The best view of the exterior of the Sultanahmet mosque of Istanbul comes from the south gallery of the Hagia Sophia (featured photo). This is the last of the great works of classical Ottoman architecture, completed in 1617 CE, just at the beginning of the three century long decline of the empire. You can see the main dome and two of the four semi-domes supporting it, as well as several of the lower supporting domes, and four of the six minarets. You can probably see more of the structure from the ground, but then the building looms over you and distorts the perspective of the domes.
This is a working mosque, which means that there is no entry charge, but you have to be dressed appropriately. When we reached the mosque it was time for prayers and tourists were being asked to come back in an hour. That gave us an opportunity to walk along the hippodrome, and walk downhill to see the little Hagia Sophia. When we came back from the charming district of Fatih the gates had opened again. Tourists enter through gate B next to the Hippodrome. You can’t wear shoes into a mosque for a very good reason, but you are handed plastic bags to carry them in. We were happy to see that there is a bag collection point at the exit.
The first view of the inside is stunning. There is a sense of light everywhere which is quite different from the experience of the Hagia Sophia. The classic Ottoman style skillfully blends older Turkish architectural styles with Byzantine to produce a light and soaring architecture. This is a prefiguring of modernity, like the two centuries of Ottoman political dominance in the Eurasian continent. This mosque was built at the precise point in time when Ottoman society could not make a transition from the medieval into the modern. The Ottoman army had been reorganized, the navy had fought down the Portuguese in the Indian Ocean, and controlled the spice trade, but the infusion of large volumes of silver from the Americas destabilized the Ottoman economy before a mercantile class could rise.
The incredible tile work of the Sultanahmet mosque gives it the name that tourist guides use: Blue mosque. (In a conversation on a tram I found that Sultanahmet mosque is what Istanbullus say). I would have liked to lie down to look at the ceiling carefully, but that was impossible. We had entered at a time when the interior was really crowded: people were still coming in late to pray but tourists were also inside. The photo above shows the main dome (mainly blue) and the western supporting semi-dome (mainly gold) with a soaring arch between them.
When you look up, it is like falling into a drawing by Escher. The multiple domes and their pendentive arches create a confusion of persepectives, deliciously enhanced by the repeating patterns of tiles. These are hand-painted tiles from Iznik, and I believe that this was the first large-scale use of such tiles. I wonder whether the extreme decorativeness of the interior has anything to do with the fact that the chief architect, Sedefkar Mehmet Aga trained in inlay work before becoming a pupil of Mimar Sinan. Interstingly, this was his first large commission, obtained at the age of 69. He, and his patron sultan Ahmet I, died within a year of completion of the mosque.
I had museum eyes by this time, and could not give this place the attention it deserves. I walked out and sat under a tree waiting for The Family. She managed to take a much more leisurely walk through the interior. I keep missing one of the major things about Turkish mosques, the deeply comfortable carpets needed for prayers. I would not have remembered the glowing red carpet with its interlocking blue and white flowers (notice the tulips among them) if it was not for the photos that she took.
Clouds gathered as I waited. The sporadic rain and shine of the day was building into something dramatic. I was prepared with both a raincoat and an umbrella, and I took them out. The umbrella provided the camera with some protection as I took the photo of dramatic clouds gathering over the mosque. It started pouring within seconds of The Family coming out of the mosque.