trip istabul; all about istanbul city !!!

and... The Topkapi Palace & Harem

2013-01-09T00:28:00.000-08:00

History

Topkapi Palace was not only the residence of the Ottoman sultans, but also the administrative and educational center of the state. Initially constructed between 1460 and 1478 by Sultan Mehmed II, the conqueror of Constantinople, and expanded upon and altered many times throughout its long history, the palace served as the home of the Ottoman sultans and their court until the middle of the 19th century. In the early 1850s, the palace became inadequate to the requirements of state ceremonies and protocol, and so the sultans moved to Dolmabahçe Palace, located on the Bosphorus. But despite this move, the royal treasure, the Holy Relics of the Prophet Muhammad, and the imperial archives continued to be preserved at Topkapi, andsince the palace was the ancestral residence of the Ottoman dynasty as well as the place where the Holy Relics were preservedTopkapý continued to play host to certain state ceremonies. Following the abolishment of the Ottoman monarchy in 1922, Topkapi Palace was converted into a museum on 3 April 1924, on the order of Mustafa Kemal Atatürk.

topkapi palace plan

After the conquest of Constantinople, Sultan Mehmed II (r. 144446, 145181) had a palace built in what is modern-day Istanbuls Beyazýt district, on the spot where the University of Istanbul stands today; this first palace subsequently became known as the Old Palace (Eski Saray). Following the construction of the Old Palace, Mehmed II then had the Tiled Kiosk (Çinili Köþk) built, followed by Topkapý Palace itself, to which the court relocated when construction was complete. Mehmed called this place the New Palace (Sarây-ý Cedîd). The palace received its current name when Sultan Mahmud I (r. 173054) had a large wooden palace constructed near the citys Byzantine walls, in front of which were placed several ceremonial cannons; this seaside palace was named the Cannon Gate Palace by the Sea (Topkapusu Sâhil Sarâyý), and, when this palace was destroyed in a fire, its name was transferred to Mehmed IIs New Palace.

Topkapi Palace, which developed and grew over the centuries, had a design that itself played an important role in Ottoman governmental philosophy and in the relations between the palace and its subjects. When Topkapi was first built, its plan was influenced by the splendor of the Edirne Palace located on the Tunca River, which had been constructed by Mehmed IIs father, Sultan Murad II (r. 142144, 144651) but very little of which survives today. The basic design of the palace is centered on various courtyards and gardens, around which are arranged offices devoted to state business, the buildings and pavilions serving as the residence of the sovereign, and the buildings set aside for the court employees who lived in the palace.

Sections...

Imperial Gate

This gate, built as the main entrance on the palaces Hagia Sophia side in the time of Sultan Mehmed II (the Conqueror), bears above it an inscription in Arabic by `Ali ibn Yahya as-Sufi, which reads as follows: By the grace and assent of God and with the aim of establishing peace and tranquility, this auspicious citadel was built and erected in the blessèd month of Ramadan in the year 883 [NovemberDecember 1478] at the command of the son of Sultan Murad, son of Sultan Mehmed Khan, the sultan of the lands and the emperor of the seas, the shadow of God extending over men and djinn, the deputy of God in the East and in the West, the champion of the water and the land, the conqueror of Constantinople and father of that conquest Sultan Mehmed, may God make his reign eternal and exalt his abode above that of the highest stars in the firmament.

Parade Grounds

The First Courtyard is reached through the Imperial Gate. This courtyard, where various ceremonies and processions were held, was the only part of the palace open to the public. The De`âvî Pavilion, of which only the foundation has survived to the present day, was located near the Gate of Salutation (Bâbüs-Selâm or Middle Gate) and was where the public conveyed their written petitions to the palace.
On the left side of the courtyard stand the church of Hagia Eirene (Aya Irini) and the Royal Mint (Darphâne-i Âmire). It was also here that the Firewood Storehouse, the Wickerworkers Headquarters, and the Patriarchate were located; the remains of the latter can be seen behind the administrative building and sentry station, built at the end of the 19th century. On the right side of the courtyard stood the Ministry of Finance; the Palace Hospital;bakeries producing bread and simit for the palace; the Mosque of the Royal Bakery; and employees residences. There was also a water tower that contained a fountain and was built in the time of Sultan Mahmud II (r. 180839). One of the most interesting structures remaining in the First Courtyard is the Executioners Fountain, which can be seen on the right of the Gate of Salutation; here, purportedly, executioners would wash their hands following an execution. It was also in this area of the courtyard that the palace woodsheds were located.
In this courtyard, there are two small gates opening onto the Royal Garden: on the Golden Horn side is the Kozbekçileri Gate; on the Sea of Marmara side is the Gate of the Boot. The most important and the oldest structure in the courtyard is the Byzantine church of Hagia Eirene, built in the 6th century to serve as the church for the Patriarchate. Following the construction of Topkapý Palace, Hagia Eirene was used as an armory. Later, during the time of Fethi Ahmed Pasha (180258), it was converted into the Archaeology Museum, serving in this capacity until 1894, when the Archaeology Museum was moved to the building it currently occupies and Hagia Eirene became a military museum.
The palace workshops located near the church reflect a tradition that originated in the Roman Empire and was continued under the Ottomans. In these workshops, fine crafts such as carpentry, leather working, bookbinding, and manuscript illumination were carried out; it was also here that gifts to be sent to foreign states were prepared. When the court moved out of Topkapý Palace in the 19th century, the workshops were converted into the Royal Mint, where imperial coins were pressed.

Council Square
The Gate of Salutation, also known as the Middle Gate (Orta Kapý) leads into the palace proper; with its two grand towers, it served as a symbol of the pomp and majesty of the Ottoman state, and has since become an icon for the whole of Topkapý Palace as well. Built during the reign of Sultan Mehmed II, the Gate of Salutation subsequently underwent numerous renovations in the 16th and 17th centuries. Only the sultan was allowed to pass through the Gate of Salutation on horseback; the grand vizier and all other state officials were required to dismount before entering. However, the women of the palace were allowed to go through the gate in royal carriages.
The Gate of Salutations two towers were constructed in the time of Sultan Suleiman I (r. 152066), known in English as Suleiman the Magnificent and in Turkish as Suleiman the Lawgiver (Kanûnî). In one of these towers was the room where the Chief Gatekeeper would receive foreign ambassadors until they were granted permission to enter the palace. Currently, the museum visit begins at the Gate of Salutation.
The Second Courtyard, also known as the Council Square (Dîvân Meydaný), was laid out in the 1460s, shortly after Sultan Mehmed II had conquered the city. It served as an official representation of the Ottoman state, being a ceremonial grounds for state governance: here were held the ceremonies of royal enthronement (cülûs-ý hümâyûn), formal holiday festivities, the reception of ambassadors, and the stipend paid to the sultans household soldiers (`ulûfe dîvâný), among them the Janissary corps. On the right side of the courtyard, behind the portico, are located the palace kitchens, while on the left side stand the Tower of Justice and the Domed Chamber (Kubbealtý); the latter is where meetings of the Imperial Council (Dîvân-ý Hümâyûn) were held. Near the Domed Chamber stands the External Treasury, which currently houses the museums weapons collection. In this corner of the courtyard the Carriage Gate to the Harem apartments can also be seen, while on the lower level, behind the colonnade, the Halberdiers Barracks and the courtyard of the Royal Stables are visible.

Enderun Courtyard
The Inner Palace Courtyard is like the keep of a castle: when the gates to this courtyard surrounded by strong structures are shut, entry is virtually impossible. The courtyard, whose space is occupied largely by dormitories and barracks, covers an area of approximately nine dönüm, with one dönüm equaling roughly 920 square meters.

Upon entering the courtyard from the Gate of Felicity, the first building one sees is the Audience Chamber (`Arz Odası). Located immediately behind the Audience Chamber is the Library of Sultan Ahmed III. On the right side of the courtyard are the Inner Palace School (Enderûn Mektebi), the Campaigners’ Barracks, the Pavilion of the Conqueror (Fâtih Köşkü), and the remains of a hammam dating to the time of Sultan Selim II (r. 1566–74). The Rehearsal Chamber (Meşkhâne), where music was taught, once stood before the Campaigners’ Barracks, but has not survived to the present. On the left side of the Inner Palace Courtyard are the four-domed Privy Room (Has Oda), which houses the Holy Mantle of the Prophet (Hırka-i Sa`âdet) and other holy relics; the Privy Room Dormitory; and the Mosque of the Aghas of the Inner Palace. On the two sides of the Gate of Felicity are located the Greater and the Lesser Chambers of the Inner Palace, the White Eunuchs’ Dormitory, and the Apiary, while opposite the gate across the courtyard are the Treasury of the Chamberlain, the Dormitory of the Treasury, and the Butlers’ Dormitory.

Sofa-i Hümayun
The area onto which the double-columned portico of the Privy Room opens is the terrace known as the Royal Hall or the Marble Hall. This space, made up of a flower garden and a marble terrace with a pool, is one of the favorite sites in Topkapý Palace. The pool, which contains a jet of water and is located in front of the portico, was once larger, but construction in the 17th century by Sultan Murad IV (r. 162340) and Sultan Ibrahim I (r. 164048) resulted in the pools being made more narrow and the terraces being widened in the direction of the Golden Horn. In the Fourth Courtyard are found the Circumcision Chamber, the Iftar Gazebo, the Yerevan Pavilion, and the Baghdad Pavilion.
From this courtyard, one descends a three-meter long staircase to the Royal Hall, where the Pavilion Hall and the Tower of the Chief Physician are located, and which is also a garden with tulips and other flowers. The lowest terrace in this direction, which is toward the Marmara Sea, contains the Mecidiye Pavilion, the Garment Room, and the Mosque of the Hall.

Harem
The word harem is a noun derived from the Arabic verb haramameaning to prohibit, forbid, or make unlawfuland means that which is forbidden or that which is kept safe. At Topkapý Palace, the Harem Apartments were where the sultans lived together with their families. Reflecting architectural styles ranging from the 16th century to the early 19th century, the entire complex is of the greatest importance in terms of architectural history. In this sense, the Topkapý Palace Harem Apartments can be said to take pride of place among all the similar harems that have survived in the palaces of the Islamic world. The Harem was initially established within the Second Courtyard and above the palaces back gardens and expanded greatly over the centuries. The apartments were secluded with great care, by means of high walls, from the more public courtyards and sections of the palace where government business was conducted.

Soon after Topkapi Palace was constructed, the Old Palacelocated in the Bayezid neighborhood of Istanbulbegan to be used solely as the harem, while Topkapý Palace became the seat of government and of public functions, which together were called selamlýk. However, there are also some sources stating that, during this same period, a small haremthe Girls Palace (Sarây-i Duhterân)was also built beside the palaces Golden Road. The Harem developed in four stages, with perhaps the most intense period of construction and organization occurring when Sultan Suleiman the Magnificent (r. 152066) moved into the Topkapý Palace harem together with his Haseki (favorite) Hürrem Sultanknown as Roxelana in the Westand his family; this period continued until the 18th century.

The Harem contains more than 300 rooms, nine hammams, two mosques, a hospital, dormitories, and a laundry. The complex as it exists today was shaped over the course of time, through numerous restorations and expansions. The basic plan of the Harem consists of consecutive courtyards surrounded by and interspersed with living quarters, rooms, pavilions, and service buildings.

Videos
Topkapi Palace Tour Part I

Topkapi Palace Tour Part II

"Mehter" in Topkapi Palace Part I

"Mehter" in Topkapi Palace Part II

How to go

another Hagia Sophia....

2013-01-08T08:13:00.005-08:00

Hagia Sophia (Άγια Σοφία in Greek), the Church of Holy Wisdom, known variously as Sancta Sophia in Latin or Ayasofya in Turkish, is an ancient cathedral of the Church of Constantinople located in modern-day Istanbul, Turkey. It was converted to a mosque by the Turks and is now used as a museum. It is universally acknowledged as one of the great buildings of the world and a reference point in history of architecture. (The church is sometimes mistakenly called "Saint Sophia," as though it were named for a saint called Sophia.)

The first great church on the site was built by Constantius II, the son of Constantine the Great, but was burned down during the Nika riots of 532. The building was rebuilt in its present form between 532 and 537 under the personal supervision of emperor Justinian the Great. It is one of the greatest surviving examples of Byzantine architecture. Of great artistic value was its decorated interior with mosaics and marble pillars and coverings. The temple itself was so richly and artistically decorated that Justinian is believed to have said Νενίκηκά σε Σολομών: "Solomon, I have surpassed you!"

Interior of Hagia Sophia

The architects of the church were Isidore of Miletus and Anthemius of Tralles, professors of geometry at the University of Constantinople. Justinian's basilica was at once the culminating architectural achievement of late antiquity and the first masterpiece of Byzantine architecture. Its influence, both architecturally and liturgically, was widespread and enduring in the Orthodox, Roman Catholic, and Muslim worlds alike.

Hagia Sophia is covered by a central dome with a diameter of 31 meters (102 feet), slightly smaller than the Pantheon's. The dome seems rendered weightless by the unbroken arcade of arched windows under it, which help flood the colorful interior with light. The dome is carried on pendentives: four concave triangular sections of masonry which solve the problem of setting the circular base of a dome on a rectangular base. In Hagia Sophia the weight of the dome passes through the pendentives to four massive piers at the corners. Between them the dome seems to float upon four great arches.

At the western (entrance) and eastern (liturgical) ends, the arched openings are extended by half domes carried on smaller semidomed exedras. Thus a hierarchy of dome-headed elements build up to create a vast oblong interior crowned by the main dome, a sequence unexampled in antiquity.

The structure has been severely damaged several times by earthquakes. The dome collapsed after an earthquake in 558; its replacement fell in 563. There were additional partial collapses in 989 and 1346.

All interior surfaces are sheathed with polychrome marbles, green and white with purple porphyry and gold mosaics, encrusted upon the brick. On the exterior, simple stuccoed walls reveal the clarity of massed vaults and dome.

For over 900 years the Hagia Sophia was the seat of the Patriarch of Constantinople and a principal setting for imperial ceremonies. It was converted to a mosque at the Fall of Constantinople to the Ottoman Turks under Sultan Mehmet II in 1453. Since Islam considers the depiction of the human form to be blasphemous— that is, it is iconoclastic—Hagia Sophia's iconographic mosaics were covered with plaster. For almost 500 years the principal mosque of Istanbul, Ayasofya, served as model for many of the Ottoman mosques of Constantinople such as the Shehzade Mosque, the Suleiman Mosque, and the Rustem Pasha Mosque.

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The Grand Bazaar - Kapali Carsi

2012-03-07T02:41:00.000-08:00

The Grand Bazaar (Kapalıçarşı) in Istanbul is one of the largest covered markets in the world with 60 streets and 5,000 shops, and attracts between 250,000 and 400,000 visitors daily. It is well known for its jewellery, hand-painted ceramics, carpets, embroideries, spices and antique shops. Many of the stalls in the bazaar are grouped by type of goods, with special areas for leather, gold jewellery and the like. The bazaar has been an important trading centre since 1461 and its labyrinthine vaults feature two bedestens (domed buildings), the first of which was constructed between 1455 and 1461 by the order of Sultan Mehmed the Conqueror. The bazaar was vastly enlarged in the 16th century, during the reign of Sultan Suleiman the Magnificent, and in 1894 underwent a major restoration following an earthquake.

The complex houses two mosques, four fountains, two hamams, and several cafés and restaurants. In the centre is the high domed hall of the Cevahir Bedesten, where the most valuable items and antiques were to be found in the past, and still are today, including furniture, copperware, amber prayer beads, inlaid weapons, icons, moth pearl mirrors, water pipes, watches and clocks, candlesticks, old coins, and silver and gold jewellery set with coral and turquoise. A leisurely afternoon spent exploring the bazaar, sitting in one of the cafés and watching the crowds pass by, and bargaining for purchases is one of the best ways to recapture the romantic atmosphere of old Istanbul.

Gates

The Grand Bazaar has four main gates situated at the ends of its two major streets which intersect near the southwestern corner of the bazaar.

Opening Times:

Monday to Saturday 9:00 - 19:00. Closed Sundays and bank holidays.

Getting there:

Take a tram to Beyazit, Üniversite or Sirkeci.

The Grand Bazaar is around 15 minutes walk from the Aya Sofya/Blue Mosque area.

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

2012-02-23T00:24:00.001-08:00

Architecture

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

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

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

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

Interior

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

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

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

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

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

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

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

Pope Benedict XVI's visit and silent meditation

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

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

What to See

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

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

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

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

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

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

Festivals and Events

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

enchanted by the Hagia Sophia's beauty

2012-02-20T03:11:00.000-08:00

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

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

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

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

The Loge of the Empress

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

Marble Door

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

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

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

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

About Hagia Sophia Museum

Hagia Sophia is considered a unique monument in world architecture, and its magnificence and functionality has been a good example in construction of countless Ottoman mosques. Hagia Sophia with its exceptional history constitutes a synthesis between east and west. This monument is one of the wonders of the world that has remained intact until the present day. One can find many attractions in Hagia Sophia – interesting forms of Byzantine architecture, mosaics of the Christian period as well as structures added during the Ottoman era.

Hagia Sophia has been a Christian place of worship for 916 years, then converted into a mosque and served Muslims for 481 years. Hagia Sophia Museum was opened in 1935 and ever since it has been attracting thousands of visitors every year.

According to Byzantine historians (Theophanes, Nikephoros, Grammarian Leon) the first building of Hagia Sophia church was established during the reign of Constantius I (324 – 337 AD). It was a basilica with a wooden roof, and it was burned down during a revolt. Nowadays there is no evidence of this structure.

During the reign of emperor Theodosius Hagia Sophia was built for the second time and opened to the public in 415 AD. The basilica was again burned down during the Nika Revolt in 532 AD. Some ruins of this building were discovered during excavations in 1936. There were stairs indicating the entrance of the building, columns, capitals and other fragments of the building.

Emperor Justinian (527 – 565 AD) wanted to build a church bigger than two previous ones, which would represent the power and magnificence of empire. The new building of Hagia Sophia was designed by two famous architects of that era – Isidoros from Miletos and Anthemios of Tralles. Many columns, capitals, marble and colourful stone were brought to Istanbul from various ancient cities in Anatolia and used in construction works of Hagia Sophia.

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

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

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

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

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

Hagia Sophia Museum

Sultanahmet 34400

Istanbul, Turkey

Phone: +90 212 5221750 - +90 212 5220989

Fax: +90 212 5125474

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

E-mail: ayasofyamuzesi@hotmail.com