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.
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
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
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