Explain how the architectural design of the blue mosque in the European quarters of Istanbul, Turkey was influenced by a ruler and compass.
looking at the main three geometric patterns that exist in its design strategy.
The Blue mosque is situated in the European quarters of Istanbul. It was originally named Sultan Ahmet mosque, now it takes its name from the use of blue tiles in its interior dressing and exterior landscape.
The construction of the mosque was completed in 1616, its main purpose was to compete with the Hagia Sophia both in architectural form and complexity.
The interior is breathtakingly vast; the high ceiling is a cascade of spheres starting with a large dome surrounded by four smaller semi domes. Over 200 windows provide rich lighting to darker places and highlight the intricate geometric patterns and calligraphy on the blue tiles. Islamic art is heavily influenced by geometric patterns, the repetition of circles and squares as the main composition elements can be found in a vast range of artistic productions from interiors of buildings to wider landscape design, from domestic decorative pieces such as carpets and ornamental vases to the mass production of textile goods.
The repetition of these complex geometric patterns are intended to engage the viewer into a higher state of consciousness.
Throughout this paper, I will touch on the three patterns used in the blue mosque. Studying in detail the deconstructing of geometric patterns used on the Minbar into simple lines and arches.
Specifically studying the three main artistic elements found in the blue mosque and thoroughly investigating the geometry used on the Minbar.
The geometric attributes found in the blue mosque are, calligraphy as decorative measures and the botanical imagery in the finishing’s.
The symmetry and complexity of the patterns found at the blue mosque offer a freedom in the possibilities of infinite expansion symbolising and glorifying god in their work. The Minbar traditionally used by the Imam during prayers to address the congregation is intricately decorated with 4-fold stars.
The star motif is again repeated above the extensive windows and doors acting as the cosmos above the user. The stars in these designs are more elaborate as they are composed of 5-fold arrangements; this method is used to reflect the higher connection to the heavens.
Geometry in Islamic art and architecture creates intricate patterns in grand design. Unique interlacing lines moving in weaved forms, generating various patterns showing the most incredible imagery and new ways of inventiveness. The multiplication of any geometric pattern will form distinct architectural elements. In these geometric elements are definitive shapes of the peripheral form help fit each element repetitively long side each other, in all directions avoiding extruding edges. On a different scale in one plane also helps avoid sharp contrast and precise definition of size and surface. Using the lines creating the geometric patterns as a construction lines, one can create various different designs including those of vegetal and floral motifs. Fitted on top of the basic geometrical guidelines, comes the motifs of geometrical figures that would come in floral or vegetal characters. The said figures vary throughout the Islamic regions, differentiated by geography and chronology. It can also be said that the whole range of Islamic patterns represents an assortment of many different style movements. In today’s examples of geometric design, illustrations of these classical patterns can be seen. The techniques used to create these historical designs are studied and transformed to create modern forms.
A character universally found in Islamic art is Arabic calligraphy. Calligraphy is said to be the ultimate art ritual that transformed the words of the Quran into a visual work of art. The general purpose of this calligraphic ritual is to visually exhibit the teachings and rubrics of Islam. The simplest form of the calligraphic script is the fashioning of words as one continues thread, through the interlacing of singular letters. The script can be described as stretched, prolonged, bent, thickened, overlapped, and complicated. They are occasionally made in three-dimensional arabesques on carved wood, the final pieces have multiple uses from wooden partitions to stucco decorations hung on walls. Stucco embellishments are commonly used to complement the geometric composition of its surrounding assemblies.
Example of Arabic calligraphy, meaning ‘’In the name of god the most merciful the most gracious’’
Vegetal patterns are derived from the structure and form of both floral and vegetative plants. Due to the organic patterns that can be simplified and transformed, these designs that can be arrayed and mirrored thus becoming historically attractive to artist across the Muslim realm.
Vegetal patterns often hold no meaning or symbolism and purely act as ornamental sequencing.
Why is geometry, calligraphy and vegetal patterns important is the design of mosques?
The representation of people or the pretrial of facial images is seen to hinder the over all message of the religion which is the existence of ‘The one and only true God’. This makes geometric patterns very appealing in Islamic art. The creation of geometric plans is seen as a skill within the human understanding and capability. These abstract designs not only embellish the surfaces of monumental mosques but also function as the primary decorative element. While geometric decoration may have reached an apex in the Islamic world, these forms and the complex patterns already existed among the Romans, Sasanians in Iran, Greeks. Islamic artists seized key elements from the classical tradition, then complicated and elaborated them to invent a new form that stressed the importance of order and unity. The contributions of the highly intellectual Islamic astronomers, scientist and mathematicians were vital to the creation of this new unique style.
Producing intricate schemes from simple forms, such as the square and the circle, geometric patterns were interlaced, combined, arranged and duplicated in complex combinations. Thus becoming one of the most distinguishing features of Islamic architecture and art.
However, these intricate patterns seem to refuse to adhere strictly to the rules of geometry. These geometric embellishments in Islamic art exhibit an extraordinary amount of liberty; in its intricacy and echo, it offers the opportunity of unlimited growth and can accommodate the amalgamation of other styles of design as well.
4 fold geometric pattern, interlinked with floral designs
Calligraphy is highly regarded yet can be the most basic element of Islamic art. It is notable that the Qur’an, the book of God’s to the Prophet Muhammad, was transferred to the holy prophet in Arabic.
Within the Arabic script there was potential for developing these beautiful forms. The employment of calligraphy as decoration had an aesthetic appeal but often also included a powerful underlying component. While most works of art had meaning in the inscriptions, not all Muslims were able to read the messages. We should always keep in mind, however, that calligraphy is a way to publically announce a text, albeit in a decorative form.
Different regions and periods differ in the use of calligraphy in their overall design, indicating the creative possibilities of calligraphy as an ornament. An entire word can give the effect of random brush strokes. a single letter can thrive as a decorative knot. In other cases, highly regarded calligraphic works on paper are then enhanced by the use of decorative frames or backdrops. In some examples, calligraphy is combined with vegetal scrolls on the same surface though often on different levels, generating interplay of decorative elements.
Example of calligraphy in blue mosque, Istanbul
Vegetal patterns and the motifs they incorporate were drawn from existing traditions of Byzantine culture in the Sasanian Iran and eastern Mediterranean.
The early Islamic era saw the adaptation of semi-naturalistic pre-Islamic patterns and motifs, followed by widespread and numerous experimentation forcing the adaptations to suit these forms for a more aesthetic appeal. This attracted the new Muslim patrons. It was not until the medieval spell (tenth–twelfth centuries) that a highly abstract and fully developed Islamic style emerged, highlighting the most original and ever present pattern often known as “arabesque”.
Vegetal pattern
The blue mosque.
The Sultan Ahmed Mosque is one of the treasures of Istanbul.
The Sultan Ahmed Mosque was constructed between 1609 and 1616, Designed by architect Sedefkar Mehmet Agha, during the reign of Sultan Ahmed I (1590–1617). The sultan Ahmed Mosque is the only mosque in the world with six minarets.
The mosque was named ‘Blue Mosque’ because of the blue tiles, which cover more than three-quarters of its surface. Tile panels exhibiting over fifty different designs.
For a mathematician, this mosque is particularly fascinating. Its shape and the structures of the domes and minarets can be modeled using many mathematical objects: spheres, cylinders, cones, cubes, arcs, etc.
Image of blue mosque, showing towering six minarets
How does the blue mosque display geometry, calligraphy and floral designs?
The floral design appears in the tile work and stained glass of the mosque. Upper sections of the mosque are decorated with geometric bands and organic medallions of bright blue and red. More than 20,000 Iznik tiles rise from the midsections of the mosque and dazzle the visitor with their brilliant turquoise, blue and green hues. They lend the mosque its popular sobriquet.
Extravagant motifs on the tiles such as tulips, cypress trees, fruits and roses summon visions of the bountiful paradise. Sultan Ahmet commandeered these specifically for the mosque. Ottoman mosque architecture was the first to use luxurious tile decoration on the interior. The intensity of the tiles is underlined by the play of day light from more than 200 windows that pierce the central dome, each of the half-domes and the peripheral walls. These windows originally contained Venetian stained glass.
floral designs appearing in blue mosque
Geometry is found everywhere in the mosque. These geometric patterns as we know have no end, as they can become infinite but every geometric pattern must have a beginning. In the Blue mosque, the geometric patterns begin with five fold.
These geometric patterns have an aesthetic advantage that is related to the golden section, showing one of the many ways to apply the geometry to form different patterns using a variety of materials.
Most designs are based on a relatively hidden geometric grid, which provides a regular arrangement of points. This is made into an intricate pattern using 2, 3, 4, and 5 fold symmetries. Visible patterns containing 6, 8, 10 and 12 pointed stars are made of 2, 3, 4, and 5 fold respectively. These can form a variety of complex polygons, joined by straps, which sometimes seem to weave over and under each other.
Geometry appears in structure and design
geometric pattern appearing on door
Calligraphy work was executed by the famous Ametli Kasim Gubari and mostly adorned with gold. These golden verses of the Quran sat on a blue tile. The color contrast made it easier to deduce the words of the given message.
The interior calligraphy designs of mosques can be quite difficult to make out, that draws the reader closer to the blue tile, forcing him to examine the intricate art of calligraphy and see the hidden beautifications.
Calligraphy is an art that is used as the central piece of wall design that can be used to fill in the blank spaces.
But in the Sultan Ahmed mosque, the calligraphy was used as main pieces of art in very prestigious locations. A main example of this is the entrance to the mosque, the main central dome, circulating the two primary columns and on top of the mihrab.
Arabic calligraphy on the inside of the dome, blue mosque, Istanbul
Example of what is said in the calligraphy.
Calligraphy at entrance of blue mosque meaning
‘’Indeed, prayer has been decreed upon the believers a decree of specified times.’’
What is a Minbar?
A raised platform in the front section of a mosque, from which sermons or speeches are given.
The Minbar is always located to the right of the mihrab, which marks the direction of the qiblah for prayer.
(Fathi, Asghar. "The role of the Islamic pulpit." Journal of Communication 29, no. 3 (1979): 102-106.)
The Minbar is otherwise known as the preaching pulpit. It is the feature in a mosques architecture that we humans turn to when we wish to reach out mentally in supplication. It represents elevation towards heaven for the call to prayer, the ritual of the sermon, which happens on Friday afternoons and for the act of supplication.
Used to transmit the words of God through the booming voice of the preacher ‘Imam’.
Its use has its origins in the early years of Islam and it's highly linked to the rituals of the sermon.
Minbar
history and what makes a minbar?
The Minbar in its most basic form is an elevated seat that is used by the preacher. Through the ages the minbar has developed through the range of material used to the height of the stairs.
The prophet used the first minbar, it was a humble base of a palm tree that was cut down. The wood was later used to build the mosque. He used it as, what is now equivalent to, a chair. It was used for sitting amongst and preaching to his loyal followers. His successors later developed the minbar to show their authority.
After the time of the prophet they elevated the minbar higher and added a staircase that varied from seven to nine steps, which represented the progression to the heavens and intimacy to God, they were typically made from wood for ease of movement and designs.
The minbar has always been the object of great care, architectural and aesthetic refinement. Muslims started experimenting with different materials and designs through the years. Use of materials such as stone marble and even Iron was to enhance and to parade the importance of the minbar. This developed into designs or decorations that were placed on the peripheral walls, these ranged from geometric and floral patterns to Arabesque calligraphy.
Now the minibars are complicated pieces of art, made up of several parts.
The door way highly decorated with geometric folds and calligraphy from the Quran are said to represent the opening of the doors of heaven during prayers and supplications from the believers.
The staircase has the most interesting evolution as it keeps growing in height, as mentioned before symbolises the movement to the heavens.
At the top of the staircase is a box that the preacher uses to give his lectures. This is made in a way that helps project his voice around the open mosque. Positioned higher than everyone else, this shows the status of the preacher and his close relationship to God. Imitations are seen in structures such as the box topped by a dome mimicking the dome of the central mosque. A cone mimicking the minarat then tops this off.
Example of decretive geometry found on minbar
The minbar in the blue mosque.
The lavishly ornamented minbar was made from carved marble decorated with artichoke designs. These were decorated by engraving gold-gilded and embossed geometric interlaced motifs in the form of lace on the marble and crowned by a golden a’lem,
The white marble minbar is a replica of the minbar in Mecca. The sultan believed there is no better precedent than the most important mosque for Muslims.
Just opposite the main entrance lies the Minbar. On both sides of the minbar exist long belts of a geometric embellishment upon the balustrade.
Contains a lot of Arabesque decorations and quite an intriguing geometric decoration along its balustrade.
Minbar of the blue mosque
Another detail of the geometric design found on the minbar are the two rounded squares. They show two different square tiles that can be used as a reoccurring unit to create the whole sash.
As we can see, the repetitive unit of the ornament can be set up in a few ways. Firstly, to create the repetitive unit, a square with the circled star ornament in the middle (rectangle 1). Secondly, to create a square determined by the vertical bars going through the whole decoration (rectangle 2). This way on the sides of the square we will have centers of four circles, and inside the square, there will be four halves of a circle with half of a star in each of them.
At random, choosing the second method, the following images with show the step-by-step construction of a single decorative unit. We will start with the blueprint of our construction lines. Once a definitive sequence is created, all other construction lines will be removed
1 – To construct the first sub grid. Create a square; mark the center point of each straight side. Draw diagonals of the square as well as lines connecting centers of opposite sides. This will be our first sub grid. Draw a circle with center in G and radius equal to GE (length of the side of the square), find the intersection point of it on the right side of the square (point L). Draw line GL and Mark point K.
2 – To construct the second sub grid (circular). Before starting this step hide all unnecessary elements leaving only first sub grid, all points including and point K. Draw the first circle with center in G and passing through K. Draw another circle with center in F passing through K. The two remaining circles with centers E and H, we draw using the points of intersection of the diagonal lines with the two existing circles.
3 – Use the existing points and the points of intersection of the four circles with diagonals of the square to draw a part of the ornament.
4 – To construct the third sub grid (small circles). This creates the remaining elements of the repeat unit, we need another sub grid of circles. Create 12 small circles – 4 in the middle and 8 close to the edges of the square. Circles in the new sub grid are marked here using a thin solid line. Mark all points of intersection of the new sub grid with the existing sub grids and parts of the ornament created in the previous step. Now we are ready to finish the repeat unit.
5 – Draw the missing lines of the ornament, i.e. the lines shown inside small circles. Hide all points and the three sub-grids: diagonals of the square, large circles and small circles. The repeat unit is ready (below).
This specific geometric ornament can be found in many historic mosques. The designs derived from this construction grid are endless. it takes extreme skill to envisage and invent hundreds of variations from a sole construction grid.
The crown at the entrance of the Minbar is decorated with golden calligraphy with a well known quote stating ‘There is no god but Allah and Muhammad is his messenger’. It is the first pillar of the five pillars of Islam ‘Shahada’. This is the declaration of the belief in the oneness of God, the most common phrase in Islam.
Design found on the side of the minbar