The Edirne’s Selimiye is Sinan’s most beautiful, most graceful construction. It also sports arguably the finest, best-painted, most beautiful Iznik tiles ever.
The Muradiye complex in Edirne — like the Muradiye complex in Bursa — was built by a pious Sultan (Murad II) for a religious community he always said he intended to join himself (and did — twice, each time abdicating in order to do so).
Both complexes were built well outside city walls – suggesting another calculation behind the foundation: religious communities of single men living together are famously troublesome and the Sultan may have been shipping the dervishes out of his way. Each foundation was a vast project for its time: a large, beautifully decorated mosque (which doubled as the dervish residence). a medresa (school), a soup kitchen.
As the cities grew, both Muradiyes became located downtown; but the dramatic shrinkage of Edirne in modern times (from perhaps 250K in 1600s to 20K today) means that the Edirne Muradiye once again lies outside the city walls. One reaches it via a dusty road with a few low lying buildings, an itinerant vendor selling fresh cheese out of a donkey cart, old men playing backgammon in the shade of a weeping willow. The mosque is locked, but in the summer the hoca gives religion lessons to seven ragged gypsy children; he lets you in and leaves you alone to do all the photographing and sketching you want; and if you speak two words of Turkish, he’ll treat you to the sweets from his lunchbox.
The tiles of the Edirne Muradiye are very special. They were clearly painted by a master painter; not every one is unique – there are several repeats – but most are; no similar Iznik tiles have been found anywhere else.
From a temporary show at the Museu de Azulejo, Lisbon.
Istanbul gets very hot and very humid in the summer; the Northwest Room of the Çinili Koşk, once within the walls of Topkapi, was set up as a cool hiding place from the city’s summer heat. Windows and doors open North-West and North-East — the room never catches direct sunlight; and its walls have been decorated with dark blue tile — a pleasant rest for the eyes from the strong Mediterranean sun. The tiles were fired then painted in gold — a very lavish form of decoration since it does not last. A recent restoration wisely repainted only those tiles where gold had been completely lost, but left those which had only been partly worn untouched.
In 1590, a marble fountain had been set into the wall of the room to cool it further.
In 1904, Osman Hamdi Bey (the founder and first director of the Istanbul Archeology Museums, and the excavator of the Sidon Necropolis) painted the fountain:
Among Lisbon’s many mysteries is her patron saint who arrived in the city… as a dead corpse washed up on her shores. The church dedicated to him (and the patriarch’s seat) remained for many years outside the city walls. The monks being monks — and therefore men and therefore always liable to come up with some unruly scheme no matter how saintly they were supposed to be — were kept firmly under lock and key — to — ahem — protect the innocent. Their only chance to disport themselves out of doors were the monastery’s two large cloisters, of which this is one, now deliciously empty. Both are still covered all around, up and down, in azulejos, the Portuguese version of the colored wall tile and one of Portugal’s greatest — and most ubiquitous — homegrown art-forms (and, unjustly, hardly known outside her borders). Tellingly, the scenes depicted on the walls of the cloisters were those of… the great outdoors, to give the locked-up men a semblance of the pleasure of walking unimpeded through the countryside.
Note: these photos are intentionally HUGE. Look at the details: the variety of different styles of brushwork — one really pays attention to brushwork in monochrome art!
The mihrab is a specially decorated niche in the wall of a mosque indicating the direction of Mecca. Some tombs have them as well. This one belongs to the Yeşil Türbe, or Green Tomb, of Mehmet I Celebi (1382-1421), in Bursa. Though the tomb dates to 15th century, it was heavily damaged in the 1855 earthquake and sources say that “most of the tiles were replaced” subsequently.
I have not been able to discover whether the current decoration of the mihrab reflects in any way the tilework which was there originally. The tile colors and patterns are different from anything you will ever see in Iznik; and while upclose some of the work seems crude, from a distance of a few feet, the result is phenomenal: it is hard to leave the tomb; at night one wakes up thinking about what it was like to stand in front of it. Note that the mihrab is a subtly three-dimensional work: in addition to the (obvious) honey-comb niche, the whole work consists of gently curving surfaces.
Through an unassuming side gate one enters a small compound hugging the western wall of Hagia Sophia. The compound consists of five tombs, four purpose built and one adapted from the former baptistery. The two most beautiful (Selim II and Murat III) can be viewed in a special 3D program to be found here (do not miss this):
And since 3dmekanlar has done such a superb job photographing the interior, I’ll limit this post to a few tile shots.