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elderly caretaker at the mosque of dras.
dras is suppose to be the second coldest habitat in the world, only next to siberia! it a beautiful small hamlet to stay instead of kargil. the best place to stay here is government rest house, book well in advance.
see more ISLAMIC ARCHITECTURE here.
Sheikh Zayed Grand Mosque (Arabic :جامع الشيخ زايد الكبير) is located in Abu Dhabi, the capital city of the United Arab Emirates.
Sheikh Zayed Grand Mosque was initiated by the late President of the United Arab Emirates (UAE), HH Sheikh Zayed bin Sultan Al Nahyan. His final resting place is located on the grounds beside the same mosque.
As the country’s grand mosque, it is the key place of worship for Friday gathering and Eid prayers. It is the largest mosque in the UAE and numbers during Eid can be more than forty thousand people.
Downtown Beirut is the place where several mosques and churches stand together, side by side, to prove something!
Wallpaper size : 1920x1200
from "Archnet.org"
The Nusretiye Mosque was erected between 1823 and 1826 by Mahmud II (1784-1839) as part of a larger project to rebuild the Tophane artillery barracks that burnt in the Firuzaga fire. It is located off the Western shore of the Bosphorus, below Tophane or the Canon Foundry established by Mehmed II (1432-1481) and was built on the former site of the Mosque of the Artillery Barracks (Tophane-i Amire Arabacilar Kislasi Camii) built by Selim III (1789-1807). In style, the mosque signifies a transition from Ottoman baroque to empire style. Its architect is Krikor Balyan (1764-1831), who is the first in nine architects belonging to the Armenian Balyan family who served the royal family throughout the nineteenth century. The mosque was named Nusretiye or Victory, in celebration of the sultan's recent abolition of the rebellious janissary troops in favor of a new western-style army -- an event known in Ottoman history as Vaka-i Hayriye or the auspicious event.
When it was built, the Nusretiye mosque stood to the northeast of a rectangular parade ground facing the Bosphorus with the Meclis-i Mebusan or Parliament Street at its back. The artillery barracks, built by Mahmud II at the same time as the mosque, bound the southwest side of the parade ground. His successor, Abdülmecid I (1839-1861), added a clock tower (Tophane saat kulesi) at the center of the grounds and built the royal Tophane kiosk (Tophane Kasri) at the street end of the longitudinal axis. In 1866, the neo-classical strip housing the offices of the marshals was built on the other side of Meclis-i Mebusan Street from the Tophane kiosk and the fenced parade ground, completing the monumental appearance of the military complex seen in older photographs. Only the mosque, the clock tower and the Tophane kiosk have survived the mid 1950s urban renewal and highway construction programs. The parade ground was developed into a trade entrepôt with concrete warehouses extending into newly infilled grounds behind the mosque. The mosque stands today on Necati Bey Street, having lost its historical context and connection with the water. It was restored between 1955 and 1958, and again in 1980 and 1992.
The mosque stands raised on a tall basement, oriented along the northwest-southeast axis. It consists of a square prayer hall with narthex and mihrab apse, and a large sultan's kiosk, which wraps the west and north corners at the front, on either side of the tall portico. Side arcades made of five domed bays flank the prayer hall on the exterior. Although the mosque lacks a monumental courtyard, a prominent feature in classical Ottoman mosques, it has a small side courtyard that adjoins the prayer hall to the northeast. The side arcade on this side is a few steps below the courtyard whereas to the southwest the arcade has two-stories and has a door at the lower colonnade that leads down to the basement level.
The mosque portal is located at the center of the three-bay portico, a monumental baroque entrance with two staircases leading up to its terrace. The staircases are framed on either side by the projecting bays of the sultan's kiosk, which is raised to the height of the portico domes carried on arches and columns, forming open terraces below. The residential-looking sultan's kiosk dominates the front façade of the mosque and zigzags around the corners where the minarets are attached to form wings projecting outwards into the parade ground and the side courtyard. It is entered primarily from a baroque portal adjoining the side arcade on the southwest façade; there are secondary entrances on either side of the portico.
Inside, the prayer hall is crowned with a single dome, raised on four grand arches that spring from the four corners. The narthex to the northwest has women's prayer section flanking the entrance and the muezzin's platform at the gallery level. The grand arch above the narthex is carried on two piers and three arches, the larger central arch mirrors the arch of the mihrab semi-dome across the hall. Along the southwest wall, to the right, is the sultan's lodge -- a balcony with gilt screens entered from the sultan's kiosk. Windows pierced into the tympana of the grand arches and twenty windows around the dome illuminate the interior from above. Of the two tiers of windows at the ground level, the lower casements are crowned with baroque vases carved in the marble tympana of the window arches. All of the upper windows have faux frames painted in the baroque style. The mihrab and minbar are carved of white marble and decorated with flowers and gilt garlands. Perhaps the most important decorative element on the interior is a calligraphic band inscribed with the Koranic sura of The Event or Al-Naba, which travels the interior located above the casement windows. It is written in gold celi style letters over a dark background by the famous calligrapher Mustafa Rakim (1757-1826).
The mosque has two minarets located at the west and east corners. Raised on tall square foundations, the fluted minaret shafts have bulbous bases and double balconies with wavy balustrades. In order to create a view for passing ships to read the string of lights with devotional messages (mahya) hung between the two minarets without being obstructed by the dome, the minarets were taken down and rebuilt taller in 1826. The superstructure, including the dome, is marked with exuberant architectural decorations. Curved pilasters with finials alternate with the dome windows and large bulbous weight turrets with pointed domes that are placed at the springing of the grand arches, which are bordered with lace-like cornices. The mosque is constructed primarily of cut stone.
To the northeast, the entrance to the small side courtyard is flanked by twin structures of the sabil (sebil), on the right, and the room of the timekeeper (muvakkithane), on the left. Positioned originally across the street, they were moved adjacent to the mosque during the rule of Abdülaziz I (1861-1879). They are round with arched grille windows facing the street and are crowned by conical domes with wavy eaves mirrored by wavy marble cornices with inscriptive plaques. A fountain kiosk erected beside the mosque by Abdülhamid II in 1901 has been moved to Maçka neighborhood as part of the urban renewal program.
Great Mecidiye Mosque, also known as Ortaköy Mosque, is one of the 19th century mosques located on the European side of the Bosphorus. It was built on the order of Sultan Abdülmecit, by the architect Nigoğos Balyan in 1853. The mosque was designed in neo-baroque style, according to the preferred architecural fashions of the period. After the earthquake in 1894, the cone of the minaret was repaired. In 1960 the mosque was near to collapse, so the foundation was improved with reinforcements. The building was again renovated after it was destroyed by fire in 1984. From 2011 - 2014 the Pious Foundation ran a full restoration project and the mosque reopened to visitors and for religious services on June 6, 2014.
#SALTResearch, Ali Saim Ülgen Archive
Halk arasında Ortaköy Camii olarak bilinen Büyük Mecidiye Camii, Boğaziçi’nin Rumeli yakasındaki 19 yüzyıl camilerindendir. 1853’te Sultan Abdülmecit tarafından mimar Nigoğos Balyan’a yaptırılan cami, dönemin eğilimine uygun olarak neo-barok üsluptadır. 1894’teki depremden sonra minaresinin külah bölümü onarılan cami, 1960’ta göçme tehlikesi nedeniyle temel güçlendirme çalışmasından geçirildi, 1984’te atlattığı yangının ardından da kapsamlı şekilde restore edildi. Son olarak, Vakıflar Genel Müdürlüğü tarafından 2011-2014 yıllarında yürütülen restorasyon çalışmasının ardından 6 Haziran 2014’te yeniden ibadet ve ziyarete açıldı.
#SALTAraştırma, Ali Saim Ülgen Arşivi
Repository: SALT Research
Rights Info: This material can be used under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) license.
Next to the centuries old buildings of the Khoja Ahmat Yassawi Mausoleum complex was this extremely modern looking mosque.
photo by Marcia Newton
Once again on the road and stopping at a few places I normally drive past.
Resting quietly, a stones throw from the motorway. Cannot get a place name, yet.
peeping inside the mosque.
a muslim guy is praying to Mecca.
women/ non-muslims are not allow to enter...
(photo by Cathy)
Great Mecidiye Mosque, also known as Ortaköy Mosque, is one of the 19th century mosques located on the European side of the Bosphorus. It was built on the order of Sultan Abdülmecit, by the architect Nigoğos Balyan in 1853. The mosque was designed in neo-baroque style, according to the preferred architecural fashions of the period. After the earthquake in 1894, the cone of the minaret was repaired. In 1960 the mosque was near to collapse, so the foundation was improved with reinforcements. The building was again renovated after it was destroyed by fire in 1984. From 2011 - 2014 the Pious Foundation ran a full restoration project and the mosque reopened to visitors and for religious services on June 6, 2014.
#SALTResearch, Ali Saim Ülgen Archive
Halk arasında Ortaköy Camii olarak bilinen Büyük Mecidiye Camii, Boğaziçi’nin Rumeli yakasındaki 19 yüzyıl camilerindendir. 1853’te Sultan Abdülmecit tarafından mimar Nigoğos Balyan’a yaptırılan cami, dönemin eğilimine uygun olarak neo-barok üsluptadır. 1894’teki depremden sonra minaresinin külah bölümü onarılan cami, 1960’ta göçme tehlikesi nedeniyle temel güçlendirme çalışmasından geçirildi, 1984’te atlattığı yangının ardından da kapsamlı şekilde restore edildi. Son olarak, Vakıflar Genel Müdürlüğü tarafından 2011-2014 yıllarında yürütülen restorasyon çalışmasının ardından 6 Haziran 2014’te yeniden ibadet ve ziyarete açıldı.
#SALTAraştırma, Ali Saim Ülgen Arşivi
Repository: SALT Research
Rights Info: This material can be used under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) license.
From Archnet digital library:
Construction on the Nuruosmaniye Complex began in 1749 during the rule of Mahmud I (1730-1754) and was completed by his brother and successor Osman III (1754-1757) in 1755. It is located to the east of the covered bazaar and was built to replace the Mascid of Fatma Hatun, which burnt in a fire. In style, the complex is distinguished from its precedents with its adoption of baroque design elements and embodies the westernizing vision of Mahmud I. While there is little known about its architect, Simeon Kalfa, its construction is documented in detail by construction manager Ahmed Efendi in a booklet entitled "Tarih-i Cami-i Serif-i Nur-i Osmani". The name Nuruosmaniye, or the Light of Osman, is thought to refer to Osman III and to a verse from the Sura of Al-Nur, "God is the light of the heavens and the earth", which is inscribed inside the dome.
The complex consists of a mosque (cami), madrasa (medrese), soup-kitchen (imaret), tomb (türbe), library (kütüphane) and water fountain or sabil (sebil), enclosed in an irreqular walled-in precinct, and a han and some stores (dükkan) built in the vicinity. The precinct is entered from two gates to the east and west. The western gate, called Carsikapisi or bazaar gate, opens into the covered bazaar with the sabil adjoining it. The mosque, oriented along the northwest-southeast axis, occupies the northwest corner of the precinct, which is raised above street level on a tall basement. Beside it, at the northeast corner, are the library and the tomb. The madrasa and the soup kitchen are housed in a single structure that projects beyond the southern precinct wall. The accessory buildings are aligned loosely with the cardinal axis.
The mosque consists of a single domed prayer hall, preceded by a courtyard of comparable size to the northwest. The courtyard is entered through a main portal to the northwest and two side portals. It has a unique semi-elliptical shape created with the use of wedge-segments placed between nine domed bays; it is also distinctive with the omission of an ablution fountain. Windows placed at two levels provide views outside. There is no ablution fountain. The five-bay mosque portico completes the courtyard arcade and leads into the prayer hall through a central portal.
The prayer hall is square with a semi-circular mihrab apse and is crowned with a large dome 25 meters in diameter and raised to a height of 43.50 meters on four monumental arches. The interior space is activated by wide galleries that surround it on three sides. There are no aisles; the space below the galleries is an exterior arcade and is accessed through two side doors with cascading steps. At three different places -- the entrance and the two corners flanking the qibla wall -- the galleries are widened to form balconies that project into the prayer hall carried on columns. The corner balconies are deepened further with the inclusion of arcade space; the one to the east is the sultan's lodge and has gilted latticework between its columns. It is accessed primarily by a ramp outside the mosque that allowed the sultan to ascend to his quarters on his horse.
The tympana of the grand arches, equal in height to the galleries, are braced with smaller concentric arches that help strengthen the structure. At the qibla wall, the small arch is joined with the semi-dome that covers the mihrab apse. Sixteen windows in each tympanum light up the interior, in addition to the numerous casement windows at the ground and gallery levels. There are twenty-eight more windows at the base of the dome. With the exception of the casements, windows are made of interlacing pieces of colored and plain glass. The interior of the mosque is covered with gray marble panels up to the galleries where a thick structural cornice, inscribed with the Sura of Al-Fath, adorns and braces the structure. Below the gallery, calligraphic medallions crown each casement window. The baroque influence is conveyed through the extensive use of sculptural elements such as pilasters and cornices, and baroque motifs, such as garlands, finials and scallops. Going beyond mere imitation, the Nuruosmaniye mosque achieves one of the finest instances of Ottoman baroque, a unique synthesis between classical Ottoman and contemporary western styles that is epitomized in the scallop muqarnas domes crowning its portals.
On the exterior, the silhouette of the mosque is marked by the tall dome and domed arches rising dramatically above the courtyard walls amidst the low-lying market neighborhood. The curved outlines of the baroque buttresses that anchor the dome at its corners and the thick cornice that crowns the grand arches, dominate the architectural expression. The two minarets, attached at either end of the mosque portico, have fluted shafts with two balconies and stone caps. The mosque is primarily constructed of cut stone.
Madrasa and Soup-Kitchen
The madrasa is built on a traditional plan, and has twenty domed rooms and a large classroom (dersane) enveloping an arcaded courtyard. The soup-kitchen adjoins it to the west and is about half the size of the madrasa. Entered through a domed entryway to the north, the soup-kitchen is organized around an inner courtyard that gives access to the kitchens to the south and a dining room to the west, with the madrasa wall bounding it to the east.
Library and Tomb
The library is a single-story building set on a high platform accessed by two sets of stairs located to the west that lead into separate entryways. An Arabic inscription above the entrance states: "Demand science, from the cradle to the grave." It has a cross-plan with widely rounded corners and consists of an elliptical reading room enveloped by an arcade made of fourteen columns. An additional storage room projects between the two staircases to the west; there is also a full basement. The reading room is covered by a dome flanked by two semi-domes, and the arcade spaces have cross vaults. Thirty windows, placed at two levels, illuminate the interior. The bulbous footprint of the library is enhanced on the exterior with the play of pilasters and moldings. Opened in 1755 with eighteen employees, the Nuruosmaniye Library is a branch of the Süleymaniye Library today and contains personal collections of Mahmud I and Osman III with a total of 7600 volumes of which 5052 are manuscripts.
The tomb is located slightly to the south of the library and was originally intended for Mahmud I, who is buried in the Tomb of Valide Turhan Sultan. Sehsuvar Valide Sultan, the mother of Osman III, was buried here in 1756. The tomb is a single domed room, preceded by a three-bay domed portico to the west. Its exterior appearance is marked by the curved outline of the portico and the large weight turrets that flank the dome at its four corners.
Sources:
Dünden Bugüne Istanbul Ansiklopedisi. 1993. Istanbul: Türkiye Ekonomik ve Toplumsal Tarih Vakfi VI, 100-104.
Hochhut, Pia. 1986. Die Moschee Nuruosmaniye in Istanbul: Beiträge zur Baugeschichte nach osmanischen Quellen. Berlin: K. Schwarz.
Goodwin, Godfrey. 1997 (reprint of 1971). A History of Ottoman Architecture. Thames and Hudson: London, 382-387.
Kuban, Dogan. 1954. Türk barok mimarisi hakkinda bir deneme. Istanbul: Pulhan Matbaasi.
Öz, Tahsin. 1987. Istanbul Camileri. Türk Tarih Kurumu Basimevi: Ankara, 111-112
Paper art by Su Blackwell assisted by Emma Yeo. Blogged: www.allthingspaper.net/2014/06/altered-book-artist-su-bla...
Bani is a small town on the way from Ouagadougou to Gorom-Gorom. It looks interesting, and has an interesting story. A series of seven fascinating mud-brick mosques are scattered around the town, several on hill tops, standing out against the sky as you approach. I was told the mosques are laid out in the same pattern as in Mecca, though I have not been able to confirm this.
uit:
www.voiceinthedesert.org.uk/keith/archives/2007/11/bani.html
The Kocatepe Mosque is the largest mosque in Ankara, the capital of Turkey. It was built between 1967 and 1987 in the Kocatepe quarter in Kızılay, and its size and prominent situation have made it a landmark that can be seen from almost anywhere in central Ankara.
مسجد کجاتپه (قوجاتپه ) در محله قیزیل آی آنکارا در سالهای ۱۹۸۱-۱۹۸۷ ساخته شد و توسط رییس جمهور وقت ترکیه آقای تورگوت ازال افتتاح شد.طرح اولیه این مسجد همان طرح معماری بزرگترین مسجد جهان یعنی مسجد مدرن فیصل پاکستان بود اما بعد مخالفت فنی با آن پروژه در سال ۱۹۶۷ ، بعدها با کمی تغییر آقای وئدات دالوکای معمار ترک این پروژه را در پاکستان اجرا کرد و در عوض معماران ، اولوانگین و تالای ، یک مسجد با معماری به شیوه عثمانیان ساختند که البته زیباست اما پروژه قبلی هم لطف خود را داشت .
این مسجد گنجایش ۳۰۰۰ نمازگزار را دارد و بزرگترین مسجد آنکارا میباشد.