The New Mosque, also known as the Valide Sultan Mosque, is a significant landmark in Istanbul’s history. The mosque’s construction began in 1597 under the sponsorship of Safiye Sultan, the prominent wife of Sultan Murad III, and was interrupted for decades before being completed in 1665 thanks to the coordinated efforts and financial assistance of Turhan Hatice Sultan, Sultan Mehmed IV’s mother. This delayed schedule makes it the Ottoman era’s longest-running construction project in Istanbul, spanning an incredible 66 years.

The New Mosque, which stands out on the city’s skyline, is the Ottoman royal family’s final massive mosque in Istanbul. Its towering presence along the waterfront, however, has shifted as a result of consecutive land reclamation initiatives that have moved it away from its original proximity to the sea. The mosque’s high central dome and rhythmic side porticoes resemble previous structures like Mimar Sinan’s Şehzade Mosque and Sedefkar Mehmed Ağa’s Sultanahmet Mosque. Nonetheless, its unusual pyramidal dome composition distinguishes it from other examples of Ottoman architecture.

Beyond the mosque, a huge külliye (complex) was built, which included the Valide Sultan Tomb, the Sultan’s Pavilion, a primary school, a darülkurra (Qur’anic recitation school), and the famous Egyptian Bazaar, one of Istanbul’s most bustling marketplaces. Subsequent additions, including a library, a muvakkithane (timekeeping house), and more fountains, emphasized the site’s significance as a cultural and religious hub.

Safiye Sultan came up with the idea for the mosque, hoping to solidify her dominance by ordering a great construction in Eminönü, a booming commercial neighborhood at the time. At the time, the region was a melting pot of varied communities, with Jews, Christians, and Muslims living together. The mosque’s chosen location had formerly held a synagogue, a church, and several dwellings, necessitating a lengthy expropriation process. The initiative involved the relocation of many Jewish families, mainly those from the Karaite group, to Hasköy.

Architect Davut Ağa designed and directed the mosque’s earliest phases of construction. However, the project faced various problems, including substantial groundwater issues necessitating the placement of lead-reinforced piles and stone foundations imported from Rhodes. Despite attempts, Davut Ağa died from the epidemic, leaving building just moderately advanced. Dalgıç Ahmed Ağa, his successor, maintained the work until 1603 when Mehmed III died and Safiye Sultan was exiled.

For decades, the unfinished mosque stood as an abandoned shell, garnering the derogatory epithet “Zulmiye” from locals, a reference to the high taxes paid to fund its costly construction. Murad IV briefly explored beginning work in 1637, but ultimately abandoned the idea owing to budgetary difficulties. The edifice deteriorated until the disastrous Great Istanbul Fire of 1660, which destroyed much of the surrounding district, displacing Jewish residents and paving the way for fresh attempts.

Turhan Hatice Sultan renewed the initiative after Grand Vizier Köprülü Mehmed Pasha advised him to do so. In 1665, the Ottoman nobility attended an elaborate inauguration ceremony for the newly completed structure, overseen by Chief Architect Mustafa Ağa. The mosque, originally known as “Zulmiye,” was renamed “Adliye” in official records.

Following a significant repair campaign launched by the General Directorate of Foundations in 2016, the mosque was meticulously restored to its former glory and will reopen for service in 2023.

The New Mosque follows the typical Ottoman design with an arcaded courtyard and a central prayer hall. Its main dome, which is 16.2 meters in diameter, is supported by four massive piers known as “elephant feet” and spreads into semi-domes in four directions, resulting in a cascading effect evocative of older imperial mosques.

Its distinguishing feature is two porphyry columns, remains of the Ottoman occupation of Crete, which lie beneath the Sultan’s gallery. The mosque’s materials, which include perfectly honed limestone, marble, and brick, exemplify Ottoman craftsmanship’s high standards.

Natural light pours into the mosque through six tiers of windows, emphasizing its vast spatial dimension. Iznik tiles cover the inside walls, mostly in turquoise, blue, and green, creating an ethereal atmosphere. The marble mihrab (prayer niche) and minbar (pulpit) have elaborate geometric and floral motifs typical of Ottoman ornamental arts.

To the north, a wide porticoed courtyard adds to the mosque’s magnificence. The courtyard is encircled by 24 domed bays supported by muqarnas-adorned columns, with an ornate octagonal ablution fountain in the centre. The mosque’s twin minarets, each with three şerefe (balconies), rise from hexagonal bases and end in slender lead-clad spires.

Three sundials on the mosque’s southwestern courtyard wall are a prominent feature, demonstrating the Ottoman devotion with celestial navigation and timekeeping.

History of the Valide Sultan Mosque

Valide Sultan Mosque: A Monument of Power and Persistence

Safiye Sultan, the prominent wife of Sultan Murad III and the Valide Sultan (Queen Mother) of Sultan Mehmed III, brought the concept of the Valide Sultan Mosque to life in 1597. This massive architectural project began just two years after Mehmed III arrived to the Ottoman throne in 1595. The structure, originally known as the Valide Sultan Mosque, was designed to embody the majesty and religious authority of the Ottoman royal dynasty.

The project was initially assigned to Davut Ağa, a notable apprentice of the great Mimar Sinan, whose architectural talent left an indelible stamp on the Ottoman Empire. Dalgıç Ahmed Çavuş succeeded Davut Ağa after his untimely death in 1599. Despite the change in leadership, the mosque’s construction experienced significant challenges, eventually taking six decades to complete under a different patron.

Political and Economic Controversies

Aside from its architectural complexity, the mosque’s construction was fraught with political struggle and economic dispute. Eminönü, Istanbul’s bustling business core, was home to a strong Jewish population and a large number of international merchants. By locating the mosque in this sector, Safiye Sultan hoped to increase Islamic dominance in the city, capitalizing on rising tensions between Muslim and non-Muslim merchants. The project gave an ostensible rationale for the confiscation of Jewish traders’ holdings, which was consistent with the overall imperial aim of consolidating authority.

However, the project’s financial burden sparked significant criticism. The mammoth costs aroused strong criticism, particularly from the formidable Janissary corps, who disliked the Valide Sultan’s growing political power. Many in the court saw the mosque as an expensive and unneeded expense. Following Mehmed III’s death in 1603, Safiye Sultan’s political fortunes dwindled, and the new ruler, Sultan Ahmed I, showed no interest in pursuing the project. With Safiye confined to the imperial harem, building was halted, allowing the nearly completed structure to succumb to neglect and deterioration.

The Revival: New Valide Sultan Mosque (New Mosque)

For decades, the unfinished edifice served as an incomplete reminder of a bygone political ambition. The situation deteriorated in 1660, when the Great Fire of Istanbul swept through the city, destroying entire neighborhoods, including the skeletal remains of the mosque. In the same year, Mustafa Ağa, the principal imperial architect, suggested that Turhan Sultan, the powerful mother of Sultan Mehmed IV, complete the project out of religious devotion. Turhan Sultan, seeing an opportunity to secure her legacy, not only renewed the mosque’s construction but also commissioned the nearby Spice Bazaar, including it within the mosque’s broader religious complex (külliye).

Construction continued with fresh zeal in the late months of 1660. In 1663, Mustafa Ağa oversaw the completion of the mosque, fulfilling a long-held imperial ideal. Two years later, in 1665, the mosque was officially renamed the New Valide Sultan Mosque (Yeni Valide Sultan Camii). This title eventually became colloquially known as the New Mosque (Yeni Cami), a moniker that is still widely used today.

Architecture of the New Mosque in Istanbul

Exterior

The New Mosque (Yeni Cami) in Istanbul exemplifies Ottoman architecture’s grandeur, with its remarkable pyramidal arrangement of 66 domes and semi-domes. Two tall minarets frame the edifice, emphasizing its commanding presence against the city skyline. The center dome, which rises to a height of 36 meters (118 feet), is supported by four sturdy semi-domes that evenly distribute structural weight. The dome’s design draws inspiration from Mimar Sinan’s Şehzade Mosque and Sedefkar Mehmed Agha’s Sultan Ahmed Mosque, demonstrating Ottoman architectural continuity.

Courtyard

The New Mosque, like other imperial mosques in Istanbul, is fronted by a large courtyard (avlu) spanning 39 meters (128 feet) on each side. A colonnaded peristyle surrounds this great open space, with arches crowned by 24 smaller domes that create a rhythmic interplay of shade and light. The elegant şadırvan (ablution fountain) in the courtyard serves an aesthetic purpose, while ceremonial purification takes place at water taps embedded in the mosque’s southern wall. The mosque’s entrance porch features magnificent İznik tiles in brilliant blues and greens, creating a refined atmosphere. The mosque’s construction included stone blocks from the island of Rhodes, which added to its material richness.

Interior

The New Mosque’s interior expands in a beautiful square plan, with each side measuring 41 meters (135 feet). Four large piers serve as the basic supports for the dome, which stands 36 meters (118 feet) tall and measures 17.5 meters (57 feet) in circumference. Slender marble columns surround the main prayer space, their delicate proportions in stark contrast to the mosque’s colossal scale. These columns are connected by arches with a range of stylistic influences, reflecting the architectural creativity of the time.

The interior composition stretches with semi-domes along the east-west axis, creating a fluid spatial experience. Smaller domes punctuate the construction, topping the nave’s corners and gallery areas. As is traditional in Ottoman imperial mosques, calligraphic panels etched with the names of the first four caliphs—Abu Bakr, Umar, Uthman, and Ali—adorn the base of the main dome, emphasizing the mosque’s spiritual significance.

The mihrab, an artistically gilded alcove denoting the direction of Mecca, serves as the prayer hall’s centerpiece. It has detailed muqarnas (stalactite-like carvings) that provide depth and texture to the surface. Adjacent to the mihrab is the minbar, an elegant pulpit with a conical canopy supported by thin marble columns that is typical of Ottoman mosque construction.

The Royal Loge, located quietly in the northeast gallery, is a particularly interesting feature. This quiet chamber, screened with gilded latticework, allowed imperial court members to pray privately. A covered walkway connects this loge to a Royal Pavilion, allowing the sultan and his entourage to move about more easily.

The mosque’s interior features blue, green, and white İznik tiles. While these tiles continue the heritage of Ottoman ceramic craftsmanship, they are of slightly lower quality than those found in earlier imperial mosques. Despite this, the rich floral and geometric themes add to the overall aesthetic grandeur of the space.

Library and Additional Structures

In 1724-25, Sultan Ahmed III ordered the construction of a library next to the mosque’s porch. This square-shaped structure, built from stone-brick masonry, is topped with a flattened dome resting on an octagonal rim. The interior features distinctive penwork on the dome and pendentives, demonstrating the Ottoman period’s artistic finesse.

Another significant structure in the mosque complex is an 1816 tomb positioned on the southern courtyard wall. This domed structure made of carefully carved stone houses an inscription with Vasif’s poetic lyrics. The façade features an oval monogram of Sultan Mahmud II, emphasizing the building’s regal nature.

Burials

The New Mosque complex is the ultimate resting place for various Ottoman dynasty members. The major mausoleum (türbe) houses the tombs of Valide Sultan Turhan Hatice and her son, Sultan Mehmed IV, as well as those of five subsequent sultans—Mustafa II, Ahmed II, Mahmud I, Osman III, and Murad V—and other members of the royal court.

The complex also includes the Cedîd Havâtîn Tomb, built in the 16th century to hold the bones of Sultan Abdulmejid I’s daughters, as well as Sultan Abdulaziz’s daughters and descendants. Murad V and his consorts are buried in another area of the burial complex, as are numerous of Sultan Abdul Hamid II’s offspring who died before the imperial family went into exile. Recent renovations have discovered indications of Sufi blessings, demonstrating the spiritual importance of these monuments.

Complex and Surrounding Structures

The New Mosque, like many Ottoman imperial mosques, was planned as part of a külliye, or integrated complex, to meet both religious and social demands. The original complex housed a mosque, a hospital, a primary school, and a palace for high-ranking officials.

The L-shaped market, now known as the Spice Bazaar (Egyptian Bazaar), is one of the complex’s most enduring features. This lively market is still a popular attraction in Istanbul, known for its scented spices, dried fruits, and traditional pastries.