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The zebra coloured pendentives and columns of the Khan of Azem Asad Ali Pasha in old Damascus. This is a remarkablely well preseved example of late Ottoman Architecture.
This large mosque complex was commissioned in the late 15th c. by Beyazit II and designed by the architect Hayrettin. Here they had a mental hospital with such humane treatments as color, light, and music... at a time when Europeans were keeping mentally ill patients chained up in jails not fit for animals.
Sun is setting in Göynük.
Göynük is one of the very well preserved historical villages with its Ottoman style architecture.
It's 750 m above sea level where mountains of the western Black Sea and several rivers and air streams cross.
There is agriculture and poultry industry in the region.
This peacefull village is included in the Cittaslow list.
HISTORY: The first inhabitants were Scythians and Thracians. In the Hellenistic era, the region was under Bytinia sovereignty.
Around 1200 BC, Göynük was taken over by the Phrygians who were expanding westwards in Anatolia after settling in north-west Anatolia.
The oldest written document belonged to the Phrygians and was found in 1966 around Germanos (Soğukçam) village.
Later the region was conquered by the Roman Empire. When the Roman Empire was divided into two in 395 the region was inherited by Byzantium.
Around 1323 the region was conquered by the Ottomans.
Sun is rising in village Taraklı around 5:11 am. A view of the village from Hisartepe looking north-east.
Taraklı is located in a very narrow valley among the mountains 485 m above sea level.
Today Taraklı has a population of 6,870 and is included in the Cittaslow (Slow City) list.
Taraklı, formerly known as Dablar is within an area that was named as Bytinia in the Helenistic age. The two cisterns found in Hisartepe region are aged between 1000 and 2000 BC.
The region was conquered by the Ottomans between 1289 and 1293.
The mosque seen to the left foreground is Hisar mosque which is again a historical building and needs restoration.
There is agriculture around and the location is famous with artichoke, wheat and some fruits.
The Rüstem Pasha Mosque was designed by Ottoman imperial architect Mimar Sinan for the grand vizier Rüstem Pasha (the husband of one of the daughters of Suleiman the Magnificent, Princess Mihrimah). Rüstem Pasha died in July 1561 and the mosque was built after his death from around 1561 until 1563. The mosque complex hosts now a religious school.
The Rüstem Pasha Mosque is famous for its large quantities of exquisite İznik tiles, set in a very wide variety of beautiful floral and geometric designs, which cover not only the façade of the porch but also the mihrab, minbar, walls, columns and on the façade of the porch outside.These tiles exhibit the early use of a tomato-red color that would become characteristic of İznik pottery. Some of the tiles, particularly those in a large panel under the portico to the left main entrance, are decorated with sage green and dark manganese purple that are characteristic of the earlier 'Damascus ware' coloring scheme. No other mosque in Istanbul makes such a lavish use of these tiles. Wikipedia
The mosque was mentioned by Ottoman traveller Evliya Çelebi, and it is Edessa's sole surviving mosque. The mosque was made into a museum in 1942, and it is open to visitors today.
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Istanbul (Turkey)
Nikon D300S
AF-S DX VR Zoom-Nikkor 18-200mm f/3.5-5.6G IF-ED [II]
Frontal view of the Dolmabahce Sarayi (Palace) from the Bosphorus
This is the German Fountain. It was constructed to commemorate the second anniversary of German Emperor Wilhelm II's visit to Istanbul in 1898
Eyüp Sultan Kemerburgaz ormanlığının kuzeyinde bulunan köprü, Göktürk girişinde yer almaktadır. Kağıthane deresi üstünde bulunan Mimar Sinan eseri olan Uzun Köprünün Roma devrinden kalan temelleri üzerine inşa edilmiştir. Kemer Türkiyenin günümüzde ayakta kalmış en uzun kemeridir. 1554-1564 yılları arasında inşa edilen kemere 1567 yılında yaşanan sel ve fırtına sebebiyle büyük hasar görmüştür.
İki katlı olarak inşa edilen kemerin boyutu 710 metre yüksekliği ise 26 metredir. Alt katında 47 kemer üst katında 50 kemer olmak üzere toplamda 97 kemerden oluşmaktadır. Üst gözleri alt gözlere göre daha kısa olarak tasarlanmıştır. Köprü ayaklarından birinin üzerine “Allah” yazısı bulunmaktadır. Bir diğer ayağında ise defineciler tarafından tahrib edilmiş olan bir madalyon yer almaktadır. (Wikimapia - wikimapia.org/3389176/tr/Uzun-Kemer)
The Dyavolski most (Bulgarian: Дяволски мост, "Devil's Bridge"; Turkish: Şeytan Köprüsü) is an arch bridge over the Arda River situated in a narrow gorge. It is located 10 km (6.2 mi) from the Bulgarian town of Ardino in the Rhodope Mountains and is part of the ancient road connecting the lowlands of Thrace with the north Aegean Sea coast.
Dyavolski most was built between 1515 and 1518 by the Ottomans. The bridge, the largest and best known of its kind in the Rhodopes, is 56 m (183.7 ft) long and has three arches, but also features holes with small semicircular arches to read water level. The Dyavolski most has a width of 3.5 m (11.5 ft) and its main arch is 11.50 m (37.7 ft) high. A stone parapet, 12 cm (4.7 in) in height, is preserved on the sides, and breakwaters are placed opposite the stream.
from Wikipedia
Şeytan Köprüsü Bulgaristan’ın Kırcaali ilinde bir Orta Çağ köprüsü.
Şeytan Köprüsü bir kemer köprüdür ve Arda Nehri üzerinde, Eğridere kasabasının 10 km yakınlarında yer alır. Bu bölge, tarihî Trakya’nın tarihî yol güzergâhının bir parçasını oluşturur. Osmanlı İmparatorluğu zamanında yapılmıştır. I. Selim döneminde 1515-1518 yıllarında inşa edilmiştir.
Köprünün ismi konusunda ise çeşitli rivayetler vardır. Bir rivayete göre üzerinden sadece şeytan geçebildiği için bu ismi almış iken bir diğer rivayete göre ise köprünün sudaki yansıması şeytana benzetilmiştir.
Дяволският мост над Арда е близо до село Дядовци на 6 км северно от Ардино. Мостът е включен и в герба на общината. Построен е на 420 м надморска височина на място, оградено от стръмни склонове, достигащи до 800 м надморска височина. Дължината му е 66 м, широчината - 3,4 м. Мостът е трисводест, като на страничните му ребра са направени отвори с полукръгли сводчета за оттичане на водата. Височината на централния свод е 11,50 – 12 м, а по ръба е запазен каменен парапет.
Мостът е построен в началото на ХVI век по заповед и желание на султан Селим I като част от път, свързващ Горнотракийската низина с Беломорска Тракия и Егейско море. На мястото му някога е имало по-стар римски мост на пътя, свързващ Тракийската низина с Беломорието.
Мостът бил известен с името „Шейтан кюприя“ (в превод от турски – Дяволски мост). За изпълнител на задачата се приема майстор Уста Димитър от съседното село Неделино. Той вградил останките на римския мост в новата конструкция, използвайки само камъни от местността.
Nuruosmaniye Camii Kapalıçarşı'nın Çemberlitaş kapısından çıkar çıkmaz girilen kapının solunda 2 metrelik bir subasman üzerinde görülen ilk barok özellikli cami. Dış avlusunun iki kapısından biri Kapalıçarşı'ya diğeri Çemberlitaş'a açılır.
Mustafa Ağa ve yardımcısı Simon Kalfa (Mimar Simeon) tarafından 1748'de inşasına başlanan cami 1755'de bitmiştir. I. Mahmut zamanında yapımına başlanan cami , III. Osman zamanında Nuruosmani adıyla tamamlanmıştır. Şadırvanı yoktur, önde ve arkada abdestlikleri vardır, ayrıca ek bir abdestlik giriş kapısı karşısında bodrumdadır. Mihrabı çıkıntılıdır.
Yüksek mermer merdivenlerle iki yönden camiye çıkılır. 174 pencerelidir. Müezzin mahfeli cümle kapısı üstündedir. Kare plandaki caminin iç avlusu yarım daire şeklindedir. Avluda bir kütüphane, iki sebil ve bir çeşme bulunur. Ana kubbe 26 m çapındadır ve kasnağında onlarca pencere bulunur. Beş kubbeli son cemaat yeri U biçimindedir. Yapıya bitişik iki şerefeli iki minaresinin taş külahları bulunur.
Caminin ekleri dükkan olmuştur. Külliyesi imaret, türbe, kütüphane, medrese, çeşme, sebil ve dükkanlardır. Nuruosmaniye Kütüphanesi'nde 5000'den fazla yazma ve basma eser vardır.
The Eski Djamia
History
It was inaugurated in September 1409, as an inscription in the prayer’s vault tell us. That was the time of the Ottoman Interregnum, when the son of Bayazid I (“The Thunderbolt”), Suleyman Çelebi, or Emir Süleyman (b. 1377 - d 17 February 1411) ruled over Thrace, Bulgaria and Greece. In that time, the capital of the Ottoman Empire was still in Edirne (Hadrianopolis, Thrace) and very close to Stara Zagora. Which explains the magnificent construction of the mosque. Documents suggest that in spite of its name, the mosque was not the oldest mosque in the city – prior to it, there was another one, which is not discovered yet.
The mosque was built on a sacred place, occupied previously by a Thracian sanctuary (a heron) dedicated to the Thracian Horseman, the most prominent hero in the Thracian civilization. A Bulgarian Medieval Church from the 10th C. A.D. was discovered in the recent archaeological digs in the prayer salon of the mosque. The church was built following a simple architectural one-nave plan and the foundation of the church was 30 sm (1 foot) below the base of the mosque. Next to the church were discovered 30 graves, which suggests a Christian necropolis or burial ground for the noblest Christians of the city (then called Irinopolis). Below the eastern wall of the mosque were discovered ritual pit from the Early Iron Age (1000 years BC). The discovered during the 2001-04 excavations ceramic kilns date from the 5th and 6th C. The long history of the sacred place, where the mosque is located, has layers of civilization from the 1000 years before the common era to 19th century.
Between 2001 and 2004, the archaeologists discovered a stalae with Greek inscription from the times of the Roman Emperor Gallienus (Publius Licinius Egnatius Gallienus, c.218-268), which was covered by plaster around 1882, during the second major reconstruction of the mosque.
The Eski Djamia was mentioned in the travel memoirs of Evliya Çelebi, a famous Ottoman traveler from the 17th century (http://en.wikipedia.org/wiki/Evliya_%C3%87elebi.)
In modern day Stara Zagora, Eski Djamia is the only one building surviving the burning of the city by the Turkish Army in the Russian-Turkish Liberation War. Francis Vinton Greene, in his book “The campaign in Bulgaria, 1877-1878” describes the atrocities of the Suleyman Pasha armies during the war: “Suleiman Pasha had already burned the large town of Eski- Zagra to the ground, and had begun in the valley of the Maritza a wholesale system of hanging at the street corners every Bulgarian who had assisted (as guide, etc.) Gourko's troops during their stay south of the Balkans.” Another writer explains why Stara Zagora is completely new city (in architecture): “The town is almost entirely new, as the old town was burnt by the bashi-bazooks, who made pyramids of the heads of the Christian inhabitants.” (The Living age by Eliakim Littell, Robert S. Littell – 1894)
Architecture
The building consists of a square prayer hall and open entrance, covered by three small domes. From the entrance, the visitor proceeds to a gallery on the northern side of the mosque from which follows the prayer hall. A cupola shaped dome with 20 sides covers the prayer hall. The minaret of the mosque existed until 1987, when it was destroyed on purpose because of danger of collapse. Three rows of windows - the ones on the cupola dome and two lines of windows on the walls, give natural light to the prayer hall.
From archaeological data is known that the Eski Djamia went through several reconstructions and improvements during the Ottoman history of Stara Zagora (Eski Zagra was the Turkish name for the city).
A that the first big reconstruction was performed in the middle of the XIX century, just after a fire, which destroyed the adjoined bazaar in 1856 and covered mosque. During this reconstruction the floor level was raised by about 30 centimeters and covered with square tiles. The northern gallery dates from the same period, as well as the frescoes, which decorate the walls, the dome and the second row of windows.
The second big renovation and the re-sanctification of the mosque dates from 1882. During this reconstruction, the arched spaces were filled and two spaced were formed in the main building.
Thanks to the great architecture of the building, the Eski Djamia is declared as national monument of culture ин 1927. In 1979 is declared as national monument of architecture.
Wall paintings, frescoes and calligraphy
The majority of the wall painting (frescoes and Islamic calligraphy) date from the first reconstruction in 1856. The picturesque baroque style and the elegance of the calligraphy are the reason behind declaring them separately as a national monument.
Importance
During the period immediately after the Liberation of Bulgaria from Turkish Empire, many of the mosques and examples of Ottoman architecture and arts were destroyed because of the anger and hate of the Bulgarian people against the 500 years of torture, genocide, and constant attempts for destruction of the Bulgarian nation by the oppressors. Eski Djamia was spared from this campaign, and now represents the only one building in Stara Zagora from the 15th century. The artistic and architectural importance of the mosque are recognized by both scientists and governments. The recent archaeological discoveries are extremely valuable because they prove the continuance of the sacred place during several époques of the human history hidden below the building.
Current situation
Several plans for preservation and restoration of the mosques were carried out with different success during the past 30 years. The mosque is still in decay and under great danger of destroying the wall paintings and the interior structure. A recent plan for complete restoration of Eski Djamia was proposed, with the idea the place to become a “Museum of the Religions and Faiths”. Unfortunately, the misinformed citizens of Stara Zagora strongly oppose the restoration of the mosque, fearing that it can become an active Mosque. Of course, this is not possible, view the status of the Esqui Djamia as national monument of culture. Still this movement against the Islamic culture is an obstacle for financing and preserving the art and architecture of the mosque.
© 2009 Rossitza Ohridska-Olson – text, photography & English version.
Acknowledgments: Enormous thanks for the help of Dimitar Yankov, Vanya Tzenkova and Georgi Iliev from the Stara Zagora Regional Museum of History for the information provided.
Şakirîn Camiinde geç bir ikindi vakti. Binlerce yıllık asrî mekan Karacahmet Mezarlığının kadim servilerini öperek veda ediyor güneş, yavaş yavaş. Avizenin helezonik sarkacına asılı ışıltılı kristaller damlaları da şahitlik ediyor buna
One of Ulu Camii's twenty domes (see this photo for a fuller description of Ulu Camii) is a big skylight. It was once open to the sky, but now is a window of some kind. The lovely soft light filters down into the huge space.
Under the skylight is a fountain (şadirvan in Turkish). People perform ritual ablutions before praying, and the sound of water fills the huge structure with a sense of peace and tranquility.
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.
This feature of Ottoman Sofia was for many years referred to as a “Roman” as part of an attempt to sweep away the history of Muslim Bulgaria. Even today, it is officially named “the Old Wall,” a name that denies its origin and centuries-long function as a Muslim place of prayer.
Located in the Lozenetz Quarter of the city of Sofia, the Musalla (place for prayer used during festivals such as Ramadan) was constructed in the 16th century on a rise not far from the boundaries of 16th century Sofia. It is now under the ownership of the Sofia Municipality and/or Bulgaria Ministry of Culture.
The musalla is a semi-enclosed mihrab and minbar (the raised platform from which an imam addresses the congregation) for outdoor prayer by large numbers of Muslims, including encamping soldiers. It was built in the classic Ottoman style with typical stone and brick cloisonné work. Now there is a single remaining wall of a roofed structure partially open on the front wall (opposite the qibla), to allow the mihrab and minbar to be viewed from outside. The structure is 6.5 meters wide, and nine meters high, and the depth of the remaining wall is 1.2 m. The original length is unknown. The wall is set in an open space amidst apartment blocks containing an outdoor fruit and vegetable market and semipermanent kiosks with shops.
The dome at the center of the prayer hall is 170 ft. high. It rests on four large pillars, with four half-domes around it.
The Great Mosque of Diyarbakir is the oldest and one of the most significant mosques in Anatolia. Following the Muslim capture of Diyarbakir in 639, the St Thomas Church (built in 629) was used in part as a mosque. The church was eventually fully converted to a mosque, but the building fell into disuse and ruin. In 1091 Sultan Malik Shah directed the local Seljuk governor Maidud Davla to rebuild a mosque on the site. Completed in 1092, the mosque is similar to and heavily influenced by the Umayyad Great Mosque in Damascus (which was repaired by Malik Shah in the twelfth century prior to work in Diyarbakir).
archnet.org/library/sites/one-site.tcl?site_id=7721
archnet.org/library/pubdownloader/pdf/8942/doc/DPC1287.PDF
Anadolu 'nun en eski camisidir. 639 yılında Diyarbakır'a egemen olan müslüman Araplar tarafından şehrin merkezindeki en büyük mabedin (Mar Toma Kilisesi) camiye çevrilmesiyle oluşturulmuştur. Daha sonra 1091 yılında Büyük Selçuklu Hükümdarı Melikşah'ın buyruğu ile büyük bir onarım gördüğünü, değişik dönemlerde birçok kez onarım ve eklentilerle bugünkü şeklini aldığını kitabelerinden öğrenmekteyiz. Erken islam döneminin ünlü Şam Emeviye Cami'nin (benzerliklerden dolayı) Anadolu'ya yansıması olarak yorumlanan Diyarbakır Ulu Camii, İslam aleminin 5. ı Harem-i Şerifi olarak kabul edilmektedir. Ortadaki büyük avlunun doğu ve batısında yer alan maksureleri, güneyinde Hanifiler Cami'i, kuzeyindeki Şafiiler Camii ve Mesudiye Medresesi ve Caminin batı girişinin hemen yakınındaki Zinciriye Medresesi ile dinsel ve kültürel yapıları biraraya getiren bir yapılar grubu niteliğindedir. Ulu Cami'nin avlu cephelerinde farklı dönemlere ait Mimari bezekler, kabartma ve yazıtlar büyük bir uyum içerisinde yerleştirilmişlerdir. Ki bu da bize sanatın birbiri üzerine eklenerek geliştiği bu yapıda inançların ve hoşgörününde uyum içerisinde geliştiğini ve gelişebileceğini kanıtlar gibidir.
Nuruosmaniye Camii Kapalıçarşı'nın Çemberlitaş kapısından çıkar çıkmaz girilen kapının solunda 2 metrelik bir subasman üzerinde görülen ilk barok özellikli cami. Dış avlusunun iki kapısından biri Kapalıçarşı'ya diğeri Çemberlitaş'a açılır.
Mustafa Ağa ve yardımcısı Simon Kalfa (Mimar Simeon) tarafından 1748'de inşasına başlanan cami 1755'de bitmiştir. I. Mahmut zamanında yapımına başlanan cami , III. Osman zamanında Nuruosmani adıyla tamamlanmıştır. Şadırvanı yoktur, önde ve arkada abdestlikleri vardır, ayrıca ek bir abdestlik giriş kapısı karşısında bodrumdadır. Mihrabı çıkıntılıdır.
Yüksek mermer merdivenlerle iki yönden camiye çıkılır. 174 pencerelidir. Müezzin mahfeli cümle kapısı üstündedir. Kare plandaki caminin iç avlusu yarım daire şeklindedir. Avluda bir kütüphane, iki sebil ve bir çeşme bulunur. Ana kubbe 26 m çapındadır ve kasnağında onlarca pencere bulunur. Beş kubbeli son cemaat yeri U biçimindedir. Yapıya bitişik iki şerefeli iki minaresinin taş külahları bulunur.
Caminin ekleri dükkan olmuştur. Külliyesi imaret, türbe, kütüphane, medrese, çeşme, sebil ve dükkanlardır. Nuruosmaniye Kütüphanesi'nde 5000'den fazla yazma ve basma eser vardır.
Converted from an old Venetian monastery, it has been restored and will probably open as a museum of Ottoman Cretan architecture.
commons.wikimedia.org/wiki/File:Kara_Mustafa_Pa%C5%A1os_m...
www.youtube.com/watch?v=4iWdGzDANb0 Tercih için sakızhanımlamahurbey 'e teşekkür;
bu saatler var ya/ tam bu saatler
eski akşamdan kalan umutlar
Yeni sabaha saklanan vaatler
bu saatler
yaşamak için geç
ölmek için erken
halbu ki aynı hayal
kaç bahar denenmiştir
hayat bir kez daha ertelenmiştir
güneş giderken
dün geç/ yarın erken
...
Şiir: Cemalettin Güneş
This is one of Sinan's earliest mosques (built 1543-1548). It honors Suleyman's favorite son, who died young.
The progression of Sinan's architectural work shows him lifting central domes higher and higher, and a creating more and more unified interior space. In this early example, the four supporting pillars are massive and tend to break up the space, but the dome has already gained some height, supported by four half-domes. The interior feels symmetrical and quite light and airy.
Its size seems appropriate for a mosque honoring a young person--it's not overwhelming like the Suleymaniye. Instead it seems charming, and very lovely.