Selimiye Mosque

The Selimiye Mosque (Turkish: Selimiye Camii), a remarkable Ottoman imperial mosque, is situated in the city of Edirne, previously referred to as Adrianople, in Turkey. Commissioned by Sultan Selim II and created by the acclaimed imperial architect Mimar Sinan, its construction occurred from 1568 to 1575. Sinan, esteemed as one of the preeminent architects in Islamic architectural history, considered the Selimiye Mosque his magnum opus. It is regarded as a pinnacle of Ottoman architecture and exemplifies one of the finest instances of Islamic architectural excellence throughout history.

In 2011, the mosque and its associated külliye were included on UNESCO’s esteemed World Heritage List. This acknowledgment highlights its historical, cultural, and architectural importance. The Selimiye Mosque Complex stands as a quintessential emblem of Edirne and Ottoman magnificence, commanding the city’s skyline and being a lasting witness to the pinnacle of Islamic architecture in the 16th century.

The Selimiye Mosque transcends mere devotion; it is a structure that integrates several components reflecting the values and ambitions of the Ottoman Empire at its zenith. The mosque, featuring a prominent dome and four elegant minarets, is an architectural wonder. The substantial central dome, with a diameter of 31.5 meters, ascends above an expansive prayer hall of 45 meters by 36 meters. This dome is upheld by eight substantial pillars, resulting in an expansive, ethereal interior that appears to hover over its congregants. The design exemplifies Sinan’s expertise in structural innovation, permitting an exceptional influx of natural light into the interior via a number of strategically positioned windows. The lighting amplifies the mosque’s tranquil ambiance, where marble flooring and intricate Iznik tiles converge to form a cohesive visual experience.

The mosque’s elevated setting enhances its magnificence. The Selimiye Mosque Complex, as the focal point of a wider külliye, encompasses several structures that fulfill diverse religious, educational, and humanitarian purposes. Included are a madrasa, a library, a soup kitchen, and a covered bazaar. Each of these features adds to the complex’s primary objective of promoting community, education, and religious devotion, which were fundamental to Ottoman society values.

The architectural design of the Selimiye Mosque epitomizes the pinnacle of Ottoman architecture, integrating sophisticated engineering methods with significant symbolic connotations. The grand dome, characterized by its impressive scale and symmetry, epitomizes divine order, fostering an ambiance of transcendence within the mosque. The surrounding minarets, slim and lofty, appear to penetrate the sky, accentuating the mosque’s supremacy over the Edirne skyline.

Sinan’s ingenuity in structural design is manifested in the mosque’s capacity to encompass expansive interior rooms without requiring obtrusive supports. The implementation of a centered dome, upheld by eight pillars, represented a significant innovation, facilitating an expansive, unobstructed vista of the prayer hall. The expansive room, illuminated by natural light, evokes a sense of otherworldly beauty and serenity. The mosque’s architectural design functioned as a pattern for other Ottoman mosques, impacting the architecture of later eras and beyond.

The interior of the Selimiye Mosque features outstanding specimens of Iznik tiles, epitomizing the zenith of Ottoman ceramic artistry. These tiles, created in the late 16th century, exhibit elaborate geometric patterns, floral motifs, and fine writing. The vivid blue and turquoise tones of the tiles, along with the mosque’s natural illumination, confer a sense of spiritual tranquility and visual opulence to the interior. The tiles’ remarkable craftsmanship and creative beauty reflect the excellent ability of the artisans who produced them and the extensive artistic patronage under the Ottoman Empire.

The interior decoration serves as both a visual experience and a manifestation of the spiritual devotion inherent in the mosque. The complex designs on the tiles symbolize the limitless essence of God, while the manipulation of light and space enhances the worshipper’s experience. The complete interior, encompassing the calligraphy and tiles, was precisely designed to embody a sacred reflection, enhancing the mosque’s spiritual importance.

The architectural excellence of the Selimiye Mosque was duly recognized. Its creative design and harmonious proportions significantly influenced the evolution of Ottoman architecture in subsequent decades. The mosque’s architecture significantly impacted the Laleli Mosque in Istanbul, which, despite being constructed in an Ottoman Baroque style, exhibits remarkable similarities to the Selimiye in its space configuration and central dome utilization. The mosque’s influence spread beyond Turkey, impacting other regions of the Islamic world.

The Nizamiye Mosque in South Africa, inspired by the Selimiye Mosque, exemplifies its lasting legacy. Despite being only 80% the size of its Turkish equivalent, the Nizamiye Mosque remains the largest mosque in the Southern Hemisphere. The mosque’s architecture exemplifies the worldwide influence of Selimiye’s architectural tenets and the enduring reverence for Sinan’s brilliance.

History of the Selimiye Mosque

The Selimiye Mosque in Edirne exemplifies the architectural zenith of the Ottoman Empire, reflecting its cultural magnificence and military strength. The construction of the structure during Sultan Selim II’s reign signifies a pivotal period in Ottoman architectural history, attributed to its remarkable design and the compelling choices regarding its site and sponsorship.

Construction

The Selimiye Mosque was constructed during the peak of the Ottoman Empire’s military, cultural, and economic power. Sultan Selim II, who succeeded his father, the illustrious Suleiman the Magnificent, selected Edirne as the site for his monumental mosque. This ruling, while historically important, continues to be a topic of contention among academics. Certain individuals contend that Selim’s profound affiliation with the city, where he held the governorship from 1548 to 1550, was crucial. He frequently visited the city, demonstrating an appreciation for both its administrative significance and its aesthetic appeal.

Edirne, formerly the Ottoman capital, held a pivotal position on the imperial route connecting Istanbul and the Balkans, hence reinforcing its significance. A further persuasive rationale for selecting Edirne is that, during Selim’s reign, the vicinity of Istanbul had become heavily populated, and significant hilltop locations, suitable for constructing a mosque complex, had already been occupied. The logistical and political obstacles in obtaining more territory may have compelled Selim to seek options beyond the city.

In 1568, Sultan Selim II enlisted the skills of Mimar Sinan, the empire’s esteemed chief architect, to renovate the Old Mosque in the city. During this period, the conception of ideas for a new imperial mosque, to be constructed on the hilltop overlooking the Old Mosque, was likely initiated. The Selimiye Mosque’s construction commenced in 1568 or 1569 and concluded by 1574 or 1575, shortly after Selim II’s demise in 1574. The project’s finance originated from the sultan’s portion of the spoils acquired during the victorious conquest of Cyprus in 1571, which encompassed the capitulation of the city of Famagusta.

Although the project was completed, Selim II did not survive to see the mosque in its finished state. His premature demise created a significant void in the mosque’s history, infusing its completion with a sense of bittersweetness.

Later History

The mosque’s illustrious history continued beyond its completion. Its durability and significance to the Ottoman Empire necessitated several repairs and renovations throughout the years. The initial major restoration took place in 1584, when Sinan himself returned to the mosque to rectify damage inflicted by a lightning strike. The mosque had slight damage during the 1752 earthquake; but, unlike most historical monuments, its repairs were addressed immediately.

In 1808, the mosque’s calligraphic embellishments were restored, and a roof was added over the courtyard fountain, augmenting its architectural appeal—although this roof would ultimately vanish. A significant repair took place under the reign of Sultan Abdülmecid I from 1839 to 1861, during which the mosque’s interior was replastered and its decoration was renovated, but with some emulation of previous styles.

A significant event in the mosque’s history transpired in the mid-19th century when Baha’u’llah, the founder of the Baha’i Faith, was incarcerated by the Ottoman Empire and exiled to Edirne. During his residence near the mosque from 1865 to 1868, Baha’u’llah regularly visited the Selimiye Mosque. An key event in the history of the Baha’i Faith occurred here—a contentious meeting with Mírzá Yaḥyá Núrí, a pivotal actor in the schism of the Bábi Faith that ultimately resulted in the establishment of the Baha’i Faith.

The mosque persisted in witnessing significant historical events. During the Russo-Turkish War of 1877–1878, numerous beautiful tiles from the sultan’s loge of the mosque were pilfered and conveyed to Moscow. The mosque sustained damage during the 1913 siege of Edirne when artillery fire struck its dome. Mustafa Kemal Atatürk, the progenitor of the Turkish Republic, subsequently mandated that the destruction remain unremedied, serving as a symbolic reminder and cautionary admonition for future generations on the devastations of war.

The mosque’s intricate historical narrative progressed into the 20th century. During the Second Balkan War, retreating Bulgarian forces pilfered some of the mosque’s oldest carpets. Over the years, the mosque’s importance persisted, although more restorations became essential to maintain its grandeur.

From 1954 to 1971, the mosque experienced significant renovation efforts, preserving its importance. Supplementary restoration initiatives occurred from 1982 to 1984. The mosque’s cultural significance was acknowledged when it appeared on the reverse of the Turkish 10,000 lira banknote from 1982 to 1995.

In 2021, a new phase of the mosque’s preservation commenced with an extensive repair initiative. This plan, set for completion in 2025, seeks to preserve the mosque for future generations, ensuring its magnificence continues to evoke admiration and respect among visitors.

The Selimiye Mosque, with its considerable historical importance, stands as a testament to the architectural excellence and cultural accomplishments of the Ottoman Empire. Every historical era, from its construction under Selim II to contemporary restoration initiatives, has contributed additional significance to this remarkable edifice, solidifying its status as one of the globe’s most esteemed structures.

Architecture of the Selimiye Mosque: A Masterpiece by Sinan

The Selimiye Mosque is a quintessential example of Ottoman architecture, frequently considered the pinnacle of its master architect, Mimar Sinan. Sinan regarded this mosque as his paramount achievement, methodically crafting each component to exemplify the pinnacle of Ottoman architectural refinement. It integrates harmony, scale, and accuracy, demonstrating his expertise in spatial design and structural innovation. The mosque is an impressive edifice, distinguished by a harmonious blend of form, function, and symbolism, meticulously organized in a deliberate spatial arrangement.

The Mosque

The mosque’s design exemplifies Sinan’s creative style, including a primary edifice separated into two equal sections: a spacious rectangular courtyard and an expansive rectangular prayer hall. Each of these two portions measures around 60 by 44 meters (197 by 144 feet), establishing a formidable presence. These proportions not only exemplify the mosque’s grandeur but also fulfill the practical requirements of the space, directing attention naturally toward the spectacular dome that predominates the interior.

Courtyard

The mosque’s courtyard significantly influences the visitor’s experience upon arriving. The expanse of the area provides a striking introduction to the mosque’s magnificence. The central outside gate, situated on the northwest side of the courtyard, deviates from the conventional embellishments anticipated in a construction of such significance. Sinan selected a simpler, round arch instead of the customary muqarnas canopy, a design decision that contrasts with the mosque’s complex ornamental features.

The courtyard is encircled by four porticos, each upheld by arches and domes, enhancing the symmetrical grandeur of the area. The southeastern portico is notably taller than the other three, establishing proportional balance and enhancing the mosque’s scale. The portico’s design—three broad arches flanked by two smaller arches—suggests a triumphal arch, subtly referencing classical architecture yet uniquely embodying Ottoman style in its construction. The façades above these arches include marble circles etched with Qur’anic phrases, enhancing the aesthetic with spiritual depth.

At the heart of the courtyard resides the shadirvan, an ablutions fountain of exceptional artistry, constructed from perforated stone and marble. The design, without the conventional canopy, is a topic of contention among academics. Some propose that it remains unfinished, whilst others, such Gülru Necipoğlu, contend that the absence of a canopy leads attention upward to the mosque’s central dome, accentuating its dominant presence above all.

Prayer Hall and Main Dome

The prayer hall is characterized by its vast spatial dimensions, largely influenced by the imposing central dome. Sinan’s interior design represents the apex of his spatial experimentation, notably through the incorporation of the octagonal baldaquin, a recurring element in his previous works. The dome is upheld by an intricate arrangement of eight pillars, cleverly incorporated into the walls to reduce the structural area required by the supports. This technique enables the dome to ascend unobstructed, providing an unimpeded view of the vast expanse above.

The internal configuration is intended to direct attention to the dome from any perspective within the prayer hall. The eight pillars are not solely structural; they contribute to the visual harmony of the area. Semi-domes situated between these pillars create transitional zones that decrease in size as they near the hall’s center, so accentuating the monumental magnitude of the central dome. The incorporation of raised galleries in the prayer hall guarantees that the outer areas of the space are also illuminated by the dome’s shadow, so enhancing its prominence in the observer’s perception.

Sinan’s design aimed to exceed the accomplishments of the Hagia Sophia, motivated by architectural ambition and a reaction to criticisms from Christian architects. The Selimiye Mosque’s dome has a diameter of 31.28 meters (102.6 feet) and a height over 40 meters (138 feet), marking a notable accomplishment in Ottoman architecture that matches and surpasses the dimensions of the Hagia Sophia.

Mihrab, Religious Furnishings, and Decoration

The mihrab, located at the rear of the prayer hall, functions as the spiritual focal point of the mosque. The design is both utilitarian and artistic, extending into the prayer hall and lighted by light filtering through windows on three sides, amplifying the bright effect of the Iznik tiles adorning its lower walls. The mihrab is sculpted from marble, featuring elaborate embellishments including a muqarnas hood and an inscription band, showcasing the sophisticated artistry of Ottoman stonemasonry.

Next to the mihrab is the minbar, a remarkable example of Ottoman stone craftsmanship. It features intricate carvings of arches, geometric designs, and arabesques, fostering a sense of spiritual elevation for the imam. The hünkâr mahfili, or the sultan’s private balcony, is situated in an elevated position near the mosque’s eastern corner. This area, adorned with superb Iznik tiles, offers the sultan a dominating perspective of the events, so underscoring the mosque’s political and spiritual significance.

Under the dome, the müezzin mahfili, or muezzin’s platform, serves as a prominent visual feature. This platform, atypical in its positioning, conceals the view of the mihrab from the entry, emphasizing the prominence of the dome above. The construction consists of painted wood and is supported by twelve arches featuring multifoil designs, enhancing its ornamental quality while offering a practical area for the muezzin to summon the faithful to prayer.

Minarets

The façade of the Selimiye Mosque features four towering minarets, each reaching a height of 70.89 meters (232 ft). These minarets, among the highest ever built in Ottoman architecture, delineate the central dome and augment its visual prominence. Sinan’s choice to position four identical minarets at the mosque’s corners, instead of altering their dimensions, enhances the prominence of the central dome, establishing a harmonious equilibrium among the mosque’s architectural components.

Other Buildings of the Complex

The mosque is a component of a larger külliye, a religious and charity complex including various constructions intended to benefit the community. Included are two madrasas: the Dar’ül Kurra Medrese and the Dar-ül Hadis Medrese, both symmetrically positioned around the center mosque. These educational institutes were established to provide religious instruction and contribute to the broader social mission of the mosque complex.

The Dar’ül Kurra Medrese, currently the Selimiye Foundation Museum, and the Dar-ül Hadis Medrese, home to the Museum of Turkish and Islamic Arts, both possess internal courtyards encircled by porticos and domed chambers, with more spacious classrooms situated in the peripheral edifices. These structures exemplify Sinan’s capacity to amalgamate religious, educational, and social activities within a unified architectural framework.

The complex additionally included a sibyan mektebi (elementary school) and an arasta (covered market street), apparently constructed posthumously to Sinan, potentially under the supervision of his successor, Davud Agha. These enhancements reinforce the mosque’s significance as a central hub for both spiritual and communal life in Edirne.

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Location

Location:
Edirne
Address:
Meydan, Meydan, Mimar Sinan Cd., 22020 Edirne Merkez/Edirne, Türkiye
Category:
Mosque
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