The Mosque of Selim II in Edirne Research Paper

The Mosque of Selim II in Edirne - Research Paper Example The Muslim architect Sinan, considered the greatest Islamic builder, worked from the reign Selim I through that of Sulayman I and Selim II, named court architect in 1539. The mosques Sehzade and Sulayman I, and Selim II are his masterpieces of more than 300 designs ("Sinan." 1-1). The city was founded (c.A.D. 125) by Hadrian, a strongly fortified site as doorway to Greece. It was dominated by no less than a dozen countries until its return to Turkey by the Treaty of Lausanne in 1923 (Edirne1-1) . What is unique about Turkish architecture is the accomplishment of symmetry using the repetition of many, often asymmetrical shapes. Sometimes they are simply repeated in symmetrical patterns, sometimes overlaid to for a surface and sometimes in design using tessellation (Walrath, John 2010). The Structure of the Mosque The mosque structure is seen below and the drawing allows one to see wonderful symmetry created by symmetrical arrangement of the various elements While the two colleges do n ot balance the aerial view, they do balance the wall against which they are constructed. In looking at this illustration one can easily see how various shapes are repeated in regular patterns, such as lines of windows, wall sconces and the shapes used for coverings and light entrance. ("Art History Test 3.") ("World Architecture Images- Selimiye Mosque (Minar Sinan).") Minarets Minarets, often used for calls to worship, are not seen everywhere, because Muslim law prohibits their construction where they may impact the privacy of individual homes (Eres and Akin 79-90). Also they are most commonly used in symmetrical patterns as in the corner pattern of this mosque which contrasts a square to the massive central dome and its many smaller repetitions. Inside Design The most striking part of interior design is the intricate painting or carving found in most mosques. Whole surfaces, such as walls, ceiling floors and even the interior parts of domes are covered with tessellations. Tessella tions are a pattern of the same shapes repeated and laid together with no gaps ("ORIGAMI BLOG  » Origami Tessellations and Islamic Design."). As in quilting, ceramic tiles can be painted with repetitive designs and then arranged to form more wonderful complex designs. The tiles are joined side by side and sometimes the new pattern creates a tessellation of tessellations. If differently shaped tiles are used, this can also allow a new design to be made. Islam and Judiaism share an aversion to creating images of animate beings. However, "the main advances of Arabian architecture were not made in the all-important branches of construction, but rather in decorative adjuncts closely related to sculpture and painting," (Reber 195). This aversion to using people in art might â€Å"explain the prevalence of calligraphy, tessellation and pattern as key aspects of Islamic artistic culture† ("Comparative religion for all human - About Islam."). There is, as a result, almost no human r epresentation in Judaic art as in Muslim art. Christianity might have followed the same pattern if it had not spread beyond the Middle East (Reber 195-6). What is really apparent is that Muslim art is not just for decoration, though it is