The Grand Mosque of Bursa, also known as Bursa Ulu Cami, exemplifies the early magnificence of Ottoman construction. Commissioned by Sultan Bayezid I after his decisive triumph at the Battle of Nicopolis in 1396, the mosque was built from 1396 to 1399 under the supervision of architect Ali Neccar. The greatest mosque in Bursa, the inaugural capital of the Ottoman Empire, symbolizes the empire’s rise and the development of Ottoman architectural styles from their Seljuk forerunners.

Nonetheless, the mosque’s history is marked with adversity. Merely a few years post-completion, the Ottomans endured a catastrophic loss by Timur at the Battle of Ankara in 1402. Historical records indicate that Timur’s troops incinerated the mosque that year, and additional devastation occurred in 1412 when Mehmed Bey of the Qaramanids besieged the city. Notwithstanding these disasters, the inaugural significant restoration occurred in 1493, illustrating the mosque’s lasting importance to the populace of Bursa.

Restoration endeavors persisted throughout its extensive history, especially following the devastating earthquake of 1855, which resulted in the roof’s collapse and necessitated a prolonged shutdown. Comprehensive restorations were completed in 1889, securing the mosque’s status as a central site of worship and cultural legacy for future centuries.

The Grand Mosque of Bursa is an exemplar of colossal architecture and elaborate design. The formidable edifice measures 55 by 69 meters, encompassing an internal area of 3,165.5 square meters. This construction, unlike the domed complexes characteristic of later Ottoman mosques, adheres to a hypostyle plan, including twenty domes organized in four rows of five, supported by twelve substantial columns.

A captivating myth envelops the mosque’s distinctive architecture. Sultan Bayezid I reportedly swore to build twenty distinct mosques in gratitude for his victory at Nicopolis. He chose to construct a distinct big edifice featuring twenty domes, thereby completing his commitment in a remarkable and impressive manner.

The mosque features three entrances located on the north, west, and east sides, with the northern entrance being the most grandiose. At the center, there is a magnificent ablution fountain (şadırvan) positioned above an octagonal water basin with eighteen sides. The fountain, currently visible, originates from the 19th century and contributes to the spiritual atmosphere of the mosque, enabling worshippers to conduct ablutions within the prayer hall. Above the şadırvan, a skylight—initially open but now glazed—allows natural light to permeate the interior, mitigating the gravity of the expansive space.

Two minarets ascend above the mosque. The western minaret, integral to the edifice, dates back to the era of Bayezid I, whereas the eastern minaret is freestanding, suggesting it was likely constructed at a subsequent time. This distinction introduces a layer of historical intricacy to the mosque’s development.

The mosque’s interior features a combination of 19th-century Ottoman Baroque components and a remarkable array of calligraphic works from the 18th to early 20th centuries. The mihrab, a remarkable stone artwork, showcases a complex muqarnas canopy and was created in 1572 under the patronage of Zeyni Çelebi. The gilded and painted ornaments, incorporated in 1905, exemplify the creative influences of several ages.

Next to the mihrab is the notable wooden minbar (pulpit), an exceptional representation of Anatolian Seljuk artistry. Built about 1400 with the kundekari technique—an complex method of joining wooden components without the use of nails or adhesive—it features beautiful geometric and arabesque designs. An inscription indicates that the minbar was crafted by the great artisan, Hacı Mehmed of Antep, son of Abdülaziz.

Due to Turkey’s seismic activity, the mosque has faced the risk of earthquakes, particularly the catastrophic tremor of 1855, which required significant restoration. The susceptibility of ancient edifices in seismically active areas persists as a significant issue, highlighting the necessity for continued conservation initiatives.

The mosque is renowned for its remarkable collection of Islamic calligraphy, which has led to its designation as a “calligraphy museum.” In Islamic architectural traditions, calligraphy transcends mere decoration; it functions as a significant vehicle of spiritual and intellectual expression.

The Grand Mosque features 192 colossal inscriptions, created from 87 unique calligraphic designs by 41 renowned Ottoman calligraphers. The inscriptions, dating from 1778 to 1938, embellish the walls, columns, and medallions of the mosque, forming an intricate tapestry of religious literature. The compositions include Qur’anic verses, hadith (sayings of the Prophet Muhammad), the 99 names of Allah, and the names of prominent Islamic thinkers. The combination of calligraphic magnificence and the mosque’s vast architectural structure enriches the spiritual ambiance, enabling worshippers to interact with sacred text in a profoundly reflective way.

The calligraphy, carefully executed in diverse styles, spans from fluid thuluth to strong kufic letters. The extensive range and variety of the calligraphic repertoire demonstrate the mosque’s historical significance as a hub of Ottoman creative and religious expression. Every inscription, meticulously positioned inside the architectural structure, enhances a whole visual and theological experience.

The Grand Mosque of Bursa exemplifies early Ottoman architecture, representing the transition from Seljuk influences to the unique colossal styles of the empire’s classical era. In addition to its architectural grandeur, it serves as a location for devotion, cultural remembrance, and artistic accomplishment. Its history—characterized by victory, devastation, and renewal—reflects the oscillations of the Ottoman Empire.

Currently, the mosque continues to enthrall visitors with its formidable architecture, elaborate artistry, and stunning calligraphy. As a prominent landmark in Bursa, it functions as a site of worship and a testimony to the lasting legacy of Ottoman architectural and creative brilliance.

History of Bursa Grand Mosque

Origins and Construction

The Bursa Ulu Mosque, an architectural gem of early Ottoman style, was commissioned by Sultan Bayezid I upon his victorious return from the Nicopolis Campaign. Although the mosque does not possess an official inscription indicating its completion date, historical consensus attributes its construction to 1399, as evidenced by the date inscribed on its elaborately carved wooden pulpit door. The construction of this edifice, emblematic of Ottoman supremacy, served not just as an expression of piety but also as a calculated declaration of the empire’s political, economic, and cultural aspirations globally.

The monumental edifice, featuring a vast prayer hall and numerous domes, departed from the dominant Seljuk architectural style, presaging the magnificence that would subsequently characterize Ottoman religious architecture. Somuncu Baba, a revered Sufi mystic of the era, is documented to have delivered the inaugural sermon, so establishing the mosque’s spiritual importance.

Prestige and Societal Importance

Upon its completion, the Bursa Grand Mosque swiftly became a center of religious learning and intellectual exchange. Respected academics from diverse madrasahs saw it as a privilege to instruct within its hallowed confines, so elevating its status as a hub of education. The mosque’s reputation was enhanced by the impressive calligraphic inscriptions that decorated its interiors. The exceptionally big characters, crafted by great calligraphers, enhanced the mosque’s aesthetic allure and contributed to its enduring impact on Islamic art and design.

Turmoil and Restoration Efforts

Notwithstanding its initial splendor, the mosque was not immune to the tumultuous events of the period. Following Sultan Bayezid I’s capture at the Battle of Ankara in 1402, Bursa succumbed to Timur’s army, leading to significant devastation. The destruction intensified during the Interregnum when Karamanoğlu Mehmed Bey besieged the city in 1413, igniting the mosque’s exterior by piling wood against its walls. These fires destroyed the external facade, turning sections of the building to debris. To alleviate the damage, the remaining walls were subsequently fortified with substantial thicknesses of plaster, a temporary remedy that endured until the extensive renovations conducted in the mid-20th century. The Great Bazaar fire of 1958, which devastated the northern courtyard, required additional significant modifications.

The Kaaba Cover and Subsequent Modifications

After the conclusion of the Interregnum, the mosque was reinstated for worship in 1421, marking the commencement of a period of restoration and enhancement. The earliest known repair document originates from 1494, encompassing a total of 23 recognized repair endeavors up to 1862. In 1517, a historically significant event transpired when Sultan Selim I, after conquering Egypt and adopting the title of Caliph, presented the mosque with a sacred relic—the cover of the Kaaba-i Sharif door. This esteemed artifact was conspicuously positioned to the left of the pulpit, enhancing the mosque’s purity.

Subsequent structural improvements occurred over the ages. The muezzin gallery was built in 1549, offering an elevated platform for the call to prayer recital. In 1815, a stone pulpit was constructed opposite the muezzin gallery, improving the mosque’s utility for theological discussions.

Earthquakes, Fires, and Resilience

In 1855, the mosque’s durability was once again challenged by a severe earthquake that ravaged the region. The severe vibrations resulted in the collapse of eighteen domes of the mosque, with just the dome over the western minaret and the one in front of the mihrab remaining intact. Sultan Abdulmecid, acknowledging the cultural and theological importance of the edifice, commissioned eminent calligraphers from Istanbul to supervise the careful restoration of the mosque’s extensive inscriptions. During this period, supplementary calligraphic embellishments were incorporated, enhancing the artistic legacy of the place.

In 1889, another disaster occurred when a fire consumed the minarets, reducing their wooden structures to ash. The subsequent reconstruction works substituted the original timber edifices with resilient masonry, enhancing durability against future calamities.

Architectural Features

The Bursa Ulu Mosque exemplifies the magnificence of early Ottoman architecture, featuring a substantial rectangular layout of around 5,000 square meters. Twenty domes, neatly positioned in five rows perpendicular to the mihrab wall, dominate the skyline. These domes, situated atop octagonal drums, display a hierarchical configuration—the central domes along the mihrab axis are the tallest, while the adjacent domes progressively decrease in height. This cascading form elevates the mosque’s spatial coherence, directing the observer’s gaze toward the hallowed mihrab.

Flanking the structure on the north front are two formidable brick minarets, thought to originate from the time of Sultan Çelebi Mehmed. The robust primary walls, constructed from meticulously hewn stone, convey an impression of strength and security. To alleviate their otherwise imposing scale, a succession of blind pointed arches adorns the facades, aligning perfectly with each row of domes. These arches not only create a rhythmic aesthetic but also include pairs of windows, organized in two tiers. The configuration and measurements of these windows varied among several facades, creating a dynamic interaction of light and shadow within the mosque.

In contrast to other Ottoman mosques, Bursa Ulu Mosque does not feature a conventional narthex. Conversely, two subsequent additions—minarets—adorn the northern flank, each standing autonomously from the primary structure. The minaret located in the western corner, ascribed to Bayezid I, features an octagonal pulpit made of pure marble, while its cylindrical structure is constructed from brick. The eastern minaret, allegedly commissioned by Mehmed I, is distinctly separated from the mosque’s main wall by approximately one meter. Both minarets are embellished with beautifully designed brick muqarnas on their balconies, a characteristic of Seljuk and early Ottoman architecture. The original lead-coated cones atop these minarets were unfortunately destroyed in the 1889 fire, resulting in the creation of the current knotted stone substitutes.

The mosque features a grand entrance oriented to the north, flanked by two supplementary portals to the east and west. A fourth entrance to the Sultan’s Lodge was subsequently created by altering a window. This exclusive area, designated for the Sultan’s prayers, highlights the mosque’s historical importance as a location of both religious and imperial sponsorship.

The Pulpit

The elaborately crafted wooden pulpit (minbar) of the Bursa Ulu Mosque exemplifies Ottoman carpentry, effectively connecting the stylistic transition from Seljuk to early Ottoman artistry. The pulpit, crafted from durable walnut wood utilizing the kundekari technique—an approach that interlocks wooden components without nails or adhesive—exemplifies geometric perfection and artistic intricacy. Mehmed, son of Hacı Abdülaziz, the artisan of this exceptional masterpiece, engraved his name in refined thuluth script on the right side of the pulpit. Historical archives offer scant details about his beginnings; some sources indicate he originated from Antep, while another link his ancestry to the Devak village of Tabriz.

The design of the pulpit exhibits significant influences from the Seljuk culture. The entry features intricately carved wooden doors, leading to a fourteen-step ascent topped by a triangular finial. This pinnacle is embellished with an intricate assortment of perforated botanical designs, elegantly interwoven with Rumi patterns that extend fluidly from the peripheries. Below the transom, twelve elaborately segmented panels enhance the framework. The side transoms display a captivating geometric configuration, with multi-armed stars interlaced with stylized floral motifs.

The pulpit is distinguished by its railings, which exhibit contrasting ornate designs on either side. The eastern fence features a complex arrangement of interlocking eight-pointed stars and octagons, crafted using the perforated technique. The western railing features an alternation of ground-carved panels and perforated motifs, producing a visual contrast that enriches the pulpit’s artistic depth. An inscription above the pulpit door records the date of its construction and the patron who commissioned the work.

In 1980, academicians and researchers proposed that the eastern geometric design of the pulpit represents a heliocentric picture of the solar system, featuring proportional distances among heavenly components. Simultaneously, the western design is conjectured to illustrate a stylized depiction of a galaxy, introducing an aspect of cosmic intrigue to the pulpit’s already cryptic artwork.

The Fountain

A prominent element of the mosque’s interior is the centrally located ablution fountain (şadırvan), positioned directly beneath an open dome. This architectural feature adheres to the Seljuk tradition of incorporating a courtyard-like openness within a sheltered prayer chamber. This layout creates a tranquil atmosphere, as natural light permeates the open dome, producing shifting reflections on the water beneath. The dome above the fountain, formerly exposed, is now encased in glass, maintaining its functionality while safeguarding against environmental factors.

An indoor fountain within a congregational mosque is uncommon in Ottoman architecture, further differentiating Bursa Ulu Mosque as a unique amalgamation of Seljuk and early Ottoman design elements. The soothing sound of flowing water amplifies the meditative ambiance, underscoring the mosque’s function as a spiritual refuge. The amalgamation of architectural magnificence, detailed artistry, and symbolic adornments guarantees that Bursa Ulu Mosque stands as one of the most important edifices in Islamic architectural legacy.