The Byzantine Hagia Sophia and Ottoman Suleymaniye are both comparable structures because they follow a greater continuing tradition of building massive religious monuments. Both buildings use the architectural concepts of the empires that preceded them, particularly those of the Romans. The Romans valued size and considered it a symbol of power. Both structures represent the cultural, religious, political, and economic power of their respective empires. Their meanings and intents are very similar. They make a statement about the people who built it, specifically their perceived superiority to their neighbors. Both the Hagia Sophia and the Suleymaniye tower over Istanbul, just as both the Byzantines and Ottomans hoped to tower over the rest of the world. They both had the time, money, and manpower to be able to build such an enormous structure while other nations and empires had to put all their resources into keeping their people alive and protected. The Byzantines and Ottomans were both the most powerful empires in the world during their golden ages. They believed part of that to be because of their god's favor. The Suleymaniye and Hagia Sophia also prove to the rest of the world that they are favored by God enough to be able to build such an enormous monument to him. The church and mosque are supposedly the houses of God, and God's largest house at the time was in Istanbul.
The Suleymaniye Interior.
The two buildings are also very physically similar, partly because the Suleymaniye is based so much on the Hagia Sophia. Both use domes and arches as their buildings' main supports and use intricate paintings and mosaics to decorate their interiors. They also utilize the vast space and light provided by their structures.
Creation
For my creation, I chose to design my own massive religious monument. It is based on a combination of the Hagia Sophia and the Sulimaniye Mosque. I used architectural themes from both, specifically the arch and dome. I also used geometric patterns in some areas. The Ottomans specifically used complex geometric designs to decorate their mosques. In both structures there was a heavy emphasis on detail, which I also tried to do in my own design.
Preliminary Sketch
I made a few sketches before I began the actual drawing. I wanted an enormous dome on top, as both the Suleymaniye and the Hagia Sophia have.
Completed Drawing of Structure
The finished product ended up looking slightly more like the Hagia Sophia before it was converted into a mosque by the Ottomans.
Drawing of Hagia Sophia Interior
I also drew the interior of the Hagia Sophia. It and the Suleymaniye have a lot of detail on their interior walls, much more than on the outside. There was a great effort within both to impress the viewer, to sort of show off. The Hagia Sophia's designs are not as rigid as the Suleymaniye's.
Hagia Sophia
The Hagia Sophia
Procopius on the Great Church:
"The emperor, thinking not of cost of any kind, pressed on the work, and collected together workmen from every land. Anthemius of Tralles, the most skilled in the builder's art, not only of his own but of' all former times, carried forward the king's zealous intentions, organized the labours of the workmen, and prepared models of the future construction. Associated with him was another architect [mechanopoios] named Isidorus, a Milesian by birth, a man of intelligence, and worthy to carry out the plans of the Emperor Justinian. It is indeed a proof of the esteem with which God regarded the emperor, that he furnished him with men who would be so useful in effecting his designs, and we are compelled to admire the wisdom of the emperor, in being able to choose the most suitable of mankind to execute the noblest of his works....
[The Church] is distinguished by indescribable beauty, excelling both in its size, and in the harmony of its measures, having no part excessive and none deficient; being more magnificent than ordinary buildings, and much more elegant than those which are not of so just a proportion. The church is singularly full of light and sunshine; you would declare that the place is not lighted by the sun from without, but that the rays are produced within itself, such an abundance of light is poured into this church...
Now above the arches is raised a circular building of a curved form through which the light of day first shines; for the building, which I imagine overtops the whole country, has small openings left on purpose, so that the places where these intervals occur may serve for the light to come through. Thus far I imagine the building is not incapable of being described, even by a weak and feeble tongue. As the arches are arranged in a quadrangular figure, the stone-work between them takes the shape of a triangle, the lower angle of each triangle, being compressed where the arches unite, is slender, while the upper part becomes wider as it rises in the space between them, and ends against the circle which rests upon them, forming there its remaining angles. A spherical-shaped dome standing upon this circle makes it exceedingly beautiful; from the lightness of the building, it does not appear to rest upon a solid foundation, but to cover the place beneath as though it were suspended from heaven by the fabled golden chain. All these parts surprisingly joined to one another in the air, suspended one from another, and resting only on that which is next to them, form the work into one admirably harmonious whole, which spectators do not dwell upon for long in the mass, as each individual part attracts the eye to itself.
No one ever became weary of this spectacle, but those who are in the church delight in what they see, and, when they leave, magnify it in their talk. Moreover it is impossible accurately to describe the gold, and silver, and gems, presented by the Emperor Justinian, but by the description of one part, I leave the rest to be inferred. That part of the church which is especially sacred, and where the priests alone are allowed to enter, which is called the Sanctuary, contains forty thousand pounds' weight of silver."
Hagia Sophia Interior
Brief History
Originally called the Magale Ekklesia or Great Church, the Hagia Sophia was built in the year 537 by Emperor Justinian I. Two previous churches had been built in the same place, and the most recent had been burnt down during the Nikos riots. Justinian ordered right away that a new church be built. What made the Hagia Sophia different from the rest is its domed structure. Domed churches had been built before, but not quite at this scale. The Hagia Sophia uses light and space for effect, utilizing the architectural ideas of previous civilizations. It used Roman arches and domes as well as Greek pillars for support. It is obviously based on Roman churches, particularly because of its grand scale, but many of the art work and intricacies are very Byzantine.
When the Ottomans conquered Constantinople, they converted the building to a mosque. However, they made very few drastic changes; the most they did was build the four minarets and move the altar to face Mecca.
Halsall, Paul. "Procopius: The description of the Hagia Sophia, 537." The Bible: The Book that Bridges the Millenia. Mar 1996. Global Ministries: The United Methodist Church. 12 Nov 2008 <http://gbgm-umc.org/umw/bible/procopius.stm>.
Abstract
The Byzantine Hagia Sophia and Ottoman Suleymaniye are both comparable structures because they follow a greater continuing tradition of building massive religious monuments. Both buildings use the architectural concepts of the empires that preceded them, particularly those of the Romans. The Romans valued size and considered it a symbol of power. Both structures represent the cultural, religious, political, and economic power of their respective empires. Their meanings and intents are very similar. They make a statement about the people who built it, specifically their perceived superiority to their neighbors. Both the Hagia Sophia and the Suleymaniye tower over Istanbul, just as both the Byzantines and Ottomans hoped to tower over the rest of the world. They both had the time, money, and manpower to be able to build such an enormous structure while other nations and empires had to put all their resources into keeping their people alive and protected. The Byzantines and Ottomans were both the most powerful empires in the world during their golden ages. They believed part of that to be because of their god's favor. The Suleymaniye and Hagia Sophia also prove to the rest of the world that they are favored by God enough to be able to build such an enormous monument to him. The church and mosque are supposedly the houses of God, and God's largest house at the time was in Istanbul.
The two buildings are also very physically similar, partly because the Suleymaniye is based so much on the Hagia Sophia. Both use domes and arches as their buildings' main supports and use intricate paintings and mosaics to decorate their interiors. They also utilize the vast space and light provided by their structures.
Creation
For my creation, I chose to design my own massive religious monument. It is based on a combination of the Hagia Sophia and the Sulimaniye Mosque. I used architectural themes from both, specifically the arch and dome. I also used geometric patterns in some areas. The Ottomans specifically used complex geometric designs to decorate their mosques. In both structures there was a heavy emphasis on detail, which I also tried to do in my own design.
I made a few sketches before I began the actual drawing. I wanted an enormous dome on top, as both the Suleymaniye and the Hagia Sophia have.
The finished product ended up looking slightly more like the Hagia Sophia before it was converted into a mosque by the Ottomans.
I also drew the interior of the Hagia Sophia. It and the Suleymaniye have a lot of detail on their interior walls, much more than on the outside. There was a great effort within both to impress the viewer, to sort of show off. The Hagia Sophia's designs are not as rigid as the Suleymaniye's.
Hagia Sophia
Procopius on the Great Church:
"The emperor, thinking not of cost of any kind, pressed on the work, and collected together workmen from every land. Anthemius of Tralles, the most skilled in the builder's art, not only of his own but of' all former times, carried forward the king's zealous intentions, organized the labours of the workmen, and prepared models of the future construction. Associated with him was another architect [mechanopoios] named Isidorus, a Milesian by birth, a man of intelligence, and worthy to carry out the plans of the Emperor Justinian. It is indeed a proof of the esteem with which God regarded the emperor, that he furnished him with men who would be so useful in effecting his designs, and we are compelled to admire the wisdom of the emperor, in being able to choose the most suitable of mankind to execute the noblest of his works....
[The Church] is distinguished by indescribable beauty, excelling both in its size, and in the harmony of its measures, having no part excessive and none deficient; being more magnificent than ordinary buildings, and much more elegant than those which are not of so just a proportion. The church is singularly full of light and sunshine; you would declare that the place is not lighted by the sun from without, but that the rays are produced within itself, such an abundance of light is poured into this church...
Now above the arches is raised a circular building of a curved form through which the light of day first shines; for the building, which I imagine overtops the whole country, has small openings left on purpose, so that the places where these intervals occur may serve for the light to come through. Thus far I imagine the building is not incapable of being described, even by a weak and feeble tongue. As the arches are arranged in a quadrangular figure, the stone-work between them takes the shape of a triangle, the lower angle of each triangle, being compressed where the arches unite, is slender, while the upper part becomes wider as it rises in the space between them, and ends against the circle which rests upon them, forming there its remaining angles. A spherical-shaped dome standing upon this circle makes it exceedingly beautiful; from the lightness of the building, it does not appear to rest upon a solid foundation, but to cover the place beneath as though it were suspended from heaven by the fabled golden chain. All these parts surprisingly joined to one another in the air, suspended one from another, and resting only on that which is next to them, form the work into one admirably harmonious whole, which spectators do not dwell upon for long in the mass, as each individual part attracts the eye to itself.
No one ever became weary of this spectacle, but those who are in the church delight in what they see, and, when they leave, magnify it in their talk. Moreover it is impossible accurately to describe the gold, and silver, and gems, presented by the Emperor Justinian, but by the description of one part, I leave the rest to be inferred. That part of the church which is especially sacred, and where the priests alone are allowed to enter, which is called the Sanctuary, contains forty thousand pounds' weight of silver."
Brief History
Originally called the Magale Ekklesia or Great Church, the Hagia Sophia was built in the year 537 by Emperor Justinian I. Two previous churches had been built in the same place, and the most recent had been burnt down during the Nikos riots. Justinian ordered right away that a new church be built. What made the Hagia Sophia different from the rest is its domed structure. Domed churches had been built before, but not quite at this scale. The Hagia Sophia uses light and space for effect, utilizing the architectural ideas of previous civilizations. It used Roman arches and domes as well as Greek pillars for support. It is obviously based on Roman churches, particularly because of its grand scale, but many of the art work and intricacies are very Byzantine.
When the Ottomans conquered Constantinople, they converted the building to a mosque. However, they made very few drastic changes; the most they did was build the four minarets and move the altar to face Mecca.
Works Cited
Hagia Sophia. Photograph. Agean Select Properties. 12 Nov 2008 <http://www.aegeanselectproperties.co.uk/img/about_destinations/10/big/hagia_sophia.jpg>.
Hagia Sophia 3. Photograph. Agean Select Properties. 12 Nov 2008 <http://www.aegeanselectproperties.co.uk/img/about_destinations/10/big/hagia_sophia3.jpg >
Halsall, Paul. "Procopius: The description of the Hagia Sophia, 537." The Bible: The Book that Bridges the Millenia. Mar 1996. Global Ministries: The United Methodist Church. 12 Nov 2008 <http://gbgm-umc.org/umw/bible/procopius.stm>.