Rising above the heart of historic Istanbul, the Hagia Sophia (Ayasofya) has been “the sovereign maiden” of the city’s skyline for 1,500 years. Originally consecrated as an Eastern Orthodox cathedral in 537 CE, it would later serve as the coronation church of Byzantine emperors and the seat of the Patriarchate of Constantinople. For nearly a millennium it stood as the grand cathedral of Christendom – so vast that it remained the world’s largest church until the Renaissance. Its layers of history are visible in stone and mortar: the soaring dome supported by Byzantine pendentives and adorned with mosaics contrasts with the later Ottoman minarets and monumental Islamic calligraphy that were added after 1453. In this way the Hagia Sophia encapsulates Istanbul’s religious and cultural crossroads, a place “where East and West embrace”. Its very name, Holy Wisdom (Greek Hagia Sophia), signals its spiritual stature; the building stands as a testament to “divine wisdom” that successive faiths have claimed under one vast dome.

An Enduring Symbol: Understanding the Importance of Hagia Sophia

The Hagia Sophia remains in 2025 an active place of worship and a UNESCO World Heritage Site. In July 2020 the Turkish government reconverted it from a museum back into a mosque, a decision that both celebrated Islamic heritage and sparked global debate. Today, it functions as a “Grand Mosque,” hosting daily Muslim prayers once again while remaining open to visitors outside of worship times. Its profile as a public monument is preserved: the dome and mosaics continue to welcome all who enter. UNESCO’s Director-General has called Hagia Sophia “an architectural masterpiece and a unique testimony to interactions between Europe and Asia over the centuries,” a “powerful symbol for dialogue”. In short, Hagia Sophia is not merely a historic site; it is a living symbol of Istanbul’s millennial identity and of the two great faiths that have shaped it.

From “Holy Wisdom” to Global Icon: What Makes Hagia Sophia So Significant?

Hagia Sophia’s significance derives from its exceptional architecture and its long history of sacred function. Built by Emperor Justinian I as the Church of Divine Wisdom in 537 CE, it introduced a revolutionary dome that seemed to float miraculously above the nave. This engineering marvel – a vast dome spanning roughly 33 meters and resting on massive pendentives – set a new standard for buildings of worship. For Eastern Christians, Hagia Sophia was the imperial cathedral of Constantinople, where emperors were crowned and where the deep theology of Orthodoxy was enacted in lavish ceremony. It contains some of the finest surviving examples of Byzantine mosaic art, from golden-nimbus Christ Pantocrator to the serene Madonna and Child, which reflect the artistic achievement of the age.

With the Ottoman conquest of 1453, Hagia Sophia’s identity expanded. Sultan Mehmet II immediately converted it into a mosque, honoring it as the first major structure to do so in the new Islamic era of the city. Over centuries it became one of Islam’s greatest mosques, inspiring architects such as Mimar Sinan and the designers of countless Ottoman mosques thereafter. Its minarets and dome signaled the presence of Islam atop the ancient city, and its new features – the gilded mihrab, carved wooden minbar, imperial lodge and giant calligraphic medallions – bestowed upon it an Ottoman grandeur to rival its Byzantine glory. In recent times, it has been a potent cultural landmark beyond religion. In 2020, when its museum status was revoked, world leaders and religious figures remarked on its universal value: Pope Francis said he was “very pained” by the change, and the Ecumenical Patriarch Bartholomew cautioned that altering Hagia Sophia’s status would “fracture” East and West. Thus, Hagia Sophia’s significance in 2025 stands on two pillars: as a masterpiece of Byzantine and Islamic architecture, and as a symbol of the complex heritage of Istanbul.

At a Glance: Key Facts and Figures about Hagia Sophia

• Name and Meaning: Hagia Sophia means Holy Wisdom. It is also called Ayasofya Camii in Turkish. The name traces back to the concept of Divine Wisdom in both Greek and Latin Christian tradition.
• Construction: The existing Hagia Sophia was completed in 537 CE, after only five years of work. It replaced earlier churches on the site that had been destroyed by riots and fire. The architects, Isidore of Miletus and Anthemius of Tralles, employed a revolutionary plan: a rectangular hall crowned by a massive central dome supported on pendentives.
• Size: The building measures about 82 meters long by 73 meters wide. Its central dome is 33 meters in diameter and rises about 55.6 meters above the ground. At the time of construction it was the largest free-span dome in the world; it would remain so for nearly a thousand years.
• Architectural Features: Hagia Sophia blends a classic basilica floor plan with Eastern dome architecture. It contains 140 monolithic columns of marble and porphyry (many repurposed from older Roman buildings), a vast nave, narthexes (entry porches), and galleries on two levels. Its upper galleries include the Imperial Loge (Hünkar Mahfili), once reserved for the sultan. In the Ottoman era, four pencil-like minarets (each about 60 m tall) were added at the corners. Inside today are Islamic features such as the golden-wood minbar and the grand mihrab (prayer niche), as well as colossal round medallions bearing the names of Allah, Muhammad, and the first four caliphs.
• Mosaics: Originally lavishly decorated with shimmering mosaics, many of those that depicted Christian iconography were plastered over during the Ottoman period and have since been re-exposed in restoration. Notable surviving mosaics include the Deesis (Mary and John the Baptist pleading with Christ), the Emperor-Constantine-and-Justinian mosaic near the southern entrance, and the apse mosaic of the Virgin and Child.
• Timeline of Transformation:
  • 325 CE: First church built by Emperor Constantine on this site.
  • 404 CE: Burned; rebuilt by Emperor Theodosius II, completed 415 CE.
  • 532 CE: Destroyed in the Nika Revolt.
  • 537 CE: Justinian I’s new Hagia Sophia dedicated.
  • 1204–1261: Converted to a Catholic cathedral by the Latin Crusaders (Doge Dandolo buried here).
  • 1453 CE: Ottoman conquest; Sultan Mehmet II orders conversion to mosque on May 29. Wooden minaret added shortly thereafter; later replaced by stone minarets.
  • 1549–1572: Architect Mimar Sinan adds structural buttresses and two more larger minarets.
  • 1847–1849: Bi-Gaspare Fossati brothers restore Hagia Sophia extensively for Sultan Abdülmecid I (cleaning, adding medallions and Ottoman additions).
  • 1934–1935: Turkish Republic secularizes Hagia Sophia and converts it into a museum by decree of Atatürk. This required removing or covering the Islamic features and uncovering the Byzantine mosaics.
  • 1985: Name inscribed as part of the Historic Areas of Istanbul UNESCO World Heritage Site (together with Topkapı Palace, Blue Mosque, etc.).
  • 2020: A Turkish court annulled the 1934 museum status; President Erdoğan declared Hagia Sophia to be a mosque again in July 2020. The first Friday prayer in 86 years was held on July 24, 2020.
• UNESCO World Heritage: Hagia Sophia is part of the “Historic Areas of Istanbul” World Heritage property (designated 1985). UNESCO emphasizes Hagia Sophia’s universal value, calling it a unique “testimony to interactions between Europe and Asia” and a symbol of intercultural dialogue. UNESCO has monitored its status since 2020, expressing concern over any changes that might affect its integrity.

The Grand Narrative: A Detailed History of Hagia Sophia

The Predecessors: The Churches Before Justinian’s Masterpiece

Long before the present Hagia Sophia was completed in 537 CE, the site was home to earlier Christian churches. Emperor Constantine the Great founded Constantinople (modern Istanbul) as the new Roman capital in 330 CE. In 325, he commissioned the first basilica, dedicated to Holy Wisdom, in the Forum of Constantine. That wooden-roofed church burned in 404, and was replaced by a grander basilica under Theodosius II in 415. This second Hagia Sophia stood for over a century but was itself destroyed by fire during the Nika revolt in 532. The imperial capital and its main cathedral lay in ruins – until Justinian I vowed to rebuild it more glorious than ever.

The Byzantine Zenith (537–1453): The Vision of Emperor Justinian I

Justinian I commissioned two Greek mathematicians-turned-architects, Anthemius of Tralles and Isidore of Miletus, to design a radical new church. Within six years (532–537 CE) they erected the Hagia Sophia seen today. Its innovations were astonishing. Above a nearly square nave they erected a vast central dome—33 m across and originally some 55.6 m high. The weight of this colossal dome is transferred to four massive marble piers via four concave pendentives, a form never before used at this scale in such a large church. Forty windows punctuate the dome’s base; at midday their combined light makes the dome appear weightless, earning the structure a reputation as if “suspended from heaven.” When the church was completed, Justinian is traditionally said to have proclaimed, “O Solomon, I have outdone thee!” – a boast reported by later historians that underlines the sense of architectural achievement.

The interior was filled with gold and marble. Columns of various colored marbles – many spolia from Roman temples – line the aisles and galleries. The apse and upper levels were covered in exquisite mosaic imagery: Christ in glory, the Virgin and Child, saints and angels. The famous Seraphim (six-winged angels) are depicted in the pendentives under the dome, among the earliest frescoes in the building. Even the floor pattern was carefully designed – a great green marble circle called the Omphalion marks where emperors were crowned during worship.

For more than 900 years, Hagia Sophia was the center of Orthodox Christianity. Patriarchs presided over liturgies there; emperors ascended the throne beneath its dome. It endured external threats (earthquakes led to several structural repairs), civil strife (the Great Schism of 1054 split Eastern and Western churches), and conquest. Most dramatically, from 1204 to 1261 Hagia Sophia fell into Latin (Catholic) hands during the Fourth Crusade. The Crusader Doge Enrico Dandolo famously looted its treasures and was interred in the building. When the Byzantines recaptured the city in 1261, its Orthodox status was restored.

The Ottoman Era (1453–1934): From Cathedral to Imperial Mosque

On May 29, 1453, Sultan Mehmet II entered the city at Hagia Sophia’s doors. Rather than desecrate it, Mehmet ordered the Hagia Sophia to be converted into a mosque immediately upon the fall of Constantinople. This singular act symbolized the rise of the Ottoman Empire over the Byzantine. The building’s new status as an imperial mosque brought both reverence and change. A wooden minaret was added at once (later replaced by stone), and the names of Allah and Muhammad began to be painted on the apse. A mihrab (prayer niche) was installed in the former apse area, orienting Muslim worshippers toward Mecca. A finely carved wooden minbar (pulpit) was built for Friday sermons.

As centuries passed, successive sultans both honored Hagia Sophia and adapted it to Islamic worship. Bayezid II added a second minaret from white limestone, and by the late 16th century (under Suleiman the Magnificent) the great architect Mimar Sinan added two large corner buttresses for earthquake support. Sinan also added two more minarets on the western side, making four minarets in total. These towering spires (each about 60 m tall) completed the mosque’s familiar silhouette. Inside, the two-level galleries were fitted with a special Sultan’s lodge (Hünkâr Mahfili) for Ottoman sultans and royal ladies. In the mid-19th century, Sultan Abdülmecid I ordered a major restoration: architects Gaspare and Giuseppe Fossati cleaned the interior walls, installed a new clock and timekeeper’s room, and hung eight enormous circular medallions inscribed with Allah, Muhammad, and the four Rashidun caliphs (Abu Bakr, Umar, Uthman, Ali). The Fossatis also built a new marble mihrap grille, repaired the Sultan’s loge, and re-erected some of the minarets to equal height. Their work in 1847–49 gave Hagia Sophia much of its present-day Ottoman-era appearance.

Throughout the Ottoman period, the Christian mosaics remained mostly covered or concealed out of religious sentiment. Some accounts say that painted flames or curtains hid the figures. A few Western visitors in the 17th century still glimpse glimpses of mosaic Christ and Virgin before restorations. In any case, the empire treated Hagia Sophia with respect. The building continued to function as a working mosque under every sultan (even as late as the early 20th century, it remained a fief that funded the descendants of Mehmet II). For the Ottoman world it was an anchor of history: the site where “East and West embrace,” glorified in sermons and art as a monument to Ottoman power.

The Republic and the Museum (1935–2020): Atatürk’s Secular Vision

With the collapse of the Ottoman Empire after World War I and the founding of modern Turkey, Hagia Sophia entered a new chapter. Mustafa Kemal Atatürk, the first president of the Republic, envisaged a secular Turkey that would include all heritage sites as cultural treasures. On February 1, 1935, he had Hagia Sophia secularized and reopened as a museum. The decision was part of a wider program of modernization: the call to prayer was silenced, and the mosque’s Islamic function was removed. In practice, this meant the mihrab and minbar stayed in place, but the Islamic inscriptions and medallions were toned down for display, and white plaster was removed from under them. Most importantly, the Byzantine mosaics – long hidden by grime and plaster – were exposed and restored. Director Thomas Whittemore and the Byzantine Institute meticulously cleaned dozens of mosaic panels in the 1930s, unveiling the apse Madonna, the Deesis group, the emperors with crowns, and many others that had been obscure.

As a museum, Hagia Sophia became Turkey’s foremost tourist attraction. For decades it welcomed millions of visitors from around the world, who came to marvel at its history and architecture. In 2007 it was voted one of the “Seven Wonders of the World” by a global poll, reflecting its international renown. By the 2010s, however, debates about its identity grew. Some Turks and conservative groups lobbied for its return to mosque status, citing Mehmet II’s legacy and accusing the museum era of neglecting Turkey’s Islamic heritage. But UNESCO and many international voices opposed any change. In 2017-2018 the Turkish government transferred Hagia Sophia’s management from the museum directorate to the religious foundations. Finally, on July 10, 2020, Turkey’s highest administrative court annulled the 1934 decree and the Hagia Sophia once again became a mosque by presidential decision.

The Return to a Mosque (2020–Present): A New Chapter

The conversion of Hagia Sophia back into a mosque in 2020 was swift and symbolically charged. On July 10, 2020, President Recep Tayyip Erdoğan formally opened a plaque at Hagia Sophia declaring it “Ayasofya-i Kebir Camii Şerifi” (Great Mosque of Hagia Sophia). Turkey celebrated the first Friday prayer on July 24, 2020 — the first mosque service in 86 years. Erdoğan and his supporters heralded the event as the completion of a long-sought dream. The official stance was that the move respected Turkey’s sovereignty and the wishes of its people, claiming majority public support for the mosque status.

Internationally, the reconversion was highly controversial. Churches and governments voiced dismay. Patriarch Bartholomew warned that it “disappointed millions of Christians” and could further polarize an already troubled world. The World Council of Churches and Pope Francis expressed deep sorrow. UNESCO cautioned that any change should not harm the monument’s “universal value”. In practical terms, this debate over status had to be reconciled with the building’s daily operation. Starting in 2020, Hagia Sophia as a mosque resumed the Muslim call to prayer (adhan) from two of its minarets five times a day. However, care was taken to balance worship and tourism: authorities announced that the Christian mosaics would be covered during prayers out of respect, using curtains or other screens, but would remain visible at other times. The official line was that non-Muslim visitors could continue to tour Hagia Sophia as before, as long as they observed the rules of a house of worship.

Since 2021, Hagia Sophia’s management has tried to ensure it serves both as a living mosque and as a cultural monument. In January 2024 a new visitor regulation was announced: foreign tourists now enter Hagia Sophia through a specially designated entrance that leads only to the upper gallery, while local worshippers use the original main gates at ground level. Cameras and fire detectors were installed to protect the structure, addressing earlier criticisms that heavy visitation could accelerate wear. In essence, Hagia Sophia today remains a dual-purpose site: a place of prayer for Muslims and a site of world heritage for all. The future of Hagia Sophia will depend on maintaining this balance. Preservationists emphasize the need for careful restoration of its Byzantine and Ottoman art, even as religious authorities emphasize its living status. So far, by 2025, Hagia Sophia’s management has tried to keep it “open to Muslims, Christians and foreigners,” as President Erdoğan promised, while moving ahead with scheduled maintenance and conservation. How the world will remember Hagia Sophia in the long run is still taking shape, but one thing is certain: its fate is watched everywhere as a test of how history and faith can coexist under one majestic dome.

Architectural Marvel: Deconstructing the Grand Mosque’s Design

Hagia Sophia is often called an architectural wonder, and for good reason. Its design merges Roman engineering, Greek geometry, and Ottoman additions into a single majestic whole. In its current form (especially as a mosque), it is a hybrid of Byzantine and Islamic architecture, each layer telling part of its story. In this section we examine its structure piece by piece: the dome and supports, the interior spaces, the Islamic additions, and the fortress-like exterior.

The Synthesis of Styles: A Unique Blend of Byzantine and Ottoman Architecture

The building you see today was largely completed by Justinian in 537, but many subsequent layers have accrued. The core plan is Byzantine: a rectangular basilica foot‐plan roughly 73×82 meters, oriented west-east, with three successive semi-domes cascading from the central dome to the east (apse). Its stone construction utilizes massive blocks of brick and mortar – so sturdy that an earthquake in 558 simply caused a portion of the dome to collapse, which was then rebuilt by Justinian’s nephew with slight modifications.

Yet the exterior silhouette and some interior features belong to the Ottoman era. The four soaring minarets – one at each corner – are purely Ottoman (they are not part of Justinian’s design). The minarets are slender and fluted, typical of classical Ottoman mosques; they were erected in stages (one wood, then bay, then two by Sinan) and today stand at about 60 meters height. Likewise, the marble-abutting buttresses around the dome were added over time, especially by Sinan in the 16th century, to counteract structural stress. These external Romanesque- or Byzantine-style flying buttresses (often said to have been misattributed to Crusaders) nonetheless predate them: the Byzantines understood that the dome needed external supports, so they built 24 buttresses at various stages. In the 1500s, Sinan reinforced the eastern arches with massive stone buttresses that also became part of the exterior aesthetic.

Inside, Byzantine design predominates in the basic form. The interior is a classic cross-in-square church plan (though expanded) with two layers of arched galleries along the north and south sides. The marble capitals on the columns vary in style – Corinthian and Ionic motifs mixed with earlier Doric – reflecting the Byzantine practice of spolia. Rich marble of many colors (green, red, white) lines the floors and walls. The lavish Christian-era mosaics (where still visible) are set into the Byzantine ceramic background. One can clearly see the transition: intricate geometric pendentive patterns and Christian iconography meeting the later Arabic inscriptions and Ottoman rock crystal lamps.

When the Ottomans took over, they adapted but did not obliterate. The addition of a mihrab involved removing the altar screen, but the overall layout remained. The Islamic aesthetic is present in the calligraphic roundels and in the silk carpets on the floor, but beneath them the Byzantine art survives. An Ottoman visitor might pray facing one way at the mihrab, while a Byzantine envoy from centuries earlier would have faced the opposite side toward the great altar apse. Today those two points of focus coexist. Hagia Sophia thus embodies a unique architectural synthesis: a Byzantine basilica structure lifted into the realm of Islamic imperial architecture by the addition of minarets, dome decorations, and calligraphy.

The Legendary Dome: An Engineering Triumph

At the heart of Hagia Sophia’s marvel is its great dome. It measures about 33 meters (108 feet) across – equivalent to the height of a 20-story building – and is one of the earliest examples of a hemispherical dome covering a rectangular nave. Instead of resting on a circular drum, this dome is supported on four concave triangular pendentives that transition the square base into a circular dome. In effect, the dome floats on air: lit from below by 40 windows at its base, it gives an impression of weightlessness. Early visitors described the sunlight streaming from the base windows as making the dome appear to float on a ring of light, dissolving the walls.

Originally completed in 537, the first dome did not last. Shortly after, in 558 CE, a severe earthquake caused much of it to collapse. Isidore the Younger (nephew of the original architect) rebuilt it by 562. His solution was to make it 20 Byzantine feet (~6 m) higher and lighter in weight. These modifications improved stability. Even so, the dome has required support over the centuries; buttresses and iron chains (added in the 19th century) keep it from spreading outward under its own weight.

The dome’s interior height is about 55–56 m. When visitors stand beneath it, they sense both the physical and symbolic weight of the sky. In Byzantine theology the dome symbolizes heaven, and the Christ Pantocrator often depicted at its center reinforced this. In the Islamic era, the same space suggests the vastness of Allah. The engineering, meanwhile, was revolutionary: the combination of four arches and pendetives to carry such a span was centuries ahead of its time. Sir Christopher Wren and other later architects studied Hagia Sophia’s dome to understand how to bridge large spans, and it influenced domed mosques as far away as Delhi (the Jama Masjid) and Europe (Florence Cathedral).

Despite appearing delicate, the dome is enormously thick at its base (about 6 meters) and is wrapped in an iron chain that encircles the building – in an Ottoman era and again in the 19th century – to prevent the piers from splaying. The genius of the dome lies in its optical effect more than its hidden structure: from inside, it seems to float; from outside, it rests solidly on the pendentives and buttresses that give it an imposing stability.

The Interior Layout: A Journey Through Sacred Space

Entering Hagia Sophia today as a visitor is much like stepping into a palimpsest of worship. The western narthex (exterior portico) was where visitors from the city first gathered. The doors into the southwest and northwest exo-narthex bear 6th-century mosaics of pavements and geometric patterns that even iconoclasts and later Ottomans left intact as mere decoration. Passing through, one reaches the main narthex (vestibule) beneath the huge “Weeping Column” (Perspiring Column). The Wishing Column’s hollow inside is said to drip water which in legend cures illness – an ancient faith trickling down through the ages.

From the narthex one proceeds through the Imperial Gate into the nave. Above the Imperial Gate on the ceiling is the Imperial Gate Mosaic: a grand Deësis scene with Christ flanked by the Virgin and John the Baptist, and below them Emperor Constantine and Emperor Justinian offering gifts. Inscriptions on either side name them. (“Holy Wisdom has opened all ages to the world,” reads a band of Greek text above the mosaic.) This panel is in the northeast inner vestibule, but it sets the tone – imperial figures face the divine. The main floor of the nave is a vast rectangular hall paved in geometric marble; at the center lies the green Omphalion circle marking an emperor’s coronation spot. Rows of marble columns (many of which came from older temples) form side aisles on the north and south, leading to two huge arched openings into the side galleries.

On each side of the nave is also an exonarthex (outer vestibule) and sternia (second narthex). These are scenes of gilded mosaics above. Particularly stunning is the southwest Tympanum mosaic above the southern exit: the Virgin Mary and Christ Child enthroned, with Emperor Constantine offering a model of Constantinople on one side and Emperor Justinian presenting a model of Hagia Sophia on the other. It visually summarizes the dual patrons of church and city.

The apse is to the east, under the great half-dome. In Christian times a marble iconostasis and altar stood here. Now the Ottoman-era mihrab adorns the very niche. Behind (or alongside) the mihrab, the Byzantine mosaic of the Virgin and Child (6th c.) can be found high on the apse wall; it is considered a masterpiece. The apse is flanked by two smaller chambers that led to the baptistery and other clerical rooms.

Above, a network of galleries runs along the north, south, and west. On the upper gallery (mezzanine level), visitors in Byzantine times stood or sat by rank: the empress and nobles could watch services here, out of sight of common folk below. Now this gallery is where tourists view the interior, as the main floor is reserved for prayer. The galleries are especially famous for their magnificent mosaics. On the south gallery’s west wall hangs the rare Empress Zoe mosaic (11th century): a youthful Christ sits on the throne flanked by the Emperor Constantine IX and Empress Zoe, each presenting a gift (a scroll and a purse). On the opposite north gallery stands the Komnenos mosaic (12th century) of Emperor John II Comnenus and his family. And beneath the dome apex high above is the Deesis mosaic (c.1261): the Virgin and St. John imploring Christ Pantocrator, which art historians call the finest mosaic of Hagia Sophia. These upper mosaics became the focus for restoration efforts in the 20th century and today are visible whenever the prayer curtains are drawn aside.

Other interior elements of note include the Imperial Lodge (Hünkar Mahfili) on the northwest side, built in Ottoman times with lattice screens to allow the sultan to pray unseen, and a smaller madrasa chamber. Between the columns one also sees stacks of great marble jars (used for holy oil or water in Byzantine rituals) and distinctive copper lamps. In a corner stands a tall, narrow niche in the wall, the Maqsura, where sultans would stand during prayers. Everywhere one walks, one steps on centuries: black marble stones from a Roman forum, inscriptions in Greek and Arabic, and sandstone blocks inscribed with Kufi script side by side.

The Islamic Additions: Defining a Mosque

When Hagia Sophia became a mosque in 1453, several new features were required for Islamic worship. The key additions – minarets, mihrab, minbar, calligraphy, and sultan’s lodge – now define its hybrid character.

• Minarets: Four tall minarets were eventually built. The first, a wooden provisional minaret, was raised by Mehmet II himself and later replaced with stone. Two more – built under Bayezid II and Selim II – stand at the west end, symmetrically flanking the courtyard entrance. These Ottoman minarets reach about 60 m into the sky. Their slender forms, crowned with conical roofs and intricate balconies, contrast with the solid Byzantine mass of the main building. In Ottoman practice, each minaret was used for the ezan (call to prayer). Today, speakers carry the prayer five times daily as they have since 2020.
• Mihrab and Minbar: The Byzantine church’s altar was replaced by an intricately carved marble mihrab on the eastern wall, indicating the qibla (direction of Mecca). The current mihrab dates to the mid-1800s Fossati renovations and is set into the former altar recess. Beside it is the minbar (pulpit) from which the imam leads sermons; it too was renewed by the 19th-century restoration. In front of the mihrab stands the Hagia Sophia’s wooden sundial (Muvakkithane) which regulated prayer times. These elements – the prayer niche and pulpit – are classic signs of a working mosque.
• Calligraphic Medallions and Inscriptions: Perhaps the most striking Islamic art inside Hagia Sophia are the eight colossal roundels (up to 7 meters in diameter) bearing the names Allah, Muhammad, and the first four caliphs. Hung from the cornices at high level, they were painted in the mid-19th century by the court calligrapher Kazasker Mustafa Izzet Efendi. The golden Arabic script and taut black backgrounds complement the Byzantine mosaics. Additional calligraphic panels and Ottoman-style inscription bands were placed around the walls and dome during earlier centuries, affirming Islamic devotion.
• Hünkar Mahfili (Sultan’s Lodge): Soon after conquest, the Ottomans modified the upper gallery by building an elevated sheltered loge. This was where the sultan (and women of the imperial family) could sit and observe the imam without mingling with the public. The Fossati restorations of 1850 included adding a grand new imperial loggia with an ornate marble lattice. From here the head of state could participate in the Friday service. The Hünkar Mahfili is adorned with Arabic inscriptions and carved wood, blending Ottoman tastes into the Byzantine setting.
• Other Ottoman Features: Outside the main building, several Ottoman outbuildings were added, such as a madrasa (theological school), a clock house, and the mausoleums of some sultans and officials. Inside, Ottoman textiles and votive lamps drape the space. The courtyard garden now contains tombs of Ottoman sultans (notably Murad III and Mustafa I) and even the Crusader Doge Dandolo, linking Byzantine and Ottoman stories on one site.

Overall, the Islamic additions give Hagia Sophia its function as a mosque. The building’s orientation has shifted subtly: now the focal point for worship is the mihrab on the east wall, whereas in Christian times it was the altar in the same spot (though facing the opposite way in the Christian liturgical direction). In practice, the mosaic of the Virgin and Child above the old altar now sits behind the Muslim prayer niche. This kind of reorientation is handled gracefully. Today, when light filters through the dome’s 40 windows and lands on a mihrab plaque or a caligraphy roundel, the effect is one of continuity: the space welcomes both cosmic light and devotional homage, in a pattern laid down by architects of two faiths.

The Exterior: A Fortress of Faith

Viewed from outside, Hagia Sophia appears as a massive buttressed block crowned by domes and flanked by minarets. The large square building has very few exterior openings on its 82m × 73m base. Massive buttresses – some rectangular piers, others flying half-arches – gird the structure. These were added over centuries to prevent collapse. Even the western half-dome’s outward thrust is checked by Ottoman-style buttresses. The combined effect is a fortified look. From certain angles, Hagia Sophia could be mistaken for a Roman amphitheater or a church-turned-fortress.

The main west façade (facing Sultanahmet Square) is austere: a high wall pierced by three levels of windows (narthex, middle gallery, upper gallery). This façade was symmetrized by the Fossatis in 1847 to create a grand entrance profile. A large imperial gate is centered, flanked by fountains and the two western minarets. On the north and south sides, the large arches of the side aisles are visible, with windows and niches interspersed.

On the northwest and southeast corners of the courtyard stand two free-standing Ottoman tombs: the türbes of Selim II and Mustafa I. In front is an octagonal ablution fountain (şadırvan) built in 1740 by Sultan Mahmud I. This fountain, with its eight marble columns and ornate dome, marks the spot of ritual washing before prayer. Its presence underscores that Hagia Sophia functions as a mosque courtyard.

The courtyard itself, Sultanahmet Meydanı, is a rectangle open to the public, with a few benches and shade. It was the old Hippodrome site, and indeed the Obelisk of Theodosius and the Serpent Column still stand there. Hagia Sophia’s exterior walls bear traces of time: aged stones, patches of restoration plaster, and the faded polychrome of past decorations. At one wall of the courtyard is a small mid-19th-century Ottoman kiosk (Mahmud II’s fountain) and the base of a Byzantine sundial, hinting at the building’s multi-era history.

In short, outside of Hagia Sophia one sees a palimpsest of empires: an ancient Christian basilica mass clad in Ottoman mosque features. Its exterior has been described as a hybrid: Byzantine bas-reliefs peek through, Ottoman arabesques frame the gate, and modern lighting aims spotlights. Yet the silhouette is unmistakable. In 2025, Istanbulites and visitors alike still flock to this “fortress of faith” to gaze up at the big dome, to marvel at the slender minarets, and to stand in the same paved courtyard where emperors and sultans once walked.

The Hidden Treasures: A Tour of Hagia Sophia’s Mosaics and Art

Hagia Sophia is not only architecturally astounding but also an art museum under a mosque dome. It contains Byzantine mosaics of profound beauty, as well as curious artifacts from its long past. Visitors in 2025 can still see much of this artwork, though some of it is revealed only at certain times. Here we guide you through the chief highlights of the mosaics and other treasures.

Are the Mosaics Still Visible? The Current Situation Explained

Yes – but with a caveat. As of 2025, Hagia Sophia’s Christian figurative mosaics are mostly intact and can be viewed by visitors, except when they are covered during Muslim prayers. Turkish officials have stated that during the five daily prayers, any images of Christ or the Virgin will be temporarily obscured by curtains, screens or a light projection. This practice respects Islamic aniconism while still allowing the mosaics to be enjoyed at other times. In fact, media reports from 2020 describe rows of tall curtains that descend to hide the Deesis panel during prayer, then lift again. Outside of prayer hours, the entire interior is open, and all the mosaics are revealed and lit for tourists.

In practical terms: plan your visit outside the prayer schedules. (Fridays at midday and early afternoon are especially prayer times.) Visitors’ tours and the ticket desks are timed so that the main mosaics – for example, the Great Deesis in the gallery and the Imperial Gate mosaics – are visible during your walk-through. The lighting inside is generally bright, helping to see the golden mosaics clearly. In short, for most of the day you will see the mosaics as artworks; only when worshippers gather will the illustrations be covered in the name of worship.

A Guide to the Most Significant Byzantine Mosaics

Once inside the galleries or narthex, seek out these major mosaic compositions (plan to spend extra time in the galleries where light is plentiful):

• Imperial Gate Mosaic (Vestibule): As you enter the main building, look up above the central gate from the narthex. Here is a six-winged angel (often called a seraph, with halo and wings) flanking Christ or the Virgin. This mosaic (c. 1020 AD) was discovered in 1847 after being plastered over. In the central circle is Christ Pantocrator (Ruler of All), holding the Gospel and giving a blessing. On one side stands a kneeling Emperor Leo VI (with a golden diadem), offering a crown; on the other side stands his son Constantine VII presenting a golden platter. This composition communicates that Byzantine emperors derived authority from Christ. It also survived iconoclast periods because, as a depiction of Christ, it was initially covered but not destroyed. Today it is easily visible over the doorway; historians consider it a fine example of 10th-century mosaic art.
• Southwest Entrance Mosaic (Maria and Child with Constantine and Justinian): Above the southern exit arch, on the inner face of the southwest narthex, is one of the most famous images in Hagia Sophia. It shows the Virgin Mary seated on a jeweled throne holding the Christ Child. To her left stands Emperor Constantine (crown on his head) offering a model of Constantinople (the city) to the throne. To her right stands Emperor Justinian in imperial robes, presenting a model of the Hagia Sophia church itself. This symbolic “offering” scene identifies Constantine as founder of the city and Justinian as the founder of this new church. Both emperors have nimbi (halos) – a sign that they are giving thanks, not worshipping – and Mary’s calm pose crowns the composition. This mosaic is a “testimonial” to Hagia Sophia’s 6th-century restoration and also shows Constantinople in mosaic art. It was rediscovered under plaster in 1849 and is now one of the building’s signature images.
• Apse Mosaic (Virgin and Child): In the semi-dome above the central apse (east end), look for a majestic mosaic of Mary seated on a throne with the Christ Child on her lap. This mosaic dates to the 9th–10th centuries (post-iconoclasm) and is the main apse decoration. It survived intact through the Ottoman era because it was high above the ground and partly whitewashed. It was uncovered in 1847–48. Visually, the Virgin is enthroned in gold and blue, a glorious figure with a halo, and the infant Christ raises his hand in blessing. Underneath this scene, sculpted Byzantine columns frame the lit niche of the former altar. Admirers call this the foremost monument of Byzantine art in Hagia Sophia. It is visible from far below in the nave; to see it up close you may need binoculars or lean over the gallery railing.
• Deesis Mosaic (Upper Gallery): In the middle of the upper gallery on the south side, you will find the famed Deesis mosaic (c. 1261). This scene shows Christ Pantocrator enthroned in the center (top of the composition); on his right stands the Virgin Mary, on his left John the Baptist. Both Mary and John stretch out their hands toward Christ as intercessors for humanity on the Last Judgment day. The emotional realism – Mary’s sorrowful expression, John’s imploring gaze – and the use of space make this panel extraordinary. It was covered by plaster in Ottoman times and only rediscovered when Western restorers came. Scholars say it is “widely considered the finest mosaic in Hagia Sophia.” It is now fully restored and illuminated, and one of the focal points of any gallery visit.
• Empress Zoe Mosaic (Upper Gallery, South Wall): Also on the south gallery, another eye-catching panel shows the youthful 11th-century Empress Zoe (co-empress) flanking Christ on the throne, with Emperor Constantine IX on the other side. The intrigue here is in the history: Zoe ruled in her own right twice and was crowned by two emperors (Michael IV and Constantine IX). In the mosaic, she and Constantine IX both hold symbols of donation: Zoe hands a purse, Constantine holds a scroll. Though Zoe was the one who commissioned this mosaic after Constantine’s death, the portrait of Constantine on the left is older and added in. This double composition – with two living donors shown with Christ – is unusual and reflects the political complexity of the period. The colors and craftsmanship are exquisite.
• Komnenos Family Mosaic (Upper Gallery, North Wall): Facing Zoe’s panel is another family offering scene from the 12th century (1122 AD). Emperor John II Komnenos and Empress Irene of Hungary stand before the enthroned Virgin, presenting their young son Alexios (later Emperor Alexios IIs) to receive her blessing. This was an imperial prayer scene with the trio bearing gifts. The imagery is less iconic (mostly plain cloth outfits) but important for dating the gallery’s decoration.
• Pendentive Seraphim (Dome Base): Look up at the four great pendentives under the dome. Each once held a mosaic of a six-winged angel (seraph or cherub). Today only the eastern two (north and south) survive, as the western pair were damaged and repainted by fresco in the 1300s. The golden-winged angels in the dome represent heavenly guardians. In Ottoman times their faces were covered by metal lids, but these were removed in 2009, so now you can see the painted faces again. They are a subtle treasure to spot when gazing upward.

Other Notable Artifacts and Features

Beyond the grand mosaics, Hagia Sophia contains many smaller curiosities:

• The Wishing Column (“Sweating Column”): In the southwest corner of the main floor stands a tall marble column pierced with a round hole near chest height. Legend says that on the inside of the column there is moisture (in Ottoman lore, tears of Christ) which has healing properties. Visitors may press their thumb into the hole and hope to be cured or have wishes granted. It is sometimes called the “Weeping Column.” Whether legend or miracle, it is a popular spot for tourists seeking luck or relief.
• Viking Graffiti: High on the northern gallery railing is an unexpected find: a graffiti inscription carved in runes in the 9th century. It reads something like “Halvdan was here”. This was left by a member of the Varangian Guard (Viking mercenaries in Byzantine service). The crude rune stands out among the polished marble, a reminder that crusaders and foreign soldiers walked these halls too. The Varangian presence is a little-known footnote of Byzantine history, and Hagia Sophia preserves this tiny Viking trace.
• Marble Jars and Basins: In the aisles one notices large stone baths and jars (from Roman times). For example, a basin called the Thalasson (dark basin) is in the south aisle, said to be for baptisms or holy water. Nearby are also 12 huge jars (phials) originally used for holy chrism oil. These date from early Byzantine rituals, but they survived because the Ottomans did not need them and simply left them as ornaments. They add to the impression of Hagia Sophia as a museum of sacred objects.
• Tile and Calligraphy: Along the lower walls and floors are inlaid Byzantine tiles (among them some beautiful marble opus sectile patterns) and golden mosaics with intricate geometric designs. In the Ottoman loge and vestibule one also finds remnants of painted Iznik tile panels. The huge medallions and high arches allow glimpses of the early gilding still peeking through.
• Library and Mansions: Though not strictly visible from public areas, Hagia Sophia’s old manuscripts and library were dispersed long ago. The surrounding grounds once included an imperial gallery (museums of relics) and the külliye (complex) of Sultan Ahmed and Mahmut (around the courtyard). Today only the scars of those additions remain as archaeological layers.

Walking through Hagia Sophia in 2025, a visitor is treated to a layered art history. The Christian mosaics – mostly hidden or modified for centuries – stand revealed in fragments, and the Islamic art of calligraphy and marble has been preserved. Together, they tell the story of Byzantium and Ottoman Istanbul. They make Hagia Sophia not just a building, but a gallery of the ages.

The Definitive Visitor’s Guide for 2025

Visiting Hagia Sophia today is like stepping through time, but with one foot still firmly planted in the present. Its status as a working mosque means that practical rules must be followed, yet the visitor experience remains very accommodating. In this 2025 guide, we cover everything a traveler needs to know to plan a respectful, informative, and enjoyable visit.

New Rules for Tourists: What Changed in 2024?

In late 2023 and early 2024, Turkish authorities implemented a new visitor management system at Hagia Sophia. The main change is that tourists and worshippers have separate entrances and paths. Foreign visitors now enter only by the new “tourist gate” which leads to the upper gallery level. The original historical main door (facing Sultanahmet Square) has been designated primarily for local worshippers coming to pray. In practice, this means that non-Muslim visitors no longer walk in through the ground-floor narthex; instead, they ascend a ramp directly to the gallery. From there they can look down and all around.

What does this mean for your experience? You will approach the south-side ramp (from Hagia Sophia Square) and pass through security to reach the gallery ticket office. From that vantage, you will get the bird’s-eye view of the nave (the Ottoman harim floor) and see most of the mosaics up close. The main prayer area on the ground floor is off-limits to tourists while Muslims are praying, but you will still catch glimpses of its columns and carpets from above. Thus, while tourists have lost ground-level access, they have gained the convenience of reading modern informational panels without mingling with worshippers. If you wish to observe actual prayers (which you may do respectfully as a silent observer), you must use the ramp entrance and enter the harim quietly during an open time.

Crucially: Do keep track of the new rules. Security personnel will check your shoes and belongings at the tourist entrance. Women should have a scarf or head covering ready (if you do not, one will be provided free of charge at the entrance). Both men and women must ensure arms and legs are modestly covered. You will receive a bag or locker ticket for your shoes, which you must remove before stepping past the threshold. After passing through, you can explore the gallery and veranda. A separate exit leads down to the courtyard.

Overall, the new arrangement is intended to streamline visits. Pray shows (audio or guided tours) focus on the richly decorated upper sections. If you were used to walking on the main marble floor, note that the picturesque center is now the domain of worshippers. However, visitors can still see the heart of Hagia Sophia’s architecture from above. The ramp and gallery approach ensures that the classical Byzantine and Ottoman layers are still prominent in your view.

Opening Hours and Best Times to Visit

Hagia Sophia (the Grand Mosque) is open every day except for brief closures during prayer sessions. As of 2025 the typical schedule is as follows:

• Daily opening at 09:00.
• Daily closing at 19:30 (the last entry is typically by 18:00–18:30 to allow time inside).
• Friday mid-day prayers: The mosque is closed to visitors during the Friday Jummah prayer, which is usually around 12:30–14:30. On Fridays, plan to complete your visit before 12:00 or after 14:30.
• Other daily prayers: There are additional closures around midday (Dhuhr) and afternoon (Asr) prayers on other days. In practice, it means short breaks. The most important are the Friday mid-day prayers; the midday prayer on other days may also restrict access for 30–45 minutes.

Best times to visit: To avoid crowds and coincide with favorable light for photography, aim for early morning or late afternoon on weekdays (Monday–Thursday). The winter months (November–February) are less crowded and often have longer lines elsewhere in Istanbul, so Hagia Sophia’s line will be shorter then. Also, visiting late in the day when the sun is at a low angle can cast a lovely golden light through the dome windows. Avoid weekends and national holidays if possible (those are busiest).

If you only have a few hours, try to arrive right at opening (09:00), or schedule for an hour or two before closing. Remember the museum is free for those praying, so Friday noon hours fill with worshippers, but otherwise crowds ebb and flow with typical tourist traffic. Check local calendars: during Ramadan and major Islamic holidays, hours may adjust or special events may occur. A local calendar or guidebook will note any such changes.

Tickets, Fees, and Tours

Entrance Fee: For the first time since 1934, there is now an admission fee for most visitors (Turkish citizens in prayer dress are exempt). Since January 15, 2024, foreign tourists pay an entrance fee of €25 (about 28 USD). This covers access to Hagia Sophia and the entire museum area, as it did in past years. Children under 8 enter free, and Turkish citizens or residents may have a separate free arrangement if they come as worshippers. Payment is typically in Turkish lira or widely used international cards. There is no need to buy tickets far in advance, as tickets are sold on site at the ticket office in the gallery. However, in peak season skip-the-line tours and pre-booked passes (from travel agencies) exist and can save time. These often bundle an audio guide.

Guided vs. Self-Guided: You may choose a guided tour (many licensed guides offer tours in multiple languages outside the site) or go solo with an audio guide. A convenient system now uses QR codes: once inside, you can scan and listen on your phone in 23 languages. This covers the highlights of the building, from architecture to art. Alternatively, official guides or independent tour operators offer short (30–60 min) guided tours that enrich the visit with storytelling. For first-timers or those with limited time, a guided tour is worthwhile. Otherwise, the panels on the walls and your own exploration are sufficient for a profound experience.

Time Needed: A self-guided circuit of Hagia Sophia (narthex, nave, and one gallery) typically takes about 30 to 45 minutes. If you are an art or history buff, you may spend an hour or two. Guided tours often last about 1 hour. There is no strict time limit inside once you have entered, but closing time means you must exit by then. The highlight is to spend extra time in the gallery level, enjoying the mosaics and gazing through the 40 dome windows.

The Mandatory Dress Code: What to Wear to Hagia Sophia

Hagia Sophia today is a working mosque, so visitors must respect Islamic norms of attire. The rules are straightforward:

• Covering: Both men and women must cover shoulders and legs. Avoid shorts, short skirts, or sleeveless tops. Loose, modest clothing is recommended.
• Women: Must wear a head covering (scarf) that covers the hair. Scarves are provided free of charge at the entrance, so you do not need to bring one (though many visitors bring their own for comfort). The scarf should also cover the neck.
• Men: Should wear long pants (trousers). Sleeveless shirts are discouraged for men as well.

In effect, you should dress as you would for any mosque visit. The site’s security guards will check compliance. If a visitor arrives in shorts or with uncovered arms, they may be given a wrap or asked to wait. In short, err on the side of conservatism: think of wearing what would be acceptable at any large mosque.

Footwear: Hagia Sophia, like all mosques, requires worshippers and visitors to remove their shoes before entering the carpeted area. However, thanks to separate entrances, in practice visitors are directed to either use shoe covers or deposit shoes in a locker before stepping into the gallery. There is no cloakroom for large bags, and per security you must carry or hold valuables; large luggage is not allowed inside.

Rules of Etiquette and Conduct Inside the Mosque

Once you enter, keep in mind that Hagia Sophia is primarily a place of worship. Respect and decorum are key:

• Silence or Low Voice: People come here to pray or meditate. Speak in hushed tones and avoid loud laughter. Most importantly, be quiet near people who are praying. Non-muslim visitors should not interrupt Muslims at prayer, even to take a photo or ask a question.
• Photography: Taking photos is allowed inside Hagia Sophia, but without flash. Flash photography is discouraged because it can damage ancient mosaics, and it may disturb worshippers. You can take as many pictures as you like, but be discreet. Do not pose in prayer areas. Tripods and selfie-sticks might draw the attention of security; it’s best to photograph hand-held and respectfully. In practice, guidebooks will show you nearly everything, so just capture the highlights or mosaic details that strike you.
• Prayers in Progress: If you happen to be in the building at a prayer time, the staff or guides will notify you. You should stand to the side and remain silent until the prayer is over. Tourists are allowed to observe silently and respectfully – many do – but they should never engage with or distract worshippers. During the actual prayer (especially Friday midday), non-worshippers are typically asked to wait outside.
• Shoes: As noted, remove your shoes before stepping onto the main carpets. You will be given a plastic bag for your shoes when you enter, and you can carry it or leave shoes in the provided area. Do not leave shoes in the walkway; keep to the side. Note that the gallery level (where tourists circulate) is carpeted, so you will also remove shoes there; just place them neatly aside as directed.
• No Eating or Drinking: As in any mosque, no food or drink should be brought inside. Water bottles are okay, but avoid noisy or smelly snacks.

In general, imagine being a respectful guest in a solemn house of worship. The guards and attendants are vigilant and may correct you if you stray. It is not just about rules – the beauty of Hagia Sophia itself invites quiet contemplation. The silence of prayer can be felt even by a tourist as the vast golden light filters down on the worship space.

Accessibility for Visitors with Disabilities

Hagia Sophia makes some accommodations for mobility. The ground floor (harim) is accessible to wheelchairs, though visitors mainly access it on the worship side. The new tourist entrance includes a ramp (the one leading to the gallery is a long gentle ramp from the south yard). However, the upper gallery requires climbing stairs (the traditional marble staircases). Unfortunately, there is no elevator to the gallery, so visitors in wheelchairs or with limited mobility will have only the ground floor experience. That still allows viewing the main dome and apse from below.

Portable ramps and special assistance can sometimes be arranged by contacting the site, but overall Hagia Sophia is not very wheelchair-friendly for full exploration. If you rely on a wheelchair, keep this in mind: you will miss the upper mosaics but see the ground-floor architecture and can still exit to the courtyard. For other disabilities (visual, hearing), the site does not have advanced facilities, but the presence of audio tours (via smartphones) can help guide the visually impaired with description.

Location and How to Get There

Hagia Sophia stands in the Sultanahmet district on Istanbul’s historic peninsula, next to the Blue Mosque and opposite Topkapı Palace. Address: Ayasofya Meydanı, Sultanahmet, Fatih, Istanbul 34122, Turkey. It is easily accessed by public transport:

• Tram: Take tram line T1 (Bagcilar–Kabataş) to the Sultanahmet stop. From the stop, it’s a 2–3 minute walk north through the ancient Sultanahmet Square. You will pass the Obelisk of Theodosius and the Serpent Column en route.
• Metro: The M2 metro line ends at Taksim. From Taksim, you can transfer to funicular or bus, but it’s simpler to take the tram at Kabataş or walk to Nişantaşı and ride the M2 tram. (Alternatively, reach the Marmaray train to Yenikapı and then tram.)
• Bus: Several bus lines serve Sultanahmet Square (e.g. buses from Eminönü or Beşiktaş), but given city traffic, the tram is usually faster and more reliable.
• Boat: If coming by ferry, disembark at Eminönü or Karaköy on the Golden Horn, then walk or tram (10–15 min) to Sultanahmet Square.

Parking is extremely limited in the Old City. Tour buses have designated drop-off areas. For most visitors, mass transit is recommended.

The Ongoing Debate: Controversy and Significance in the 21st Century

Hagia Sophia’s place in the modern world is as charged with meaning as ever. Its 2020 reconversion to a mosque placed it at the center of debates on secularism, religious rights, and cultural heritage.

The Global Controversy of the 2020 Reconversion Revisited

The decision to restore Hagia Sophia’s mosque status was met with mixed reactions. Within Turkey, it was hailed by many as the rectification of a historical oversight. As Reuters reported, polls show most Turks supported the change because they believed it aligned with their national and religious identity. President Erdoğan framed the move as fulfilling the will of the people and reclaiming Islamic heritage. Foreign Minister Çavuşoğlu stated bluntly that this was a “matter of national sovereignty”, adding that international criticism would be taken as an attack on Turkish independence. Public sentiment among conservatives and Islamists in Turkey treated Hagia Sophia as an unfinished chapter of conquest: a mosque that would finally host Friday prayers after 85 years of being a museum.

Internationally, however, leaders and scholars expressed concern and disappointment. Ecumenical Patriarch Bartholomew of Constantinople warned that converting Hagia Sophia back into a mosque would “sow division” and disappoint millions of Christians worldwide. Pope Francis said he was “very pained” by the decision. The heads of UNESCO and the World Council of Churches publicly called for reconsideration, emphasizing Hagia Sophia’s multi-faith heritage. Greece, Orthodox world, and even the United States (via an ambassador for religious freedom) urged Turkey to keep the site accessible and preserved for all faiths.

This controversy was not purely ideological. It touched on tangible issues: Had the world heritage site status been violated? What would happen to the mosaics under a mosque regime? UNESCO officially announced it would review Hagia Sophia’s status on the World Heritage List in light of the change. In the months following 2020, nothing definitive happened: the site remained on the list, and as of mid-2025 no UNESCO delisting has occurred. However, Istanbul’s historic zones face heightened scrutiny by international bodies.

Within Turkey, the government took pains to minimize friction. Shortly after the conversion, the President’s advisor noted that the Hagia Sophia would be open to people of all faiths, similar to how Notre-Dame and Sacré-Cœur are in Paris. Erdoğan personally declared that Christians could visit freely as tourists (though not to worship inside). Educational tours for foreigners have continued, and Moscow’s Patriarchate reportedly received assurances about Christian access to the building.

In sum, the 2020 decision made Hagia Sophia a flashpoint. Turks largely see it as a rightful expression of Muslim identity and sovereignty. Many abroad see it as a cultural loss and a worrying sign of rising nationalism. The building thus sits at the crossroads of 21st-century geopolitics as much as it once did in medieval times.

Hagia Sophia as a Symbol in Modern Geopolitics

Beyond the immediate reactions, Hagia Sophia has become a political symbol. President Erdoğan and his Justice and Development Party have used its conversion to rally conservative voters, tying it to wider themes of Turkish pride and Islamic solidarity. It has also featured in Turkey’s foreign policy narrative; for example, Turkish media drew parallels between Hagia Sophia and the Al-Aqsa Mosque in Jerusalem, suggesting that both sites must be defended in the Muslim world. This imagery resonates in countries where religious identity is politically charged.

Conversely, critics have pointed out that Turkey’s decision on Hagia Sophia came amid strains with the European Union and in a domestic context of limiting secular institutions. Some analysts see the move as a signal that Turkey is pivoting from secular Kemalist principles toward an identity anchored in Ottoman-Islamic legacy. The ceremony’s timing (2019–2020) coincided with broader regional tensions: Turkey’s strained relations with Greece over sea rights, and its military interventions in Syria. In that light, Hagia Sophia stands as a cultural claim: to some, a statement that Turkey – not Europe – has the final say on one of history’s heritage wonders.

On the other hand, Hagia Sophia still draws global tourists and dignitaries. Even after 2020, heads of state (such as foreign presidents and visiting royalty) are often taken to Hagia Sophia as a representative Istanbul landmark (though protocol may now refer to it simply as Ayasofya Mosque). Its dual identity was even noted when Pope Francis visited Istanbul in 2014, kneeling for a moment of prayer under the dome as a Christian. That kind of gesture is rarer now, but it underscores that Hagia Sophia still occupies a unique place in interfaith dialogue.

A Tale of Two Faiths: Meaning for Christians and Muslims Today

For Christians (especially Orthodox believers): Hagia Sophia is memory incarnate. It was the mother church of Eastern Christianity, the site where Emperors wore the crown, and where the very style of Eastern liturgy was defined. Orthodox leaders see the reconversion as a cultural wound – the loss of the church is irreversible in a spiritual sense. One Abbot put it: “The soul of Orthodoxy was here.” Some Christians are frustrated that now a place of Eastern Christian heritage is effectively closed to worship, even if “open to all” as a museum. They fear the Church of Santa Sophia now looks more like one of many mosques rather than an extraordinary, independent shrine. Cultural organizations in Greece and elsewhere have called the move “iconoclasm” by a different name, even though no icons were physically destroyed – an example of how deeply Christians feel Hagia Sophia belongs in their fold.

However, many Western Christians see it differently than Byzantines do: some acknowledge that Hagia Sophia has been multi-religious for centuries. The Vatican’s plea in 2020 was gentle – “very pained” but not ordering reversal – reflecting a hope to preserve ecumenical goodwill rather than block Turkey’s law.

For Muslims (especially Turkish and Sunni believers): Hagia Sophia represents triumph and pride. It was, in their view, the grand mosque that Mehmet II promised when he took Istanbul. The first Imam of the 1453 conversion said a prayer “But for the sake of the whole world, let me lay my head here” – a phrase invoking the universality of Islam. Today, many Turkish Muslims see the Grand Mosque as reaffirming their historical roots in the city. Visiting tourists who are Muslim often express delight at finally being able to pray in a place their ancestors did. The first Friday prayer in July 2020 drew tens of thousands of Turkish worshippers; mosques across Turkey held celebrations for Hagia Sophia’s return. President Erdoğan and religious leaders framed the reconversion as a fulfillment of a vow made in 1453.

Islamic scholars may also see a glimmer of harmony: Hagia Sophia was always known as Ayasofya Camii in the Muslim world, and it appears on Ottoman medals, paintings, and even early ethnographic accounts. For them, it was not “stolen” from Christians by becoming a mosque in 1453; rather it had always been a mosque long enough that one could argue it “rightfully” returned to that identity. In Turkey, commemorative coins and stamps began to feature Ayasofya just days after 2020. At the UN General Assembly soon after, Turkey’s ambassador compared Hagia Sophia to the ancient mosques of Cordoba and Granada, declaring each country’s “right to manage” its heritage.

Today Hagia Sophia as a mosque is a site of interfaith interaction, albeit a complicated one. Visitors of all backgrounds still marvel at its majesty, and occasionally Christian priests have quietly come to tour the museum. The patriarchate in Istanbul urged friends to maintain calm, and some small dialogues have continued (for example, the ongoing planning of a future joint prayer event in Istanbul between Muslim and Orthodox leaders occasionally surfaces in news).

The Future: Preservation, Tourism, and Worship in Balance

Looking ahead, Hagia Sophia will continue to navigate two worlds. The preservationists inside and outside Turkey insist that its archaeological and artistic heritage must not be compromised. Already, investments have been made in surveying and restoring the stone work and mosaics post-2020. Turkey’s Culture Ministry claims it will allocate funds specifically for conserving Hagia Sophia now that it is a mosque once again. Experts urge the same care given in the museum era be maintained – for example, avoiding any oil or dirt stains from prayers on the mosaics, and controlling climate inside the building. In a positive sign, the government established a committee of Turkish and foreign scholars to oversee its conservation, showing that technical respect for the art endures despite the change in function.

At the same time, tourism remains a vital part of the equation. Hagia Sophia had drawn more than 3.7 million visitors in 2019; after reopening, pre-pandemic numbers have slowly rebounded. Turkey’s economy partly relies on these tourist flows. Officials have declared that Hagia Sophia will be promoted globally as part of Turkey’s cultural heritage, with no discrimination by religion. A 2021 law even placed the site on the registry of potential UNESCO Intangible Heritage again, to underline its cultural significance beyond buildings. Travel guides and tour agencies treat Hagia Sophia Grand Mosque as a must-see attraction, second only to the Eiffel Tower in visitor votes. This tourist interest creates a delicate balance: the authorities encourage visits (e.g. through talk of winter tourism boosts) but also limit numbers with timed entry if needed, to prevent damage.

Finally, worship in Hagia Sophia is now at the fore. Five times a day the call to prayer resounds from its minarets. It is an active mosque integrated into Turkey’s network of imperial mosques, albeit without a resident mufti (visiting imams lead services). How it remains in balance will be seen in the years to come. Already, the model seems to be: continue modern preservation of art, continue tourism with respectful rules, and continue daily religious use. Some experts have proposed scheduling “non-prayer days” when it could open fully as a museum again, but no such plan is official. For now, Turkey has chosen to keep Hagia Sophia as both heritage site and house of God. If maintained well, it could become a global precedent: a living monument where history is honored and religious life persists.

In the end, Hagia Sophia has always been about continuity as much as change. Its walls contain church, mosque, museum, and mosque layers – yet it stands whole. The debates surrounding it only add to its mystique. Whatever one’s faith or viewpoint, Hagia Sophia in 2025 remains undeniably one of humanity’s great buildings. To visit it is to walk in the footsteps of emperors, artisans, sultans, priests and congregants of countless ages.

Beyond the Walls: What to See and Do Near Hagia Sophia

No trip to Hagia Sophia is complete without exploring the treasures of its Sultanahmet neighborhood, the historic heart of old Istanbul. Here are some highlights just steps away:

• Sultanahmet Square (Hippodrome): Right outside Hagia Sophia’s entrance lies the ancient Hippodrome of Constantinople. Today it’s a broad plaza, but imagine it thronged with chariot races in Roman times. The square still holds relics of that era: the Egyptian Obelisk of Theodosius (brought from Luxor, Egypt, in 390 CE) and the serpent column from Delphi. These monuments make a fitting forecourt to Hagia Sophia, hinting at the city’s Roman and Byzantine layers.
• The Blue Mosque (Sultan Ahmed Mosque): Directly across the square stands Hagia Sophia’s famous neighbor, the Sultan Ahmed Mosque, nicknamed the Blue Mosque for its interior of hand-painted Iznik tiles. Built 1609–1617 by Sultan Ahmed I, it was consciously modeled after Hagia Sophia and even boasts six minarets. Like Hagia Sophia, it is an active mosque. Visiting the Blue Mosque (free entry for everyone) provides a fascinating contrast: where Hagia Sophia blends two eras, the Blue Mosque is pure Ottoman majesty. Its court and courtyard fountain are in dialogue with Hagia Sophia’s own. Best of all, the Blue Mosque is almost always open when Hagia Sophia is (except on Friday midday), so one can tour both easily. Note: a separate modest dress code applies here (since it’s a mosque). The vantage from the Blue Mosque’s courtyard is one of the classic views: from its platform you see Hagia Sophia’s dome rising behind the fountain.
• Topkapı Palace Museum: A five-minute walk north from Hagia Sophia leads to the gates of Topkapı Palace, the sprawling Ottoman imperial residence built by Mehmed II after the conquest and expanded for centuries. Today it is a museum showcasing sultans’ treasures: from the Prophet’s tooth relic and bejeweled kaftans to the Spoonmaker’s Diamond (one of the largest cut diamonds in the world). Topkapı’s opulent pavilions, courtyards, and gardens offer panoramic views of the Bosphorus. It is the cultural companion to Hagia Sophia: if Hagia is a Byzantine-Ottoman temple, Topkapı is the Ottoman court. UNESCO notes that Topkapı was the center of a great empire’s administration and holds precious relics. A combined ticket for Topkapı and Hagia (common in city passes) is a great value.
• Basilica Cistern (Yerebatan Sarnıcı): Under the plaza west of Hagia Sophia lies the Basilica Cistern, one of the most atmospheric “places unseen” in Istanbul. This ancient underground water reservoir (completed by Justinian I in the 6th century) once supplied the Great Palace. Today it is an eerie forest of 336 illuminated columns rising from water, with two inverted Medusa heads as capitals. After visiting Hagia Sophia, descend the wide steps into the cool, dim cistern (entrance fee about 100 lira). The walkways lead among the still water and columns; the water level is low now, but its reflection of flickering lights is mesmerizing. It is easily accessible: only a 5-minute walk south of Hagia Sophia (look for the sign near the Sultan Ahmet tram stop). The cistern’s size (capable of 80,000 m³ of water) and ancient engineering are fascinating for all ages.
• Grand Bazaar (Kapalıçarşı): To the northwest is one of the world’s largest covered markets. Founded by Mehmed II in 1455, the Grand Bazaar now houses over 4,000 shops across 60+ streets. It is a warren of carpets, lamps, ceramics, spices, jewelry, and more. Even if you don’t plan to shop, walking through its central halls (especially the Bedesten section) is an experience. The bazaar is easily reached: walk west along Divan Yolu or take tram to Beyazıt-Kapalıçarşı stop. Inside, be prepared to barter and get a bit lost in the maze. On that note, for snacks don’t miss the famous boza stands (a sweet fermented drink) and local sweets stores.
• Spice Bazaar (Mısır Çarşısı): Located a short stroll from the Grand Bazaar (or tram to Eminönü), the Spice Bazaar was built in 1664 by the Valide Sultan (Queen Mother) and carries its nickname “Egyptian” because revenues were intended to fund the Sultan’s mother. It is smaller than the Grand Bazaar but equally colorful. Here you will find towered piles of saffron, nuts, Turkish delight, herbal teas and everything fragrant. The narrow aisles under vaulted ceilings create a heady atmosphere. The large Yeni Mosque stands at its entrance. As the site proverbially suggests, “The spices beckon you, the teas envelop you.” Visiting gives an olfactory peek into Ottoman everyday life.

Of course, one can also wander Sultanahmet square itself, enjoy tea or baklava at a sidewalk café with views of Hagia Sophia, or pay brief respects at the small tombs around the Garden of the Blue Mosque. The Arasta Bazaar (immediately behind the Blue Mosque) and the Obelisk gardens with faceted ancient columns are also worth a glimpse.

In essence, Hagia Sophia sits at the core of Istanbul’s historic peninsula. In a few blocks you can traverse 3,000 years: Roman columns, Byzantine walls, Ottoman houses. For the modern traveler, the area is compact enough to walk, with plenty of museums and “sights unseen” to discover beyond the Grand Mosque itself.

Frequently Asked Questions (FAQ)

Can tourists still visit Hagia Sophia?
Yes. Hagia Sophia (Ayasofya) remains open to the public as of 2025, subject to the prayer schedule. Non-Muslim visitors may enter outside of the five Islamic prayer times. During prayers, the museum is closed to tourists. It is open year-round otherwise.

Is there an entrance fee for Hagia Sophia Grand Mosque?
Yes. Since January 2024, foreign tourists pay an entrance fee of €25 (about $27) to visit Hagia Sophia. (Turkish citizens and residents have a different arrangement, often entering for free as worshippers.) This fee is paid at the ticket office and covers access to the mosque’s interior (which now means entry to the upper gallery).

What is the dress code for Hagia Sophia?
Visitors must follow mosque attire rules. Women should cover their hair with a scarf (free scarves are provided at the entrance) and wear modest clothing. Men should wear long trousers (no shorts) and avoid sleeveless shirts. Everyone must remove shoes at the door. In short: shoulders and knees covered, women with headscarf, shoes off.

What are the opening hours of Hagia Sophia?
Hagia Sophia is usually open from 09:00 to 19:30 every day. (Last entry is earlier; the exact last entry time can vary, typically around 17:00–18:00.) It closes for each of the five daily Muslim prayers, and is completely closed on Fridays from about 12:30 to 14:30 for the Friday Jummah prayer.

What is the best time to visit Hagia Sophia to avoid crowds?
Early morning right at opening or late afternoon on a weekday tend to be quieter. Winter months (November through February) see fewer tourists overall. Most people avoid Fridays at midday (when the mosque is closed to tourists). In general, plan to be there by 09:00 or after 15:00 for lighter crowds.

Do you need to buy tickets in advance for Hagia Sophia?
Advance purchase is not strictly required; there is an on-site ticket office at the gallery level. However, many travelers do skip-the-line tours or book via online vendors just to save time, especially in high season. If you prefer self-guided, you can typically arrive and buy your ticket on the spot (although lines can be long in summer).

Can anyone go inside Hagia Sophia?
Yes, but with conditions. Anyone (of any faith or nationality) can visit as a tourist outside prayer times as long as they respect the dress code and rules. Turkish Muslim citizens praying in the mosque may enter for free, while foreigners enter via the tourist gate on the south side. During prayers, the main floor is reserved for worshippers; tourists are asked to remain on the upper floor or outside.

How long does it take to visit Hagia Sophia?
On average, 30–45 minutes is sufficient for a basic self-guided visit. With an audio or guide tour highlighting the mosaics, you might spend an hour. Historians or art lovers could easily spend more time studying the mosaics, but the mosque’s policy allows you to stay as long as you want within opening hours.

Why was Hagia Sophia converted to a mosque?
Hagia Sophia was converted to a mosque by Sultan Mehmet II in 1453 immediately after the Ottoman conquest of Constantinople. It was customary for new Muslim rulers to turn major churches into mosques. In modern times, the 2020 conversion resulted from a Turkish court ruling that annulled its museum status from 1934, reflecting Turkey’s sovereignty decision to use it as a mosque again.

What was Hagia Sophia originally?
Originally (4th–6th century), Hagia Sophia was the Orthodox Christian cathedral of Constantinople, dedicated in 537 CE under Emperor Justinian I. It was the patriarchal church of the Eastern Roman (Byzantine) Empire. Only after 1453 did it become a mosque and later (1935–2020) a secular museum.

Who turned Hagia Sophia into a mosque?
Sultan Mehmet II of the Ottoman Empire ordered the Hagia Sophia’s conversion into a mosque in 1453. Most recently, the Turkish government led by President Erdoğan officially restored its mosque status in July 2020, following a legal ruling.

Is Hagia Sophia a church or a mosque now?
As of 2025, Hagia Sophia is officially a mosque again. It remains open to all visitors, but it functions under the authority of the Religious Affairs Directorate of Turkey. It is still called Ayasofya Camii (Grand Mosque of Hagia Sophia). Christians can no longer hold liturgy there (except occasionally for ecumenical prayers outside the prayer times).

What is the story of Hagia Sophia?
The story is long and intricate. In short: It began as a 4th-century church, rebuilt in the 6th century as Justinian’s grand cathedral. It was a Christian church for nearly 1,000 years. In 1453 it became a mosque under the Ottomans. In 1935 it was made a secular museum by Turkey’s founder. In 2020, it was reconverted into a mosque. Through all these changes it has remained an architectural wonder with rich art inside, bridging cultures.

What is so special about Hagia Sophia’s dome?
The dome is famous for its size and design. Spanning about 33 meters across, it was the largest in the world upon completion. It rests on pendentives (spherical triangles) that allow a circular dome to rise over a square plan. This engineering was revolutionary in 537 CE. The 40 windows at its base create an ethereal “floating” effect. Its shape influenced Ottoman mosque domes for centuries. The current dome (rebuilt after earthquakes) reaches about 55 m height inside.

Are the mosaics in Hagia Sophia still visible?
Yes. Most of the Byzantine mosaics have been uncovered and conserved. Christians’ images (Christ, Mary, saints) are covered by curtains during Muslim prayers, as agreed in 2020, but they are visible during tours outside prayer times. Several must-see mosaics (Deesis, emperors, Virgin, etc.) are open for viewing. Minor geometric mosaics on the door frames and floors are always visible.

What is inside the Hagia Sophia Grand Mosque?
Inside you’ll find the soaring central nave beneath the grand dome, with vast open floor space (used now as the main prayer hall). Above are two levels of galleries. The walls and dome interior hold famous mosaics of Christ, Mary, emperors, and angels. Standing among the marble columns you can see the fountain (spring) at Hagia’s center, the Sultan’s lodge (Hünkâr Mahfili), the intricately carved mihrab, and the wooden minbar. The gallery level has plinths and columns carved from porphyry and marble. On display are also bizarre relics like the “Wishing (weeping) Column.” Thus, one finds everything from high art to humble prayers in the same space.

What is the controversy with Hagia Sophia?
The controversy is about its status as church, mosque, or museum, and what each change represents. The 2020 change spurred debate over heritage protection, secularism, and interfaith respect. Some UNESCO members worry this sets a precedent for altering World Heritage sites. Within Turkey, opponents of the change fear it symbolizes a shift away from secular republican values. Supporters argue it corrects a historical anomaly. The issue remains contentious in international discussions about religion and politics.

Why is Hagia Sophia so important?
Hagia Sophia is important for multiple reasons. Architecturally, it is a seminal building in the history of architecture and engineering (influencing church and mosque designs across Eurasia). Religiously, it has been one of the holiest buildings for both Christians and Muslims over centuries. Culturally, it is a treasure trove of medieval art (the mosaics, inscriptions, and decorative forms). It is also a national symbol of Turkey and a key landmark in world history as the seat of empires. In short, Hagia Sophia is a unique confluence of art, faith, and history.

What is the significance of Hagia Sophia to Christianity and Islam?
For Christianity (especially Eastern Orthodoxy), Hagia Sophia was the great church of Byzantium – the spiritual home of an empire and a faith. Patriarchs worshiped there and it inspired countless churches. Its mosaics, like the Deesis panel, are central to Christian iconography. For Islam, Hagia Sophia became a prestigious imperial mosque and model for Ottoman mosque design. It represented the conquest of Constantinople, a holy victory, and it housed the Friday prayers of Ottoman sultans. Today, each faith sees it as part of its heritage: Christians mourn the loss of a major church, while Muslims celebrate a regained house of worship.