to the left (on the south side) on entering the main gate and covers an area of 25 x 19 m, consisting of the ceremonial hall, tomb, hamam and kitchen. This building is made up of three main sections, all utilizing different materials and construction features. To the north, and protruding beyond the main block to the west, is a two-storied wooden wing containing the entrance, harem and kitchen. Behind this (to the south) is first the ceremonial hall and then the tomb.

These three main sections were built at different heights in accordance with the slope of the site, and have hipped roofs. The main entrance to the structure opens onto the garden from the north, and the stony courtyard that lies inside the glass-paned entrance leads to the ceremonial hall to the south, the harem and the connected kitchen to the west and what is known as the “pafla room”9 to the east. The eastern wall of the nearly square ceremonial hall, which faces the street, contains two windows with beveled interiors and plain low arches.

In the eastern corner of the southern wall, which is shared with the tomb, there is a doorway with steps that lead down to the tomb, while the middle of the wall contains a semi-circular mihrap alcove, above which can be seen a small wooden cupboard with a triangular frontal in which is stored some hairs from the beard of the Prophet Muhammad. The tomb can be seen from two windows placed each side of the mihrap, while the window in the western corner of the southern wall, which extends past the tomb, and the three windows in the western wall of the hall face onto the graveyard.

An area of 7.5 x 6.5m has been set aside for Sufi ceremonies in the hall. The northern, western and eastern sides of this area are allocated to male audience galleries with raised floors, the borders of which are delimited by eight octagonal wooden pillars on which are supported the upper galleries of the women. Simple wooden railings have been fitted between these pillars, which are decorated around the top with small wooden consoles.

In the southwestern corner of the ground floor galleries is a pulpit that is used for gatherings such as mevlit (religious ceremony held in memory of a deceased person), hatim (recitation of the Koran from start to finish), mersiye (dirges) and miraciye (recitation of a poem recounting the miraculous journey of the Prophet Muhammad to heaven). The women’s galleries are connected to the upper floor of the harem wing, and are fitted with grills up to the ceiling on the sides facing the ceremonial hall. There is a semicircular balcony on the northern side.

It is known that prior to the restoration undertaken during the reign of Sultan Abdülhamid II, there was an imperial lodge in place of the upper galleries to the east, and this was connected to the sultan’s pavilion on the east side of the street by a glass-paned bridge, but today no trace of either the gallery or the pavilion remain. The six windows on the western, southern and eastern walls of the slightly crooked tomb (8.25 x 6.25 m) are decorated with a basket weave arch that can only be seen from the inside, and on the outside with rectangular opening wooden moldings.

The prayer window that opens onto Ümmi Sinan Street differs from the others in that it is surrounded with pilastre externally and crowned with a basket weave arch. The sarcophagus of Pir Ümmi Sinan is larger than the other eleven sarcophagi contained in the tomb, with a semi-cylindrical lid. The uprights at the corners of the wooden railings surrounding the sarcophagus executed in decoupage in the empire style are topped with small spearhead crowns.

Both the harem wing and the two-story detached men’s section situated in the southwestern corner of the site display many of the design and exterior design characteristics of the wooden houses of Istanbul in the last century. The ground floor kitchen in the western corner of the harem has its own separate entrance. There were gilded “Sultan Mahmud sun” style ceiling roses in the middle of the wooden ceilings of the ceremonial hall and tomb. The tomb was given a cement roof in its last restoration, and the ceiling rose was removed.

At the same time, the pastel colored tiles in the mihrab with curtain, flower and oil-lamp motifs dating from the era of Sultan Mahmud II were removed. The most interesting of the ornamental components found in the Ümmi Sinan Lodge is the wooden rose of the fringe over the entrance to the main building, which consists of sun rays emerging from the tip of a spearhead crown. What is interesting in this composition is the combination of a sect symbol that was frequently used in later era convent designs and the sun motif, which represented the innovations of the reign of Sultan Mahmud II and of this era.

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CEMALİZADE (CEMALEDDİN UŞŞAKİ) TEKKESİ

Eğrikapı, Eyüp - İstanbul - Turkey

GPS : 41°02'08.7"N 28°56'18.0"E / 41.035750, 28.938333

Cemalizade (Cemalettin Ussaki) Tekkesi / Egrikapi - Eyup photo cemalizade_lodge105.jpg

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This lodge is located in the Defterdar neighbourhood, just outside Eğrikapı and directly opposite the Eğrikapı Cistern, which is connected to the Kırkçeşme water network. It was builtas a masjid-lodge at the end of the 16th century by Vezir Hirami Ahmed Paşa (died 1599). Sheik Seyyid Mehmed Cemaleddin of Edirne (died 1751), who founded the Uşşakiye branch, known as “Cemaliyye-i Saniye,” of the Halvetiyye sect, was the head of the religious order here from 1742.

When he was buried here after his death, it became known as the main lodge and home of the founder of the Cemaliyye-i Saniye. The lodge remained in the possession of the descendents of Cemaleddin Uşşaki, known as "Cemalizade", until 1835. From 1835-1837 it was acquired by the Sünbüliyye branch of the Halvetiyye order and from 1837 onwards by the şalcızade family, who were members of the Haliliyye (Geredeviyye) sub-branch of the şabaniyye branch of the same sect.

The major changes made to the lodge after 1742 include the addition of a pulpit to the masjid-ceremonial hall and the construction of a nearby school by the bond treasurer Sabih Ali Efendi (died 1769), the replacement of the wooden minaret with a brick on by the sword bearer of the Grand Vezir, Seyyid Mehmed Paşa (died 1788), the repair of the tomb by Halet Said Efendi (died 1823) in 1816-17 (1232), the restoration of the lodge by Sultan Abdülhamid II in 1887-88 (1305) and of the tomb by Hamdi Bey, who was in the service of the same sultan, in 1905-06 (1323).

The rectangular masjid-ceremonial hall with its alternately patterned wall and adjacent tomb, gathered together under a single roof, is an unpretentious example of late Ottoman architecture that has survived to our day. The masjid-ceremonial hall is no different from any other late-period mosque, with its closed porch, northern-facing entrance, ordered rows of round-arched windows on the east and west walls, male galleries to the north and grilled women’s galleries above the porch.

The cut sandstone pedestal and diamond patterned base section of the cylindrical minaret have survived from the original. The windows of the tomb, which holds a total of six wooden sarcophagi belonging to Pir Cemaleddin Uşşaki and the Cemalizade, are in the neo classical (empire) style of the era of Sultan Mahmud II (1808-1839), when this section was restored it was crowned with basket handle arches, and a separate entrance was designed to the east.

On the southern façade facing Eğrikapı are two inscriptions in verse, the lower documenting renovations carried out in 1232 (1816-17) and the upper one those carried out in 1323 (1905-06). The first was composed and executed by Yesarizade Mustafa İzzet Efendi (died 1849), while the verse of the second was composed by Ahmed Bahai Efendi (died 1923) and the calligraphy executed by Mehmed Hulusi Efendi (died 1940).

The only aspect of the design of the Cemalizade Lodge that is worthy of attention is the lack of a wall dividing the masjid-ceremonial hall and the tomb, thus fusing the two areas. The raised floor of the tomb and its facing in the direction of the Mecca render this fusion more meaningful. After the closure of the lodges, this building began to be used as a mosque only, and a short time before 1958 it underwent a restoration in which a wall was built between the two sections, thus depriving the building of its most striking feature.

The other sections of the lodge were consigned to history during the Republican era, and in recent years the façades of the tomb have been covered with the most hideous tiles. As for Group III, this consists of religious buildings of mixed design, whose inner divisions are as close to civil architecture as their outer appearance. Since the earliest sufi buildings in Islamic history evolved from the houses of their sheiks, these examples could be called "house-tekkes", and must be regarded as perpetuating the oldest tradition from among their peers in Eyüp Sultan.

In examples from this group, the sections relating to worship and visiting (ceremonial hall / semahane and tomb), housing, education and eating (meeting room, harem, dervish cells, kitchen, refectory etc) were all or partially contained within the same block, with quite complicated connections being established between these sections according to the functions dictated by the life and formalities of the lodge.

In most of these buildings the fusion of the ceremonial hall and tomb that was discussed above can be observed. The design of these establishments most clearly reflect the unity of the worship-visiting-education-housing-eating spaces that distinguishes sufi buildings from other religious structure, and their plans, façades and details display great proximity to the traditions of Istanbul’s civil architecture.

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ŞEYH SEYYİD MUSTAFA SELAMİ EFENDİ TEKKESİ

Nişanca, Eyüp - İstanbul - Turkey

GPS : 41°02'26.4"N 28°55'55.0"E / 41.040667, 28.931944

This lodge is located in the Nişanca neighbourhood to the south of Nazır Ağa Çeşmesi Street. It was built in 1798-99 (1213) by Sadaret Kethüdası Arabacızade İbrahim Nesim Efendi (died 1807) for the Izmir born Sheik Seyyid Mustafa Selami Efendi (died 1813), of the Nakşibendiyye order. The lodge was originally used by the Nakşibendiyye, but after the death of Sheik M. Selami Efendi it was used by the Müştakiyye branch of the Kadiriyye order between 1813-1831, and from 1831 onwards by the Rıfaiyye, although Nakşibendi thought was disseminated here until the end.

The lodge was restored at the end of the 19th century, and the main building containing the ceremonial hall-tomb and male quarters was repaired by the Religious Foundations in 1985, after which it was allocated to a cultural foundation. The ruins of the harem and kitchen sections have been abandoned to their fate. Because of the slope of the land, a support wall runs along the length of Nazır Ağa Çeşmesi Street to the north, with the buildings of the convent arrayed around the courtyard containing the fountain, which is overshadowed by this wall.

One proceeds from a raised area laid with Malta stone through the undistinguished garden gate into the courtyard, which is paved with the same stone. The lintel of the courtyard gate, surrounded by brick columns, contains marble panels with clearly discernable sülüs script containing on the outer surface the declaration of God’s unity, and on the inner surface the names of the founders of the Nakşibendi sect. The small-scale goblet shaped ablutions fountain of marble in the center of the courtyard is of an interesting style.

It carries an inscription dated 1228 (1813) belonging to the poet Razi in the name of the founder and with the phrase “tekye-i darüsselam” (Convent of the Dominion of Islam). The main building is an L-shaped block, of which the 23 meter wing to the south contains the ceremonial hall-tomb, and that to the east contains the male quarters. It consists of a brick basement floor and a wooden floor that is slightly above the level of the courtyard.

The 7.5 x 6 m area allocated to sufi ritual in the ceremonial hall-tomb section is flanked to the south by the external wall, and to the west and north by twostoried L-shaped galleries, while the tomb area is located to the east on the same level as the galleries. Decorative molded railings front the men’s galleries and the tomb, while grills rise to the roof from a low parapet in front of the women’s section.

The northeastern and northwestern corners of the ceremonial area are rounded to soften their appearance, and the whole area is enclosed with eight octagonal columns on which are supported the upper level of galleries allocated to the women. Broad (false) arches of wood have been fitted between the columns, and the corners of the large opening to the north have been fitted with curved semi-arches. The northern wall of the ceremonial halltomb over the courtyard contains a door to the ceremonial hall with a window to either side, along with a larger prayer window at the level of the tomb.

The southern wall contains an entrance to the ceremonial hall, the mihrap and a window beside each of these. The mihrap alcove is semicircular on the interior and semihexagonal on the exterior and is framed with a wooden molding, crowned by a rounded arch. In the northeastern corner of the ceremonial hall is an anteroom containing the stairs to the women’s upper galleries and a small service window, a visiting area to the east of the tomb, and an area for serving sherbet.

There are two adjacent spaces in the basement floor of the ceremonial hall-tomb. To the west below the ceremonial hall is what was presumably a storehouse, and to the east below the tomb are the graves of Sheik Selami Efendi and his successors. The ground floor of the male quarters consist of two rectangular anterooms joined by a glass section with doors to form a T-shape, and various other rooms of the quarters organized around these. The anteroom on the east-west axis contains stairs to the basement.

It is thought that the low-ceilinged rooms in the basement floor, some containing closets for bedding, could have been used for sitting, conversing, eating and sleeping, as the need arose. The façades and ceilings of the main building display features of 19th century wooden houses of Istanbul and reflect the tastes of that era. The ceilings were executed using the “çubuklu” or rod method. However the ceiling roses of the ceremonial hall, tomb and visiting area are exceedingly simple, consisting of two interconnected squares.

The three-storied harem shares the same materials and construction features as the main building, with “two-sided” anterooms and symmetrically connected rooms. In the kitchen situated
in the northwestern corner of the harem, the long chimney, on the verge of collapse, only survives by being propped against the outer support wall. The small graveyard is in the back garden of the harem.

The unity of the ceremonial hall and the tomb which can be seen in his lodge, whose outward similarity to a wooden mansion of the last century and architectural details make it a typical example of late period Istanbul convent architecture, is an unique and ancient practice in the buildings of sufi orders. The most interesting architectural aspect of the Sheik Selami Efendi Lodge arises in relation not to its status as a religious building but from a feature of Anatolian Turkish architecture that it displays; that is the continued use at the end of the 19th century of the crypt vault style, which was largely abandoned as a technique in the early Ottoman era, albeit with a completely different appearance.

In summary, as with tombs and gravestones, it is possible to determine the developments in Ottoman architecture with regard to religious structures and their typology from the middle of the 15th century until 1925 by examining the buildings of religious order in Eyüp Sultan alone. Sadly, it cannot by any means be claimed that these treasures of Eyüp Sultan have been protected and valued as they should have been.

As was touched on at the beginning, not many of the dervish lodges of Eyüp Sultan have survived until the present day, and not much is known of the architectural features of those that have disappeared. None of those that have survived have done so architecturally intact; in other words all of the complexes that survive today are missing some of their original structures.

Of these, the buildings discussed in group II above that operated as both mosque and lodge generally continued to have their ceremonial hall used as a mosque after 1925, but the other sections went out of use (male quarters, harem, kitchen etc) and went to ruin over time or were altered for other purposes. The same is true for some of the complex plan lodges that we discussed in group III above. Some of those buildings that did manage to survive have been restored in recent years by foundations and put to cultural use.

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Sunday, March 19, 2017

KADIRGA ÖZBEKLER TEKKESİ

Kadırga, Fatih - İstanbul - Turkey

GPS :

Kadirga Ozbekler Tekkesi / Fatih - Istanbul photo kadirga_lodge104.jpg

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The building which is known as “Ozbekler Tekkesi” is located across Sokullu Mehmet Paşa Mosque. It was built in the 17th century as an accommodation place for candidate pilgrims and traveler dervishes who came from Turkistan and who are members of Nakhshibendi denomination. The Muslims from Turkistan who set off for pilgrimage considered going to Istanbul to visit Eyup Sultan and the Ottoman Sultan, who was the caliph of Muslim world, as a duty.

The Buharra Özbekler Tekkesi has the primary function as an accommodation place for candidate pilgrims to Mekka and traveler dervishes from Central Asia. It was a tradition for those pilgrimes from Buharra, that they first goto Istanbul and get a written permition by the Sultan who was also the Kalif and then continue their pilgrimage.

The building is next to the Sokollu Mehmet Paşa Mosque, which in retrun has some peaces of the holy stone in the Kaba from Mekka, which had also an importance for the pilgrims. Hencewe can conclude that the holy stone was embedded in a distinct sacral environment.

The lodge, known as Buhara Ozbekler Tekkesi, was built by Istanbul district treasurer, Ismail Bey in 1692. Although the lodge began to turn into a ruin by the years passing, it was restored with the order of Sultan Abdulhamit II, in 1887.

Style of Architecture
The structure which was built by Defterdar Ismail Bey, attracts attention with its interesting architectural style by mixing classical plan schemas, European based construction techniques and some details which are related to the First National Architecture Trend. Also, Ozbekler Tekke has a completely unique architect style with decoration of facade. One of the most interesting parts of tekke is the minaret, built above the entrance, which is very rarely encountered in the history of Turkish-Islamic Architecture.

Influences on Social Life
Since it has been established, Ozbekler Tekke has played a big role between Ottoman Empire and Turkistan in diplomatic and cultural fields. The maintenance that the dervishes who were trained in Ozbekler Tekke served to Turkish language is a remark.

Period of Republic
During the Republic Period, the lodge served as a place for Turkestani students and for the poor. It also served as the headquarters of associations which were founded by Turkestani people. In 1925, after all lodges were closed, Ozbekler Tekke was not closed due to a special permission. Cultural and social activities were conducted here.

Turkistan Culture Association, which maintained its activities until 1943, was closed after that year. For years, Ozbekler Tekke did not serve as the headquarters of any Turkestani association; it was used only as a shelter for helpless, poor, and elderly Turkestanis. The roof, which was made of wood, burnt down in 1956; and has existed as a ruin to today.

The lodge is restored by the  Metropolitan Municipality during 2006-2008. Then it was put into disposal as a design center. Istanbul design centre is a design educating school, which was established in 2008.

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BABA HAYDAR TEKKESİ

Nişanca, Eyüp - İstanbul - Turkey

GPS : 41°02'31.2"N 28°56'01.1"E / 41.042000, 28.933639

Baba Haydar Semerkandi Tekkesi / Nicanca - Eyup photo babahaydar_eyup105.jpg

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This lodge is located in the Düğmeciler neighbourhood at the junction of Haydar Baba Street and Baba Haydar Camii Street. It was built as a masjid-lodge by Süleyman the Magnificant in the second quarter of the 16th century in the name of the Nakşibendi sheik Baba Haydar Semerkandi (died 1550). During the reign of Sultan Mustafa III (1757-1774) it was converted into a mosque by the addition of a pulpit thanks to the imam of the Arpacılar Mescidi in Eyüp Sultan.

This lodge was constructed on a site falling steeply toward the Golden Horn from Nişancı Hill, and has managed to preserve its unique architecture to a significant degree. Due to the slope the site was surrounded with supporting walls and the courtyard is entered from both streets via steps. The mosque-ceremonial hall consists of an inner sanctuary delimited by walls of rough stone and an enclosed porch made of wood.

Both sections are rectangular with a hipped roof covered with lead, and the entrances to both are on the northern wall. The northern (courtyard) façade of the porch ends with a wide overhang supported by diagonal wooden supports. This detail gives the building a civil architectural feel and the spiked overhang and brick walls of the inner sanctuary make an interesting impression. The top of the porch was used as a gallery, and both stories have rectangular outwardly opening windows.

Contrary to this the windows of the inner section’s façades are of the classic design of the Şeyhülislam Tekke’s masjid-ceremonial hall. Of the ornamentation, the domed woven box of the classic style mihrab and the “Sultan Mahmud sun” ceiling rose in the middle of the wooden sanctuary ceiling, highly likely to date from the second quarter of the 19th century, are worthy of note. The square base of the minaret rising from the northwestern corner of the inner sanctuary, with its alternating brickwork and diamond-patterned base have survived from the original building.

The gallery of the minaret however, with its cylindrical body and simple metal railings, must be a later repair job. The lodge units that should be located around the courtyard have disappeared. At the end of the stairs following the eastern entrance to the courtyard, in the left wall of the graveyard (facing south) is a prayer window opening onto the grave of Baba Haydar Semerkandi.

Another building type that can be considered as part of this group (or as a subset of it) are those where the tomb containing the grave of the lodge sheik has been combined with the mosque-ceremonial hall, sometimes being connected by a door or window, and sometimes having the intervening wall removed and being merged with the place of worship.

In this type of building, the respect and closeness felt by the sect for their founding fathers is reflected in the design6, and by departing to some extent from the set formats for mosques and masjids, a characteristic peculiar to dervish buildings is created.

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