Showing posts with label mihrab. Show all posts
Showing posts with label mihrab. Show all posts

Monday, December 10, 2018

CEZRİ KASIM PASHA MOSQUE

Eyüp - İstanbul - Turkey

GPS : 41°02'36.8"N 28°56'10.2"E / 41.043556, 28.936167



PHOTOGRAPHS ALBUM

Cezri Kasım Paşa Mosque is situated on the Zalpaşa Avenue. It dates back to 1515. It was built by Cezri Kasım Paşa. The tile tablet portraying Mecca above the window next to the niche (mihrab) is significant.

He served during the Sultan Bayezid II and Yavuz Sultan Selim periods, was made the fourth vizier in the early years of the Kanuni period, settled down in Bursa after his retirement, died there in 1543 and was buried in Emir Sultan Tomb.

LOCATION SATELLITE MAP



These scripts and photographs are registered under © Copyright 2018, respected writers and photographers from the internet. All Rights Reserved.

Tuesday, June 5, 2018

BEBEK MOSQUE

Bebek, Beşiktaş - Istanbul - Turkey

GPS : 41°04'37.0"N 29°02'39.0"E / 41.076944, 29.044167



PHOTOGRAPHS ALBUM

The Bebek Mosque was built in 1913 by the Ministry of Waqfs to replace an older mosque that was built by Nevşehirli Damat Ibrahim Paşa, the grandvizier of Sultan Ahmed III. Completed in 1725-26, the old mosque stood adjoining the coastal palace of Hümayunabad and had a royal lodge for the Sultan. The palace was torn down in 1846, and the current mosque stands next to a public park, and a small ferry station, that occupy the palatial site today.

Bebek Mosque, whose original name was Hümayun-u Abad. The mosque which was neglected following years was rebuilt using Hereke stone under the supervision of the Architect Kemaleddin Bey circa 1912. The calligraphy masters of the mosque were Ismail Hakkı Bey and Mecit Bey. Square planned, single-domed, the mosque was lighted by sixteen windows.

The Bebek Mosque is located on the banks of the Bosphorus in the historic Bebek quarter. Formerly a Byzantine village, the quarter gets its Turkish name from Bebek Çelebi, the head of the infantry regiment that was stationed there in the months leading up to the conquest of Constantinople in 1453. A preferred location for the construction of royal kiosks and gardens in the 16th century,

Bebek was filled with coastal palaces and summer mansions of the aristocracy in the 18th century. The institution of ferry service between the historic core and Bebek in mid 19th century transformed from a seasonal residence into a permanent community of well-to-do Istanbul residents.

Unlike the old mosque, which was built on the second floor of a primary school, the new mosque consists only of a prayer hall. Designed by Architect Kemalettin Bey, who was then the head architect at the Ministry, the mosque is an example of the First Nationalist Period in Turkish Architecture, spearheaded by Kemaleddin and Vedat (Tek) Beys.

The style, formulated by the First Turkish graduates of the School of Fine Arts in Istanbul in the early 20th century, draws upon the formal and decorative vocabulary of early Ottoman works in Bursa, which were analyzed in detail for the publication of a pioneering volume on Ottoman Architecture to be presented in the Vienna Exposition of 1873.

The mosque is built entirely of cut stone and consists of a domed prayer hall and a three-bay portico to the northwest. An inscriptive plaque in gold letters crowns the portico entrance. Upon entering, side bays of the portico have raised floors outlined with marble balustrades. A set of stairs on the left side lead up to a wooden balcony used only by women.

The portico was encased in 1991 to allow for use during winter. Inside, the prayer hall is square in plan and is covered with a single dome raised on a tall circular drum. The dome is carried on eight pointed arches that rest on eight octagonal piers embedded halfway into the walls. Joined together to form an octagonal belt, the arches allow the transition from the circular drum to the square base, and exedras roofed with semi-domes complete the four corners of the square.

The mihrab is set in a stalactite niche encased in a tall, carved frame, in axis with the entrance, and a wooden minbar stands to its right. Well-lit through windows at the ground, clerestory and dome level, the interior of the mosque is painted with traditional tile motifs in pale shades of red and blue. The simplicity of structure in this small, well-proportioned mosque is enhanced with subtle details on the exterior that animate its otherwise plain appearance.

The eight piers supporting the dome are extended on the exterior as mini turrets flanking the circular drum. Pilasters separating the windows on the drum reveal neo-classical influences. The cornice line is stepped at the base of each turret; the semi-domes of the exedras complete the roof composition at the four corners. A single minaret, with a tall square base and multi-faceted shaft, adjoins the western corner of the mosque.

The mosque is built of cut stone. It consists of a domed prayer hall and a three-bay portico to the northwest, the entrance of which has a plaque with gold letters inscribed on it. Side bays of the portico have raised floors that are outlined with marble balustrades. On the left side of the portico, there are stairs leading up to a wooden balcony which is used only by women. The prayer hall has a square plan that is roofed with a large single dome standing on a circular drum.

Eight arches, joined together to form an octagonal belt, carry the dome and are supported by eight octagonal piers. On the four corners of the square, there are exedras covered with semi-domes. The mihrab has a stalactite niche encased in a carved frame. The wooden structure (minbar) is on the right of the mihrab. The windows in the clerestory and dome allow adequate light to enter and light the interior of the mosque that is painted with traditional tile motifs in pale shades of red and blue .

On the exterior of the mosque, mini turrets appear around the circular drum, which are actually extensions of the interior eight piers supporting the dome . These mini turrets have a stepped cornice line at their base. The windows on the drum are separated by pilasters which have rather a neo-classical influence. There are semi-domes above the exedras on the four corners of the square roof  On the western corner of the mosque rises a single minaret standing on a tall square base and has a multi-faceted shaft .

The outside of the mosque is quite plain, ornamented only by small palmettes and rosettes. The inside of the dome over the central prayer area, the exedra and the window surrounds are ornamented with hand drawn rumi motifs. The mihrab takes the form of an outwardly projecting niche and is classical in shape on the interior. The wooden minber (pulpit) and dais are carved with openwork patterns.

LOCATION SATELLITE MAP



These scripts and photographs are registered under © Copyright 2018, respected writers and photographers from the internet. All Rights Reserved.

Sunday, May 20, 2018

MOLLA FENARİ İSA MOSQUE

Fatih - Istanbul - Turkey

GPS : 41°00'53.9"N 28°56'37.6"E / 41.014972, 28.943778



PHOTOGRAPHS ALBUM

The complex is located in the Fatih district of Istanbul, Turkey, along the Adnan Menderes (formerly Vatan) Caddesi (Avenue), in a modern context. Fenari İsa Mosque (full name in Turkish: Molla Fenari İsa Camii), in Byzantine times known as the Lips Monastery, is a mosque in Istanbul, made of two former Eastern Orthodox churches. The complex is located in the Fatih district of Istanbul, Turkey, along the Adnan Menderes (formerly Vatan) Caddesi (Avenue), in a modern context.

In year 908 the Byzantine Admiral Konstantinos Lips, who would perish in 917 fighting against Simeon I's Bulgaria, inaugurated at the presence of the Emperor Leo VI the Wise a nunnery dedicated to the Virgin Theotokos "Immaculate Mother of God" in a place called "Merdosangaris", in the valley of the Lykos. The monastery, which had also a Xenon "hospital" with 15 beds attached, was known also after his name (Mone tou Livos), and became one of the largest of Constantinople.

The church was built on the remains of another shrine from the 6th century, and used the tombstones of an ancient Roman cemetery. Relics of Saint Irene were stored here. The church of the monastery, also dedicated to the Virgin, was built on the remains of another shrine of the sixth century, and using the tombstones of an ancient roman cemetery. The church hosted the relics of Saint Irene, and the monastery, according to its Typicon, hosted a total of 50 women. The church was generally known as "North Church".

After the Latin invasion and the restoration of the Byzantine Empire, between 1286 and 1304, Empress Theodora, widow of Emperor Michael VIII Palaiologos (r. 1259-1282), erected another church dedicated to St. John the Baptist south of the first church. Several exponents of the imperial dynasty of the Palaiologos were buried there besides Theodora: her son Constantine, Empress Irene of Montferrat and her husband Emperor Andronikos II (r. 1282-1328).

This church is generally known as the "South Church". The Empress restored also the nunnery, which by that time had been possibly abandoned. According to its typikon, the nunnery at that time hosted a total of 50 women and also a Xenon for laywomen with 15 beds attached.

During the 14th century an esonarthex and a parekklesion were added to the church. The custom of burying members of the imperial family in the complex continued in the 15th century with Anna, first wife of Emperor John VIII Palaiologos (r. 1425-1448), in 1417. The church was possibly used as a cemetery also after 1453.

In 1497-1498, shortly after the Fall of Constantinople and during the reign of Sultan Beyazid II (1481-1512), the south church was converted into a mescit (a small mosque) in 1496 by the Ottoman dignitary Fenarizade Alaeddin Ali ben Yusuf Effendi, Kadıasker of Rumeli, and nephew of Molla Şemseddin Fenari, whose family belonged to the religious class of the ulema. He built a minaret in the southeast angle, and a mihrab in the apse. Since one of the head preachers of the madrasah was named Isa ("Jesus" in Arabic and Turkish), his name was added to that of the mosque.

During the reign of Sultan Murat IV, Sheikh Ise’l Mahvi transformed the northern church into a zawiya. The domes and pulleys of the masjid, converted into a mosque in 1650, were rebuilt in 1830. The structure, abandoned after the fire of 1918, has continued to serve as a mosque following restoration work between 1960 and 1963.

The edifice burned down in 1633, was restored in 1636 by Grand Vizier Bayram Pasha, who upgraded the building to cami (mosque) and converted the north church into a tekke (a dervish lodge). In this occasion the columns of the north church were substituted with piers, the two domes were renovated, and the mosaic decoration was removed.

After another fire in 1782, the complex was restored again in 1847/48. In this occasion also the columns of the south church were substituted with piers, and the balustrade parapets of the narthex were removed too. The building burned once more in 1918, and was abandoned. During excavations performed in 1929, twenty-two sarcophagi have been found. The complex has been thoroughly restored between the 1970s and 1980s by the Byzantine Society of America, and since then serves again as a mosque.

The north church has an unusual quincuncial (cross-in-square) plan, and was one of the first shrines in Constantinople to adopt this plan, whose prototype is possibly the Nea Ekklesia (New Church), erected in Constantinople in the year 880, of which no remains are extant. The dimensions of the north church are small: the naos is 13 meters long and 9.5 meters wide, and was sized according to the population living in the monastery at that time.

The masonry of the northern church was erected by alternating courses of bricks and small rough stone blocks. In this technique, which is typical of the Byzantine architecture of the 10th century, the bricks sink in a thick bed of mortar. This edifice has three high apses: the central one is polygonal, and is flanked by the other two, which served as pastophoria, prothesis and diakonikon. The apses are interrupted by triple and single lancet windows.

The walls of the central arms of the naos cross have two orders of windows: the lower order has triple lancet windows, the higher semicircular windows. Two long parekklesia, each one ended by a low apse, flanks the presbytery of the naos. The angular and central bays are very slender. At the four edges of the building are four small roof chapels, each surmounted by a cupola.

The remainders of the original decoration of this church are the bases of three of the four columns of the central bay, and many original decorating elements, which survive on the pillars of the windows and on the frame of the dome. The decoration consisted originally in marble panels and coloured tiles: the vaults were decorated with mosaic. Only spurs of it are now visible. As a whole, the north church presents strong analogies with the Bodrum Mosque (the church of Myrelaion).

The south church is a square room surmounted by a dome, and surrounded by two deambulatoria, an esonarthex and a parekklesion (added later). The north deambulatorium is the south parekklesion of the north church. This multiplication of spaces around the central part of the church is typical of the late Palaiologian architecture: the reason of that was the need for more space for tombs, monuments erected to benefactors of the church, etc. The central room is divided from the aisles by a triple arcade.

During the mass the believers were confined in the deambulatoria, which were shallow and dark, and could barely see what happened in the central part of the church. The masonry is composed of alternated courses of bricks and stone, typical of the late Byzantine architecture in Constantinople. The lush decoration of the south and of the main apses (the latter is heptagonal), is made of a triple order of niches, the middle order being alternated with triple windows.

The bricks are arranged to form patterns like arches, hooks, Greek frets, sun crosses, swastikas and fans. Between these patterns are white and dark red bands, alternating one course of stone with two to five of bricks. This is the first appearance of this most important decorating aspect of the Palaiologian architecture in Constantinople. The church has an exonarthex surmounted by a gallery, which was extended to reach also the north church.

The parekklesion was erected alongside the southern side of the south church, and was connected with the esonarthex, so that the room surrounds the whole complex on the west and south side. Several marble sarcophagi are placed within it. As a whole, this complex represents a notable example of the middle and late Byzantine Architecture in Constantinople.

Of the decoration of this church remain the bases of three of the four columns of the central bay, and many original decorating elements, which survive on the pillars of the windows and on the frame of the dome. The decoration consisted originally in marble panels and coloured tiles: the vaults were decorated with mosaics. Only spurs of it are now visible. As a whole, the north church presents strong analogies with the Bodrum Mosque (the church of Myrelaion).

The building comprises two churches, which, while differing in date and type, stand side by side, and communicate with each other through an archway in their common wall, and through a passage in the common wall of their narthexes. As if to keep the two churches more closely together, they are bound by an exonarthex, which, after running along their western front, returns eastwards along the southern wall of the south church as a closed cloister or gallery.

The North Church is of the normal four column type. The four columns which originally supported the dome were, however, removed when the building was converted into a mosque in Turkish times, and have been replaced by two large pointed arches which span the entire length of the church. But the old wall arches of the dome-columns are still visible as arched piercings in the spandrils of the Turkish arches. A similar Turkish 'improvement' in the substitution of an arch for the original pair of columns is found in the north side of the parecclesion attached to the Pammakaristos.

The dome with its eight windows is likewise Turkish. The windows are lintelled and the cornice is of the typical Turkish form. The bema is almost square and is covered by a barrel vault formed by a prolongation of the eastern dome arch; the apse is lighted by a lofty triple window. By what is an exceptional arrangement, the lateral chapels are as lofty both on the interior and on the exterior as is the central apse, but they are entered by low doors.

In the normal arrangement, as, for instance, in the Myrelaion, the lateral chapels are low and are entered by vaults rising to the same height as those of the angle chambers, between which the central apse rises higher both externally and internally. The chapels have niches arched above the cornice on three sides, and are covered by cross-groined vaults which combine with the semicircular heads of the niches to produce a very beautiful effect. To the east they have long bema arches flanked by two small semicircular niches, and are lighted by small single windows.

The church is preceded by a narthex in three bays covered by cross-groined vaults supported on strong transverse arches. At either end it terminates in a large semicircular niche. The northern one is intact, but of the southern niche only the arched head remains. The lower part of the niche has been cut away to afford access to the narthex of the south church. This would suggest that, at least, the narthex of the south church is of later date than the north church. Considered as a whole the north church is a good example of its type, lofty and delicate in its proportions.

The South Church narthex is unsymmetrical to the church and in its present form must be the result of extensive alteration. It is in two very dissimilar bays. That to the  north is covered with a cross-groined vault of lath and plaster, probably on the model of an original vault constructed of brick. A door in the eastern wall leads to the north aisle of the church. The southern bay is separated from its companion by a broad arch. It is an oblong chamber reduced to a figure approaching a square by throwing broad arches across its ends and setting back the wall arches from the cornice.

This arrangement allows the bay to be covered by a low drumless dome. Two openings, separated by a pier, lead respectively to the nave and the southern aisle of the church. The interior of the church has undergone serious alterations since it has become a mosque, but enough of the original building has survived to show that the plan was that of an 'ambulatory church.

Each side of the ambulatory is divided into three bays, covered with cross-groined vaults whose springings to the central area correspond exactly to the columns of such an arcade as that which occupies the west dome bay of S. Andrew. We may therefore safely assume that triple arcades originally separated the ambulatory from the central area and filled in the lower part of the dome arches. The tympana of these arches above were pierced to north, south, and west by three windows now built up but whose outlines are still visible beneath the whitewash which has been daubed over them. The angles of the ambulatory are covered by cross vaults.

The pointed arches at present opening from the ambulatory to the central area were formed to make the church more suitable for Moslem worship, as were those of the north church. In fact we have here a repetition of the treatment of the Pammakaristos, when converted into a mosque. The use of cross-groined vaults in the ambulatory is a feature which distinguishes this church from the other ambulatory churches of Constantinople and connects it more closely with the domed-cross church. The vaults in the northern portion of the ambulatory have been partially defaced in the course of Turkish repairs.

The central apse is lighted by a large triple window. It is covered by a cross-groined vault and has on each side a tall shallow segmental niche whose head rises above the springing cornice. Below this the niches have been much hacked away. The passages leading to the lateral chapels are remarkably low, not more than 1.90 m high to the crown of the arch.

The southern chapel is similar to the central apse, and is lighted by a large triple window. The northern chapel is very different. It is much broader; broader indeed than the ambulatory which leads to it, and is covered by barrel vaults. The niches in the bema only rise to a short distance above the floor, not, as on the opposite side, to above the cornice. It is lighted by a large triple window similar to those of the other two apses.

The outer narthex on the west of the two churches and  the gallery on the south of the south church are covered with cross-groined vaults without transverse arches. The wall of the south church, which shows in the south gallery, formed the original external wall of the building. It is divided into bays with arches in two and three orders of brick reveals, and with shallow niches on the broader piers.

The exterior of the two churches is very plain. On the west are shallow wall arcades in one order, on the south similar arcades in two orders. The northern side is inaccessible owing to the Turkish houses built against it. On the east all the apses project boldly. The central apse of the south church has seven sides and shows the remains of a decoration of niches in two stories similar to that of the Pantokrator; the other apses present three sides. The carved work on the window shafts is throughout good.

An inscription commemorating the erection of the northern church is cut on a marble string-course which, when complete, ran across the whole eastern end, following the projecting sides of the apses. The letters are sunk and marked with drill holes. Wulff is of opinion that the letters were originally filled in with lead, and, from the evidence of this lead infilling, dates the church as late as the fifteenth century.

But it is equally possible that the letters were marked out by drill holes which were then connected with the chisel, and that the carver, pleased by the effect given by the sharp points of shadow in the drill holes, deliberately left them. The grooves do not seem suitable for retaining lead. In the course of their history both churches were altered, even in Byzantine days. The south church is the earlier structure, but shows signs of several rebuildings.

The irregular narthex and unsymmetrical eastern side chapels are evidently not parts of an original design. In the wall between the two churches there are indications which appear to show the character of these alterations and the order in which the different buildings were erected. As has already been pointed out, the north side of the ambulatory in the south church, which for two-thirds of its  length is of practically the same width as the southern and western sides, suddenly widens out at the eastern end and opens into a side chapel broader than that on the opposite side.

The two large piers separating the ambulatory from the central part of the north church are evidently formed by building the wall of one church against the pre-existing wall of the other. The easternmost pier is smaller and, as can be seen from the plan, is a continuation of the wall of the north church. Clearly the north church was already built when the north-eastern chapel of the south church was erected, and the existing wall was utilised. As the external architectural style of the three apses of the south church is identical, it is reasonable to conclude that this part of the south church also is later in date than the north church.

For if the entire south church had been built at the same time as the apses, we should expect to find the lateral chapels similar. But they are not. The vaulting of the central apse and of the southern lateral chapel are similar, while that of the northern chapel is different. On the same supposition we should also expect to find a similar use of the wall of the north church throughout, but we have seen that two piers representing the old wall of the south church still remain. The narthex of the south church, however, is carried up to the line of the north church wall.

The four column type is not found previous to the tenth century. The date of the north church was originally given on the inscription, but is now obliterated. Kondakoff dates it in the eleventh or twelfth century. Wulff would put it as late as the fifteenth. But if the view that this church was attached to the monastery of Lips is correct, the building must belong to the tenth century.

The ambulatory type appears to be early, and the examples in Constantinople seem to date from the sixth to the ninth century. It may therefore be concluded that, unless there is proof to the contrary, the south church is the earlier. In that case the southernmost parts of the two large piers which separate the two churches represent the old outer wall of the original south church, whose eastern chapels were then symmetrical.

To this the north church was added, but at some subsequent date the apses of the south church demanded repair and when they were rebuilt, the north-eastern chapel was enlarged by the cutting away of the old outer wall. To this period also belongs the present inner narthex. The fact that the head of the terminal niche at the south end of the north narthex remains above the communicating door shows that the south narthex is later. The outer narthex and south gallery are a still later addition.

LOCATION SATELLITE MAP



These scripts and photographs are registered under © Copyright 2018, respected writers and photographers from the internet. All Rights Reserved.

Friday, July 28, 2017

TILED KIOSK MUSEUM / IMPORTANT ARTIFACTS

Sultanahmet, Fatih - Istanbul - Turkey

GPS : 41°00'43.0"N 28°58'52.5"E / 41.011941, 28.981260

Tiled Kiosk Museum photo tiledkiosk_museum117.jpg

PHOTOGRAPHS ALBUM

FOUNTAIN OF YOUTH
Gallery 2 : One of the niches of the room in the left corner against the Gülhane Park was transformed into a fountain in the era of Sultan Murad III (1574-1595). The figure of peacock in the middle of herbal motifs on the stone plate attracts interest. The ornaments are hand-carved and gilded. From the two marble inscriptions of twelve verses carved in Nastaleeq script on the two sidewalls of the fountain, it is understood that it was built in the year of 999 according to the Islamic calendar (1590 AD) and that the Tiled Kiosk was called the "Glazed Palace" in those years.

During the last rearrangements, a reproduction of Osman Hamdi Bey's oil painting "Fountain of Youth" (Ab-ı Hayat Çeşmesi), dating from 1904, was placed to the niche against the fountain. For this painting, Osman Hamdi Bey had used the photo taken while he was standing next to the fountain.

TILE MIHRAB
Gallery 3 : This tile mihrab from the Karamanoğlu İbrahim Bey Imaret (public kitchen) built in 1432 is dated to circa second half of the 14th century or early 15th century was made using the colorful glazing technique, which was popular in the early Ottoman era, and is placed in the middle gallery, on the right side of the entrance.

The İbrahim Bey Imaret was ruined in the course of time, and the mihrab was transferred to İstanbul in late 19th century by the order of Halil Edhem Bey and it was mounted to its current place in the Tiled Kiosk Museum in early 20th century. On the inscription panel of the mihrab consisting of tile plates ornamented with herbal and geometric figures, there are the 255th verse (ayat) of the Sura (chapter) Al-Baqara (Ayet ul Kursi) in Naskh script and the 256th and 257th verses in Kufic script.

CANDLE - ARTIFACTS MADE IN İZNİK
Gallery 3 : A new era opened in the workshops of İznik in late 15th century-early 16th century. The settlement of tile masters in İznik and their communication with the Nakkashane (the atelier of the miniature and illumination artists) built in the Topkapi Palace by Sultan Mehmed II the Conqueror (1451-1481) accelerated the stylistic development. This candle, one of the highest quality examples of earthenware of the Ottoman era with the Islamic creed (Shahada) written on its neck was made for the Sokullu Mehmed Pasha Mosque (1571-1572) in Kadırga, İstanbul. It is possible to observe the "coral red", the most apparent characteristic of the 16th century, on this artifact.

CANDLE HANGER (ORNAMENTAL BALL) - ARTIFACTS MADE IN KÜTAHYA
Gallery 5 : From the beginning on, the tile and ceramic production in Kütahya followed a path parallel to the development in İznik. According to scientific analyses on tile and ceramic works in İznik and Kütahya, the same technologies were used in both cities except a few differences. In early 18th century, the production in İznik ended finally, but the workshops in Kütahya continued to exist thanks to their production policies oriented towards the needs of the people and to their characteristic style.

The artifacts in the collections of the museum originating from Kütahya date from the 18th century to the early 20th century. The Seraphim (angel) figure on the candle hanger that is made for a church and dated to the second half of the 18th century attracts interest. The usually egg-shaped candle hangers are hanged on candles with chains.

PLATE - ÇANAKKALE
Gallery 6 : From the late 17th century to the first quarter of 20th century, Çanakkale is a local center of ceramics distinguished from İznik and Kütahya by its works with different forms and interesting figures. Travelers who visited Çanakkale mentioned the ceramic works produced in this city. The artifacts in this exhibition belong to the period between the 18th century and the early 20th century. This plate, with a giraffe silhouette in the middle of stylistic trees, is one of the high quality examples dated to the second half of the 19th century.

LOCATION SATELLITE MAP

WEB SITE : Istanbul Archaeological Museums Administration

MORE INFO & CONTACT
Tel : +90 212 520 7740
Fax : +90 212 527 4300
E-Mail : info@istanbularkeoloji.gov.tr

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