Bursa\u2019s 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 \u00c7elebi declared it the \u201cHagia Sophia of Bursa\u201d, a comparison that highlights its central role in Bursa\u2019s identity. Today, the Grand Mosque is often described as \u201cmore than just a place of worship\u201d \u2013 it is a living museum of Ottoman history and spirituality that draws students of architecture and devotion alike.<\/p>\n
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\u2019s walls are covered in masterful Arabic calligraphy \u2013 nearly two hundred inscriptions in various scripts \u2013 that earn it the nickname \u201ccalligraphy museum\u201d.<\/p>\n
Through the centuries, Bursa Ulu Camii has never lost its centrality in local life or its reputation beyond Turkey\u2019s borders. It is formally part of the UNESCO World Heritage complex that recognizes Bursa\u2019s 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 \u201ceasily accessible and usually open to visitors outside of prayer times,\u201d 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 \u2013 a living link between the Ottoman past and the vibrant present of Bursa.<\/p>\n
The Grand Mosque\u2019s origin is bound up with a legend of Ottoman triumph. In 1396, Sultan Bayezid I (nicknamed Y\u0131ld\u0131r\u0131m<\/strong>, or \u201cThunderbolt\u201d) 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 \u2013 but rather than erect twenty separate buildings, he ordered the construction of a single grand mosque with twenty domes<\/strong>. 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.<\/p>\n Bayezid I (c.\u20091360\u20131403) 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 \u201cY\u0131ld\u0131r\u0131m\u201d 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<\/strong> (literally \u201cBreadmaker Father\u201d) 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\u2019s early reign, and the Ulu Camii was meant to stand as a testament to both.<\/p>\n 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\u2019s 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\u2019s founding mythos. The imposing rows of domes \u2013 four rows of five \u2013 indeed replaced what might have been many smaller structures, making Ulu Camii unique in its design and narrative.<\/p>\n The Grand Mosque\u2019s architectural design has been attributed to different master builders. Some Ottoman sources credit Ali Neccar<\/strong> as the principal architect who translated Bayezid\u2019s vision into stone. ToursOption notes that \u201cthe mosque was designed and built by architect Ali Neccar\u201d between 1396 and 1399. Other names such as Hac\u0131 \u0130vaz Pa\u015fa<\/strong> appear in some accounts (though Pa\u015fa 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\u2019s 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.<\/p>\n 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\u2019s inscription records the finishing date as 802 in the Islamic calendar (which corresponds to 1399\u20131400 CE). Thus the entire mosque \u2013 massive in scale \u2013 was built in just three years<\/strong>, 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.<\/p>\n Despite its sturdy construction, Ulu Camii has endured its share of calamities. Soon after Bayezid\u2019s 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\u2019s army, requiring significant rebuilding in the mid-15th century.<\/p>\n Much later, nature\u2019s 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\u2019s 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.<\/p>\n When the Grand Mosque was formally opened around 1399\u20131400, 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<\/strong> to speak \u2013 at the request of another Sufi, Emir Sultan, who was Bayezid\u2019s esteemed friend and spiritual mentor. Somuncu Baba chose to expound the first chapter of the Qur\u2019an (Al-Fatihah) in seven different ways, a sign of the mosque\u2019s 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\u2019s first official imam was S\u00fcleyman \u00c7elebi<\/strong>, the learned son of Bayezid who would later author the famous Ottoman Mawlid (poem of the Prophet\u2019s birth). This humble choice of speaker \u2013 a simple dervish rather than the sultan himself \u2013 and the scholarly celebration of the mosque\u2019s dedication reflect the spiritual ethos Bayezid sought to embody in Ulu Camii.<\/p>\n Bursa\u2019s 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<\/strong>. This multi-dome concept was unprecedented in Ottoman architecture when it was built. In this sense, the Grand Mosque presents a \u201cforest\u201d 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 \u2013 many columns and small domes \u2013 rather than the soaring central dome-and-semi-dome scheme that would later define Istanbul\u2019s great mosques.<\/p>\n 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 \u2013 plain stone walls with narrow pointed arches \u2013 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.<\/p>\n 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\u2019s design betrays its origin in an era when Ottoman mosques were still evolutionary experiments \u2013 grand, but not yet on the grand porch-and-semi-dome pattern of the seventeenth century.<\/p>\n 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 \u2013 a holy space that is enveloping but human-scaled, with the rhythmic repetition of domes and arches guiding the eye.<\/p>\n 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 \u2013 the nearby Hagia Sophia had been an inspiration \u2013 yet Bayezid\u2019s 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.<\/p>\n Step inside and one is struck by the \u201cforest\u201d of twelve gigantic stone columns (piers) that rise to support the roof. These monolithic pillars \u2013 each more than five meters high \u2013 are the structural heart of the mosque. In total there are twelve<\/strong> 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.<\/p>\n 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.<\/p>\n 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\u2019s 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\u2019s vow. The columns also underscore the mosque\u2019s 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.<\/p>\n Perhaps the most immediately striking feature of Ulu Camii is its twenty domes<\/strong>. These domes appear as a gently rolling skyline from the outside, and as a tiered ceiling from the inside. Each dome measures roughly 5\u20136 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.<\/p>\n From a symbolic standpoint, the number twenty<\/strong> clearly alludes to the founding story of the mosque. According to Sultan Bayezid\u2019s 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 \u2013 a complete offering. Some modern writers also see the number twenty as expressing \u201cunity in multiplicity\u201d: 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.<\/p>\n 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 \u201ccarpet,\u201d weaving together the ambient noises so the space feels coherent rather than echo-chambered.<\/p>\n Beyond its literal origin, the number twenty has layers of meaning. In Islamic numerology, twenty is the product of four and five \u2013 four directions by five pillars \u2013 which some interpret as completeness (all directions and the basic requirements of faith). Others note that twenty corresponds to the number of rak\u2018ahs<\/em> (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\u2019s monument to piety.<\/p>\n At the very center of the mosque stands the \u015fad\u0131rvan<\/strong>, 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.<\/p>\n 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.<\/em><\/p>\n 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<\/em> (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.<\/p>\n Flanking the mosque are its two elegant minarets, which were not built simultaneously. The western minaret<\/strong>, directly attached to the building\u2019s northwestern corner, dates from Bayezid\u2019s original construction. It rises in stone with a tall pencil shape, characteristic of early Ottoman design. The eastern minaret<\/strong> 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\u2019s 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.<\/p>\n Both minarets were built from ashlar stone and originally had multiple balconies (\u015ferefes<\/em>) 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\u2019s silhouette. They set off the otherwise flat roofline of domes by adding a vertical counterpoint.<\/p>\n Mihrab.<\/strong> Opposite the entrance wall is the mihrab<\/strong>, 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 \u201cbeacon of faith\u201d 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\u2019s day.<\/p>\n Minbar.<\/strong> To the right of the mihrab stands the mosque\u2019s famed minbar<\/strong>, or pulpit, carved entirely from walnut wood. It was completed in 1400 by a craftsman named Hac\u0131 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<\/em> technique of interlocking wooden pieces. In fact, Ottoman sources boast that the minbar consists of 6,666 separate pieces<\/strong>, a number chosen to correspond to the number of verses in the Qur\u2019an.<\/p>\n 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\u2019s 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\u2019s seat is in a sense to journey through the heavens.<\/p>\n Together, the mihrab and minbar frame the spiritual heart of the mosque. The mihrab\u2019s gilded artistry and the minbar\u2019s 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.<\/p>\n 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<\/strong> by forty-one different calligraphers<\/em> \u2013 a quantity so great that many guidebooks and scholars call the Grand Mosque \u201ca museum of calligraphy.\u201d 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\u2019anic 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.<\/p>\n 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<\/em> letters and flowing Thuluth<\/em>, 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\u2019an 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.<\/p>\n The inscriptions in Bursa\u2019s Grand Mosque can be organized by theme:<\/p>\n 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 \u201cspeak\u201d to worshippers, proclaiming that this space is dedicated entirely to God and His guidance.<\/p>\n Bursa Ulu Camii\u2019s walls are in essence a gallery of the Ottoman Empire\u2019s master scribes. The forty-one calligraphers represented include virtually all the most famous names from the 18th and 19th centuries. Among them are Abd\u00fclfettah Efendi<\/strong>, Kazasker Mustafa \u0130zzet Efendi<\/strong>, Sami Efendi<\/strong>, and Mehmed \u015eefik Bey<\/strong>, 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, Abd\u00fclfettah Efendi\u2019s elegant circles and Mustafa Izzet\u2019s fluid cursive are visible on different panels.<\/p>\n By bringing together so many masters under one roof, the mosque also became an informal \u201cmuseum\u201d 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\u2019s 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.<\/p>\n Observers note a curious feature of the mosque\u2019s inscriptions: the frequent use of the Arabic letter w\u0101w<\/strong> (\u0648), which is sometimes drawn larger than the other letters. In Islamic mysticism, the letter w\u0101w is often held to symbolize the Divine, since the word for God (Arabic Allah<\/em>) begins with a silent hamza followed by w\u0101w when written. Thus the w\u0101w can represent the presence of God in the text. Many of the verses and hadiths on the walls deliberately feature a prominent w\u0101w \u2013 for example, the word Allah<\/em> (with w\u0101w) or the phrase Al-\u2018Alim<\/em> (\u201cThe All-Knowing,\u201d which begins with a w\u0101w). Calligraphers occasionally accentuate it as a visual motif.<\/p>\n 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 w\u0101w<\/em> became a talismanic letter, associated with Lordship and holiness. The mosque\u2019s abundant use of w\u0101w therefore turns the entire interior into a cryptic \u201cW\u201d monogram for God. In short, the letter carries extra weight here \u2013 literally and spiritually \u2013 turning the architecture into an alphabet of faith.<\/p>\n The inscriptions span a wide range of Arabic calligraphic styles. Early Islamic scripts like Kufic<\/strong> (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<\/strong>, 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<\/em> (a legible book hand) and Diwani<\/em> or Taliq<\/em> (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\u2019an verses and another for attributions.<\/p>\n 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 \u2013 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\u2019s interior demonstrates how carefully the inscriptions were curated to create a unified sacred space.<\/p>\n The centerpiece of the Grand Mosque is the \u015fad\u0131rvan<\/strong> \u2013 the ablution fountain \u2013 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\u2019s 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<\/em> (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\u2019 inner purity may be as bright as the light above.<\/p>\n A local legend holds that the fountain\u2019s 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\u2019s agents placed the fountain over that very spot so that no one would pray upon it \u2014 thus preserving its sanctity and ensuring prayers would never unknowingly fall on ground obtained by unjust means.<\/em><\/p>\n Why is there a fountain inside?<\/strong> 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 \u2013 but later learned from Islamic jurists that allowing prayer where someone\u2019s 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.<\/p>\n 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\u2019s 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\u2019s gentle trickling<\/strong> 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 \u2013 water from below, light from above \u2013 creates a symbolic vision of Islam\u2019s spiritual ideals flowing through the heart of the community.<\/p>\n Water holds a special place in Islamic thought. It is explicitly mentioned in the Qur\u2019an as a sign of divine mercy: \u201cWe made every living thing of water\u201d (Qur\u2019an 21:30) and \u201cIndeed, Allah sends down rain from the sky and gives life thereby to the earth\u201d (Qur\u2019an 16:65). In ritual practice, water is the means to remove najasa<\/em> (impurity) before prayer. Placing an ablution basin at the mosque\u2019s 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.<\/p>\n 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 \u2013 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 \u201cdesigned to feel peaceful and contemplative\u201d.<\/p>\n 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.<\/p>\n Visitors to Ulu Camii will find it centrally located in Bursa\u2019s 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<\/strong> (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\u202fAM until an hour before sunset<\/strong>, except during the Friday sermon when non-worshippers generally wait in the courtyard.<\/p>\n Entrance and Etiquette:<\/strong> 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 \u2013 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.<\/p>\n For practical reference, many guidebooks note that the Grand Mosque is \u201ceasily accessible and usually open to visitors outside of prayer times\u201d. 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.<\/p>\n While hours can change with local practice, the mosque is commonly open daily from mid-morning until evening<\/strong>, roughly 9:00\u202fAM to 6:00\u202fPM. It closes briefly five times a day for the ritual prayers. On Fridays, the sermon (khutbah<\/em>) 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.<\/p>\n There is no entrance fee<\/strong> to enter Ulu Camii. The mosque is owned by the Turkish Religious Affairs Foundation and is maintained as a charitable property (waqf<\/em>). Like in many mosques, there are donation boxes near the door for those who wish to contribute. These donations help support the mosque\u2019s cleaning and utilities, but giving is entirely optional. Most visitors tour the mosque at no cost.<\/p>\n 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 \u2013 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\u2019s gallery during a female prayer). Following these simple customs will ensure a respectful and pleasant visit.<\/p>\n 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\u2019s practical to wear clean socks. In short: dress as you would for any conservative religious site \u2013 think of the decorum of a cathedral or temple.<\/p>\n Following these guidelines will let you explore Ulu Camii without inadvertently offending the faithful.<\/p>\n Photography is permitted<\/strong> in Bursa Grand Mosque\u2019s 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.<\/p>\n 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.<\/p>\n From Istanbul:<\/strong> Bursa is reachable from Istanbul by ferry and bus. The typical route is to take a sea ferry (or high-speed catamaran) from Istanbul (Emin\u00f6n\u00fc or Yenikap\u0131) to the town of Yalova or to Mudanya (the ferry port of Bursa). The ferry takes about 75\u201390 minutes. From Yalova or Mudanya you can catch a bus (operated by Metro or Uluda\u011f companies) that runs frequently to central Bursa (about 1\u20131.5 hours). Buses arrive in Bursa\u2019s 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\u2019s landmarks.<\/p>\n Local Transportation:<\/strong> Within Bursa city, the mosque lies a short walk from several major bus stops. The key stops are \u201cAtat\u00fcrk\u201d or \u201cK\u00fclt\u00fcrpark\u201d near the Uluda\u011f Company Bus Terminal, just a few minutes on foot from the Grand Mosque. Bursa also has a metro system (ending at \u00c7ar\u015f\u0131saray 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.<\/p>\n 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\u2019 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.<\/p>\n After visiting Ulu Cami, the rich historic neighborhood around it beckons. On almost every side are sites that grew up alongside the mosque\u2019s k\u00fclliye (complex).<\/p>\n 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\u2019s first Islamic capital.<\/p>\n Though the Grand Mosque of Bursa was built in the late 14th century, many travelers naturally compare it to Istanbul\u2019s 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.<\/p>\n In architectural style<\/strong>, the difference is clear. Bursa\u2019s Ulu Cami exemplifies the early Ottoman hypostyle hall with many small domes \u2013 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<\/strong> (a feature that was then unique aside from the Kaaba\u2019s). As the Blue Mosque\u2019s architect Sedefkar Mehmed Agha wrote, it was intended to inspire \u201coverwhelming size, majesty and splendor\u201d 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\u2019s interior.<\/p>\n Historically, the two mosques bookend the rise of the empire. The Grand Mosque is a product of the dawn<\/em> of Ottoman power \u2013 the first capital\u2019s 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<\/em> 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\u2019s mosque announces a new dynasty on the rise, whereas the Blue Mosque declares an already-glorious imperial tradition.<\/p>\n The visitor\u2019s 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.<\/p>\n The Grand Mosque was commissioned by Ottoman Sultan Bayezid I (Y\u0131ld\u0131r\u0131m Bayezid). Construction began shortly after his victory at Nicopolis in 1396. Some accounts name the architect as Ali Neccar. Bayezid\u2019s reign was brief, but he oversaw the mosque\u2019s completion in 1399. Bayezid personally financed its construction as a fulfillment of his vow, making him its founder.<\/p>\n The mosque\u2019s 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<\/strong>. This story is likely apocryphal, but it symbolizes Bayezid\u2019s 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\u2019s placement on an unwilling landowner\u2019s plot.<\/p>\n 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\u2019anic verses, the 99 names of God, and other devotional texts. In short, one could say the Grand Mosque\u2019s combination of historical origin, architectural innovation, sacred art, and symbolic features all contribute to its uniqueness.<\/p>\n There are twenty domes<\/strong> 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.<\/p>\n The walls and columns are covered with a vast array of inscriptions. These include the 99 names of Allah<\/strong>, numerous verses from the Qur\u2019an, hadith<\/em> (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 \u201ccalligraphic sanctuary\u201d of Islamic devotion.<\/p>\n The interior fountain (\u015fad\u0131rvan) 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\u2019s 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<\/em> (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\u2019s serenity.<\/p>\n 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\u2019s tourism office or through a hotel) if they want an in-depth explanation of the mosque\u2019s architecture and inscriptions.<\/p>\n Bursa experiences hot summers and cold, snowy winters, so many visitors prefer spring (April\u2013June) or autumn (September\u2013October)<\/strong> for comfortable weather. In these seasons, the city is green and the sky often clear, which also makes the mosque\u2019s lighting gentle. Summer (July\u2013August) 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 \u2013 at those times the light through the windows and skylight is especially poetic.<\/p>\n","protected":false},"author":1,"template":"","listivo_14":["Mosque"],"listivo_2723":[],"listivo_8964":["Bursa"],"listivo_8976":[],"class_list":["post-12850","listivo_listing","type-listivo_listing","status-publish","hentry","listivo_14-mosque","listivo_8964-bursa"],"listivo_145":["https:\/\/travel-turkey.b-cdn.net\/wp-media-folder-travel-s-helper\/wp-content\/uploads\/2025\/02\/Bursa-Grand-Mosque-20.jpg","https:\/\/travel-turkey.b-cdn.net\/wp-media-folder-travel-s-helper\/wp-content\/uploads\/2025\/02\/Bursa-Grand-Mosque-21.jpg","https:\/\/travel-turkey.b-cdn.net\/wp-media-folder-travel-s-helper\/wp-content\/uploads\/2025\/02\/Bursa-Grand-Mosque-5.jpg","https:\/\/travel-turkey.b-cdn.net\/wp-media-folder-travel-s-helper\/wp-content\/uploads\/2025\/02\/Bursa-Grand-Mosque-32.jpg","https:\/\/travel-turkey.b-cdn.net\/wp-media-folder-travel-s-helper\/wp-content\/uploads\/2025\/02\/Bursa-Grand-Mosque-8.jpg","https:\/\/travel-turkey.b-cdn.net\/wp-media-folder-travel-s-helper\/wp-content\/uploads\/2025\/02\/Bursa-Grand-Mosque-33.jpg","https:\/\/travel-turkey.b-cdn.net\/wp-media-folder-travel-s-helper\/wp-content\/uploads\/2025\/02\/Bursa-Grand-Mosque-31.jpg","https:\/\/travel-turkey.b-cdn.net\/wp-media-folder-travel-s-helper\/wp-content\/uploads\/2025\/02\/Bursa-Grand-Mosque-17.jpg","https:\/\/travel-turkey.b-cdn.net\/wp-media-folder-travel-s-helper\/wp-content\/uploads\/2025\/02\/Bursa-Grand-Mosque-16.jpg","https:\/\/travel-turkey.b-cdn.net\/wp-media-folder-travel-s-helper\/wp-content\/uploads\/2025\/02\/Bursa-Grand-Mosque-15.jpg","https:\/\/travel-turkey.b-cdn.net\/wp-media-folder-travel-s-helper\/wp-content\/uploads\/2025\/02\/Bursa-Grand-Mosque-7.jpg","https:\/\/travel-turkey.b-cdn.net\/wp-media-folder-travel-s-helper\/wp-content\/uploads\/2025\/02\/Bursa-Grand-Mosque-10.jpg","https:\/\/travel-turkey.b-cdn.net\/wp-media-folder-travel-s-helper\/wp-content\/uploads\/2025\/02\/Bursa-Grand-Mosque-11.jpg","https:\/\/travel-turkey.b-cdn.net\/wp-media-folder-travel-s-helper\/wp-content\/uploads\/2025\/02\/Bursa-Grand-Mosque-13.jpg","https:\/\/travel-turkey.b-cdn.net\/wp-media-folder-travel-s-helper\/wp-content\/uploads\/2025\/02\/Bursa-Grand-Mosque-2.jpg","https:\/\/travel-turkey.b-cdn.net\/wp-media-folder-travel-s-helper\/wp-content\/uploads\/2025\/02\/Bursa-Grand-Mosque-4.jpg","https:\/\/travel-turkey.b-cdn.net\/wp-media-folder-travel-s-helper\/wp-content\/uploads\/2025\/02\/Bursa-Grand-Mosque-14.jpg","https:\/\/travel-turkey.b-cdn.net\/wp-media-folder-travel-s-helper\/wp-content\/uploads\/2025\/02\/Bursa-Grand-Mosque-3.jpg","https:\/\/travel-turkey.b-cdn.net\/wp-media-folder-travel-s-helper\/wp-content\/uploads\/2025\/02\/Bursa-Grand-Mosque-1.jpg"],"listivo_8965":"","listivo_8966":[],"listivo_8967":{"address":"Nalbanto\u011flu, Ulucami Cd. 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A Profile of the \u201cThunderbolt\u201d<\/h4>\n
The Promise of Twenty Mosques: Fact or Founding Myth?<\/h4>\n
Architects of a Masterpiece: The Visionaries Behind Ulu Cami<\/h3>\n
A Swift Construction: Building an Imperial Mosque in Record Time (1396\u20131399)<\/h3>\n
Trials by Fire and Quake: The Mosque\u2019s History of Destruction and Restoration<\/h3>\n
The Inauguration and the First Sermon: A Tale of Humility and Wisdom<\/h3>\n
An Architectural Marvel: Deconstructing the Unique Design of Ulu Cami<\/h2>\n
A Symphony in Stone: Understanding the Seljuk and Early Ottoman Architectural Styles<\/h3>\n
Key Characteristics of Early Ottoman Mosque Design<\/h3>\n
Influences from Seljuk and Byzantine Architecture<\/h3>\n
The Forest of Pillars: The Grandeur of the Interior Hypostyle Hall<\/h3>\n
The Significance of the Twelve Massive Columns<\/h4>\n
A Crown of Twenty Domes: A Revolutionary Multi-Domed Structure<\/h3>\n
The Engineering and Acoustics of the Twenty Domes<\/h3>\n
The Symbolism of the Number Twenty<\/h3>\n
The Celestial Lightwell: The Open Oculus and the Interior Fountain<\/h3>\n
The Two Minarets: A Tale of Different Times and Patrons<\/h3>\n
The Mihrab and Minbar: Masterpieces of Islamic Art<\/h3>\n
“A Museum of Calligraphy”: The Incomparable Islamic Art of Bursa Grand Mosque<\/h2>\n
The Walls That Speak: An Introduction to the Calligraphic Masterpieces<\/h3>\n
What Is Written on the Walls of Bursa Grand Mosque? A Thematic Guide<\/h3>\n
\n
A Gallery of Greats: The Master Calligraphers Who Adorned the Mosque<\/h3>\n
The \u201cVav\u201d and Its Mystical Significance Throughout the Mosque<\/h3>\n
Deciphering the Scripts: From Kufic to Thuluth<\/h3>\n
The Soul of the Mosque: Symbolism and Spiritual Significance<\/h2>\n
The Fountain of Life: The Unprecedented Interior \u015ead\u0131rvan<\/h3>\n
The Spiritual Symbolism of Water in Islam<\/h3>\n
A Place of Profound Peace: The Mosque\u2019s Atmosphere and Spiritual Aura<\/h3>\n
A Practical Guide to Visiting Bursa Grand Mosque<\/h2>\n
Planning Your Visit: Essential Information<\/h3>\n
Bursa Grand Mosque Opening Hours and Prayer Times<\/h3>\n
Entrance Fees and Donations (There Are None)<\/h3>\n
Mosque Etiquette and Dress Code: A Guide for Respectful Visitation<\/h3>\n
What is the dress code for visiting the Bursa Grand Mosque?<\/h4>\n
Do\u2019s and Don\u2019ts for Non-Muslim Visitors<\/h4>\n
\n
Capturing the Beauty: Photography and Videography Guidelines<\/h3>\n
Is photography allowed inside the mosque?<\/h4>\n
Getting to Ulu Camii: Transportation Options<\/h3>\n
Accessibility for Visitors with Disabilities<\/h3>\n
Beyond the Mosque Walls: Exploring the Historic Heart of Bursa<\/h2>\n
\n
Bursa Grand Mosque vs. The Blue Mosque: A Tale of Two Imperial Mosques<\/h2>\n
Frequently Asked Questions (FAQ)<\/h2>\n
Who built the Grand Mosque of Bursa?<\/h3>\n
What is the story of the Grand Mosque?<\/h3>\n
What is special about the Grand Mosque?<\/h3>\n
How many domes does the Bursa Grand Mosque have?<\/h3>\n
What is written on the walls of the Bursa Grand Mosque?<\/h3>\n
Why is there a fountain inside the Bursa Grand Mosque?<\/h3>\n
Are there guided tours available for Ulu Cami?<\/h3>\n
What is the best time of year to visit Bursa?<\/h3>\n