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The Süleymaniye Mosque, built on the order of Sultan Süleyman (Süleyman the Magnificent), "was fortunate to be able to draw on the talents of the architectural genius of Mimar Sinan" (481 Traditions and Encounters: Brief Global History). The construction work began in 1550 and the mosque was finished in 1557.
This "vast religious complex called the Süleymaniye...blended Islamic and Byzantine architectural elements. It combines tall, slender minarets with large domed buildings supported by half domes in the style of the Byzantine church Hagia Sophia (which the Ottomans converted into the mosque of Aya Sofya)" (481 Traditions and Encounters: Brief Global History).
The design of the Süleymaniye also plays on Suleyman's self-conscious representation of himself as a 'second Solomon.' It references the Dome of the Rock, which was built on the site of the Temple of Solomon, as well as Justinian's boast upon the completion of the Hagia Sophia: "Solomon, I have surpassed thee!"[1] The Süleymaniye, similar in magnificence to the preceding structures, asserts Suleyman's historical importance. The structure is nevertheless smaller in size than its older archetype, the Hagia Sophia.
Güneş Saati
The image was so noisy that I had to play on it . Now,I'll add the info I photographed here. And the sundial from a distance.
Konjic is a town and municipality located in Herzegovina-Neretva Canton of the Federation of Bosnia and Herzegovina, an entity of Bosnia and Herzegovina. It is located in northern Herzegovina, around 37 miles southwest of Sarajevo. It is a mountainous, heavily wooded area, 879 ft above sea level. As of 2013, it has a population of 26,381 inhabitants.
The Stara Ćuprija (Bosnian: The Old Bridge) spans the Neretva River. It is a significant example of Ottoman bridge architecture in the Balkans. It was built between 1682 and 1683. It was restored to its original appearance with European and Turkish financial assistance between 2003 and 2009,
The Sultan Ahmed Mosque (Turkish: Sultanahmet Camii) is a mosque in Istanbul, the largest city in Turkey and the capital of the Ottoman Empire (from 1453 to 1923). The mosque is one of several mosques known as the Blue Mosque for the blue tiles adorning the walls of its interior. It was built between 1609 and 1616, during the rule of Ahmed I. Like many other mosques, it also comprises a tomb of the founder, a madrasah and a hospice. The Sultan Ahmed Mosque has become one of the greatest tourist attractions of Istanbul.
After the humiliating Peace of Zsitvatorok and the unfavourable result of the wars with Persia, Sultan Ahmed I decided to build a large mosque in Istanbul to placate Allah. This would be the first imperial mosque in more than forty years. Whereas his predecessors had paid for their mosques with their war booty, Sultan Ahmed I had to withdraw the funds from the treasury, because he had not won any notable victories. This provoked the anger of the ulema, the Muslim legal scholars.
The mosque was to be built on the site of the palace of the Byzantine emperors, facing the Hagia Sophia (at that time the most venerated mosque in Istanbul) and the hippodrome, a site of great symbolic significance. Large parts of the southern side of the mosque rest on the foundations, the vaults and the undercrofts of the Great Palace. Several palaces, already built on the same spot, had to be bought (at considerable price) and pulled down, especially the palace of Sokollu Mehmet Paşa, and large parts of the Sphendone (curved tribune with U-shaped structure of the hippodrome).
Construction of the mosque started in August 1609 when the sultan himself came to break the first sod. It was his intention that this would become the first mosque of his empire. He appointed his royal architect Sedefhar Mehmet Ağa, a pupil and senior assistant of the famous architect Sinan as the architect in charge of the construction. The organization of the work was described in meticulous detail in eight volumes, now in the library of the Topkapı Palace. The opening ceremonies were held in 1617 (although the gate of the mosque records 1616) and the sultan was able to pray in the royal box (hünkâr mahfil). But the building wasn't finished yet in this last year of his reign, as the last accounts were signed by his successor Mustafa I.
The design of the Sultan Ahmed Mosque is the culmination of two centuries of Ottoman mosque development. It is 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, but the interior lacks his creative thinking.
Mehmet Paşa used large quantities of materials for the construction, in particular stone and marble, draining away supplies for other important works. The layout of the mosque is irregular, as the architect had to take into account the existing constraints of the site. Its major façade, serving as the entrance, faces the hippodrome. The architect based his plan on the Ṣehzade Mosque (1543-1548) in Istanbul, the first major large-scale work of Sinan, with the same square-based symmetrical quatrefoil plan and a spacious forecourt. This prayer hall is topped by an ascending system of domes and semi-domes, each supported by three exedrae, culminating in the huge encompassing central dome, which is 23.5 meters in diameter and 43 meters high at its central point. The domes are supported by four massive piers that recall those of the Selimiye Mosque in Edirne, another masterpiece of Sinan. It is obvious that Mehmet Paşa was overcautious by taking this inflated margin of safety, damaging the elegant proportions of the dome by their oppressive size. These "elephant feet" consist of multiple convex marble grooves at their base, while the upper half is painted, separated from the base by an inscriptive band with gilded words. Seen from the court, the profile of the mosque becomes a smooth succession of domes and semi-domes. The overall effect of the exterior on the visitor is one of perfect visual harmony, leading the eye up to the peak of the central dome.
The façade of the spacious forecourt was built in the same manner as the façade of the Süleymaniye 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, rather monotonous, 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 rather small ribbed dome on a tall drum.
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 Sultan Ahmed Mosque is one of the two mosques in Turkey that has six minarets, the other is in Adana. When the number of minarets was revealed, the Sultan was criticized for presumption, since this was, at the time, the same number as at the mosque of the Ka'aba in Mecca. He overcame this problem by paying for a seventh minaret at the Mecca mosque.
Four minarets stand at the corners of the mosque. Each of these fluted, pencil-shaped minarets has three balconies (ṣerefe) with stalactite corbels, while the two others at the end of the forecourt only have two balconies.
Until recently the muezzin or prayer-caller had to climb a narrow spiral staircase five times a day to announce the call to prayer. Today a public address system is used, and the call can be heard across the old part of the city, echoed by other mosques in the vicinity. Large crowds of both Turks and tourists gather at sunset in the park facing the mosque to hear the call to evening prayers, as the sun sets and the mosque is brilliantly illuminated by coloured floodlights.
Bu güzelliğin artık yerinde olmaması, hüzün veriyor. Kabul edilebilir bir kaza mı bilmem ...?
Tekrar yerine konabilecek mi, akıbeti ne olacak ?
The Blue Mosque ceiling build in the 16th century is so beautiful and intricate, that it's difficult to isolate so many details. Every time you turn your head you see another interesting view, and angle.
Better for the eyes and soul in the light box. Press L
#74/100
Bayram Sabahı kalabalığında istediğim rahatlıkta çekemedim. Simetri ve ışık ideal ölçülerde değil. Ama o da olacak ...
Bu fotoğraf Bilim Teknik Dergisi Ocak 2011 de 518. sayısında kullanılmıştır
Turkish American Community Center
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Yaz yorgundur artık, gün bitmektedir, Eylül'dür.
Güneş Süleymaniye minarelerini yalayıp geçerken, Üsküdar'da Mihrimah'ın revaklı geniş avlusunda yangın başlatır. Gölgeler uzamış, vakit kısalmıştır. Martı seslerinin, insan uğultusuna karıştığı bu saatlere, yanaşan vapurların ağır gövdeleri ile iskeleye sıkıştırdıkları boğazın şarkısı eşlik eder.
Hep canlıdır meydan. Bir şeyler satan, duyuran, çağıran canhıraş telaşlar karşılar sizi. İçine çeken ve sürükleyen bu hengâme ürkütmez, hayata dokunur, bırakırsınız kendinizi.
Aşınmış mermer sütunları, duvarları ve şadırvanı ile yüzlerce yıllık bilgelik kucaklamıştır. Kulaktan kulağa aktarılan aşk hikayelerini düşünürken siz, Mihrimah Sultan zarif bir gümüş kase dolusu huzuru sunmuştur bile. Mahcup bir bakış atarsınız kızıllaşan güneşe.
İnsanlar kıyam ve secde arasında ötelerden bir hayal gibi dururlar önünüzde. Öteler, alnınıza çarpan serin Boğaz rüzgarı gibi hep yanınızdadır ...
...
En güzel mabedi olsun diye en son dinin
Budur öz şekli hayal ettiği mimarının.
Görebilsin diye sonsuzluğu her yerden iyi,
Seçmiş İstanbul'un ufkunda bu kudsi tepeyi;
Taşımış harcını gazileri, serdarıyle,
Taşı yenmiş nice bin işcisi, mimarıyle.
Hür ve engin vatanın hem gece, hem gündüzüne,
Uhrevi bir kapı açmiş buradan gökyüzüne,
Taa ki geçsin ezeli rahmete ruh orduları..
Bir neferdir bu zafer mabedinin mimari.
Ulu mabed! Seni ancak bu sabah anlıyorum;
Ben de bir varisin olmakla bügün mağrurum;
Bir zaman hendeseden abide zannettimdi;
Kubben altında bu cumhura bakarken şimdi,
Senelerden beri ru'yada görüp özlediğim
Cedlerin mağfiret iklimine girmiş gibiyim.
Dili bir, gönlü bir, imanı bir insan yığını
Görüyor varliğının bir yere toplandığını;
...
Yahya Kemal
Beneath a leaden sky, the city breathes — between minarets glowing like missiles poised for launch, and fishing lines slicing through the current.
Tra minareti accesi come missili pronti a partire e ami lanciati nella corrente, sotto il cielo plumbeo, la città respira.
From Wikipedia:
The clock tower was designed by the Levantine French architect Raymond Charles Père and built in 1901 to commemorate the 25th anniversary of Abdülhamid II's accession to the throne (reigned 1876–1909). The clock itself was a gift from German Emperor Wilhelm II (reigned 1888–1918). It is decorated in an elaborate Ottoman architecture style. The tower, which has an iron and lead skeleton, is 25m (82 ft) high and features four fountains (şadırvan), which are placed around the base in a circular pattern. The columns are inspired by Moorish themes.
Yanından geçerken bakarsınız;
Tanıdık bir dostla selamlaşır gibi,
Uzaktan seyredebildiğiniz bir sevgiliyi süzer gibi,
Orada saklanan efsane güzelin can sıkıntısını duyar gibi,
Sinsice süzülen yılanın soğukluğunu hisseder gibi,
Tarihin her anına şahitlik etmiş bir aynaya bakar gibi,
Yeni geldik gözgöze. Tüm aşıklarına selam söyledi ..."
Ortaköy Mosque and the Bosphorus Bridge. The Mosque forms the edge of Europe. The land visible on the far side is that of the Asian Continent. The Mosque stands as a reminder of the glory of the Ottoman era.
The Mosque is called "Büyük Mecidiye Camii" in Turkish
New Mosque (Yeni Cami, Istanbul - Turkey) 5D Mark iii - 70-200 F/2.8 L is ii USM Exif: 10s f/11.0 ISO100 200mm