Walking Tour | Aksaray | Istanbul | Turkey | 22 May 2019 скачать в хорошем качестве

Walking Tour | Aksaray | Istanbul | Turkey | 22 May 2019

Walking Tour | Aksaray | Istanbul | Turkey | 22 May 2019 Walking Route is Below https://www.google.com/maps/dir/41.00... http://www.biyografya.com/biyografi/1... Fatih-Aksaray da dört yol ağzında Pertevniyal Valide Sultan Camii Sultan II. Mahmut’un zevcesi ve Sultan Abdül Aziz’ in annesi Pertevniyal Valide Sultan tarafından H.1288/M.1871 yılında yaptırılmıştır. Bu caminin yerinde H.1182/M.1871 yılında Kocamustafapaşa Vakfının katibi Hacı Mustafa Efendi tarafından yaptırılan Hacı Mustafa Efendi Camii harap halde iken yıktırılmış ve onun yerine Pertevniyal Valide Sultan Camii yaptırılmıştır. Caminin mimarı İtalyan Monteni`dir. Üslubu ise Çırağan sarayında olduğu gibi Gotik üslubundan Hint mimarisini kadar Türk mimari üslubu da dahil olmak üzere çeşitli mimari üslupların karışımından meydana gelmiştir. Kubbe duvarlarının üstündeki 16 vecihli ve pencereli, yüksek bir kasnağa oturtulmuştur. Küzeyindeki hünkar dairesi ve bununla bağlantılı bir mahfil yer almakta, caminin görümüne hakim olmaktadır. Kare planlı bu caminin dört köşesinde Hint mimarisin andıran birer kule bulunmaktadır. Mihrabı sade, mukarnas dolgulu ve yedi sıra şarkıtlı olup mermerdendir. Aynı sadelikte mermer minberin yan tarafında istiridye motifi görülmektedir. Kürsüsü sekiz köşeli ve oymalı olup mermerdir. İç alanı 1000 m2, avlu ve bahçesinin alanı ise 3000 m2’dir. Caminin avlusuna doğu, batı ve güney olmak üzere üç kapıdan girilmektedir. walkingtouraksaray walkingtourlaleli walkingtouristanbul http://islamicart.museumwnf.org/datab... Location: Aksaray, Istanbul, Turkey Date of Monument: Hegira 1288 / AD 1871 Architect(s) / master-builder(s): There are different opinions regarding the identity of the architect. Some researchers think it was the Italian architect Montani Effendi, while others believe the architect was Sarkis Balyan. It has also been suggested that Agop Balyan participated in the design, and that the designer Osep assisted with construction. Patron(s): Pertevniyal Valide Sultan (the mother of Sultan Abdülaziz, d. AH 1301 / AD 1883). Description: The complex, which comprises several buildings around a central mosque (külliye), was commissioned by Pertevniyal Valide Sultan and consists of a mosque, a tomb, a sabil, a public fountain, a clock-room where timepieces for calculating prayer times accurately on a daily basis were kept, a library, and a theological school (madrasa). The mosque is a single-domed, square prayer hall, following the traditional plan. In front of its strongly vertical mass is an additional two-storey building that comprises the portico for latecomers, men's and women's areas, the sultan's loge and various rooms. Attached to this additional building, separate from the main body of the mosque, are two minarets, each with a single balcony. The square prayer hall measures 10 m x 10 m and is extended with arches on four sides. The mosque's east, west and south façades are all emphasised with turrets and the outward projections of their central sections are each crowned with a triangular pediment. Each section has two rows of three windows. The dome, separated from the walls and brought inward, is supported on a high, 12-sided drum. The Pertevniyal Valide Sultan Mosque is noteworthy for the density and variety of its decoration. The projecting central sections of the façades and the windows on the drum of the dome are executed in the Gothic style. The design of triple blind niches above the windows, for instance, borrow elements from Ottoman decorative art, while their location recalls examples from North African and Andalusian architecture. The blind niches, as well as the decorative compositions of arabesques and palmettes on the façades, are, like the muqarnas, elements borrowed from Classical Ottoman art. The corner turrets, each of which terminates in a lobed onion-dome reminiscent of Indian architecture, are decorated with niches containing muqarnas, again borrowed from Classical Ottoman architecture, as well as the simple blind niches and various geometric motifs. The interior space, like the façades, is densely decorated. Ottoman motifs are used in painted decoration (kalemişi) in which blue dominates. A cornice with muqarnas surrounds the upper section of the lower row of windows. On the surfaces of the walls, as on the façades, classical Ottoman elements are found including blind niches, muqarnas, arch motifs, arabesques, and Chinese-inspired floral ornament. The marble mihrab and minbar are plain.