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In Islam, writing is presence of God. "The text sees us", says the mystic.
The word for "ayn" in arabic means word and also : sign, mirror, eye, origin.
With a vegetable decor, the writing represents the sap, the energy of the world.
Islamic calligraphy
From the Wikipedia:
Islamic calligraphy, equally known as Arabic calligraphy, is the art of writing, and by extension, of bookmaking.[1] This art has most often employed the Arabic script, throughout many languages. Calligraphy is especially revered among Islamic arts since it was the primary means for the preservation of the Qur'an.
Throughout Islamic history, the work of calligraphers was collected and appreciated. Consideration of figurative art as idolatrous led to calligraphy and abstract figures becoming the main forms of artistic expression in Islamic cultures.[2]
Arabic, Persian and Ottoman Turkish calligraphy is associated with geometric Islamic art (the Arabesque) on the walls and ceilings of mosques as well as on the page. Contemporary artists in the Islamic world draw on the heritage of calligraphy to use calligraphic inscriptions or abstractions in their work.
Calligraphic scripts
The first Arabic script to gain popularity was the Kufic script, which was created in 537. Kufic is angular, made of square and short horizontal strokes, long verticals, and bold, compact circles. It was the main script used to copy the Qur'an for three centuries. Its static aspect made it suitable for monumental inscriptions, too. It developed many serifs (small decorations added to each character).
More often used for casual writing was the cursive Naskh script, with rounder letters and thin lines. As techniques for writing in this style were refined, it came to be preferred to Kufic for copying the Qur'an. Naskh is the first script taught to most children. Almost all printed material in Arabic is in Naskh so, to avoid confusion, children are taught to write in the same script. It is also clearer and easier to decipher.
In the 13th century, the Thuluth script took on the ornamental role formerly associated with the Kufic script. Thuluth means "one third"; the form of Thuluth is based on the principle that one third of each letter slides downward. Thus it has a strong cursive aspect and is usually written in ample curves.
After Persia was conquered by Arabs in the 7th century, it became common to write Persian in Arabic script. The Persians contributed the Ta'liq and Nasta'liq styles to Arabic calligraphy. Nasta'liq is extremely cursive, with exaggeratedly long horizontal strokes. One of its peculiarities is that vertical strokes lean to the right rather than (as more commonly) to the left, making Nasta'liq writing flow particularly well. The Persians also developed a style called shekasteh ('broken' in Persian). Shekasteh has seldom been used for scripting Arabic texts, though it is an Arabic calligraphy style.
The Diwani script is a cursive style of Arabic calligraphy developed during the reign of the early Ottoman Turks (16th and early 17th centuries). It was invented by Housam Roumi and reached its height of popularity under Süleyman I the Magnificent (1520–66). As decorative as it was communicative, Diwani was distinguished by the complexity of the line within the letter and the close juxtaposition of the letters within the word.
A variation of the Diwani, the Diwani Al Jali, is characterized by its abundance of diacritical and ornamental marks.
Finally, the most common script for everyday use is Ruq'ah (also known as Riq'a). Simple and easy to write, its movements are small, without much amplitude. It is the one most commonly seen. It is considered a step up from Naskh script, which children are taught first. In later grades they are introduced to Ruq'ah.
Inside the Sultanahmet Camii or simply Blue Mosque.
Dentro de la Sultanahmet Camii or simplemente La Mezquita Azúl.
The Twin Kiosk
Kafes means "the cage", it was the part of the Imperial Harem of the Ottoman Palace where possible successors to the throne were kept under a form of house-arrest and constant surveillance by the palace guards.
The history of the Ottoman Empire is littered with succession wars between rival sons of the deceased sultan. It was usual for a new sultan to have his brothers killed, including infants, sometimes dozens of them at once.
La Cubierta (Tejado) del Hamam de Süleymaniye
La cubierta de los Baños de Süleymaniye, al igual que otros hamams otomanos, es una característica arquitectónica muy distintiva y funcional:
Sistema de Cúpulas: La característica más notable de la cubierta son las numerosas cúpulas de diferentes tamaños que salpican el tejado. Cada una de estas cúpulas corresponde a una de las salas interiores del hamam.
La sala de vestuario (camegah), al ser la más grande, suele estar cubierta por la cúpula más grande y prominente del hamam.
Las salas templadas y calientes (ılıklık y sıcaklık), así como las alcobas individuales (halvet), están cubiertas por cúpulas más pequeñas y de menor altura.
Oculi y Cristales: Las cúpulas más pequeñas, especialmente las que cubren las zonas calientes, a menudo presentan pequeños orificios (oculi) en su vértice. Estos orificios suelen estar cubiertos con vidrio o cristal grueso y translúcido, que permite la entrada de luz natural al interior sin comprometer la privacidad ni la temperatura. Estas "estrellas" de luz son una característica icónica de los hamams, creando un ambiente mágico con los rayos de sol que penetran el vapor.
Materiales: Las cúpulas suelen ser de ladrillo o piedra, cubiertas exteriormente con plomo, que es un material duradero y resistente al agua, característico de los tejados otomanos. El uso de estos materiales y el diseño abovedado ayudaban a retener el calor y el vapor de manera eficiente.
Estructura Abovedada: La razón principal de las cúpulas y bóvedas en el tejado no es solo estética, sino funcional:
Gestión del vapor y la condensación: La forma abovedada permite que el vapor y la condensación se escurran por las paredes interiores de la cúpula, evitando que caigan directamente sobre los bañistas.
Distribución del calor: Las cúpulas ayudan a distribuir el calor de manera uniforme por toda la sala.
Estabilidad estructural: Las cúpulas son estructuras muy eficientes para cubrir grandes espacios sin necesidad de columnas intermedias, proporcionando estabilidad.
Once the largest mosque in the town of Kavala, in the early 1920s it was converted into a church and now serves the Christian population.
commons.wikimedia.org/wiki/File:20120726_Agios_Nikolaos_f...
Originally built by Veli Pasha of Ioannina on the site of a Byzantine church dedicated to Saint Stephen. Shortly after Greece's annexation of Ioannina in 1913, it was converted into a barracks. Today it houses the National Defense Museum of Ioannina
commons.wikimedia.org/wiki/File:Veli_Pasha_mosque_Ioannin...
An Istanbul street, with businesses put to an end as the night creeps and the Golden Horn is rinsed by the rain!
Yakışırdı elbet Süleymaniye'ye ama kurşun daha kullanışlı bir malzeme kubbe için. Eğer öyle olmasaydı Koca Sinan altınla kaplanmasını ister, Cihan Padişahı Kânûnî' de açardı kesenin ağzını şüphesiz.
Dün akşama doğru günbatımı çekmek için niyetlenip yola çıktık. Hedef Kadiköy'dü ama yılın bu mevsiminde iyi bir İstanbul sileti yakalamak zor ordan. Salacak'a indik bizde. Bir yandan da kendimizle dalga geçiyorduk aynı mekanın kaç bininci karesini çekeceğiz diye.
Geçen gün sosyal medya da paylaşmıştım ; "Güzel bir taraf" görmek için farklı bakış açıları denemeliyiz ... diye. ( plus.google.com/105057170246955300433/posts?hl=tr ) Öyle yaptık.
Güzel kareler çıktığını düşünüyorum, zamanla paylaşacağım ...
Aynı gibi görünen karelere yeni hatıralar ekliyoruz, evet durum bu ...
Rüzgârlı bir Cumartesi İstanbul'u. Hayat ve insan akıyor sokaklardan, hayat ve insan taşıyor turuncu bacalı vapurlar martılarla birlikte. İçi içe geçmiş o kadar farklı duygular var ki, dokunabiliyorsunuz . Siz ne iseniz, hangi ruh halindeyseniz o olup çıkıyor İstanbul.
Bu gölge çok taze olduğundan girdi seriye :) Dün çekildi. Ama sonuçta gölge işte. Yüzlerce benzerinden bir farkı var mı ?
Elbette var. Her gün yeniden başlar hayat. Ve o güneş o ana ait olarak batmaktadır.
Ve hep dediğimiz gibi, insanın bir güzele bir kere daha bakması gibi...
Geçen Hafta Cumartesi ikindisinden ... İbadethanelerde herkesin aradığı, biraz da huzurdur. Ve her ibadethane şartları gereği gereken edebi hak eder. Dinin ne olduğu, ismin ne olduğu hiç önemli değildir. Oraya sığınan da güvende hissetmelidir kendini, uğrayan da ibadet eden de.
İbadethanelere saygı önemli, çok önemli bir toplumsal eşiktir. Şükür ki, hâlâ, ezan okunurken müzik sesinin kısıldığı bir ülkede yaşıyoruz ...
Nusretiye Mosque - Nusretiye Camii
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.
Nusretiye Camii,
19. yüzyılda İstanbul'un Tophane semtinde inşa edilmiş bir camidir. İlk olarak III. Selim tarafından yaptırılmıştır. II. Mahmut yanan camiyi yeniden yaptırmıştır ve camiye Nusretiye adı bu dönemde verildi. Mimarı Krikor Balyan'dır. Nusretiye'nin kubbesinin yerden yüksekliği 33 metre, çapı 7.5 metredir.
1823 yangınında bütün Tophane kül olduktan sonra II. Mahmud semti ve camiyi yenilemiş, yeni cami 1826'da ibadete açılmıştır. Aynı yıl padişah, Yeniçeri Ocağı'nı topyekün kaldırdığı için camiye Nusretiye adı verilmiştir. Tek kubbeli, iki minarelidir. Minareler çok ince ve yüzeyi olukludur. Cami döşemesi mermerdir. İç kısımdaki hünkar mahfili bütünüyle mermerdir ve kafesi pirinç dökme ve altın yaldızlıdır.
Caminin yazıları Mustafa Rakım Efendi ve Şakir Efendi'nindir. Caminin büyük giriş kapısı üstündeki yazı Yesarizade Mustafa İzzet Efendi'ye aittir. Kapının karşısında sebil vardır.
Yapıldığı yıllarda İstanbul'da etkin olan ampir ve barok üslup etkisindeki caminin sebil, muvakkithane ve şadırvanı da Tophane'yi süslemektedir.
The courtyard of the Mosque of Muhammad Ali is lined with arcades that are roofed with 50 small domes and several larger domes. This is the northwest corner of the courtyard.
Muhammad Ali is regarded as the founder of modern Egypt. He was originally a commander in the Ottoman army who became ruler of Egypt and Sudan in 1805 with the acquiesce of the Ottomans.
In 1897, a clock tower was built near the Grand Serail to celebrate the anniversary of Ottoman Sultan Abdul Hamid II's coronation and to make up for the absence of a public clock indicating mandatory Muslim prayer times especially that many foreign institutions had built western style clock towers. The construction of the clock tower was approved by the Sultan following a letter of supplication from Beirut's governor Rashid Bey. The ceremonial laying of the first stone took place on 9 January 1897 (the birthday of the Sultan) in the presence of high officials, military representatives and members of the municipality of Beirut. Source:
en.wikipedia.org/wiki/Grand_Serail
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