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Construction
Construction of Süleymaniye Mosque
mosque in İstanbul, Turkey
- 1550
- Middle East
Construction
mosque in İstanbul, Turkey
Fetching the article from Wikipedia…
The Süleymaniye Mosque (Turkish: Süleymaniye Camii, pronounced [sylejˈmaːnije]) is an Ottoman imperial mosque located on the Third Hill of Istanbul, Turkey. The mosque was commissioned by Suleiman the Magnificent (r. 1520–1566) and designed by the imperial architect Mimar Sinan. An inscription specifies the foundation date as 1550 and the inauguration date as 1557, although work on the complex probably continued for a few years after this.
The Süleymaniye Mosque is one of the best-known sights of Istanbul, and from its location on the Third Hill, it commands an extensive view of the city around the Golden Horn. It is considered a masterpiece of Ottoman architecture and one of Mimar Sinan's greatest works. It is the largest Ottoman-era mosque in the city.
Like other Ottoman imperial foundations, the mosque is part of a larger külliye (religious and charitable complex) which included madrasas, a public kitchen, and a hospital, among others. Behind the qibla wall of the mosque is an enclosed cemetery containing the separate octagonal mausoleums of Suleiman the Magnificent and his wife Hurrem Sultan (Roxelana).
The Süleymaniye Mosque and its Associated Conservation Area is one of the four components of the UNESCO World Heritage Site "Historic Areas of Istanbul", protected under cultural criteria (i), (ii), (iii), and (iv). Located within the Historic Peninsula, the site falls under multiple conservation designations: it was nationally registered in 1981 as an urban and historic conservation area and again in 1995 as an Archaeological, Urban Archaeological, Historical and Urban Site. The area contains 920 registered properties, including monumental and civil architecture.
Sultan Suleiman the Magnificent chose the architect Mimar Sinan to create a mosque in memory of his son Şehzade (Crown Prince) Mehmed. Suleiman was so impressed with the ensuing Şehzade Mosque that he asked Sinan to design a mosque for himself too. This mosque would represent the pre-eminence of the Ottoman Empire.
In the era of the mosque's construction, Suleiman controlled a huge empire that, after his father Selim's conquest of the Mamluk Sultanate in 1517, covered much of the Islamic world, encouraging him to define his role as an Islamic ruler. During this time, he was also engaged in confrontation with the Safavids, a Shi'a dynasty in Iran, and successfully forced them to make symbolic political concessions in the Treaty of Amasya in 1555. In this context, Suleiman promoted the Ottoman state's reliance on the Shari'a (Islamic law), the ulama (Islamic legal scholars), and orthodox Sunni ideology as a pillar of the sultan's authority and legitimacy. This is reflected in the function and organization of the madrasas and other educational facilities that were built as part of the new mosque's complex (külliye). The latter were given a much larger staff than previous madrasas and the endowment deed (waqf) for the mosque complex designated various religious officials that were to be closely associated with the Ottoman state. More generally, the monumental mosque and its extensive facilities formed a political display of the sultan's power. Among other functions, it served as an impressive setting for the sultan's public appearances at Friday prayers.
Suleiman's intention was to build a mosque that would surpass all others built by his predecessors. Suleiman appears to have represented himself at times as a "second Solomon" and his construction projects in both Jerusalem and Constantinople (Istanbul) appear to reflect this. Architecturally, Suleiman's mausoleum (built behind the mosque) references the Dome of the Rock, which was built on the site of the Temple of Solomon in Jerusalem. According to popular tradition, Justinian I boasted upon the completion of the Hagia Sophia in Constantinople: "Solomon, I have surpassed thee!" Suleiman's mosque, in turn, references the Hagia Sophia, Justinian's creation, in its design and layout. The mosque recalls the Hagia Sophia and the Bayezid II Mosque in its basic form, but as Sinan had already moved beyond this design with the Şehzade Mosque and he rarely revisited old designs during his career, it is likely that this design choice was requested by the sultan himself. The Hagia Sophia, which was converted into a mosque during the Ottoman conquest of the city in 1453, had remained an idealized symbol of sovereignty in Ottoman culture and this probably motivated Suleiman to emulate or surpass it with his own mosque.
The mosque was built on the site of the old Ottoman palace (Eski Saray) which was still in use at the time and had to be demolished. The Arabic inscription above the entrance to the prayer hall gives a foundation date of 1550 and an inauguration date of 1557. In reality, the planning of the mosque began before 1550 and parts of the complex were not completed until after 1557. The final construction expenses were recorded in 1559, relating to some of the madrasas and to the mausoleum of Suleiman's wife, Hürrem Sultan (d. 1558). The mausoleum for Suleiman himself was built after his death on the orders of his son and successor, Selim II, between 1566 and 1568.
Marble spolia from various sites in Constantinople and other parts of the empire were reportedly gathered and shipped to the construction site. Petrus Gyllius, a contemporary observer, wrote about seeing one of the four enormous porphyry columns destined for the mosque's interior being cut down to size and about marble columns being taken from the Hippodrome.
The Süleymaniye was damaged in the great fire of 1660 and was restored by Sultan Mehmed IV. Part of the dome collapsed during the earthquake of 1766. Repairs damaged what was left of Sinan's original decoration (recent cleaning has shown that he experimented with blue, before making red the dominant colour of the dome).
In 1858 and 1859, extensive repairs were made in the interior of the mosque, the minarets, the outer courtyard, and the tombs. New spaces such as the muvakkithane in the courtyard of the mosque and the custodian's room in the tomb of Sultan Suleiman were built.
During World War I the courtyard was used as a weapons depot, and when some of the ammunition ignited, the mosque suffered another fire. Not until 1956 was it fully restored. Between 1961 and 1967, a restoration of the mosque's prayer hall took place. 19th-century wall decorations were removed and earlier designs beneath the plaster were revealed. These original decorations were identified, partially uncovered, and revived, restoring some of the mosque’s 16th-century character, except for the central dome.
Over time, the mosque has faced various structural and material deteriorations, including erosion of stone surfaces, damage to minarets, corrosion of metal elements, and biological decay in wooden components. Notable issues included black crusts on facades, cracks in minarets, missing or deformed architectural details, and the use of inappropriate materials like cement-based mortars during earlier restorations. The use of cement and gypsum-based mortars as plaster materials in the repairs carried out between 1955 and the 2000s damaged the original structure. In some of these repairs, the original decorations were partially or completely destroyed and sometimes they were left under new layers of plaster and painted over. New decorations imitating the old ones or made in accordance with the taste of the period caused the original atmosphere of the structure to change.
The mosque was restored again between 2007 and 2010. This was the most comprehensive restoration work that has been undertaken in modern times. Original mortar, plaster and decorations were strengthened and preserved in-situ, regardless of how damaged they were, and only strengthening and cleaning works were carried out in the areas where original decorations were preserved. Intervention with color was avoided as much as possible. Façades and stone elements were cleaned with dry micro-sandblasting and chemical methods. Cement-based additions were removed and replaced with stone and plaster compatible with the original materials. Corroded clamps and iron elements were substituted with stainless steel. Wooden components were disassembled, fumigated, and repaired, with varnishes removed to restore breathability. Reconstructed parts followed original designs, informed by archival and on-site remains. Minaret roofs were replaced or restored, and missing marble and stone elements were remade. During restoration works, widespread cracks were observed across the surface of the main dome, extending from above the window level and continuing along the tension zone. In addition to regular structural monitoring, stratigraphic scraping conducted for the analysis of original painted decorations revealed further details about the cracks. Following this investigation, intervention zones were identified on site. After documenting the ornamental painting in these areas, careful plaster removal was carried out along the cracks. Based on structural calculations, consolidation was performed both on the interior and exterior surfaces of the main dome using injection-based reinforcement.
Like the other imperial mosques in Istanbul, the entrance to the mosque is preceded by a forecourt with a central fountain. The main front gate, on the northwest side of the mosque, projects outward from and above the walls on either side. The entrance portal consists of a recess covered by a triangular vault sculpted with muqarnas, with slender pilasters on either side. Above the muqarnas canopy is an inscription featuring the Sunni version of the shahada (profession of faith). The windows on either side of the portal mark the presence of interior rooms which housed the muvakkithane (chamber of the timekeeper).
The courtyard, measuring around 47 by 57 metres (154 by 187 feet), is of exceptional grandeur with a colonnaded peristyle supported by tall columns of marble, granite and porphyry. The columns are topped by classic Ottoman "stalactite" capitals (carved with muqarnas). On the southeast side of the courtyard, the portico preceding the prayer hall is higher than those on the other three sides, giving this façade a greater monumentality. The three center arches of the northwest portico, corresponding to the front entrance, are also higher than the other arches around them. According to Godfrey Goodwin, reconciling these elements of different heights along the peristyle was Sinan's main aesthetic difficulty. The facade of the prayer hall is also decorated with rectangular Iznik tile window lunettes. It was the first building in which the Iznik tiles included the brightly coloured tomato-red clay under the glaze.
The mosque is equipped with water taps outside the courtyard, between the side entrances of the prayer hall, which are used for performing ablutions. As a result, the drinking fountain in the center of the courtyard is purely decorative. It is a rectangular marble enclosure with a ceiling. The fountain was designed so that water sprayed from the ceiling into the basin below, an unusual feature noted by some 16th-century writers.
Behind the southeast portico, the main entrance to the prayer hall is set within a recess with a complex muqarnas canopy. This is preceded by a dome with a more distinctive design than the other domes of the peristyle. The entrance portal features a foundation inscription carved onto three rectangular panels (two vertical panels on the side and an horizontal one on top). The text was composed by Ebussuud Efendi and its calligraphy, in thuluth script, was created by Hasan Çelebi, a student of Ahmed Karahisari. It states the sultan's name and titles, his genealogy, and a prayer for the continuation of the Ottoman dynasty. The wooden doors of the entrance are made of carved wood, including walnut, ebony, and olive wood, and they are inlaid with ivory and mother-of-pearl.
The side entrances of the mosque courtyard have inscriptions as well. The western gate to the courtyard has an inscription reading, "Peace be unto thee! Thou art good, so enter ye to dwell therein" (Quran 39:73). The other entrances of the mosque have similar inscriptions which compare its gates with the gates of paradise.
Four minarets occupy the four corners of the courtyard. The two taller ones have three balconies and rise to a height of 63.8 m (209 ft) without their lead caps and 76 m (249 ft) including the caps. The balconies are supported by consoles carved with muqarnas and they have balustrades carved and pierced with geometric patterns.
The use of four minarets at the corners of a mosque courtyard had been done previously at the Üç Şerefeli Mosque in Edirne, although Sinan introduced a strict symmetry not present in the earlier example. In the history of Ottoman architecture, this many minarets were only added to some mosques endowed by a sultan (princes and princesses could construct two minarets; others only one). The minarets have a total of ten balconies, which is said to reflect the fact that Suleiman I was the 10th Ottoman sultan. By making the outer minarets shorter than the inner ones, Sinan also increased the overall visual impression of a structure rising towards the central dome.
Text from the Wikipedia article “Süleymaniye Mosque”, available under CC BY-SA 4.0.