The Mevlana Museum in Konya is the mausoleum of the 13th-century poet–mystic Jalal al-Din Muhammad Rumi (known in Turkey as Mevlana), and the heart of the Mevlevi Sufi order. Originally a Sufi dervish lodge (dergâh), it now preserves Rumi’s tomb and a rich collection of artifacts related to his life and teachings. Visitors from around the world flock here as both pilgrims and tourists. As one travel writer observes, for “Muslims and non-Muslims alike, the main reason to come to Konya is to visit the Mevlana Museum…its fluted dome of turquoise tiles is one of Turkey’s most distinctive sights”. The complex has become one of Turkey’s largest pilgrimage centers, a revered shrine crowned by the famous “Green Dome” over Rumi’s tomb. Inside the courtyard and shrine, modern displays of Rumi’s life and Mevlevi ritual equipment await, connecting visitors intimately with the poet’s legacy.

A First Glimpse: What is the Mevlana Museum and Why is it a Must-Visit?

The Mevlana Museum stands at the very center of Konya, a city in Central Anatolia that was once the capital of the Seljuk sultanate. This complex was originally the Mevlevi lodge (dervish monastery) founded by Rumi’s followers, and today it “houses the mausoleum of Jalal ad-Din Muhammad Rumi, a Sufi mystic”. In practical terms, it functions as a museum of Rumi’s life. It contains the poet’s final resting place under the iconic Green Dome (Kubbe-i Hadra), along with an attached mosque, a semahane (whirling-dervish hall), a library, living quarters, and exhibition rooms. The entire site is viewed as sacred: pilgrims come to pay respects at Rumi’s tomb, and visitors of all backgrounds are drawn to experience the peaceful, spiritual atmosphere.

Several factors make the Mevlana Museum famous. First and foremost is Rumi himself – by one account, he is “the greatest Sufi mystic and poet in the Persian language” – and this is his shrine. Every visitor sees immediately that the centerpiece is a circular domed mausoleum covered in distinctive green-turquoise tiles. This dome was first erected in 1274 (soon after Rumi’s death) by Seljuk architects. It looms high above the complex and is a symbol of Konya. Equally notable is the fact that the museum was once the lodge of the whirling dervishes, the famous ritual dancers of the Mevlevi order. Thus the site is not only a poet’s tomb but also the birthplace of a unique spiritual tradition. As one guidebook notes, the Mevlana Museum is “the former lodge of the whirling dervishes and home to the tomb of Rumi,” making it the main reason to visit Konya. The popularity of the museum today reflects these layers of religious and cultural significance.

Beyond history, the sheer beauty of the site compels a visit. The museum complex is built of carved stone and marble, filled with hand-lettered calligraphy and colored tiles. A central courtyard is paved with polished marble; a fountain for ritual ablutions stands before the mausoleum gate. Inside, visitors find an array of artifacts: Rumi’s personal manuscripts and calligraphy, the ornate dresses and instruments of his disciples, and other relics collected over centuries. A travel writer describes stepping into the museum as “stepping into Rumi’s world,” noting that the displays of Rumi’s own belongings, manuscripts and everyday items “connect intimately with the poet’s life and spiritual journey”. In short, a visit to the Mevlana Museum is both a historical excursion and a spiritual experience: one sees the site of Rumi’s tomb and also learns the story of his teachings through carefully curated exhibits.

A Snapshot of What Awaits You Inside

• Mausoleum (Kubbe-i Hadra) – The heart of the complex is Rumi’s shrine under the green-turquoise dome. Inside lies Rumi’s ornately carved sarcophagus, draped with a gold-embroidered cloth gifted by Sultan Abdülhamid II (1894). Beside him rest two close relatives: his son Sultan Veled and his father Baha’ al-Din Walad. In total there are dozens of tombs here, including six marble sarcophagi of early dervishes from Rumi’s homeland (Khorasan) and cenotaphs for his wife, children and Mevlevi leaders. (Tall felt hats atop some tombs mark the rank of the buried dervishes.)
• Semahane (Ceremonial Hall) – This large domed chamber was where the Mevlevi dervishes performed the Sema (whirling dance). Today it is arranged as a museum gallery. Here one sees a rare original Masnavi manuscript (Rumi’s six-volume epic poem) and even Rumi’s own long dervish coat and tunic. A collection of musical instruments is displayed — for example, the ney (flute), kudüm (small drum) and a stringed lute, some of which were actually played by Rumi’s disciples. Also on display are illuminated Korans and Korans of Rumi’s time (one gilded 13th-century edition, and later copies of Rumi’s Divan-e Shams and Masnavi are prominently exhibited). This hall’s walls and vault are decorated with Ottoman-era calligraphy and tilework, reflecting its role as a sacred space.
• Tilavet Room (Qur’an Recital Chamber) – A small domed alcove off the main hall, lined with white marble and Quranic inscriptions. This room was historically used for continuous Koran recitation (its name Tilavet means “recital”). The elegant wood-paneled entrance door dates from 1599. This quiet chamber adds to the museum’s contemplative atmosphere and recalls the devotional practices of the Mevlevis.
• Dervish Cells and Courtyard – Surrounding the mausoleum is an open-air courtyard, paved in marble, with an ornate ablution fountain (şadırvan) installed by Sultan Selim I in the early 16th century. Around this courtyard are small domed rooms – 17 of them built in 1584 under Sultan Murad III – where the Mevlevis lived and studied. Today each cell is set up with mannequins and exhibits to illustrate the daily life of a dervish: their simple meals, sleeping mats, copies of the Mevlevi rulebook, and personal items (including, in one cell, the distinctive felt hat and some writings of Rumi’s teacher Shams al-Din Tabrizi). These displays give a glimpse into the humble communal life that once thrived here.
• Library and Artifact Halls – Alongside the mausoleum and semahane are rooms that form a small museum proper. These contain rare manuscripts, early prints of Rumi’s works (including some 13th- and 14th-century Masnavi copies), and other relics of the Mevlevi order. Notable among the treasures are the Sakal-i Şerif – fragments said to be hairs of the Prophet Muhammad – kept in a bejeweled casket. There is also a section for scientific instruments (such as an astrolabe and a 17th-century globe from the time of Galileo) and devotional objects. For example, a ceremonial eight-stringed lute and prayer stones are on display. All these reinforce the museum’s role as both a mausoleum shrine and a treasury of cultural heritage.

The Soul of the Museum: The Life and Philosophy of Mevlana Jalaluddin Rumi

To understand the Mevlana Museum fully, one must know the man at its center: Jalal al-Din Muhammad Rumi (1207–1273). Born in the town of Balkh (in present-day Afghanistan) on September 30, 1207, Rumi was the son of a notable theologian, Baha’ al-Din Walad. In his youth he received a rigorous religious and literary education, studying under prominent scholars of his time. When Rumi was around 21, his family moved to Konya – then a major city of the Islamic world – at the invitation of the Seljuk court. There Baha’ al-Din founded a madrasa (religious school), but he died in 1231. Rumi, just 24, succeeded his father as the school’s headmaster. Thus Rumi initially made his mark as a learned Islamic jurist and teacher.

The Early Years and Scholarly Pursuits

Rumi spent his early decades teaching law and theology, earning respect as a scholar. He was noted for his scholarship in the Hanafi school of jurisprudence and the Maturidi creed (the orthodox Sunni belief system). His own discipline was steeped in Islamic tradition, but Rumi was also known for his intellect and eloquence. These qualities later helped make his poetry famous. In Konya, he married and had children (including a son, Sultan Veled), and for many years he led a comfortable life. By all accounts he was viewed as a devout scholar and preacher, often referred to by the honorific “Mevlana” (meaning “our master”).

The Transformative Encounter with Shams of Tabriz

Rumi’s life took a dramatic spiritual turn in 1244, when he met the wandering mystic Shams al-Din of Tabriz. The encounter is said to have happened on November 30, 1244, in Konya, and it lasted only a few days, but it was a turning point. Shams was a Sufi preacher who challenged Rumi to look beyond formal religion and experience God directly through love. Moved by Shams’s personality, Rumi became deeply attached to his new friend. Historians describe Shams’s arrival as the “momentous” event that gave birth to Rumi’s mystical poetry. The two men spent long hours together, exchanging mystical ideas. However, their close companionship caused jealousy among Rumi’s students and family. In 1247 Shams abruptly vanished (he is widely believed to have been murdered by disciples), leaving Rumi heartbroken. In Shams’s absence, Rumi began composing an immense volume of lyric poetry in Persian, which he dedicated to his beloved friend. These poems were later collected as the Diwan-e Shams-e Tabrizi. In this period of mourning, Rumi wrote verses like “Come, come, whoever you are…” inviting all people to the path of love, beginning to formulate the philosophy that would define him.

The Essence of Rumi’s Teachings: Love, Tolerance, and the Path to the Divine

Central to Rumi’s legacy is his message of universal love and tolerance. He famously declared that his “religion is love” – meaning that loving devotion to God transcends all formal boundaries. As one commentator notes, Rumi taught that “all loves constitute a bridge leading to Divine love”, and he insisted that by loving humanity one is in fact loving God. This philosophy is expressed in his poetry: “Whatever I said was not much, / all I am saying is come, come, / No matter who you are…ours is not a caravan of despair”. In practice, Rumi opened his circles to people of every background – the devout, sinners, Christians, and Jews alike – as steps toward the one Beloved.

Rumi saw the path to the Divine as a spiritual journey of self-transformation. In his view, the ego (nafs) must be overcome. He allegorized this in the whirling dervish ritual: the dancer casts off personal desire and “empties himself” to spin in unity with the cosmos. As one account describes the Sema’s meaning, the dervish’s tall felt hat symbolizes his tombstone (the ego buried), and the white skirt his shroud. As he whirls, the dervish extends one hand skyward (to receive God’s grace) and the other down (to give that grace to the earth). Through these symbols Rumi teaches surrender of the self and communion with the Divine.

The Masnavi: Rumi’s Magnum Opus and Its Enduring Wisdom

By the end of his life, Rumi completed his masterwork: the Masnavi (also called Mathnawi). The Masnavi is a six-volume epic of spiritual teaching in rhyming couplets. Rumi himself described it as “the roots of religion,” and it was intended as a guide for seekers. It weaves together folk tales, Quranic parables, and allegories, teaching lessons about love, faith, humility and the nature of reality. Scholars today note that the Masnavi is a “six-volume spiritual epic…forming a guide to spiritual growth and enlightenment”. Copies of the Masnavi became treasured texts within Sufi lodges. For visitors to the Mevlana Museum, the presence of early manuscripts of the Masnavi – some dating from the late 13th century – is a potent reminder of Rumi’s literary genius and the living tradition he founded.

The Mevlevi Order: The Legacy of Rumi’s Teachings

Rumi did not start a formal order in his lifetime, but his disciples took up that role. Immediately after his death on December 17, 1273, Rumi’s followers established the Mevlevi Order (known as the Mawlawiyyah) to preserve and teach his path. The Order became famous for the Sema ceremony of whirling dervishes, which was institutionalized to honor their master. For over 600 years the Mevlevi Order remained headquartered in Konya (Rumi’s lodge at the museum site was its center). Its cultural importance grew: today the Whirling Dervish ceremony is celebrated world-wide, and in 2005 UNESCO recognized it as an “Intangible Cultural Heritage” of humanity. In this way, the Mevlana Museum stands not just for the life of one poet, but for a living spiritual brotherhood. Visitors to the museum are, in effect, stepping into the heart of a tradition that still teaches “that love is the best of teachers” – as Rumi wrote in his poetry – and that all paths of heart lead to the Beloved.

The History of the Mevlana Museum

The museum complex has evolved over 800 years, reflecting Konya’s changing rulers and religions. Its history begins in the 13th century. Originally a rose garden: The exact site was once the Seljuk royal palace gardens. In 1231 Sultan Alaeddin Kayqubad I gifted the rose garden to Rumi’s family, so that his father Baha’ al-Din Walad could be buried there when he died. (Kayqubad had personally invited Rumi’s family to Konya.) When Rumi himself died in 1273, he was laid to rest beside his father, and Husameddin Çelebi (Rumi’s successor) ordered a tomb built over the grave. Construction of the mausoleum (Kubbe-i Hadra): By 1274 a domed mausoleum in honor of Rumi was completed. Seljuk architect Badr al-Din Tabrizi oversaw the work, financed by Rumi’s royal patrons (notably Kayqubad’s widow, Gurju Khatun, and the emir Alameddin Kayser). The tomb’s great dome – which is now painted green – was originally tiled in turquoise and set on four pillars. This new shrine instantly made the site a focal point for pilgrims of Rumi’s followers.

Over the next centuries, the Mevlevi lodge grew. The Seljuks made only the initial tomb, but the Ottoman sultans and Konya’s local governors expanded it. For example, in 1542 Sultan Suleiman the Magnificent funded the construction of an adjacent mosque and Semahane (ceremonial hall) for the whirling dances. In 1548 Sultan Murad II built a stone kitchen (matbah) nearby to feed the dervishes. Shortly after, in 1584, Sultan Murad III added the 17 small domed cells that line the courtyard. (These cells were living quarters for the dervishes.) Throughout the 17th–19th centuries further additions and decorations were made: marble tomb covers were carved, walls were painted with verses, calligraphy panels added, and even stained glass windows installed. In 1854 a Konya architect named Selimoğlu Abdülvahit decorated the mausoleum’s interior and carved new wooden catafalques for the tombs. As a result, by the late Ottoman period the complex comprised multiple buildings around Rumi’s tomb, all of which remained active Sufi spaces.

Transformation into a museum (Republic era): In 1925 the new secular Turkish Republic closed all dervish lodges and tekkes. Shortly thereafter, it was decided to preserve the Mevlana complex as a historic site. By presidential decree of April 6, 1926 the mausoleum and attached buildings were converted into the Mevlana Museum. The museum officially opened on March 2, 1927 under this status. In 1954 the complex was renamed “Mevlana Museum” to honor its founder. (Prior to that, it was often called the Mevlana Tomb or Mausoleum.) Since then, the museum has been run by the Turkish Ministry of Culture. Periodic restorations have been carried out – the most recent major one was completed in 2007 – to maintain the structure and preserve its artifacts. In sum, what began as a modest burial site in a palace garden evolved over centuries into the elaborate shrine and museum complex visitors see today.

The Architecture of the Mevlana Museum: A Visual Masterpiece

The Mevlana Museum is as striking in form as it is in significance. Its architecture blends Seljuk and Ottoman styles into a unique whole. At its core is the Kubbe-i Hadra (Green Dome) of Rumi’s mausoleum. This dome, originally built in 1274 under the Seljuks, was once tiled in turquoise. Today it is covered with a vivid green shell of copper plate, which gives the complex its nickname “Green Tomb.” (Inside, the underside of the dome is frescoed with Qur’anic texts and ornate motifs.) Official sources explicitly call it “Mevlana Celalettin Rumi’s Kubbe-i Hadra (Green Dome)”. The dome sits on eight marble columns, crowning the circular mausoleum chamber. Its green color has become an emblem of Konya and of Rumi’s legacy on the city’s skyline.

Visitors enter the complex through the Dervişan Kapısı (Dervish Gate), a tall stone portal with double-leaf wooden doors. These carved doors are overlaid with calligraphic panels bearing Qur’anic verses (two door panels date to 1492). Through this gate one steps into a marble courtyard. This open courtyard is paved in polished stone and centered on a şadırvan (ablution fountain) built during Sultan Selim I’s reign (16th century). The courtyard is lined on three sides by arcades and leads directly to the mausoleum. To the south stands the Tilavet Room, and to the north the mosque (added by Suleiman the Magnificent) and the Semahane.

The Semahane (the former whirling-dervish hall) is a large domed space on the northwest side. Architecturally it features a high round wooden platform (daires) in the center where the dervishes spun, and the walls are decorated with intricate stonework and calligraphic friezes. Ottoman inscriptions in Jali thuluth script can be seen in the interior (added by calligrapher Mehmed Mahbub in 1887). After the establishment of the museum, the Semahane’s whirling floor was replaced by display cases. Yet the original dome and wooden roof remain visible, decorated with octagonal and hexagonal tile patterns reminiscent of 16th-century architecture. Adjoining the Semahane is a small mosque dedicated to Mevlana, also built under Suleiman.

Other features of interest include the Dergah Kitchen (Matbah), built in 1548, which has lofty ovens and a dining hall (where the dervishes’ meals were prepared). Above some doors are old brass stars and crescents (Seljuk emblems), and many of the marble walls are inlaid with splendid geometric mosaics. One also sees a few minarets near the northern entrance – those belong to the Selimiye Mosque next door (not part of the museum, see below).

Inside the mausoleum chamber itself (under the dome), lavish decor greets the eye. The floor is covered with the tombs of Rumi and family, which are enclosed in a wooden fence topped by a green-brocaded drapery. This cloth was a gift of Sultan Abdülhamid II in 1894 and is embroidered with Quranic verses. The walls behind the sarcophagi feature panels of painted tile and carved stucco, with poetic inscriptions of Rumi’s verses. High windows around the drum of the dome are filled with colored glass that casts a green glow in the sunlight. In 1579 a craftsman named Ilyas installed a finely wrought silver grille around the tomb enclosures. All of these elements – dome, gates, fountain, mosaic tiles and calligraphy – combine to make the museum one of Anatolia’s most visually impressive monuments.

Your In-Depth Tour of the Mevlana Museum: What to See Inside

Walking through the Mevlana Museum from one end to the other reveals a wealth of history and symbolism. The best place to begin is the Mausoleum Hall itself, under the Green Dome. Enter through the tomb gates into a chamber lit by stained-glass windows. In the center stands Rumi’s sarcophagus, a rectangular wooden casket dating from the 12th century, now topped by an embroidered cloth. This is Rumi’s actual tomb location; underneath it is his burial place. You can see that the tomb cover was elaborately carved and inlaid, and is a Seljuk artwork in its own right. Nearby are two other large sarcophagi: one for Rumi’s wife (covered with a similar brocade) and one for his son Sultan Veled.

Beyond these, smaller tombs occupy the floor around the dome. The most prominent among them is Baha’ al-Din Walad’s tomb (Rumi’s father). Unusually, this stone sarcophagus stands on its end (rather than lying flat). This posture was meant to show respect for him. According to one account, a very large sikke (conical felt hat) placed atop that sarcophagus denotes his high spiritual rank. In all there are dozens of graves here, including some of Rumi’s close disciples. On one side of the chamber you will see six white marble coffins resting on the floor. These belong to the Hürek Safa, dervishes who came from Rumi’s original home in Balkh and died in Konya. Opposite those lies a raised marble platform with several “cenotaphs” (empty sarcophagi). They are memorials for Rumi’s family members – his widow, other children, and even high-ranking Mevlevi sheikhs – displayed as part of the shrine. An interesting detail: the sizable felt turban (sikke) placed on Rumi’s own sarcophagus has 39 coils, a symbolic number in Sufism representing the mortality of man.

A small doorway in the tomb room leads into the Tilavet Room. This is a modest, domed chamber lined with marble. It contains the elaborate set of double wooden doors (mounted on iron pivots) that once separated the mausoleum from the outside. The walls of the Tilavet Room are covered in historic Ottoman calligraphy; scripts in thuluth and naskh styles adorn the upper panels. Here the Quran was traditionally recited continuously in commemoration of Rumi. Though now empty of furnishings, it still impresses with its quiet reverence. On the far side of the Tilavet Room is a silver-plated door (inscribed 1599) that leads into the tomb chamber – a reminder that Rumi himself was once revered by palace artisans.

Returning to the courtyard, the next highlight is the Semahane or Whirling Hall. Step inside this large octagonal hall (formerly the dervish lodge’s ritual space) and you will notice display cases and wall-mounted exhibits. One case contains Rumi’s own robe and tunic – the heavy green and white garments he would have worn during ceremonies. Nearby are several Mevlevi musical instruments: for instance, a kudüm (double-drum), a ney flute, and a long-necked lute (the latter is of interest because one source lists a similar eight-string instrument among the museum’s treasures). Many of these instruments are said to date from Rumi’s era, or are exact replicas of the ones he and his followers played.

Also on view in the Semahane are precious manuscripts. Most notable is a section of the Divan-e Shams (Rumi’s lyrical poetry in honor of Shams of Tabriz) dated 1366 – this is one of the earliest complete copies of Rumi’s collected poems. Adjacent to it are two bound volumes of the Masnavi (both 14th- and 15th-century copies) annotated by famous scholars. These are on constant display. The Semahane also houses an exquisite late 19th-century Koran (handwritten and illuminated) and holy relics like an original Hijaz prayer rug. Panels above display more verses of Rumi’s poetry in gilded script. Through the 16th–19th centuries, this hall was the stage of the mystical Sema; today it is a quiet gallery where each artifact speaks of the Rumi legacy.

Behind the courtyard, on the east side, are the Dervish Cells (Odalar). These 17 small, domed chambers were living quarters for the Mevlevi students. Each cell has a low door and only enough room for a single person to sleep. The museum has turned them into mini-exhibits. As you walk past, you will see life-size mannequins demonstrating dervish life: cooking over a fire in one, praying on a tulip-patterned rug in another. On display are simple cooking pots, water jugs, prayer beads, and small leatherbound Qur’ans – precisely the equipment a traveling dervish would carry. One cell is dedicated to Shams of Tabriz; here you find the felt hat (sikke) that Shams wore and pages from his own work Maqalat on the wall. The effect is educational: one can almost imagine a humble, quiet monk opening each doorway in centuries past.

The museum’s collection of artifacts is interspersed throughout these spaces. Aside from manuscripts and clothing already mentioned, there are niche exhibits for sacred items. For example, a display in the courtyard column niche holds a nacre box containing a few strands of the Prophet Muhammad’s beard (the Sakal-i Şerif). Another case shows ancient prayer stones (semahânes) reputed to have been used by Rumi’s own dervishes. The museum also preserves very early Korans – one page is from the 9th century. A particularly curious exhibit is a glass astrolabe or globe dating from the 17th century, used for astronomy lessons at the time of Galileo. All told, the Mevlana Museum’s galleries mix religious relics, personal items, and historical artworks. They complement the spiritual ambiance with tangible connections to Rumi’s world.

Throughout the visit, friendly information panels (in Turkish and English) and audio guides help explain the scenes. Visitors should note the etiquette: the mausoleum itself is a shrine. It is customary to walk quietly, avoid pointing at the tombs, and not to eat or smoke inside. Many guests pause to recite a moment of prayer or reflection at Rumi’s tomb. Photography is allowed in most areas (without flash), though in respect one may cover one’s head or shoulders while near the graves (this is optional). The museum arranges special Shab-e Arus ceremonies every December 17 (Rumi’s death anniversary), when dervishes whirl and devotees gather. Outside those events, however, regular visitors simply follow the self-guided tour route. On average, guests spend about 30–45 minutes in the museum proper, though devout pilgrims may linger longer at the tomb and pray.

The Whirling Dervishes of Konya: The Sema Ceremony Explained

No visit to Konya is complete without understanding the Sema, the whirling dervish ceremony pioneered by Rumi’s order. The Sema is a deeply symbolic ritual dance, embodying many of Rumi’s spiritual teachings. As the late French scholar of Rumi explains, the dance represents the creation of the universe and man’s quest to reunite with the Divine. It has four main stages (called salams). Initially, the dervishes stand with hands crossed on their chests, then begin turning together in very slow circles. Gradually their arms unfurl: the right hand reaches up to heaven to receive God’s grace, and the left hand extends toward earth to give it to others. Their long white skirts billow out, making the spinning bodies look like moving cones. In Sufi symbolism, the tall felt hat (sikke) worn by each dancer is “the tombstone of his ego,” and the white skirt is “its shroud”. Thus by dancing the semazens (whirlers) enact the letting go of pride and the embracing of unity with God. As Rumi himself wrote, in love “the seeker becomes one with the Beloved.”

Each stage of the ceremony has special significance. According to one guide, the four salams signify “awakening, growth toward the truth, maturation, and the ultimate union with God”. When attending a performance, you will notice the progression: na’t recitals (songs of praise) accompany the dancers, and after each circle of whirls all participants bow to the audience and then to the ground in humility. The dance is accompanied by live music – flutes and drums (kudüm, rebab, ney) played in a slow, meditative rhythm – and often by chanting from the Qur’an. The entire ceremony can last about an hour in total.

In Konya, the most famous occasion for Sema is the annual Mevlana Festival, held in mid-December (culminating on Rumi’s death anniversary of December 17). Since the 1950s the Turkish government has permitted public whirling ceremonies during this commemoration. Dozens of semazens (whirlers) perform in rotation over two weeks, drawing thousands of observers. Even outside festival time, there are occasional Sema performances for tourists (often in the Galata Mevlevi Hall of Istanbul). However, nothing matches the special aura of the official festival in Konya – an experience many travelers plan their trip around.

If you do attend a Sema ceremony, there are a few guidelines. The setting is essentially a spiritual gathering, so one should remain quiet and respectful throughout. Guests sit on chairs around the performance space; during the whirling, talking or loud movements are discouraged. Photography is usually allowed, but flash cameras are strictly forbidden (it disrupts the mood). As for attire: there is no strict “costume,” but modest dress is requested. Women often wear a shawl or long skirt. In general, visitors should cover their knees and shoulders as a sign of respect. (For the museum itself, the rules are even firmer: shoe covers must be worn on entry, and women should avoid short skirts or sleeveless tops.) If in doubt, ask the staff – but know that in Konya, unlike in active mosques, non-Muslims and foreigners are welcomed to observe the Sema. Just stay seated, listen attentively, and let the whirling Dervishes perform their graceful rituals with dignity.

Practical Information for Your Visit to the Mevlana Museum

• Opening Hours 2025: The Mevlana Museum is open daily from 09:00 to 19:00, with the last admission at 18:30. There are no “off” days – it remains open on weekends and holidays (it is even open on the Prophet’s birthday holiday, for example). Note that the ticket office closes half an hour before the museum.
• Entrance Fee 2025: Admission to the museum is free of charge for everyone. (This has been the case for many years, as the museum is state-run and considered a national cultural heritage site.) You do not need to book in advance, although if you plan to attend a special dervish performance you should book that ticket separately.
• Location and Transport: The Mevlana Museum sits in the southern part of Konya’s historic center, at Celaleddin Rumi Square. It is easy to reach by city transit. Tram: Konya’s modern tram system has stops within walking distance. The nearest tram stop is Hükümet Meydanı (T36), about a 500-meter (7-minute) walk from the museum. Other nearby stops include Gaziler Derneği (shorter walk) and Selçuklu Tip Fakültesi (another 10 minutes away). The tram runs frequently (roughly every 10–15 minutes). Bus: Many city buses also pass near the Mevlana complex; check local bus maps for routes to Alaeddin Hill or Konya Otogar. Taxi/Ride-share: Taxis and ride-hailing services (BiTaksi, Uber) are plentiful in Konya. From anywhere in central Konya a taxi to the museum is inexpensive and takes just a few minutes. If you arrive by long-distance bus or plane (see below), a taxi from the station or airport to the museum should cost under 100 Turkish lira (as of 2025).
• Getting Here from Afar: Konya is on Turkey’s high-speed rail network. For example, the train from Istanbul to Konya takes about 4½ hours; from Ankara it is roughly 90 minutes. Konya has its own airport (Konya Havalimanı), with frequent domestic flights (e.g. Istanbul–Konya in about 1 hour). Long-distance buses run from Istanbul, Ankara, Antalya and other cities, arriving at Konya’s Otogar terminal. (The Otogar is well-connected by tram and taxi to the city.) Once in Konya, the museum is in the Old City, near Selimiye Mosque and the Atatürk Park.
• Photography: Photographs and video recordings (with personal cameras) are permitted throughout most of the museum, as long as you do not use flash. Lighting inside is dim in places, so no-flash is mandatory. The only exception is some areas designated for prayer – there you should not photograph worshippers. In general, always ask politely if unsure. The museum’s staff will provide plastic shoe covers at the entrance; these must be worn inside the tomb area to protect the marble floors.
• Dress Code: As a reminder, the Mevlana Museum is a holy shrine. Visitors of all backgrounds may enter, but everyone is expected to dress respectfully. At minimum, shoulders and knees should be covered when inside the complex. Women do not have to wear a headscarf (as Rumi himself famously had friends of various faiths visit here) – but sleeveless tops, short skirts or shorts are discouraged and may be requested to cover up. If you happen to enter in shorts or sandals, the staff will require shoe covers and may ask women to use a provided shawl to cover their legs. Men should also avoid beachwear or excessive bare skin. Essentially, think of it as entering a mosque: dress conservatively. You will see that many local visitors cover their heads or faces slightly out of respect.
• Length of Visit: Most travelers spend about 1–2 hours exploring the Mevlana Museum. The core areas (tomb and semahane) can be seen thoroughly in under an hour, but many visitors linger to read the exhibits or participate in prayer. Factor extra time if you plan to watch any short film or do a guided tour (audio guides are available on site). If you are a devotee, you may stay for longer prayer. In general, allow at least 90 minutes to cover everything at a relaxed pace.

Beyond the Museum Walls: Exploring the Surrounding Area

Once you have explored the Mevlana Museum itself, the entire neighborhood offers more to see within walking distance:

• Selimiye Mosque: Immediately adjacent to the Mevlana Museum is Konya’s grand Ottoman mosque, often called the Selimiye (after Sultan Selim II). It was originally commissioned in 1558 by Prince Selim (later Sultan Selim II) and completed by 1570. The mosque’s architecture – a large single dome flanked by twin minarets – reflects the influence of Istanbul’s mosques. Though it is a separate structure, it shares the same plaza. Visitors can enter to admire its 16th-century stonework and soaring interior. The mosque was later restored (in 1814–15 and again in the 20th century) and remains active today. Its sober, elegant interior, with historic tile panels and Ottoman inscriptions, is well worth a quick visit after seeing Rumi’s shrine.
• Yusuf Ağa Library: On the west side of the Selimiye Mosque stands a domed brick building – this is the Yusufağa (Yusuf Ağa) Library. It was founded in 1795 by a Konya nobleman named Yusuf Ağa and originally functioned as a külliye (religious complex) library. Today it houses a small collection of rare manuscripts and historic copies of the Quran. Among its shelves are some valuable Seljuk-era Qur’ans and works of Islamic jurisprudence. Even if you do not enter (it has limited public hours), the library’s brick exterior and stone portal, built in late Ottoman style, are architecturally charming. A plaque at the entrance notes Yusuf Ağa’s contribution to Konya’s heritage.
• Üçler (Three Saints) Cemetery: Just a few blocks to the south of the museum lies Konya’s oldest major cemetery, known as Üçler Mezarlığı. It is named after three saintly brothers from Rumi’s homeland who are said to have been buried there. This vast, shaded graveyard (over 147,000 m² in area) contains thousands of marble tombstones, some dating back to the 13th century. It is a peaceful parkland with elm trees, popular for quiet walks. Tour guides often point out the hexagonal stone gravestones typical of Seljuk and Ottoman burials. It is not a tourist attraction with guided entry, but rather a local historic site – you can wander the main pathways and imagine Konya’s generations past.
• Local Bazaars and Shops: The area around Rumi’s museum is the historic commercial heart of Konya. Mevlana Square itself is flanked by small shops. A short walk north (up Erzurum Street) leads to the Kapalı Çarşı (Covered Bazaar). This market is a 19th-century Ottoman-era building with a central dome, ringed by rows of shops. Here you can buy Konya specialties and souvenirs: look for kestane şekeri (candied chestnuts), ayran cups, or Kurdish prayer rugs. Other nearby bazaars (such as at the old Karatay bedesten) sell handmade ceramics, copperware, and Rumi-themed handicrafts (carved wooden calligraphy plaques, music boxes with Rumi’s poetry). Several stores outside the bazaars display Rumi’s portrait on paintings or rugs, so even casual strolling will reveal the city’s homage to its famous son. Finally, a few cafés on the square or streets nearby serve Turkish coffee, tea and lokum (Turkish delight), offering a pleasant snack after the museum visit.

A Taste of Konya: Culinary Delights Near the Mevlana Museum

Konya has its own distinctive cuisine, blending Anatolian and Central Asian flavors. Visitors should definitely sample these local specialties:

• Etli Ekmek: Literally “bread with meat,” this iconic dish resembles a long, thin pizza. A special dough is stretched paper-thin and topped with a finely minced lamb-and-tomato mixture, then baked in a wood-fired oven. It comes sizzling hot, often eaten with a squeeze of lemon or a spoonful of yogurt on the side. One guide describes etli ekmek as Konya’s signature dish. Many local bakeries around the square and bazaar serve it – try a classic place like Celal Bey Etli Ekmek (just north of the museum) for an authentic experience.
• Fırın Kebabı: A type of lamb stew, fırın kebabı is cooked slowly in the oven. Chunks of marinated lamb (sometimes on the bone) are combined with tomato, pepper and sometimes onions, then sealed in a clay pot or wrapped in dough and baked. The result is a rich, juicy meat that falls off the bone. This dish originates from Konya and remains very popular; diners often break open the pot at the table. It is usually served with plain rice or bread. (Caution: some older ovens used in restaurants are also over charcoal and can heat up close quarters; but the dish is well worth the fun.)
• Bamya Çorbası: This okra stew, flavored with lamb broth and tomato, was originally an imperial banquet dish of the Seljuks. It is often served as a delicacy at special occasions, including weddings. Banquet menus historically included bamya soup during a Sultan’s reception to represent fertility. Today you will find it on Konya’s restaurant menus as a thick, tangy soup. It’s worth a try for its unique flavor (a pleasant sourness from the okra and a hint of lemon).
• Konya Şekeri (Mevlana Candy): For dessert and sweets, Konya is famous for “Mesir” or candied pastes. The most well-known is Höşmerim – a semolina and cheese pudding. But the most symbolic treat is the Mesir Festival Candy, called Mevlana Şekeri. These are soft pastel candies made from a blend of sugar and various fruit juices (melons, citrus, etc.), originally distributed after Rumi’s death anniversary festival. Small shops near the museum sell boxes of these colorfully wrapped candies; they make delightful souvenirs. As one travel site notes, “by the end of the day, more Mevlana Candies are sold than etli ekmek,” illustrating their popularity. Offer yourself a sample of this sweet tribute to Rumi’s memory.

For an authentic dining experience, seek out family-run lokantas and cafes in the old town. Modest restaurants near Mevlana Square serve all these items – just follow the locals. Do not be surprised if tea and fresh gazoz (soda) are offered between courses. If you have a sweet tooth, also try tirit (a leftover lamb-on-bread dish) or konyalı tavuk (spiced chicken stew). And do not forget to wash it down with a cup of Turkish coffee or a creamy ayran (yogurt drink). Food is an important part of the visit: it gives you a taste of the same land that inspired Rumi’s heart.

Planning Your Trip to Konya

Best Time to Visit: Konya lies inland at high elevation, so its climate is continental. Summers (June–August) are hot and dry (often 30–35°C), while winters (Dec–Feb) are cold with occasional snow. Spring (April–May) and fall (September–October) are generally more comfortable, with mild daytime temperatures and cool nights. Visiting in spring means seeing the meadows and gardens green, while fall offers a crisp atmosphere for sightseeing. As a travel guide notes for Turkey in general, “the best time to visit” avoids the hottest midsummer and the winter chill, with April–May and September–October recommended. Given that the annual Rumi festival is in December, some travelers deliberately visit then, but expect large crowds.

Getting to Konya: From Istanbul: You have options. Flying is fastest (about 1 hour), but many prefer the high-speed train. The YHT train from Istanbul’s Pendik station reaches Konya in about 4½ to 5 hours (several trains run daily). From Ankara, the YHT takes roughly 90 minutes, making Konya a quick day trip from the capital. Note that the Konya train station (on the city’s north side) connects to local buses and trams. By bus, long-distance coaches run to Konya from all over Turkey, including Istanbul, Izmir and Antalya; the main Otogar (bus terminal) lies near the city center. From Abroad, the nearest major hub is Istanbul, then domestic flight or train onward.

Once in Konya, getting around is easy. The city center is largely flat and can be covered on foot. However, locals often use the modern tram or minibuses. One ticket covers all buses and trams for about 6 lira (KonyaKart). Taxis and app-based cars are plentiful if you are in a hurry or have luggage. English signage is somewhat limited, so it helps to carry a map or ask for directions to the museum. The city has several taxis waiting at the Mevlana entrance plaza as well.

Sample Itinerary:

• One Day in Konya: Spend the morning at the Mevlana Museum. Book at least 1½ hours there to see everything at a relaxed pace. After lunch, cross the plaza to visit Selimiye Mosque. Then walk through nearby Üçler Cemetery and browse the Kapalı Çarşı for souvenirs. In the late afternoon, head to the Alaeddin Hill (up the road) to see the Alaeddin Mosque and Karatay Medrese (the local tile museum). Finish with a dinner of etli ekmek back near Mevlana Square.
• Two Days in Konya: Use a second day to explore deeper. In addition to above, visit the Ince Minare Medrese, an ornate 13th-century theological school now a museum of Seljuk art. See the Aziziye Mosque on Ince Minare street, and stroll through the rural-sounding Meram neighborhood or the Roman-era Çatalhöyük site nearby. If your timing allows, witness a Whirling Dervish show either at the Mevlana complex (occasionally offered) or at the Mevlevi Culture Center (around the museum area).

Where to Stay in Konya: Hotels Near the Mevlana Museum

Accommodation in Konya caters to a wide range of budgets. If you want luxury and convenience, international hotels line the main avenue west of Mevlana Square – look for brands like Sheraton, Hilton or Grand Mercure. Many of these have rooftop views of the Green Dome. (They are usually high-rise buildings, so you may not feel very “old world,” but they are the easiest for non-Turkish speakers.)

For a more local flavor, several boutique hotels and inns occupy historic Ottoman houses near Alaeddin Hill (about 1–2 km away). These have richly decorated interiors and smaller room counts. They often include a courtyard and serve a Turkish breakfast. If you stay slightly farther (north of the Aziziye Mosque area), you will be in a quiet neighborhood of traditional wood-and-stone houses with a few guesthouses.

Budget travelers will find guesthouses, hostels and mid-range hotels scattered throughout the Kapalı Çarşı (Bazaar) area. Prices here are lower, and a few guesthouse owners speak English. (Amenities may be simpler – e.g. a shared bathroom – but food is still available.) In peak season, all types of lodging can book up quickly, so it is wise to reserve hotels a few weeks in advance.

Some general tips: If you want a view of the museum, a room on the top floor of an east-facing hotel on Mevlana Square will offer it. Keep in mind that Konya is spread out, so staying near the city center (Mevlana or Alaeddin) will save transit time. On the other hand, hotels near the Otogar or airport may charge less. Almost all accommodations can assist with booking tours or tickets. Check if your hotel provides a KonyaKart (for transport) at reception. Lastly, note that Konya’s strict conservatism means you should choose a hotel where hotel staff are comfortable with female travelers and familiar with non-Turkish guests.

The Mevlana Museum for Different Types of Travelers

The Mevlana Museum welcomes all kinds of visitors. Families with Children will find it educational: the displays of costumes and life-size figures can capture children’s imagination. (Some rooms have low benches or open spaces where young kids can move around safely under supervision.) There are no rides or toys, but parents can turn the visit into a history and art lesson. If bringing children, plan a short visit to avoid fatigue.

Solo Travelers will appreciate the peaceful ambiance. You can take your time reading inscriptions and quoting Rumi’s verses aloud. Many solo visitors report feeling moved by the tranquility. As with any major site in Turkey, exercise normal precautions (watch your belongings in crowds), but Konya is generally safe and well-ordered.

For visitors with limited mobility: The museum is mostly on one level. The courtyard and mausoleum floor are flat. The Semahane and Tilavet Room have wide doorways. There is one or two small steps up at the original entry, but staff can provide a ramp if needed. Elevator/lift is not available (the silver door entrance has a couple of steps), so fully wheelchair-bound guests may need assistance. Restrooms include wheelchair-accessible facilities. Staff and police at the site are usually willing to assist elderly or disabled visitors.

Non-Muslim visitors may be concerned about entering a Muslim holy site. Rest assured: the Mevlana Museum has always been open to all. It is no longer an active mosque and has been a secular museum for nearly a century. Women are not required to cover their heads unless they choose to (you will see many women in modern attire). You should, however, dress modestly as noted above. Once inside, you may kneel or pray at the tomb if you wish, though most tourists simply observe quietly. English signage is provided for many exhibits, and the staff are accustomed to international guests. Visitors of any faith can gain insight into Rumi’s message of universal love by simply entering the complex.

The Mevlana Museum Virtual Tour: Exploring from Home

In this digital age, you do not have to be in Konya to get a sense of the Mevlana Museum. The museum offers an online virtual tour: a series of 360° panoramas covering each room. From your home computer you can view the mausoleum hall, Semahane and courtyard interactively. Each panorama is annotated with explanatory notes (mostly in Turkish but often translated). There are also high-resolution photo galleries online featuring the museum’s treasures. For example, you can find detailed images of Rumi’s sarcophagus, of the Masnavi manuscripts, and of the Selimiye Mosque on heritage websites.

Additionally, several documentaries and travel videos feature the Mevlana Museum. For a concise introduction, one might look up BBC or travel documentaries on Rumi and Konya (these often show key highlights). If you wish to delve deeper, there are books and audio recordings of Rumi’s poetry – his own words remain a powerful link to the site. In sum, whether in person or through a screen, the Mevlana Museum’s rich history and spirituality can be appreciated from anywhere. But of course, nothing fully replaces the experience of standing under Rumi’s Green Dome and listening to the call to prayer at sunset.

Frequently Asked Questions (FAQ) about the Mevlana Museum

• Is the Mevlana Museum a mosque? No, it is not a functioning mosque. It was originally a Sufi lodge, not an ordinary congregational mosque. Today it is officially a museum and a mausoleum. There is a small mosque on the grounds (built by Suleiman the Magnificent), but it is part of the complex. Non-Muslims may freely enter the museum; just remember to remove or cover shoes at the tomb area and dress respectfully. One can still hear the call to prayer at the adjacent Selimiye Mosque, but the Mevlana site itself is treated primarily as a museum.
• Are guided tours available at the museum? The museum itself provides audio guide headsets (in Turkish and English) for rent. It does not have its own live tour guides on site. Many visitors therefore join a private guided tour of Konya that includes the museum, or hire a freelance guide who can accompany them. These external tours often add valuable context about Rumi’s life and Sufism. (A few local agencies also offer bundled tickets for the museum and a Whirling Dervish show.)
• What is the significance of the green color (Yeşil) in the Green Dome? The dome is called Kubbe-i Hadra, which literally means “Green Dome.” Green has long been associated with Islam and paradise (and with Rumi’s own Mevlevi tradition). The dome’s copper panels were painted green during Ottoman times, giving it its name. The color also stands out against Konya’s skyline, making it a symbol of the city and of Rumi’s message of renewal and life.
• Can I buy authentic Mevlevi souvenirs nearby? Yes. In the bazaars around the museum you will find shops selling items themed on Rumi and the Mevlevi. Common souvenirs include miniature ceramic dervish figurines, books of Rumi’s poems, wall art with Sufi phrases, and of course the aforementioned Konya candied sweets. Traditional handicrafts like hand-painted tiles, calligraphic art and carpets with geometric designs are also available. Many locals like to give or take home the black hard-baked bread Nimet or bohça (small loaves wrapped in cloth) as a blessing; these are sold near the mausoleum.
• Is Konya a safe city for tourists? Konya is considered very safe. It has a conservative character, which translates to a quiet, orderly atmosphere. Violent crime is rare. Petty theft (pickpocketing) is possible in crowded areas as in any city, so use normal caution with wallets and bags. Police and municipal staff are generally helpful and expect to see foreigners. Overall, many travelers (especially families and solo women) report feeling at ease exploring Konya even at night.
• What other Sufi sites can be visited in Turkey? Turkey has several important Sufi heritage sites. For example, in Istanbul there is the Galata Mevlevihane, now a small museum, where whirling dervish ceremonies are still performed regularly. The tomb of Hacı Bayram Veli in Ankara is a famous dervish shrine. The House of Shams (the home where Rumi is said to have lived with Shams) is also in Konya. In the south, the tomb of Süleyman Hâni (Yunus Emre) in Bursa or the house of Yûnus Emre in Eskişehir attract visitors. Each site is an opportunity to learn about Turkey’s rich Sufi history, but the Mevlana Museum in Konya remains unique for being the source of Rumi’s own order.