| Muradiye Mosque | |
|---|---|
Muradiye Camii | |
 | |
| Religion | |
| Affiliation | Islam |
| Location | |
| Location | Edirne, Turkey |
  Location of the mosque in Turkey. | |
| Geographic coordinates | 41°40′56.5″N26°33′53.3″E / 41.682361°N 26.564806°E |
| Architecture | |
| Style | Ottoman |
| Completed | 1435-36 |
| Minaret(s) | 1 |
The Muradiye Mosque (Turkish : Muradiye Camii) is a 15th-century Ottoman mosque in Edirne, Turkey. The building is noted for the tiles that decorate the mihrab and the walls of the prayer hall.
The small mosque was commissioned by Murad II and completed in 1435-6. [lower-alpha 1] It originally formed part of a Mevlevi dervish complex but was later converted into a mosque. The complex included a soup kitchen ( imaret ) and an elementary school ( mekteb ) but these buildings have not survived. [3] The mosque has a T-shaped plan with a five bay portico and an entrance hall with a domed room on either side. The prayer hall is separated from the entrance hall by a solid arch. The building has been heavily repaired after suffering earthquake damage. The single stone minaret has been rebuilt several times; the present structure dates from 1957. [3]
The prayer hall has a tiled frieze around three walls and a large tiled mihrab set between two windows. The frieze is formed of eight rows of blue-and-white hexagonal tiles that are set on their points. Some of the tiles were stolen in 2001 and the gaps have been filled with plaster. [4] The tiles have a creamy white fritware body and cobalt blue designs under a clear transparent glaze. [5] They measure 22.5 cm (8.9 in) across. [6] The very varied designs are arranged haphazardly. Most show the influence of Chinese blue-and-white porcelain produced in the early 14th century during the Yuan dynasty. [7] Before the theft in 2001 there were 479 tiles with 53 different designs. Of these, 15 designs occurred only once while the most common design occurred 54 times. [6] Filling the gaps between the hexagonal tiles are plain turquoise glazed triangles. The borders of the frieze are formed by a row of rectangular tiles. Along the top of the frieze are a series of large blue-and-white moulded palmette tiles. [6]
The exceptionally large rectangular mihrab is formed of moulded polychrome tiles. [lower-alpha 2] A tiled inscription on the outer cavetto moulding runs up one side, across the top and down the other side of the mihrab. The cuerda seca cavetto tiles have raised white naskh characters which contrast with the cobalt blue background. Running through the shafts of the naskh characters is a second inscription in yellow Kufic characters. [8] Some of the text on the left side is simply a mirror image of that on the right. The inscriptions include text from the Quran (3:32 - 3:35) and a dedication to Sultan Murad II who ruled between 1421-1444 and again from 1446-1451. [2]
The spandrels of the niche consist of elaborate cuerda sec tiles that are decorated with yellow, apple green, turquoise, mauve and cobalt blue glazes. In contrast, the stalactite vault of the niche is formed by white moulded tiles with an underglaze floral decoration in cobalt blue. Some of the floral chinoiserie designs on these tiles repeat those used on the hexagonal blue-and-white tiles of the frieze. [9] [7]
The style of the polychrome cuerda seca tilework of the mihrab is strikingly similar to that of the mihrab in the Yeşil Mosque (built 1419-21) in Bursa and it is therefore considered likely that the tiles were produced by the same team of craftsmen. In Bursa the craftsmen signed the mihrab as "the work of the masters of Tabriz". [10] [11] After completing the tiles of the Muradiye mosque it is believed that the "Masters of Tabriz" also produced the underglaze painted lunette panels of the Üç Şerefeli Mosque (completed in 1447) in Edirne. The blue-and-white hexagonal tiles of the Muradiye Mosque are the earliest example of underglaze painted tiles produced in Ottoman Turkey. They are also the first example of tiles with a frit body produced under the Ottomans. [5]
Although the walls of the mosque above the tiled frieze are now whitewashed, some of the original painted wall-decoration has been preserved. From the surviving patches of paintwork it is evident that at some point the walls were redecorated with a different design. Strikingly, the tilework appears to have been placed on the walls after the second layer of wall-painting had been applied. This can be clearly seen where the painting runs behind the blue-and-white palmette tiles of the frieze. [lower-alpha 3] The art historian John Carswell has argued that although the date of 1435-6 above the entrance fits with the dedication to Murad II on the mihrab, it is probable that the tiles were transferred to the mosque from an imperial building. As supporting evidence he points to the lack of a coherent pattern to the arrangement of hexagonal tiles and the mixing of the two different styles of rectangular border tiles. The mihrab is also unusually large for the size of the building. Carswell suggests that it is likely that the tiles were original made for a building in the palace complex on the plain below. [14] In 1450 Murad II built a palace complex, the Saray-ı Cedid-i Amire (New Imperial Palace), to the north of the city on an island in the river Tunca. The palace was expanded by successive sultans and in the 17th century accommodated between six and ten thousand people. By the early 19th century much of the palace was in ruinous state and almost nothing now survives. [15]
The Süleymaniye Mosque is an Ottoman imperial mosque located on the Third Hill of Istanbul, Turkey. The mosque was commissioned by Suleiman the Magnificent and designed by the imperial architect Mimar Sinan. An inscription specifies the foundation date as 1550 and the inauguration date as 1557, although work on the complex probably continued for a few years after this.
The Rüstem Pasha Mosque is an Ottoman mosque located in the Hasırcılar Çarşısı in the Tahtakale neighborhood of the Fatih district of Istanbul, Turkey, near the Spice Bazaar. Named after Rüstem Pasha, who served as Grand Vizier of the Ottoman Empire under Sultan Suleiman I, it was designed by the Ottoman imperial architect Mimar Sinan and completed in around 1563.
Ottoman architecture is an architectural style or tradition that developed under the Ottoman Empire over a long period, undergoing some significant changes during its history. It first emerged in northwestern Anatolia in the late 13th century and developed from earlier Seljuk Turkish architecture, with influences from Byzantine and Iranian architecture along with other architectural traditions in the Middle East. Early Ottoman architecture experimented with multiple building types over the course of the 13th to 15th centuries, progressively evolving into the classical Ottoman style of the 16th and 17th centuries. This style was a mixture of native Turkish tradition and influences from the Hagia Sophia, resulting in monumental mosque buildings focused around a high central dome with a varying number of semi-domes. The most important architect of the classical period is Mimar Sinan, whose major works include the Şehzade Mosque, Süleymaniye Mosque, and Selimiye Mosque. The second half of the 16th century also saw the apogee of certain Ottoman decorative arts, most notably in the use of Iznik tiles.
The Eyüp Sultan Mosque is a mosque in Eyüp district of Istanbul, Turkey. The mosque complex includes a mausoleum marking the spot where Ebu Eyüp el-Ansari, the standard-bearer and companion of the Islamic prophet Muhammad, is said to have been buried. On a much older site, the present building dates from the beginning of the 19th century.
The Green Mosque, also known as the Mosque of Mehmed I, is a part of a larger complex on the east side of Bursa, Turkey, the former capital of the Ottoman Turks before they captured Constantinople in 1453. The complex consists of a mosque, a mausoleum known as the Green Tomb, a madrasa, a public kitchen, and a bathhouse. The name Green Mosque comes from its green and blue interior tile decorations. It is part of the historic UNESCO World Heritage Site.
The Green Tomb is a mausoleum of the fifth Ottoman Sultan, Mehmed I, in Bursa, Turkey. It was built by Mehmed's son and successor Murad II following the death of the sovereign in 1421. The architect Hacı Ivaz Pasha designed the tomb and the Yeşil Mosque opposite to it.
Iznik pottery, or Iznik ware, named after the town of İznik in Anatolia where it was made, is a decorated ceramic that was produced from the last quarter of the 15th century until the end of the 17th century. Turkish stylization is a reflection of Chinese porcelain.
The Muradiye Complex or the Complex of Sultan Murad II, the Ottoman sultan, is located in Bursa, Turkey. It is part of the historic UNESCO World Heritage Site.
The Şehzade Mosque is a 16th-century Ottoman imperial mosque located in the district of Fatih, on the third hill of Istanbul, Turkey. It was commissioned by Suleiman the Magnificent as a memorial to his son Şehzade Mehmed who died in 1543. It is sometimes referred to as the "Prince's Mosque" in English. The mosque was one of the earliest and most important works of architect Mimar Sinan and is one of the signature works of Classical Ottoman architecture.
The Yavuz Selim Mosque, also known as the Selim I Mosque and the Yavuz Sultan Selim Mosque is a 16th-century Ottoman imperial mosque located at the top of the 5th hill of Istanbul, Turkey, in the neighborhood of Çukurbostan, overlooking the Golden Horn. Its size and geographic position make it a familiar landmark on the Istanbul skyline.
Sokollu Mehmed Pasha Mosque is a 16th-century Ottoman mosque in the Kadırga neighborhood in Fatih district, Istanbul, Turkey. It was commissioned jointly by the grand vizier Sokollu Mehmed Pasha and his wife İsmihan Sultan. It was designed by the imperial architect Mimar Sinan and completed in 1571/2. The mosque is noted for the fine quality of the Iznik tiles that decorate the interior walls.
The Atik Valide Mosque is a 16th century Ottoman imperial mosque located on a hill above the large and densely populated district of Üsküdar, in Istanbul, Turkey. It was built for Nurbanu Sultan, the wife of Sultan Selim II and formed part of a large complex that included a madrasa, guest-rooms and a double caravanseray. The mosque was designed by the imperial architect Mimar Sinan. Planning began in 1571 for a small mosque with a single minaret. The mosque was subsequently expanded and was not completed until 1586, three years after Nurbanu's death.
The Üç Şerefeli Mosque is a 15th-century Ottoman mosque in Edirne, Turkey.
The Kara Ahmed Pasha Mosque or Gazi Ahmed Pasha Mosque is a 16th-century Ottoman mosque near the city walls in Istanbul, Turkey. It was designed by the imperial architect Mimar Sinan and completed in around 1572.
The Hadim Ibrahim Pasha Mosque is a 16th-century Ottoman mosque located in the Silivrikapi neighborhood of Istanbul, Turkey.
The Muradiye Mosque is a 16th-century Ottoman mosque in the town of Manisa in southwest Turkey. It was commissioned by the sultan Murad III and designed by the imperial architect Mimar Sinan.
Cuerda seca is a technique used when applying coloured glazes to ceramic surfaces.
Classical Ottoman architecture is a period in Ottoman architecture generally including the 16th and 17th centuries. The period is most strongly associated with the works of Mimar Sinan, who was Chief Court Architect under three sultans between 1538 and 1588. The start of the period also coincided with the long reign of Suleiman the Magnificent, which is recognized as the apogee of Ottoman political and cultural development, with extensive patronage in art and architecture by the sultan, his family, and his high-ranking officials.
Early Ottoman architecture corresponds to the period of Ottoman architecture roughly up to the 15th century. This article covers the history of Ottoman architecture up to the end of Bayezid II's reign, prior to the advent of what is generally considered "classical" Ottoman architecture in the 16th century. Early Ottoman architecture was a continuation of earlier Seljuk and Beylik architecture while also incorporating local Byzantine influences. The new styles took shape in the capital cities of Bursa and Edirne as well as in other important early Ottoman cities such as Iznik. Three main types of structures predominated in this early period: single-domed mosques, "T-plan" buildings, and multi-domed buildings. Religious buildings were often part of larger charitable complexes (külliyes) that included other structures such as madrasas, hammams, tombs, and commercial establishments.
Decoration in Ottoman architecture takes on several forms, the most prominent of which include tile decoration, painted decoration, and stone carving. Beginning in the 14th century, early Ottoman decoration was largely a continuation of earlier Seljuk styles in Anatolia as well as other predominant styles of decoration found in Islamic art and architecture at the time. Over the course of the next few centuries, a distinctive Ottoman repertoire of motifs evolved, mostly floral motifs, such as rumî, hatayî, and saz styles. Calligraphic inscriptions, most characteristically in a thuluth script, were also a mainstay. From the 18th century onward, this repertoire became increasingly influenced by Western European art and architecture and went as far as directly borrowing techniques and styles from the latter.
| International | |
|---|---|
| National | |
