Istanbul Modern

Museum Hours

Tuesday, Wednesday, Friday, Saturday, Sunday
10.00 a.m – 6.00 pm

Thursday
10.00 a.m – 8.00 p.m

Monday
Closed

Istanbul Museum of Modern Art is closed on January 1 and on the first day of the religious holidays.

Check out current events!

Welcome to Istanbul Modern!

The Istanbul Museum of Modern Art, Turkey’s first museum of modern art, was founded in 2004 and occupies an 8,000 square meter site on the shores of the Bosphorus.
Istanbul Modern embraces a global vision to collect, preserve, exhibit and document works of modern and contemporary art and make them accessible to art lovers.
As part of its commitment to sharing Turkey’s artistic creativity with wide audiences and promoting its cultural identity in the international art world, Istanbul Modern hosts a broad array of interdisciplinary activities.
Apart from permanent and temporary exhibition galleries, a photography gallery, and spaces for educational and social programs, the museum offers a cinema, restaurant, design store and an extensive library.
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Pera Museum

Visiting Hours

Tuesday – Saturday       10.00 – 19.00
Sunday                        12.00 – 18.00
The Museum is closed on Mondays.

Long Fridays
Pera Museum is open and free of admissions from 18:00 to 22:00 every Friday.

Special Days
The Museum is closed on the first day of religious holidays, and New Year’s Day (1st January).

Adult: 20 TL
Concessions: 10 TL (12 years old or younger, students, faculty, 60 years and over)Group: 15 TL (minimum 10 people)

Free: Friends of Pera Museum, handicapped individuals plus one companion, children aged 12 or below, ICOM cardholders and members of the press are free of admission charges.Müzekart+ holders can visit Pera Museum with a 20% discounted admission, and 15% discount at Artshop and Pera Café!

Museum Pass Istanbul holders can visit Pera Museum with 20% discount, and benefit a 15% discount at Artshop and Pera Café!

Young Wednesdays
Pera Museum is free of admissions for students every Wednesday.

About Pera Museum

Inaugurated on 8 June 2005, Pera Museum is a private museum founded by the Suna and İnan Kıraç Foundation. The aim of offering an outstanding range of diverse high quality culture and art services is as important today as when the Museum first opened its doors to the public.

Couched in the historic quarter of Tepebaşı, the impressive building was originally conceived as the Bristol Hotel, designed by architect Achille Manoussos. Restorer and architect Sinan Genim was given the daunting renovation operation in 2003; the triumph of transforming the interior into a modern and fully equipped museum is only matched by the architect’s mastery in simultaneously preserving the exterior façade, safeguarding an integral part of Istanbul’s architectural flavour.

Through Suna and İnan Kıraç Foundation’s three permanent collections, “Orientalist Paintings”, “Anatolian Weights and Measures”, and “Kütahya Tiles and Ceramics”, Pera Museum seeks not only to diffuse the aesthetic beauty of these collections but also to create dialogue with the public concerning the values and identities that they encompass. Utilizing a full scope of innovative methods, including exhibitions, publications, audio-visual events, educational activities, and academic works, the objective of transmitting the beauty and importance of these works to future generations is realised. Having organized joint projects with leading international museums, collections, and foundations including Tate Britain, Victoria and Albert Museum, St. Petersburg Russian State Museum, JP Morgan Chase Collection, New York School of Visual Arts, and the Maeght Foundation, Pera Museum has introduced Turkish audiences to countless internationally acclaimed artists. Some of the most illustrious amongst these include Jean Dubuffet, Henri Cartier-Bresson, Rembrandt, Niko Pirosmani, Josef Koudelka, Joan Miró, Akira Kurosawa, Marc Chagall, Pablo Picasso, Fernando Botero, Frida Kahlo, Diego Rivera, and Goya.

Since its inauguration, Pera Museum collaborates annually with national and international institutions of art and education to hold exhibitions that support young artists. All of the Museum’s exhibitions are accompanied by books, catalogues, audio-visual events in addition to education programs. Parallel to its seasonal programs and events, Pera Film offers visitors and film buffs a wide range of screenings that extend from classics and independent movies to animated films and documentaries. Pera Film also hosts special shows that directly correlate with the temporary exhibitions’ themes.

Pera Museum has evolved to become a leading and distinguished cultural center in one of the liveliest quarters of İstanbul.

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Dolmabahçe Palace

Visit Hours:  palace accepts guests on weekdays except on Mondays and Thursdays, from 09:00 to 16:00

Entrance Fee : 30.00 Turkish Lira

Dolmabahçe Palace was built by Sultan Abdulmecid (1839-1861) who was the thirty first Ottoman Sultan. The palace, whose construction commenced on June 13th, 1843, was brought into use on June 7th, 1856, upon completion of surrounding walls. The palace mainly consists of three parts, named as the Imperial Mabeyn (State Apartments), Muayede Salon (Ceremonial Hall) and the Imperial Harem. The Imperial Mabeyn was allocated for administrative affairs of the state, Imperial Harem was allocated for private lives of the sultan and his family and the Muayede Salon, placed between these two sections, was allocated for exchanging of bayram greetings of sultan with dignitary statesmen and for some important state ceremonies. The main building is three storey including the basement on the side which is parallel to sea and it is four storey at the land side involving the Harem quarters with the musandıra (garret) storeys. Evident Western influences, observed at the style, details and ornaments, are reflections of the esthetical values, changed through the last period of the Imperial. On the other hand, it is a building complex in which traditional Turkish House style was applied on a large scale with respect to space organization and relations between the rooms and salons. The outside of the building is mode of stone, the interior walls are made of brick and the floors are made of wood. Electricity and central heating were installed in 1910-12 to the place which is open to the contemporary technology. It has a usable floor area of 45,000 square meters, 285 rooms, 44 reception rooms and 6 hamams. The Mabeyn in which the sultan carries out state affairs is the most important section of Dolmabahçe Palace in terms of its function and magnificence. The Medhal Salon at the entrance, the Crystal Staircase serving as connection with the upper storey and carries protocol characteristics, the Süfera Hall where foreign ambassadors were entertained and the Red Chamber, used by the sultan for reception of the visitors, are all decorated and furnished in a manner emphasizing the historical magnificience of the empire. The Zülvecheyn Salon on the upper floor serves as an entrance to the apartment reserved privately for the sultan in the Mabeyn. In this apartment, there are study and rest rooms and a gorgeous hamam with marbles brought from Egypt, in which Sultan lives his daily life. The library located in the same section and which consists of the books of the Caliph Abdulmecid is one of the outstanding rooms. The Muayede Hall, situated between the Harem and the Mabeyn sections is the highest and most magnificent hall of Dolmabahçe Palace. This hall apparently distinguishes from the other sections of the palace with its area exceeding 2000 square meters, 56 columns, a dome of 36 meters high and an English chandelier which is 4.5 tons. The chandelier of the Hall was ordered and bought from England by Sultan Abdulmecid. Although Dolmabahçe Palace is one under Western influence and was constructed modeling the European palaces, attention was paid to build the Harem as a separate section -although not strictly as in the past- considering its functional construction and indoor structure. However, contrary to the Topkapı Palace, Harem isn’t a building or building complex, set apart from the Palace anymore; but it is a special living unit, placed under the same roof within the same building complex. Dolmabahçe Palace, hosted 6 sultans at intervals and also the last Ottoman Caliph Abdulmecid Efendi from 1856 when it was put into service, until the abolition of the caliphate in 1924. The palace was used as Presidency office between 1927-1949. Gazi Mustafa Kemal Atatürk, the founder of our Republic, used Dolmabahçe Palace for his studies at İstanbul between 1927-1938 and died in this palace. The Palace which was partially open to protocol and visits between 1926-1984 and was opened to visit as a “museum-palace” from 1984.

Dolmabahçe Palace Facts

  • Dolmabahce palace has 285 rooms, 44 halls, 68 toilets and 6 Turkish baths
  • 14 tons of gold were used to decorate ceilings in gold leaves
  • 131 handmade silk carpets were ordered to be woven in the town of Hereke for the palace
  • The crystal chandelier sent by Queen Victoria of England as a gift to the palace is the largest chandelier in the world with its 750 bulbs and weights 4.5 tons
  • The founder of Turkish Republic, Mustafa Kemal Ataturk, died in the most basic bedroom of the palace compared to the rest and the clock in the room is still pointing to 09:05 am
  • You are not allowed to take pictures inside of the palace
  • You can only enter to the palace by joining a guided tour and not allowed to tour the inside areas on your own
  • The palace was the home to the last six sultans of the abolished Ottoman Empire
  • The site of palace was originally a bay on the Bosporus which was used for the anchorage of the Ottoman fleet
  • Dolmabahce is the largest palace in Turkey with an area of 45.000 m2
  • A collection of 202 beautiful oil paintings done by Ivan Aivazovsky, Gustave Boulanger, Eugene Fromentin, Jean Leon Gerome, Stanislaw Chlebowski, Sandor Svaboda, Fausto Zonaro, Felix Ziem, Theo Van Rysselberghe, Karl Joseph Kuwasseg, Osman Hamdi Bey, Osman Nuri Pasa, Halil Pasa, Sekrit Dag and Omer Ben Mustafa is on display in the palace
  • The rooms of the palace facing the sea were used by the Grand Vizier, leading Ottoman officials and the state ministers
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Galata Tower

Entrance Fee : 18.50 Turkish Lira
Visiting Hours : Summer / Winter Between 09:00 – 20:30 Hours
Closed Days : Open Every Day (Open Days & Hours may change by Official & Public Holidays)

Although it is not completely certain as to when the Galata Tower was built, it is claimed that the it was built during the reign of the Byzantian Emperor, Iustinianos in 507 CE.

It was called the Christea Turris (Tower of Christ) by the Genoese and the Megalos Pyrgos (The Great Tower) by the Byzantines. It took its present shape during the Genoese period. The Tower was heavily damaged during an earthquake in 1509, and it was renewed by the architect, Hayrettin, who was very famous during that period. During the reign of Süleiman the Magnificent (1520-66), it was used as a jail for prisoners who were sentenced to work at the Kasımpaşa Naval Dockyard. The head astrologer, Takıyeddin Efendi, established an observatory on the top of the tower at the end of the 16th century and functioned as an observatory for a particular period of time. Later, it was closed and again turned into a prison by Sultan Murat III (1546-1595).

In 1638, Hezarfen Ahmet Çelebi flew as an early aviator using artificial wings from this tower across the Bosphorus to the slopes of Üsküdar on the Anatolian side during the reign of Murad V. Towards the 17th century, it was used  by the Mehter Band, the janissary band of musicians. After 1717, it was used as a fire-observatory tower, butthe tower itself was unfortunately destroyed in a fire in 1794.

After it was repaired, a cumba, a little room made of wood, was added to the tower during the reign of Sultan Selim III (1761-1808). After another fire in 1831, Sultan Mahmut added two more floors to the Tower and covered the top of the tower with a famous cloth in the shape of a conical hat.  An inscription written by Pertev Paşa concerning the tower’s repair works was affixedduring that time. After a strong storm in 1875,  the framework of the roofwas damaged and was late repaired in 1960. Today, the Galata Tower operates solely as a touristic attraction by a private company. The elevator only goes to the 7th floor, and the last two floors of the tower must be climbed by stairs.

After passing though the restaurant on the top floor, there is a balcony that encircles the tower. The restaurant’s view showcases a scene of Istanbul and the Bosphorus.

Dimensions

The height of the tower is 66.90 meters (62.59 meters non-including the ornament on top), the outer diameter is 16.45 meters, the inner diameter is 8.95 meters, and the thickness of the wall is 3.75 meters.

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Rüstem Pasha Mosque

(Turkish ‘Rüstempaşa Camii’) is located in Hasırcılar Çarşısı (Strawmat Weavers Market) in Fatih. It was designed by Ottoman imperial architect Mimar Sinan for Grand Vizier Damat Rüstem Pasha. Rüstem Pasha died in July 1561 and the mosque was built after his death from around 1561 until 1563, on a high terrace over a complex of vaulted shops, the rents of which were intended to financially support the mosque. The mosque complex now hosts a Koran school.

Rüstem Pasha Mosque is famous for its large quantities of exquisite Iznik tiles, set in a very wide variety of beautiful floral and geometric designs, which cover not only the façade of the porch but also the mihrab, minbar, walls, columns and on the façade of the porch outside. These tiles exhibit the early use of the tomato-red color that would become a characteristic of Iznik pottery. Some of the tiles, particularly those in a large panel under the portico to the left main entrance, are decorated with sage green and dark manganese purple that are characteristic of the earlier ‘Damascus ware’ coloring scheme. No other mosque in Istanbul makes such a lavish use of these tiles.

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Süleymaniye Mosque

The Süleymaniye crowns one of İstanbul’s seven hills and dominates the Golden Horn, providing a landmark for the entire city. Though it’s not the largest of the Ottoman mosques, it is certainly one of the grandest and most beautiful. It’s also unusual in that many of its original külliye (mosque complex) buildings have been retained and sympathetically adapted for reuse.

Commissioned by Süleyman I, known as ‘the Magnificent’, the Süleymaniye was the fourth imperial mosque built in İstanbul and it certainly lives up to its patron’s nickname. The mosque and its surrounding buildings were designed by Mimar Sinan, the most famous and talented of all imperial architects. Sinan’s türbe (tomb) is just outside the mosque’s walled garden, next to a disused medrese (seminary) building.

 

Mosque

The mosque was built between 1550 and 1557. Its setting and plan are particularly pleasing, featuring gardens and a three-sided forecourt with a central domed ablutions fountain. The four minarets with their 10 beautiful şerefes (balconies) are said to represent the fact that Süleyman was the fourth of the Osmanlı sultans to rule the city and the 10th sultan after the establishment of the empire.

In the garden behind the mosque is a terrace offering lovely views of the Golden Horn and Bosphorus. The street underneath once housed the mosque complex’s arasta (street of shops), which was built into the retaining wall of the terrace. Close by was a five-level mülazim (preparatory school).

Inside, the building is breathtaking in its size and pleasing in its simplicity. Sinan incorporated the four buttresses into the walls of the building – the result is wonderfully ‘transparent’ (ie open and airy) and highly reminiscent of Aya Sofya, especially as the dome is nearly as large as the one that crowns the Byzantine basilica.

The mihrab (niche in a minaret indicating the direction of Mecca) is covered in fine İznik tiles, and other interior decoration includes window shutters inlaid with mother-of-pearl, gorgeous stained-glass windows, painted muqarnas (corbels with honeycomb detail), a spectacular persimmon-coloured floor carpet, painted pendentives and medallions featuring fine calligraphy.

Külliye

Süleyman specified that his mosque should have the full complement of public services: imaret (soup kitchen), medrese, hamam, darüşşifa (hospital) etc. Today the imaret, with its charming garden courtyard, houses the Dârüzziyafe cafe and is a lovely place to enjoy a çay. On its right-hand side (north) is a tabhane (inn for travelling dervishes) that was being restored at the time of writing, and on its left-hand side (south) is Lale Bahçesi, a popular tea garden set in a sunken courtyard.

The main entrance to the mosque is accessed from Professor Sıddık Sami Onar Caddesi, formerly known as Tiryaki Çarşışı (Market of the Addicts). The buildings here once housed three medreses and a primary school; they’re now home to the Süleymaniye Library and a raft of popular streetside fasulye (bean) restaurants that used to be teahouses selling opium (hence the street’s former name). On the corner of Professor Sıddık Sami Onar Caddesi and Şifahane Sokak is the darüşşifa, also under restoration.

The still-functioning Süleymaniye Hamamı is on the eastern side of the mosque.

Tombs

To the right (southeast) of the main entrance is the cemetery, home to the octagonal tombs of Süleyman and his wife Haseki Hürrem Sultan (Roxelana). The tile work surrounding the entrances to both is superb and the ivory-inlaid panels in Süleyman’s tomb are lovely.

Surrounding Area

The streets surrounding the mosque are home to what may well be the most extensive concentration of Ottoman timber houses on the historical peninsula, many of which are currently being restored as part of an urban regeneration project. To see some of these, head down Felva Yokuşu (between the tabhane and Sinan’s tomb) and then veer right into Namahrem Sokak and Ayrancı Sokak. One of the many Ottoman-era houses here was once occupied by Mimar Sinan; it now houses a cafe.

Alternatively, from Professor Siddık Sami Onar Caddesi head southwest into narrow Ayşekadin Hamamı Sokak (it’s hidden in the middle of the souvenir stands) and follow it and Kayserili Ahmetpaşa Sokak down through the Molla Hüsrev district, which is slowly being restored as part of the Süleymaniye Urban Regeneration Project. Kayserili Ahmetpaşa Sokak is home to a number of pretty timber houses built in the late 19th and early 20th centuries.

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Grand Bazaar

The colourful and chaotic Grand Bazaar is the heart of İstanbul’s Old City and has been so for centuries. Starting as a small vaulted bedesten (warehouse) built by order of Mehmet the Conqueror in 1461, it grew to cover a vast area as lanes between the bedesten, neighbouring shops and hans (caravanserais) were roofed and the market assumed the sprawling, labyrinthine form that it retains today.

When here, be sure to peep through doorways to discover hidden hans, veer down narrow lanes to watch artisans at work and wander the main thoroughfares to differentiate treasures from tourist tack. It’s obligatory to drink lots of tea, compare price after price and try your hand at the art of bargaining. Allow at least three hours for your visit; some travellers spend three days!

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Blue Mosque

About Blue Mosque

The Blue Mosque (Called Sultanahmet Camii in Turkish) is an historical mosque in Istanbul. The mosque is known as the Blue Mosque because of blue tiles surrounding the walls of interior design.Mosque was built between 1609 and 1616 years, during the rule of Ahmed I. just like many other mosques, it also comprises a tomb of the founder, a madrasa and a hospice.Besides still used as a mosque, the Sultan Ahmed Mosque has also become a popular tourist attraction in Istanbul.

Besides being tourist attraction, it’s also a active mosque, so it’s closed to non worshippers for a half hour or so during the five daily prayers.

Best way to see great architecture of the Blue Mosque is to approach it from the Hippodrome. (West side of the mosque) As if you are non-Muslim visitor, you also have to use same direction to enter the Mosque. ​​

Please ignore and avoid people who offer you to enter mosque without  queue up. Those people mostly will try to sell you something and take you to the some shopping place. Best way is to line up and enter Mosque just like other tourists. Don’t worry if line looks very long, it will move very fast for sure. 

How to Visit Blue Mosque?

Tourists always wonder how to visit Blue Mosque.There is also many other questions such as if there is any entrance fee,dress code, where to put my shoes etc.Here below is the answers of all these simple questions…
​
1) Plan your visit to the Sultanahmet area of Istanbul, so that you better arrive mid morning. Pray happens five times a day with the first call to prayer at sunrise and the last one at nightfall.The mosque closes for 90 minutes at each pray time.Avoid visiting a mosque at pray time (Especially Midday praying on Friday) or within a half hour after the ezan is chanted from the Mosque minarets.

2) Before step in to Mosque, take off your shoes and put in plastic bags provided at the entrance(Free of Charge). This is required of all persons as part of Muslim tradition when entering a mosque. There is also no charge to enter the Blue Mosque.

3) If you are women wear a head covering when entering to Blue Mosque.Head coverings are available at the Blue Mosque entrance for free. Place the fabric cover on top of your head with equal portions hanging on both sides. Take one side and wrap it around your neck, tossing it behind your back with covering your shoulders. Don’t cover your face, the covering is meant to hide your hair only.

4) When you are inside the mosque, remain quiet and don’t use flash photography.Since this is a place of worship, avoid staring or taking picture of those who are praying.Visit the mosque respectfully and quietly.At the Mosque exit, you can put used plastic bags in designated bin bags and return head covers to duty staff.

5) You can do donation to help maintain the Mosque at the exit door.It is not compulsory, but if you make donation you will get the official receipt for it.

History
He did appoint his royal architect Sedefhar Mehmet Aga, a pupil and senior assistant of the famous architect Mimar Sinan to be in charge of the Mosque construction. The organization of the work was described in meticulous detail in eight volumes, now found in the library of the Topkapı Palace. The opening ceremonies were held in 1617 . The sultan could now pray in the royal box which called hünkâr mahfil. The building was not yet finished in this last year of his reign, as the last accounts were signed by his successor Mustafa I. Known as the Blue Mosque , Sultan Ahmed Mosque is currently one of the most impressive monuments in the world.
​
Following the Peace of Zsitvatorok (1606) and the  unfavourable result of the wars with Persia, Sultan Ahmed I decided to build a huge mosque in Istanbul. It would be the first great imperial mosque to be built in more than  forty years.His predecessors had paid for their mosques with their  war booty, Sultan Ahmed I had to withdraw the funds from the treasury, because he had not won any notable victories during his time. This provoked the anger of the Ottoman ulema, the Muslim legal scholars.
​
The mosque was to be built on the site of the palace of the Byzantine emperors, facing the Hagia Sophia  (at that time it was most venerated mosque in Istanbul) and the hippodrome, a site of great symbolic significance. Large parts of the southern side of the mosque rest on the foundation and vaults of the Great Palace. Several palaces was already built there, most notably the palace of Sokollu Mehmet Pasha,  so these first had to be bought at a considerable cost and pulled down. Large parts of the Sphendone (curved tribune with U-shaped structure of the hippodrome) were also removed to make room for the new mosque. Construction of the mosque started in August 1609 when the sultan himself came to break the first sod. It was his intention that this would become the first mosque of his empire.
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Basilica Cistern

Price

₺20

Hours

9am-6.30pm mid-Apr–Sep, to 5.30pm Nov–mid-Apr

History

 

In the Depths of History

One of the magnificent ancient buildings of İstanbul is the Basilica Cistern located in the southwest of Hagia Sofia. Constructed for Justinianus I, the Byzantium Emperor (527-565), this big underground water reservoir is called as “Yerebatan Cistern” among the public because of the underground marble columns. As there used to be a basilica in the place of the cistern, it is also called Basilica Cistern.

The cistern is 140 m long, and 70 m wide, and covers a rectangular area as a giant structure. Accessible with 52-step staircase, the Cistern shelters 336 columns, each of which is 9 m high. Erected at 4.80 m intervals from one another the columns are composed of 12 rows, each has 28 columns. The case-bay of the cistern is conveyed by the columns through arches. Majority of the columns, most of which is understood to have been compiled from the ancient structures and sculpted of various kinds of marbles, is composed of a single part and one of it is composed of two parts. The head of these columns bear different features in parts. 98 of them reflect the Corinthian style and part of them reflect the Dorian style. The cistern has 4.80 m high brick walls, and the floor is covered by bricks, and plastered by a thick layer of brick dust mortar for water tightness. Covering 9,800 sqm area in total, the cistern has an estimated water storage capacity of 100,000 tons.

 

Medusa Heads

Except couple of the edged and grooved columns of the cistern, majority of them are shaped as a cylinder. Two Medusa heads, which are used as supports under the two columns at the northwest edge of the cistern, are the great work of art from the Roman period. What attracts most attention from the visitors is that the structure from which the Medusa heads have been taken is unknown. The researchers often consider that it has been brought for being used as supports to the column at the time of construction of the cistern.  However, this has not prevented myths for the heads of Medusa.

As the legend has it, Medusa is one of the three Gorgonas that are female monsters in the underground world in Greek mythology.  The snake-head Medusa, one of the three sisters, has the power of gorgonising the ones that happen to look at her. Accordingly, Gorgone paintings and sculptures were being used for protecting big structures and special venues in that time. And putting the head of medusa in the cistern was for protecting purposes. According to another rumour, Medusa was a girl who boasted for her black eyes, long hair and beautiful body. She loved Perseus, the son of Zeus. Athena was also in love with Perseus and this made Medusa jealous. Therefore, Athena converted medusa’s hairs into snakes. Now, everybody that happened to look at Medusa was gorgonised. Afterwards, Perseus headed off medusa and beat many enemies by using her power.

Therefore, the head of Medusa was engraved on the handles of the swords in Byzantium, and applied onto supports of the communes in reverse (so that the onlookers would not be gorgonised). According to another rumour, Medusa  gorgonised herself by looking sideways. For this reason, the sculptor that made it generated Medusa in three different positions depending on the reflection angles of the light. The Basilica Cistern has been renovated repeatedly until today. It was repaired by the Architect Kayserili Mehmet Ağa during the reign of Ahmad III (M.1723) in the Ottoman Empire, followed by Sultan Abdulhamid II (1876-1909) in the 19th century. There are 8 columns in front of the northeast wall towards the middle of the cistern, and they were exposed to the risk of breaking during the construction works in 1955-1960, thus each of them were surrounded by a thick layer of cement, so they lost their previous feature though.

During the rule of Byzantium, the Basilica Cistern used to meet the water needs and requirements of the great palace that covered a wide area where the emperor resided, as well as the other denizens in the region. After conquest of the city of Istanbul in 1453, it was used for a little while and water was supplied to Topkapı Palace where the sultans resided.. However, the Ottomans preferred running water over still water, and established their own water facilities in the city. It is understood that the cistern was not used thereafter and the western world did not notice it until the mid XVI century. It was in 1544-1550 when P. Gyllius, a Dutch traveller that came to Istanbul for making researches on Byzantium ruins was rediscovered and introduced to the western world. In one of his researches, P. Gyllius, while roaming around Hagia Sofia, managed to enter inside the cistern with a torch carrying in his hand by proceeding from the stone steps that went towards the underground from the backyard of a wooden building surrounded by walls situated on a large underground cistern as he was told that the householders there pulled water with buckets down inside the large round holes similar to well on the ground floor of their houses, and even fished there. P. Gyllius ranged around the cistern on a rowing boat under harsh conditions, measured it and identified the columns. The information acquired from his experience was published in the travel book, and Gyllius had influence on many travelers.

The cistern was subject to repeated renovations since its establishment. Renovated twice during the reign of the Ottoman Empire, the cistern was repaired during the rule of Ahmed III (1723) by the Architect Kayserili Mehmet Ağa for the first time. And the second repair was made during the rule of Sultan Abdulhamid II (1876-1909). In republican period, the cistern was cleaned by Istanbul Municipality in 1987, and was opened to visits for creating a route. Another extensive cleaning was made in May 1994.

This mysterious venue is an integral part of the Istanbul itineraries and has been visited -among others- by the US former President Bill Clinton, Wim Kok the Prime Minister of the Netherlands, Lamberto Dini, Former Minister of foreign Affairs of Italy, Göran Persson, Former Prime Minister of Sweden and Thomas Klestil, Former prime Minister of Austria until today.

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Hagia Sophia Museum

Museum visiting information. 

Summer Schedule- 15 APRİL -25 OCTOBER Visiting Hours: 09.00 – 19.00

Hours of Ticket Sale: 18:00

Winter Schedule- 25 OCTOBER- 15 APRİL Visiting Hours: 09:00- 17:00

Hours of Ticket Sale: 16:00

Ticket Price: 40 TL

Hagia Sophia Museum’s visiting hours of winter schedule are 09:00-17:00 with the last entrance time of 16:00. Visiting hours of summer schedule are 09:00-19:00 with the last entrance time of 18:00.

Special Days: Hagia Sophia Museum is not available for visiting in the first days of Ramadan and Sacrifice Festivals for half time.

History

The Hagia Sophia, one of the historical architectural wonders that still remains standing today, has an important place in the art world with its architecture, grandness, size and functionality.

The Hagia Sophia, the biggest church constructed by the East Roman Empire in Istanbul, has been constructed three times in the same location. When it was first built, it was named Megale Ekklesia (Big Church); however, after the fifth century, it was referred to as the Hagia Sophia (Holy Wisdom). The church was the place in which rulers were crowned, and it was also the biggest operational cathedral in the city throughout the Byzantine period.

The first church was constructed by Emperor Konstantios (337-361) in 360. The first church was covered with a wooden roof and expanded vertically (basilica) yet was burned down after the public riot that took place in 404 as a result of the disagreements between Emperor Arkadios’ (395-408) wife empress Eudoksia and Istanbul’s patriarch Ioannes Chrysostomos, who was exiled. The patriarch’s mosaic portrait can still be viewed at the tymphanon wall located in the northern part of the church. No remains have been recovered from the first church; however, the bricks found in the museum storage branded ‘Megale Ekklesia’ are predicted to belong to the first construction.

The second church was reconstructed by Emperor Theodosios II (408-450) in 415. This basilical structure is known to contain five naves and a monumental entrance; it is also covered by a wooden roof.

The church was demolished in January 13, 532, after the public riot (Nika revolts) that took place during the fifth year of Emperor Justinianos’ reign (527-565), when the ‘blues’ who represented the aristocrats, and the ‘greens’ who represented the tradesman and merchants in the society, collaborated against the Empire.

Remains found during the excavations led by A. M Scheinder of the Istanbul German Archeology Institute, 2 meters below ground level, include steps belonging to the Propylon (monumental door), column bases and pieces with lamb embossings that represent the 12 apostles. In addition, other architectural pieces that belong to the monumental entrance can be seen in the west garden.

The current structure was constructed by Isidoros (Milet) and Anthemios (Tralles), who were renowned architects of their time, by Emperor Justinianos’s (527-565) orders. Information from historian Prokopios states that the construction that began on February 23, 532, was completed in a short period of five years and the church was opened to worship with a ceremony on December 27, 537. Resources show that on the opening day of the Hagia Sophia, Emperor Justinianos entered the temple and said, “My Lord, thank you for giving me chance to create such a worshipping place,” and followed with the words “Süleyman, I beat you,” referring to Süleyman’s temple in Jerusalem.

The third Hagia Sophia construction combined the three traditional basilical plans with the central dome plan in design. The structure has three nefi, one apsi, and two narthex, internal and external. The length from the apsis to the outer narthex is 100 m, and the width is 69.5 m. The height of the dome from the ground level is 55.60 m and the radius is 31.87 m in the North to South direction and 30.86 in the East to West direction.
Emperor Justinianos ordered all provinces under his reign to send the best architectural pieces to be used in the construction so that the Hagia Sophia could be bigger and grander. The columns and marbles used in the structure have been taken from ancient cities in and around Anatolia and Syria, such as, Aspendus Ephessus, Baalbeek and Tarsa.
The white marbles used in the structure came from the Marmara Island, the green porphyry from Eğriboz Island, the pink marbles from Afyon and the yellow from North Africa. The decorative interior wall coatings were established by dividing single marble blocks into two and combining them in order to create symmetrical shapes.
In addition, the structure includes columns brought in from the Temple of Artemis in Ephessus to be used in the naves, as well as 8 columns brought from Egypt that support the domes. The structure has a total of 104 columns, 40 in the lower and 64 in the upper gallery.
All the walls of the Hagia Sophia except the ones covered by marble have been decorated with exceptionally beautiful mosaics. Gold, silver, glass, terra cotta and colorful stones have been used to make the mosaics. The plant-based and geometric mosaics are from the 6th century, whereas the figured mosaics date back to the Iconoclast period.
During the East Roman period, the Hagia Sophia was the Empire Church and, as a result, was the place in which the emperors were crowned. The area that is on the right of the naos, where the flooring is covered with colorful stones creating an intertwining circular design (omphalion), is the section in which the Eastern Roman Emperors were crowned.
Istanbul was occupied by Latins between 1204 and 1261, during the Holy Crusades, when both the city and the church were damaged. The Hagia Sophia was known to be in bad condition in 1261, when Eastern Rome took over the city again.
Following Fatih Sultan Mehmed’s (1451-1481) conquer in 1453, Hagia Sophia was renovated into a mosque. The structure was fortified and was well protected after this period, and remained as a mosque. Additional supporting pillars were installed during the East Roman and Ottoman periods as a result of the damage that the structure experienced due to earthquakes in the region. The minarets designed and implemented by Mimar Sinan have also served to this purpose.

A madrasah was built towards the North or Hagia Sophia during Fatih Sultan Mehmed’s reign. This construction was abolished in the 17. Century. During Sultan Abdülmecid’s (1839-1861) reign, renovations were conducted by Fossati and a madrasah was rebuilt in the same place. The remains have been discovered during the excavations in 1982.

During the 16th and 17th century Ottoman period, mihrabs, minbar, maksoorahs, a preachment stand and a muezzin mahfili (a special raised platform in a mosque, opposite the minbar where a muezzin kneels and chants in response to the imam’s prayers) were added to the structure.

The bronze lamps on two sides of the mihrab have been given as gifts to the mosque by Kanuni Sultan Süleyman (1520-1566) after his return from Budin.

The two marble cubes dating back to the Hellenistic period (3 – 4 B.C.) on both sides of the main entrance have been specially brought from Bergama and were given by Sultan Murad III (1574-1595) as gifts.
During the Sultan Abdülmecid period between 1847 and 1849, an extensive renovation in the Hagia Sophia was conducted by the Swiss Fossati brothers, where the Hünkâr Mahfili (a separate compartment where the emperors pray) located in a niche in the Northern section was removed and another one towards the left of the mihrab was built.

The 8- 7.5 m diameter calligraphy panels that were written by Caligrapher Kadıasker Mustafa İzzet Efendi were placed in the main walls of the structure. The panels that read “Allah, Hz. Muhammed, Hz. Ebubekir, Hz. Ömer, Hz. Osman, Hz. Ali, Hz. Hasan ve Hz. Hüseyin” are known to be the biggest calligraphy panels in the Islamic world.
The Hagia Sophia was converted into a museum by Mustafa Kemal Atatürk’s orders and has been functioning as one since February 1, 1935, welcoming both local and foreign visitors. According to a deed dated 1936, the Hagia Sophia is registered as “Ayasofya-i Kebir Camii Şerifi on behalf of the Fatih Sultan Mehmed Foundation for maoseleum, akaret, muvakkithane and madrasah on 57 pafta, 57 island and 7th parcel.”

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