Bursa’s Grand Mosque (Ulu Camii) stands as a towering symbol of early Ottoman ambition and faith. Commissioned by Sultan Bayezid I at the height of his power in the late 14th century, the mosque occupies the very center of what was then the Ottoman capital. In size and scale it remains the largest mosque in the city, and is widely regarded as one of the most important religious monuments of the Turkish-Islamic world. It commands the skyline with its two soaring minarets and the soft curve of its twenty-dome roof, just as it once dominated the surrounding market district. Famed Ottoman traveler Evliya Çelebi declared it the “Hagia Sophia of Bursa”, a comparison that highlights its central role in Bursa’s identity. Today, the Grand Mosque is often described as “more than just a place of worship” – it is a living museum of Ottoman history and spirituality that draws students of architecture and devotion alike.

Not only was the Grand Mosque the focus of civic life in 14th-century Bursa, it remains a magnet for pilgrims and tourists in the present day. The prayer hall is celebrated for its tranquil atmosphere, enriched by the gentle sound of an indoor fountain that seems to echo through its dimly lit arches. Inside, one finds relics of enduring sacred value: for example, a five-hundred-year-old embroidered Kaaba cover (kiswah) brought from Mecca is preserved here as a venerated gift of Sultan Selim I. The mosque’s walls are covered in masterful Arabic calligraphy – nearly two hundred inscriptions in various scripts – that earn it the nickname “calligraphy museum”.

Through the centuries, Bursa Ulu Camii has never lost its centrality in local life or its reputation beyond Turkey’s borders. It is formally part of the UNESCO World Heritage complex that recognizes Bursa’s role as the cradle of the Ottoman Empire, along with nearby landmarks such as the Green Mosque complex and the Koza Han silk market. Today the mosque is a beloved landmark for worshippers and sightseers alike: it is “easily accessible and usually open to visitors outside of prayer times,” and millions of visitors each year include the Grand Mosque on any meaningful itinerary through Bursa. In short, Bursa Grand Mosque is not only an architectural masterpiece but also the spiritual and cultural heart of the city – a living link between the Ottoman past and the vibrant present of Bursa.

The Dawn of an Empire: The Compelling History of Bursa Grand Mosque

The Vow of a Sultan: The Legend of Bayezid I and the Battle of Nicopolis

The Grand Mosque’s origin is bound up with a legend of Ottoman triumph. In 1396, Sultan Bayezid I (nicknamed Yıldırım, or “Thunderbolt”) led Ottoman forces to victory at the Battle of Nicopolis against a crusader army. According to popular tradition, Bayezid vowed that if God granted him victory, he would commission twenty new mosques to thank Him. When the war was won, Bayezid resolved to fulfill this vow – but rather than erect twenty separate buildings, he ordered the construction of a single grand mosque with twenty domes. In effect, this one building would symbolically stand in place of twenty smaller mosques. The result was the monumental Ulu Camii, its roof a forest of domes visible across the newly captured city of Bursa. The story of the twenty-domes pledge is likely more symbolic than literal, but it underscores how Bayezid sought to associate his victory and piety with this very edifice.

Who was Sultan Bayezid I? A Profile of the “Thunderbolt”

Bayezid I (c. 1360–1403) was the fourth Ottoman sultan, ruling from 1389 until his defeat by Timur in 1402. He was the son of Murad I and had already proven himself a fierce warrior, which earned him the epithet “Yıldırım” for the speed of his campaigns. Under Bayezid the Ottomans expanded into the Balkans and Anatolia. He surrounded himself with devout scholars and Sufi masters; indeed, the revered ascetic known as Somuncu Baba (literally “Breadmaker Father”) was among those Bayezid invited to Bursa. According to Ottoman chroniclers, Somuncu Baba personally led the inaugural prayer in the new Grand Mosque when it was consecrated. This blend of martial prowess and spiritual devotion was characteristic of Bayezid’s early reign, and the Ulu Camii was meant to stand as a testament to both.

The Promise of Twenty Mosques: Fact or Founding Myth?

The tale that Bayezid built twenty domes instead of twenty mosques is rooted in Ottoman lore. Modern historians suggest this story carries moral symbolism rather than strict factual detail. In any case, it reflects the sultan’s original intention: to commemorate a great military victory with a grand house of worship. Whether told as legend or history, this promise has become inseparable from the Grand Mosque’s founding mythos. The imposing rows of domes – four rows of five – indeed replaced what might have been many smaller structures, making Ulu Camii unique in its design and narrative.

Architects of a Masterpiece: The Visionaries Behind Ulu Cami

The Grand Mosque’s architectural design has been attributed to different master builders. Some Ottoman sources credit Ali Neccar as the principal architect who translated Bayezid’s vision into stone. ToursOption notes that “the mosque was designed and built by architect Ali Neccar” between 1396 and 1399. Other names such as Hacı İvaz Paşa appear in some accounts (though Paşa is better known for later Bursa monuments like the Green Mosque). In any case, the complex task of constructing a spacious, multi-domed mosque was achieved by these visionary builders. The mosque’s heavy stone walls and simple plan reflect a transition from earlier Seljuk models; Ali Neccar and his colleagues evidently drew upon Anatolian Seljuk precedents even as they created a distinctly Ottoman space.

A Swift Construction: Building an Imperial Mosque in Record Time (1396–1399)

Remarkably, the Grand Mosque was erected with great speed. Work began almost immediately after the Nicopolis victory in 1396, and the main structure was completed by 1399. The minbar’s inscription records the finishing date as 802 in the Islamic calendar (which corresponds to 1399–1400 CE). Thus the entire mosque – massive in scale – was built in just three years, a testament to the resources and determination Bayezid deployed. The basic architecture was thus in place by 1400, although the completed complex would later include additional details (such as the second minaret) in subsequent reigns.

Trials by Fire and Quake: The Mosque’s History of Destruction and Restoration

Despite its sturdy construction, Ulu Camii has endured its share of calamities. Soon after Bayezid’s death, the Ottoman state fell into civil war and foreign invasions. In 1402 the forces of Timur (Tamerlane) swept through Anatolia, and Bursa suffered damage. Local records note that portions of the mosque were destroyed by Timur’s army, requiring significant rebuilding in the mid-15th century.

Much later, nature’s forces tested the mosque again. A devastating earthquake in 1855 brought down parts of the structure, especially the vaulting and domes. The walls were left standing, but repairs were extensive. The mosque remained closed for many years before finally reopening in 1862 after a major restoration. In 1889 a large fire erupted in the city center; Ulu Camii was again damaged, but this time its walls survived largely intact, allowing yet another restoration effort. Today’s visitors see a building that is faithful to its original design, but one that bears the marks of these nineteenth-century repairs and preserves the accumulated layers of its long history.

The Inauguration and the First Sermon: A Tale of Humility and Wisdom

When the Grand Mosque was formally opened around 1399–1400, it was to a congregation that included the sultan himself. According to tradition, Bayezid I refrained from delivering the first sermon. Instead, he invited Somuncu Baba to speak – at the request of another Sufi, Emir Sultan, who was Bayezid’s esteemed friend and spiritual mentor. Somuncu Baba chose to expound the first chapter of the Qur’an (Al-Fatihah) in seven different ways, a sign of the mosque’s blessed opening. It is recorded that Bayezid stood at one side of the mosque as Somuncu Baba delivered the khutba, while scholars like Molla Fenari and Emir Sultan stood to the other side. The mosque’s first official imam was Süleyman Çelebi, the learned son of Bayezid who would later author the famous Ottoman Mawlid (poem of the Prophet’s birth). This humble choice of speaker – a simple dervish rather than the sultan himself – and the scholarly celebration of the mosque’s dedication reflect the spiritual ethos Bayezid sought to embody in Ulu Camii.

An Architectural Marvel: Deconstructing the Unique Design of Ulu Cami

A Symphony in Stone: Understanding the Seljuk and Early Ottoman Architectural Styles

Bursa’s Grand Mosque is architecturally distinctive because it straddles styles. Built in 1399, it reflects Anatolian Seljuk traditions even as it anticipates the classical Ottoman mosques of later centuries. Its design diverges sharply from the Byzantine-influenced single-dome mosques like Hagia Sophia. Instead, the Ulu Camii has a simple rectangular footprint (about 55 by 69 meters) with a flat roof covered by twenty equally sized domes. This multi-dome concept was unprecedented in Ottoman architecture when it was built. In this sense, the Grand Mosque presents a “forest” of domes, each perched on massive stone arches and vaults, and collectively forming a vast, unified interior space. The style bears comparison to large Seljuk mosques and madrasas of Anatolia, where flat roofs with multiple domes were common. The engineers seem to have favored a hypostyle hall approach – many columns and small domes – rather than the soaring central dome-and-semi-dome scheme that would later define Istanbul’s great mosques.

In the Ulu Camii one can discern echoes of the architectural heritage of the region. The columns themselves are thought by some scholars to have been spolia from an older temple in the area (possibly the Temple of Artemis at Ephesus, as legend has it). The details of the exterior – plain stone walls with narrow pointed arches – are austere and functional, typical of early Anatolian mosques. Yet the sheer scale of the building announces its imperial patron: at the time of its completion it was the largest mosque any Ottoman sultan had built.

Key Characteristics of Early Ottoman Mosque Design

In Bursa Grand Mosque one sees all the hallmarks of pre-Sinan Ottoman architecture (sometimes called “early Ottoman” or Anatolian Beylik style). The overall form is dominated by stone and wood rather than large marble surfaces, and the plan is organized into a grid. The interior is lit by dozens of high windows and the central skylight (over the fountain) rather than a single central lantern. Ornamental stone carvings are minimal; instead, visual interest comes from the interplay of structural geometry and the extensive calligraphic decorations added later. In sum, the Ulu Camii’s design betrays its origin in an era when Ottoman mosques were still evolutionary experiments – grand, but not yet on the grand porch-and-semi-dome pattern of the seventeenth century.

By contrast, no Byzantine elements like pendentives were used; this mosque is purely in the Islamic Anatolian tradition. Its simplicity allowed the builders to devote artistry to other aspects (notably the woodwork of the minbar and the calligraphy on the walls) rather than to complex stone structure. The result is a building that feels at once monumental and accessible – a holy space that is enveloping but human-scaled, with the rhythmic repetition of domes and arches guiding the eye.

Influences from Seljuk and Byzantine Architecture

The Grand Mosque shows Seljuk influence in its multi-domed roof and heavy piers, but few direct Byzantine borrowings. Its interior is a vast columned hall akin to Seljuk congregational mosques in Konya and Sivas, which also emphasize a hypostyle arrangement over a single large dome. However, by 1399 Byzantine forms were already known to Ottoman architects – the nearby Hagia Sophia had been an inspiration – yet Bayezid’s builders deliberately chose a different aesthetic. Instead of the Hagia Sophia model (a central dome flanked by half-domes), they invented their own solution for covering the space: twenty small domes on short arches supported by pillars. This may reflect both the military/civic origin of the project (it was meant to be vast rather than soaring) and an impulse to establish a uniquely Ottoman idiom. In this respect, Ulu Camii represents the turning point between the Seljuk past and the future Ottoman style: it is essentially a Seljuk-era hall mosque enlarged to an imperial scale, which in time would give way to the masterworks of the classical period.

The Forest of Pillars: The Grandeur of the Interior Hypostyle Hall

Step inside and one is struck by the “forest” of twelve gigantic stone columns (piers) that rise to support the roof. These monolithic pillars – each more than five meters high – are the structural heart of the mosque. In total there are twelve such columns arranged in a three-by-four grid, holding up the arches of the domes. The number twelve may have symbolic significance (the twelve imams, or the twelve months, as some commentators suggest), but its practical effect is to divide the prayer hall into a series of rectangular bays. This creates a sense of spacious order inside the mosque: the bays form natural sub-units of the prayer floor, giving worshippers a feeling of individual space even as they pray as a congregation.

Because of the columns, the prayer hall can accommodate several thousand worshippers (some accounts estimate up to 5,000). Acoustically, the repetition of domes and arches produces a gentle echo, and visitors often note how their footsteps and whispers carry softly across the tile floors. Architecturally, the pillars were likely quarried nearby and carved with simple geometric detail; they connect to the semi-circular arches above without capitals, relying on stone corbels to spread the load. This arrangement was innovative: by using only a dozen columns, the architects created an exceptionally large unobstructed interior for its time. The effect is both solemn and grand: the eye moves easily between arches, and the sense of height is defined by the repeating ribs of the domes above.

The Significance of the Twelve Massive Columns

In Islamic symbolism the number twelve can evoke the twelve imams recognized by some traditions or the twelve tribes of Israel (and in Shiite lore, correspondences in faith); even if no explicit record ties the architect’s choice of twelve to such meanings, it is tempting to read it that way. More tangibly, having twelve pillars meant that the builders could arrange the domes in four rows of five (totaling twenty) as promised in Bayezid’s vow. The columns also underscore the mosque’s resilience; each is carved from a single piece of marble or granite and has withstood centuries of earthquakes and remodeling. In every corner of the vast hall they stand as silent sentinels of faith.

A Crown of Twenty Domes: A Revolutionary Multi-Domed Structure

Perhaps the most immediately striking feature of Ulu Camii is its twenty domes. These domes appear as a gently rolling skyline from the outside, and as a tiered ceiling from the inside. Each dome measures roughly 5–6 meters in diameter, and together they form a flat, almost quilt-like roof covering the entire nave. This design was revolutionary for its time: no Ottoman mosque before had used so many small domes in a unified way. The engineering challenge was solved by the dozen columns: each supports four domes, and the domes are connected by arches so that the load is distributed evenly. The interior effect is reminiscent of a wide, compressed radial fan; light from wall windows and the central skylight filters across all twenty domes, giving the hall a serene, even illumination.

From a symbolic standpoint, the number twenty clearly alludes to the founding story of the mosque. According to Sultan Bayezid’s pledge at Nicopolis, each dome was to stand in for a lost mosque promised on the battlefield. In this way, twenty became a sacred total – a complete offering. Some modern writers also see the number twenty as expressing “unity in multiplicity”: dozens of separate domes knit into one singular sanctuary. Technically, this arrangement also had acoustic benefits: the multiple ceilings break up echoes and allow the voice of the imam to circulate more evenly among worshippers. In these domes the Ottomans found a way to foreshadow the grand domed mosques to come, without yet abandoning their original Seljuk approach.

The Engineering and Acoustics of the Twenty Domes

Building twenty dome vaults in such quick succession was a considerable feat. Ottoman chronicles emphasize how swiftly the craftsmen worked to erect the scaffolding and hoist each segment into place over just three years. The domes themselves are relatively low and squat (almost hemispherical), which helps keep the center of gravity low over the pillars. Inside, the arrangement of domes creates chambers that contain and focus sound. During prayer, the words of the Quran ripple through the arches and vaults; visitors today often remark on the clear acoustics that allow sermons and recitations to be heard evenly, even in the distant corners of the hall. The overlapping network of arches and ribbing forms a kind of acoustic “carpet,” weaving together the ambient noises so the space feels coherent rather than echo-chambered.

The Symbolism of the Number Twenty

Beyond its literal origin, the number twenty has layers of meaning. In Islamic numerology, twenty is the product of four and five – four directions by five pillars – which some interpret as completeness (all directions and the basic requirements of faith). Others note that twenty corresponds to the number of rak‘ahs (units of prayer) one would pray in a full day (five daily prayers with four units each equals twenty). Whether or not the builders had such symbolism in mind, the faithful in Bursa have historically considered the twenty domes a special blessing. During Friday prayers and festivals, worshippers are said to feel sheltered under the canopy of these domes, as if embraced by the Sultan’s monument to piety.

The Celestial Lightwell: The Open Oculus and the Interior Fountain

At the very center of the mosque stands the şadırvan, an ablution fountain, and above it the only true skylight of the building. In the original design the dome over this fountain was open to the sky, allowing rain and sunlight to fall directly into the courtyard at the center of worship. Today this dome has been fitted with glass to protect the interior, but visitors can still see the blue sky through it. The beams of light that stream down through this central oculus create a dramatic spotlight on the fountain and floor below. It is as if the heavens themselves are part of the sacred space.

The fountain of ablution stands beneath a glazed dome inside the Grand Mosque of Bursa. This central skylight bathes the prayer hall in soft natural light and highlights the tranquil pool below.

The engineering of this feature was as remarkable as it is symbolic. The marble basin beneath has eighteen sides, and channels water from three compartments into eight spouts. Worshippers could perform wudu (purification ablutions) at the very heart of the mosque. In practical terms, the fountain played a ventilating role: the warm air from below rose through this opening and helped keep the vast hall from becoming stale. Spiritually, the open dome and fountain together serve as a metaphor: pure water and pure light flowing down from above.

The Two Minarets: A Tale of Different Times and Patrons

Flanking the mosque are its two elegant minarets, which were not built simultaneously. The western minaret, directly attached to the building’s northwestern corner, dates from Bayezid’s original construction. It rises in stone with a tall pencil shape, characteristic of early Ottoman design. The eastern minaret stands a bit apart on the east side of the courtyard. This second tower was added only in the early 15th century under the reign of Sultan Mehmed I (Bayezid’s son). This is why the two minarets, while stylistically similar, are not identical: the eastern one is slightly offset and was erected about a generation later.

Both minarets were built from ashlar stone and originally had multiple balconies (şerefes) for the muezzin to call to prayer. The addition of a second minaret followed an Ottoman tradition that a mosque of great imperial significance deserved two or more towers. In the Ulu Camii, as in later imperial mosques, the minarets also help frame the building’s silhouette. They set off the otherwise flat roofline of domes by adding a vertical counterpoint.

The Mihrab and Minbar: Masterpieces of Islamic Art

Mihrab. Opposite the entrance wall is the mihrab, the niche indicating the direction of Mecca. The current mihrab is made of carved marble and dates from 1751, a late Ottoman renovation. Its surface is elaborately decorated with inlaid colored stone and a muqarnas (stalactite) hood above, showing a high-Baroque Ottoman style that was fashionable in the 18th century. This gilded and polychrome mihrab serves as a visual “beacon of faith” inside the mosque, marking the focal point toward which all prayers are directed. While handsome, it is somewhat younger in style and does not date back to Bayezid’s day.

Minbar. To the right of the mihrab stands the mosque’s famed minbar, or pulpit, carved entirely from walnut wood. It was completed in 1400 by a craftsman named Hacı Mehmet of Antep, following orders from Sultan Bayezid himself. This piece of woodwork is extraordinary: it was made without a single nail or drop of glue, using the ingenious kundekari technique of interlocking wooden pieces. In fact, Ottoman sources boast that the minbar consists of 6,666 separate pieces, a number chosen to correspond to the number of verses in the Qur’an.

The craftsmanship of the minbar is unparalleled. Its surfaces are covered in an intricate interlaced geometric pattern with tiny stars, octagons and muqarnas niches. The two outer panels of the minbar’s side are especially symbolic: the eastern panel (facing the mihrab) has small protruding brass points arranged in concentric circles, which many interpret as a representation of the solar system. The western panel, by contrast, shows the spiral form of our galaxy. Thus the minbar itself becomes a microcosm: a poem in wood that unites earthly artistry with celestial imagery. To step up its stairway toward the imam’s seat is in a sense to journey through the heavens.

Together, the mihrab and minbar frame the spiritual heart of the mosque. The mihrab’s gilded artistry and the minbar’s elaborate woodwork both speak to the high value early Ottomans placed on integrating art and devotion. In the Grand Mosque of Bursa these elements combine with the architecture to remind every worshipper that they are in a holy, ordered space – one aligned with the heavens and suffused with meaning.

“A Museum of Calligraphy”: The Incomparable Islamic Art of Bursa Grand Mosque

The Walls That Speak: An Introduction to the Calligraphic Masterpieces

Perhaps nothing else at Ulu Camii sets it apart like the profusion of Islamic calligraphy on every available wall and column. The interior surfaces are almost completely covered with painted Arabic inscriptions in elegant scripts. In total there are 192 inscriptions by forty-one different calligraphers – a quantity so great that many guidebooks and scholars call the Grand Mosque “a museum of calligraphy.” These textual panels range in size from a few meters across (set high on the walls) down to small plaques. The content is deeply symbolic: from Qur’anic verses to the 99 beautiful names of Allah, and from the name of Muhammad (peace be upon him) to devotional poetry, the texts create a visual and spiritual tapestry.

This calligraphic program was executed largely between the 18th and early 20th centuries, but it complements the medieval architecture perfectly. The choice of scripts is also notable: one finds examples of thick, angular Kufic letters and flowing Thuluth, as well as other styles in between. Each piece of script is a meditation in ink and paint. The very act of reading (or even simply seeing) these words is meant to be part of worship. In Islamic art, calligraphy is a primary decoration, because the written word of the Qur’an is itself sacred. Inside Ulu Camii, nearly every arch, wall panel, and pillar is inscribed with wisdom. A casual visitor might step in expecting columns and domes, but instead one finds themselves in a library of holy art.

What Is Written on the Walls of Bursa Grand Mosque? A Thematic Guide

The inscriptions in Bursa’s Grand Mosque can be organized by theme:

• The 99 Names of Allah (Asma’ul Husna). One of the most prominent features is a long medallion painting of the Ninety-Nine Names of God. In Islamic tradition, these are attributes like “The Merciful,” “The Just,” and “The Light,” each signifying one aspect of the Divine. In the Grand Mosque they are painted in gold on wood panels and set high on the walls. Reciting or seeing these names is a form of dhikr (remembrance of God) for many worshippers.
• Verses from the Qur’an. Numerous Qur’anic verses are chosen to adorn the mosque. These range from short, central declarations of faith to longer passages. For example, around the prayer niche are verses invoking God’s oneness and mercy. Above the portico, one finds the Throne Verse (Ayat al-Kursi, Qur’an 2:255) and others that emphasize the greatness of God. Such verses serve both decorative and didactic purposes: they remind the faithful of key beliefs every time they enter or look around.
• Names of the Prophet Muhammad and His Companions. The holy name of Muhammad (PBUH) appears several times, often paired with honorific phrases. Sometimes the names of his four main companions (Abu Bakr, Umar, Uthman, Ali) are inscribed, highlighting the continuity of Islamic leadership. These names reinforce the mosque’s connection not just to God but to the Prophet who conveyed Islam.
• Poetic and Mystical Inscriptions. In addition to scripture, there are poetic lines and Sufi verses. Notably, a 16th-century Ottoman Sufi poet named Şeyhî contributed a mystical couplet that once adorned the western wall. This line, for example, reads in translation “By the traces of the mysteries / May I always be missing.” Such inscriptions invite contemplation on deeper spiritual truths, going beyond formal doctrine. They often speak of divine love, humility, or the ephemeral nature of life.
• Miscellaneous Inscriptions and Donor Records. Scattered among the religious texts are also inscriptions noting donations, repairs, and the names of patrons or calligraphers. For instance, above the doorways one finds the names of Ottoman sultans who funded renovations. While less dramatic to read, these help date the artwork and tell us about the mosque’s changing history.

Each inscription is rendered in beautiful calligraphic art, often in black or gold paint on a white or colored background. The eye is naturally drawn to the sweeping lines of the Arabic letters, which themselves become abstract decoration. In sum, every surface of the Grand Mosque has a message: its walls themselves “speak” to worshippers, proclaiming that this space is dedicated entirely to God and His guidance.

A Gallery of Greats: The Master Calligraphers Who Adorned the Mosque

Bursa Ulu Camii’s walls are in essence a gallery of the Ottoman Empire’s master scribes. The forty-one calligraphers represented include virtually all the most famous names from the 18th and 19th centuries. Among them are Abdülfettah Efendi, Kazasker Mustafa İzzet Efendi, Sami Efendi, and Mehmed Şefik Bey, whose work was sought for imperial projects. These were poets of the pen, entrusted with writing holy text in consummate style. Their individual signatures or stylistic flourishes can sometimes be discerned by experts. For example, Abdülfettah Efendi’s elegant circles and Mustafa Izzet’s fluid cursive are visible on different panels.

By bringing together so many masters under one roof, the mosque also became an informal “museum” of evolving calligraphic styles. One can trace through the hallways how Ottoman script developed from more static forms to dynamic flowing ones. Visitors who study Ottoman calligraphy will often refer to Ulu Camii as a living reference of scripts. Each calligrapher’s contribution was likely made years apart, as the art was commissioned for each restoration or new dedication; yet today they stand side by side in perfect harmony, just as the Ottoman dynasty would have intended.

The “Vav” and Its Mystical Significance Throughout the Mosque

Observers note a curious feature of the mosque’s inscriptions: the frequent use of the Arabic letter wāw (و), which is sometimes drawn larger than the other letters. In Islamic mysticism, the letter wāw is often held to symbolize the Divine, since the word for God (Arabic Allah) begins with a silent hamza followed by wāw when written. Thus the wāw can represent the presence of God in the text. Many of the verses and hadiths on the walls deliberately feature a prominent wāw – for example, the word Allah (with wāw) or the phrase Al-‘Alim (“The All-Knowing,” which begins with a wāw). Calligraphers occasionally accentuate it as a visual motif.

While the everyday reader might not reflect on this, devotees see it as a subtle reminder of the divine. Some scholars even say that in Ottoman Turkey the vowel wāw became a talismanic letter, associated with Lordship and holiness. The mosque’s abundant use of wāw therefore turns the entire interior into a cryptic “W” monogram for God. In short, the letter carries extra weight here – literally and spiritually – turning the architecture into an alphabet of faith.

Deciphering the Scripts: From Kufic to Thuluth

The inscriptions span a wide range of Arabic calligraphic styles. Early Islamic scripts like Kufic (with its angular, geometric letters) appear in some of the oldest plaques, often as framed panels on the south wall. In other places one sees Thuluth, the large, flowing script characterized by sweeping curves. Thuluth was especially popular for major inscriptions because of its grandeur. In minor areas and later additions one finds Naskh (a legible book hand) and Diwani or Taliq (more fluid cursive styles). Each script contributes a different character: Kufic looks solemn and ancient, whereas Thuluth feels majestic and living. Many panels even combine scripts, with one font used for Qur’an verses and another for attributions.

Together, the variety of scripts tells the story of Ottoman Islamic art. In this one mosque, a visitor can see the evolution of Ottoman calligraphy in situ – a rare opportunity. Decoding these styles takes a trained eye, but even without literacy one can appreciate the rhythm, balance, and spirituality of each lettering. The harmony of fonts in Ulu Camii’s interior demonstrates how carefully the inscriptions were curated to create a unified sacred space.

The Soul of the Mosque: Symbolism and Spiritual Significance

The Fountain of Life: The Unprecedented Interior Şadırvan

The centerpiece of the Grand Mosque is the şadırvan – the ablution fountain – located in the middle of the prayer hall. This feature is unique among major world mosques, as usually fountains are found only in courtyards. Here, the fountain’s basin (an 18-sided bowl) is built directly under the central dome, as if the mosque itself offers the water of purity. This reflects a potent symbolism: in Islam, water is the element of taharah (purification) and spiritual renewal. By placing it under a skylight, the architects combined the essential ritual of washing (physical cleanliness) with the light of heaven, suggesting that believers’ inner purity may be as bright as the light above.

A local legend holds that the fountain’s location has a more earthly origin. An elderly woman once refused to sell her small plot of land to Sultan Bayezid. After she died, the sultan’s agents placed the fountain over that very spot so that no one would pray upon it — thus preserving its sanctity and ensuring prayers would never unknowingly fall on ground obtained by unjust means.

Why is there a fountain inside? According to legend, when Bayezid built the mosque he seized an entire block of houses. One elderly woman who owned part of that land vehemently refused to sell, even to the sultan. Distraught over the impasse, Bayezid had her house demolished after her death – but later learned from Islamic jurists that allowing prayer where someone’s property was unlawfully taken would invalidate the worship. To remedy this, they built the fountain exactly over her former plot, so that believers would never place their prayer mats there, ensuring no prayer fell on that spot.

Whether this story is historical or a moral parable, it highlights a common theme: water inside the mosque represents purity of faith, and the fountain’s origin is said to honor justice and compassion. The legend has been retold often enough that a visitor may well hear it from local guides. In any case, the fountain’s gentle trickling does indeed contribute to a serene aura. It is as if the mosque is constantly bathing itself in both sacred water and light from above, embodying an oasis of tranquility. This melding of natural elements – water from below, light from above – creates a symbolic vision of Islam’s spiritual ideals flowing through the heart of the community.

The Spiritual Symbolism of Water in Islam

Water holds a special place in Islamic thought. It is explicitly mentioned in the Qur’an as a sign of divine mercy: “We made every living thing of water” (Qur’an 21:30) and “Indeed, Allah sends down rain from the sky and gives life thereby to the earth” (Qur’an 16:65). In ritual practice, water is the means to remove najasa (impurity) before prayer. Placing an ablution basin at the mosque’s center symbolizes that purification is at the core of worship. Each pilgrim who washes there is reminded that entrance into the sacred space requires inner and outer cleanliness. Moreover, the continuous flow of water can represent the endless blessings of God, nourishing the faithful spiritually just as rain nourishes crops.

A Place of Profound Peace: The Mosque’s Atmosphere and Spiritual Aura

The overall atmosphere of Ulu Camii is one of enveloping peace. The low-lit interior, with its subdued golden light and long shadows, has a hushed quiet. Visitors often comment on the contrast between the busy streets outside and the calm within. The sound of voices speaking softly or the gentle splash of water from the fountain seems amplified by the dome echoes – but never in a jarring way; rather, it sounds like the space itself is listening. In spring and autumn light, the skylight over the fountain casts a warm glow on the marble, as if the mosque itself is glowing from within. One recent visitor observed that the interior is “designed to feel peaceful and contemplative”.

Amid the inscriptions and the cool stone, many find that time feels slower. The absence of windows on the prayer floor (there are windows only high up near the domes) means that exterior distractions are shut out. Devotees relate that it is easy to lose themselves in prayer or reflection there. For non-Muslim visitors, too, the space can be deeply moving. The lack of galleries or fences means one can walk freely through the aisles, touch the old wood or run fingers over the carved patterns of the minbar. In this way, the Grand Mosque of Bursa achieves what the Ottoman architects intended: it is not only a statement of power, but an inviting sanctuary where the spirit can breathe.

A Practical Guide to Visiting Bursa Grand Mosque

Planning Your Visit: Essential Information

Visitors to Ulu Camii will find it centrally located in Bursa’s old city, not far from landmarks like the Silk Market (Koza Han) and the covered bazaar. The mosque is freely open to everyone; there is no admission fee (it is maintained by the religious foundation). Typically, the mosque opens in the morning after the dawn prayer and remains accessible until shortly before evening prayer each day. (Exact hours can vary slightly with the seasons and local schedules.) Most travellers report it is open roughly 9:00 AM until an hour before sunset, except during the Friday sermon when non-worshippers generally wait in the courtyard.

Entrance and Etiquette: As a house of worship, Ulu Camii expects visitors to dress modestly. Men should avoid shorts, and women are expected to cover their legs and shoulders; a headscarf is recommended for women (and often provided by the mosque, or you may bring your own). Footwear must be removed before entering the prayer hall – benches are provided just inside for placing shoes. Once inside, walk quietly and respectfully. Photographs are generally allowed in the public areas and courtyard (without flash), but it is courteous to refrain during the midday prayers. If in doubt, observe where others are praying and do not walk in front of them; stand to the sides or back.

For practical reference, many guidebooks note that the Grand Mosque is “easily accessible and usually open to visitors outside of prayer times”. It is still an active mosque: if the muezzin is calling to prayer or a service is underway, visitors traditionally stand at the back or in the courtyard until it finishes. Donations for the upkeep of the mosque are welcome but not obligatory.

Bursa Grand Mosque Opening Hours and Prayer Times

While hours can change with local practice, the mosque is commonly open daily from mid-morning until evening, roughly 9:00 AM to 6:00 PM. It closes briefly five times a day for the ritual prayers. On Fridays, the sermon (khutbah) and midday prayer will momentarily occupy the hall; many tourists plan to visit in the gap between late morning and early afternoon. Evenings and major Islamic holidays may alter times, so travelers often check locally. Online resources (such as travel forums) suggest verifying current hours before your visit.

Entrance Fees and Donations (There Are None)

There is no entrance fee to enter Ulu Camii. The mosque is owned by the Turkish Religious Affairs Foundation and is maintained as a charitable property (waqf). Like in many mosques, there are donation boxes near the door for those who wish to contribute. These donations help support the mosque’s cleaning and utilities, but giving is entirely optional. Most visitors tour the mosque at no cost.

Mosque Etiquette and Dress Code: A Guide for Respectful Visitation

As with any mosque in Turkey, modest dress is required. Men should wear long pants and avoid bare feet (sandals are fine since you remove them at the door). Women should cover their knees and shoulders; headscarves are customarily worn. If you arrive without a head covering, one is usually available at the entrance (often free for loan). Shoes are removed in the entry area – socks or bare feet on the marble floor are acceptable. Talking in lowered voices is appreciated, and cell phones should be silenced. For non-Muslim visitors: it is permitted to visit at nearly all times (except during the actual congregational prayers), but you should not enter areas reserved for worshippers on specific occasions (like the women’s gallery during a female prayer). Following these simple customs will ensure a respectful and pleasant visit.

What is the dress code for visiting the Bursa Grand Mosque?

All visitors (regardless of faith) should dress modestly. This means covering arms and legs at minimum. Women are asked to cover their hair; a lightweight scarf or shawl works fine and is often provided. Men should avoid shorts or sleeveless shirts. Loose, non-revealing clothing is best. Since you will take your shoes off, it’s practical to wear clean socks. In short: dress as you would for any conservative religious site – think of the decorum of a cathedral or temple.

Do’s and Don’ts for Non-Muslim Visitors

• Do remove your shoes before entering the prayer area.
• Do speak softly inside the mosque.
• Do stand at the side or back if a prayer is in progress; do not walk in front of those who are praying.
• Do feel free to take photographs in the empty mosque (respecting local norms about not photographing people in prayer).
• Don’t bring food or drink inside.
• Don’t climb onto any part of the structure or touch the minbar/mihrab.

Following these guidelines will let you explore Ulu Camii without inadvertently offending the faithful.

Capturing the Beauty: Photography and Videography Guidelines

Photography is permitted in Bursa Grand Mosque’s public areas, and many visitors take pictures of its architecture and calligraphy. However, please be respectful: no flash lighting (which can bleach out details) and no tripods in busy areas. When Muslim worshippers are present, avoid photographing them without permission. Some signs request silence for reverence; make sure the camera shutter is quiet. In short, enjoy photographing the domes, columns, and inscriptions, but remember you are in a living place of worship.

Is photography allowed inside the mosque?

Yes. You may photograph the architecture and decorations, provided you do so quietly and respectfully. It is best not to photograph people who are praying or in reflection unless they invite you. Always keep your flash off, since the natural light in the mosque is sensitive.

Getting to Ulu Camii: Transportation Options

From Istanbul: Bursa is reachable from Istanbul by ferry and bus. The typical route is to take a sea ferry (or high-speed catamaran) from Istanbul (Eminönü or Yenikapı) to the town of Yalova or to Mudanya (the ferry port of Bursa). The ferry takes about 75–90 minutes. From Yalova or Mudanya you can catch a bus (operated by Metro or Uludağ companies) that runs frequently to central Bursa (about 1–1.5 hours). Buses arrive in Bursa’s central terminal (Otogar), from which a taxi or city bus can drop you at the mosque. (Some tour itineraries also combine a short drive from Yalova across to Bursa.) For example, one popular full-day tour heads by ferry and coach from Istanbul through Bursa’s landmarks.

Local Transportation: Within Bursa city, the mosque lies a short walk from several major bus stops. The key stops are “Atatürk” or “Kültürpark” near the Uludağ Company Bus Terminal, just a few minutes on foot from the Grand Mosque. Bursa also has a metro system (ending at Çarşısaray station), but that station is a longer walk or a brief taxi ride away. Taxis are plentiful and inexpensive. Once you reach the historic core of Bursa (roughly the area around the Covered Bazaar and Koza Han), the Grand Mosque is very central and easy to find.

Accessibility for Visitors with Disabilities

The Grand Mosque of Bursa is an historic building and is not fully accessible in the way modern structures are. The ground is mostly flat inside (aside from some slightly elevated marble calligraphy panels), but there are steps at the western entrance. Wheelchair users can request assistance at the entrance, as attendants often help carry visitors’ shoes and assist entry. The interior corridors are wide and do not have barriers. However, the fountain chamber has a slightly raised circular platform around it, and some areas might have uneven thresholds. In general, a companion is advised to assist older or disabled visitors. For those with hearing or visual impairments, the mosque provides printed guides in Turkish (ask at the entrance) but no formal audio guide. Despite these limitations, many visitors with limited mobility have been able to experience the mosque; arranging help through a tour operator or local contact may ease any difficulties.

Beyond the Mosque Walls: Exploring the Historic Heart of Bursa

After visiting Ulu Cami, the rich historic neighborhood around it beckons. On almost every side are sites that grew up alongside the mosque’s külliye (complex).

• Koza Han (Silk Market). Just across from the mosque’s courtyard stands Koza Han, a grand 15th-century bedesten originally used for trading silk cocoons. It is a two-story rectangular market with an inner courtyard; today it is lined with souvenir shops and tea gardens. The Ottomans once dubbed it the “Great Bazaar of Silk.” It offers a direct glimpse into Bursa’s medieval prosperity: for centuries, Bursa was the silk capital of the Ottoman realm. You can still sit in the fountain-filled courtyard and sip cay among the merchants.
• The Covered Bazaar (Bedesten). A short walk from Ulu Cami is the traditional Kapalı Çarşı (Covered Bazaar). This labyrinthine market of narrow alleys dates back to the early Ottoman period and sells everything from ceramics and textiles to gold jewelry. The oldest part of it is also called the Bedesten – a vaulted stone market hall. Tourists and locals alike mingle here for a taste of classic bazaar life. As one Bursa guide suggests, “for souvenirs you should visit the Covered Bazaar (Bedesten), or the Koza Han – an attractive building”. Whether you’re looking for silk scarves, Turkish delight, or leather goods, this bazaar is packed with options in an historic setting.
• The Green Mosque and Tomb Complex (Yeşil Külliyesi). A few streets over lies the famed Green Mosque, built in 1421–1424 by Sultan Mehmed I (Bayezid’s son). Its facade of turquoise and green tiles gives it a jewel-like appearance. Inside, intricate tiles and inscriptions in early Ottoman colors earn it the nickname of Yeşil Cami (Green Mosque). Right next to the mosque is the Green Tomb, Mehmed’s mausoleum, with equally rich tilework. Visiting these is natural after Ulu Cami; they lie just a 5–10 minute walk to the south. The two complexes are often considered a single attraction – one showcasing Bayezid’s style and the other his son’s.
• The Tombs of the Ottoman Sultans (Muradiye Complex). A short journey by car or taxi will take you to Bursa’s Muradiye district, home to a cluster of tombs of early Ottoman sultans. The Muradiye Complex (built around 1424–1425) houses the tombs of Sultan Murad II, his son Mehmed I, and a dozen of their relatives and statesmen. Here you can walk through prayer halls and courtyards shaded by cypress trees, and see the opulent carved tombstones of Murad and Mehmed. It is a quiet, reverent place that offers context to the royal patrons of Bursa.
• Local Eateries and Tea Houses. Finally, savor some local fare. The area around Ulu Cami is dotted with historic çay gardens and restaurants. Look for wood-floored tea shops to taste Bursa’s famous chestnut candy (kestane şekeri) or pideli köfte (meatballs served on pita with tomato sauce). Near the Covered Bazaar and the old Market Gate, one can find traditional lokantas (meat and vegetable stews) and baklava shops. Don’t rush – part of Bursa’s charm is lingering over tea in one of the gardens flanking the mosque, under the shade of giant trees.

These sights and sounds make a visit to Ulu Camii only the beginning. The mosque is the centerpiece of a living museum of the Ottoman era, and by stepping beyond its walls a visitor can continue to immerse themselves in the vibrant legacy of Turkey’s first Islamic capital.

Bursa Grand Mosque vs. The Blue Mosque: A Tale of Two Imperial Mosques

Though the Grand Mosque of Bursa was built in the late 14th century, many travelers naturally compare it to Istanbul’s famed Sultan Ahmed (Blue) Mosque from the early 17th century. Both are major imperial mosques, but they belong to very different eras of Ottoman history.

In architectural style, the difference is clear. Bursa’s Ulu Cami exemplifies the early Ottoman hypostyle hall with many small domes – a bridge between Seljuk and Ottoman design. By contrast, the Blue Mosque (completed 1617) is a masterpiece of classical Ottoman architecture, heavily influenced by the Byzantine Hagia Sophia. Its design features a massive central dome flanked by several half-domes, creating a cascading skyline, and it is flanked by six slender minarets (a feature that was then unique aside from the Kaaba’s). As the Blue Mosque’s architect Sedefkar Mehmed Agha wrote, it was intended to inspire “overwhelming size, majesty and splendor” reflecting the empire at its zenith. In Bursa one sees the roots of these ideas; by the 1600s they had blossomed into the sweeping, tile-covered spaces of the Blue Mosque’s interior.

Historically, the two mosques bookend the rise of the empire. The Grand Mosque is a product of the dawn of Ottoman power – the first capital’s primary mosque, built by a sultan just establishing his dynasty. It is rugged and direct in feeling. The Blue Mosque, on the other hand, was built at the zenith of Ottoman might (in the reign of Ahmed I) in a vast, imperial capital that now stretched to three continents. Its scale, decoration (including over 20,000 handmade Iznik tiles in shades of blue), and six minarets were meant to rival even the old imperial patron of Constantinople. In short, Bursa’s mosque announces a new dynasty on the rise, whereas the Blue Mosque declares an already-glorious imperial tradition.

The visitor’s experience also differs. Bursa Grand Mosque is usually much quieter and less crowded (Bursa itself gets fewer tourists than Istanbul). Its interior feels contemplative; light trickles through a single skylight and the modest stained-glass windows. The Blue Mosque, by contrast, often feels alive with color and activity: its chandeliers and painted tiles are dazzling, and it fills quickly with tourists (especially midday) flocking to see its famed blue tilework. Both are prayer halls, of course, but the atmosphere in Bursa is more hushed and meditative, whereas in Istanbul it is grand and monumental. Each, however, profoundly reflects the ideals of its time.

Frequently Asked Questions (FAQ)

Who built the Grand Mosque of Bursa?

The Grand Mosque was commissioned by Ottoman Sultan Bayezid I (Yıldırım Bayezid). Construction began shortly after his victory at Nicopolis in 1396. Some accounts name the architect as Ali Neccar. Bayezid’s reign was brief, but he oversaw the mosque’s completion in 1399. Bayezid personally financed its construction as a fulfillment of his vow, making him its founder.

What is the story of the Grand Mosque?

The mosque’s founding legend holds that after defeating the crusaders at Nicopolis, Bayezid I had promised to build twenty mosques as thanks. Instead, his architects cleverly honored the promise by building one grand mosque with twenty domes. This story is likely apocryphal, but it symbolizes Bayezid’s gratitude and explains the unique multi-dome design. Over the centuries, the mosque has been the site of legends and reverence, such as the famous tale of the interior fountain’s placement on an unwilling landowner’s plot.

What is special about the Grand Mosque?

Several features make Ulu Camii special. Architecturally, it was the first multi-domed imperial mosque in the Ottoman Empire, with twenty domes supported by twelve huge pillars. Its interior fountain under a skylight (a rarity in world mosques) creates a tranquil atmosphere. The mosque is also renowned for its extensive calligraphy: nearly 200 inscriptions by 41 calligraphers cover the walls. These include Qur’anic verses, the 99 names of God, and other devotional texts. In short, one could say the Grand Mosque’s combination of historical origin, architectural innovation, sacred art, and symbolic features all contribute to its uniqueness.

How many domes does the Bursa Grand Mosque have?

There are twenty domes on the roof of Bursa Grand Mosque. They are arranged in four rows of five and all look outwardly identical. This uniform, multi-dome design was a deliberate choice by its builders and is unusual among historic mosques.

What is written on the walls of the Bursa Grand Mosque?

The walls and columns are covered with a vast array of inscriptions. These include the 99 names of Allah, numerous verses from the Qur’an, hadith (sayings of the Prophet), the names of Muhammad and his companions, and various religious poems and phrases. One especially important inscription is the Throne Verse (Ayat al-Kursi) over the central arch. In total there are 192 inscriptions by 41 master calligraphers. Each piece of writing is rendered in beautiful calligraphy, making the walls both art and scripture. The inscriptions were added over several centuries, but they all harmonize to transform the interior into a “calligraphic sanctuary” of Islamic devotion.

Why is there a fountain inside the Bursa Grand Mosque?

The interior fountain (şadırvan) is unusual, and local lore explains it by a legendary anecdote. The story says an old woman refused to sell the last parcel of land needed for the mosque. After her death, the sultan built the mosque over the entire block but on that woman’s former plot he placed the fountain. This meant no one would pray directly on her land (thus maintaining the validity of prayers). Whether this tale is true or not, what is factual is that the fountain was built for wudu (ablution) and that its open dome allows light into the center of the hall. Symbolically, the fountain and skylight together represent purity and divine light at the heart of the mosque. In practical terms, the water cools and humidifies the interior. Today the fountain is celebrated as a unique blend of function, beauty, and legend, and a visitor will often sit quietly by it to experience the mosque’s serenity.

Are there guided tours available for Ulu Cami?

There is no official in-house tour program, but many travel agencies and guides in Bursa offer tours that include the Grand Mosque as a highlight. These usually include a qualified guide who can explain the history and art of the building. Inside the mosque, however, there are no formal guided tours in each language. Multi-language information panels or brochures can sometimes be found, but their availability varies. Independent visitors often hire a local guide (from the city’s tourism office or through a hotel) if they want an in-depth explanation of the mosque’s architecture and inscriptions.

What is the best time of year to visit Bursa?

Bursa experiences hot summers and cold, snowy winters, so many visitors prefer spring (April–June) or autumn (September–October) for comfortable weather. In these seasons, the city is green and the sky often clear, which also makes the mosque’s lighting gentle. Summer (July–August) can be crowded and very hot, while winter can bring cold rain or snow (though the mosque itself is beautiful with a dusting of snow on the domes). Weekdays are less crowded than weekends. For even quieter visiting, some suggest arriving early in the morning right after opening, or late afternoon a few hours before sunset – at those times the light through the windows and skylight is especially poetic.