The Blue Mosque of Sultan Ahmed I (r. 1603-1617): A New Aesthetic in the Ottoman Architectural Tradition

Abstract

This dissertation provides a detailed examination of the Blue mosque complex in Istanbul, positioning it within the broader historical, architectural, and artistic context of the Mediterranean basin in the early seventeenth century. The study examines the Blue mosque in relation to contemporary architectural and urban projects in both the East and West. It undertakes a comprehensive architectural analysis of the Blue mosque, with a particular focus on its opulent interior decoration, which features İznik tiles, opus sectile, and pietre dure panels. Additionally, the dissertation explores the Blue mosque’s integration into the urban fabric of Istanbul. It assesses the implications of its proximity to major landmarks such as Hagia Sophia, the Topkapı Palace, and the Hippodrome, examining the perceptions of both local and international audiences. Specifically, this work meticulously investigates the explicit references to Hagia Sophia made by the Blue mosque. This study critically examines the prevailing assertion in the scholarly literature that Sultan Ahmed I, the patron of the Blue mosque, imitated his great-grandfather, Sultan Süleyman I. Rather, it explores the ruler’s adoption of multiple representations of kingship to appeal to a broad spectrum of audiences. This approach included modeling himself after the Prophet, while simultaneously emphasizing his roles as a Roman emperor and Islamic caliph within the political and architectural realms, a strategy informed by historical contexts and dynastic traditions. Within this framework, akin to Ahmed I’s contemporaries, the Blue mosque complex was envisioned as the sultan’s “world stage” designed to facilitate the construction of the patron’s public image. The study provides an extensive analysis of the public ceremonies orchestrated by the ruler in this context. This dissertation explores the themes of tradition and innovation within the context of Ottoman imperial architectural traditions. It contests the assertion that architectural production following Mimar Sinan lacked creativity, asserting that his apprentices did not merely engage in imitation. Through comprehensive architectural and historical analyses, this study concludes that Sultan Ahmed I’s Blue mosque was designed in alignment with the architectural and artistic tastes of its era. The study provides detailed examples that demonstrate how various architectural concepts, traditionally attributed to the so-called Tulip Era (1718-1730), were already present in the Blue mosque complex. The meticulous architectural analysis of the Blue mosque prompts a reevaluation of established notions related to architectural and artistic periodizations, such as the Tulip Era, Ottoman Baroque, and European Baroque.