husedzinovic, sabira - mosques

Publication Data: Husedzinovic, Sabira, 'The Influence of Mimar Sinan's School on Domed Mosques in Bosnia and Herzegowina ', EJOS, IV (2001) (= M. Kiel, N. Landman & H. Theunissen (eds.), Proceedings of the 11th International Congress of Turkish Art, Utrecht - The Netherlands, August 23-28, 1999), No. 60, 1-25. ISSN 0928-6802 Copyright 2001 Sabira Husedzinovic. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the author.

The Influence of Mimar Sinan's School on Domed Mosques in Bosnia and Herzegowina

Sabira Husedzinovic*

The construction of mosques in Bosnia and Herzegowina

The construction of mosques in Bosnia and Herzegovina started in the second half of the 15th century, when this region became part of the Ottoman Empire. The Ottomans founded new towns and further developed existing ones1, in order to ensure the development of crafts and trade, while at the same time creating new logistical bases for further military advancement. Bosnia and Herzegovina throughout its history from the 15th to the 19th centuries followed the rise and decline of the Ottoman Empire, first as a province, the Sanjak of Bosnia within the Beylerbeyluk of Rumelia, and later as the Bosnian Pashalik.2 Benefiting from all the advantages offered by this status and from its geographical position, it soon became an important military, political, cultural and commercial region of the Ottoman Empire.

In this period Bosnia underwent fundamental changes: existing settlements were transformed and new ones constructed. Uphill sites were abandoned; new settlements were located near rivers or roads in the valleys Town planning followed the clear logic of separated zones: the arija (business center) where business activities were carried out and the mahala (residential quarter) where people lived. The development of each settlement started with the construction of a mosque by the Sultan's order, which was named "Imperial"3. Other mosques were built according to the traditional system of the waqf (endowment). The belief that "to build a mosque means to build your own house in Paradise" stimulated the

* Mrs. Sabira Husedzinovic, Ministry of Education, Science, and Culture, Sarajevo. 1 A. Hani, "O formiranju nekih gradskih naselja u Bosni u XVI stoljeu. Uloga drave i vakufa", Prilozi Orijentalnog instituta, XXV, Sarajevo 1975. 2 H. abanovi, Bosanski paaluk. Prostorna i upravna podjela. Nauno drutvo BiH, Odjeljenje historijsko-filozofskih nauka, Sarajevo 1959, 77. 3 Handi, O formiranju nekih gradskih naselja, 165.

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construction of many religious and social structures. The mosque became the focus of the settlement around which other urban structures clustered.

From the 16th to the 19th century 36 domed mosques were built in Bosnia and Herzegovina:4 8 in Sarajevo alone in the course of the 16th century, 4 in Livno, 3 in Mostar and Travnik, 2 in Foa and Banja Luka, and 1 in 14 other Bosnian towns5. The majority of these mosques were built in the 16th century. Apart from the Gazi Husrev Bey Mosque built in Sarajevo (1530/31)6 (Figure 1) and the Ferhadiya Mosque in Banja Luka (1579)7, which have a multi-dome system, all other domed mosques in Bosnia and Herzegovina have one dome surmounting the prayer area, and three small domes surmounting the open porch. Although they have the same ground plan these mosques differed from each other in dimensions, proportions, building technology, construction elements, form, position of the minaret, and the shaping of the upper zones of the building. The mosques erected in the first part of the 16th century, like the Mosque of Mustafa Bey Skenderpai (the first domed mosque built in Sarajevo in 1518)8 or the Mosque of Muslihudin ekrekija in Sarajevo (1526)9, as well as the Balagua Mosque (1514)10 or the Sinan au Mosque (1529) in Livno11, were built less skillfully and without good proportions: domes are shallow12, and relations between some of the elements lack appropriate proportions. However, in the second half of the 16th century, in several towns a number of mosques was built, each of which was an artistic achievement in itself. At the head of this group is the Hasan Nazir or Alada Mosque in Foa (1550/51)13, which became the standard for numerous later mosques such as the Mehmed Bey Karadoz Mosque (1557) in Mostar14, the Hadji Ali Mosque (1563) in Poitelj15, the Hadim Ali Pasha Mosque (1560/61)16 and

4 A. Handi, Znaaju putova za razvitak naselja u Bosni XVI i XVII stoljea (POF, XVIII) Sarajevo 1977, 89. 5 M. Beirbegovi, Damije sa drvenom munarom, Sarajevo 1990, 15. 6 M. Mujezinovi, Islamska epigrafika u Bosni i Hercegovini, I, Sarajevo 1974. 7 "Vakufnama Ferhad-pae, Vakufname XV i XVI stoljea iz BiH", Monumenta turcica, IV/I, Sarajevo 1985. 8 Mujezinovi, Islamska epigrafika, I, 95. 9 H. Kreevljakovi, Damija i vakufnama Muslihudina ekrekije, Sarajevo 1938, 18. 10 H. Redi, Studija o islamskoj arhitektonskoj batini, Sarajevo 1983, 169. 11 A. Alii, "Livanjske damije", Glasnik Vrhovnog islamskog starjeinstva, IX, 1941, 169. 12 Redi, Studija o islamskoj arhitektonskoj batini, 65. 13 A. Andrejevi, Alada damija u Foi, Beograd 1972; A. Bajti, "Povijest i umjetnost Foe na Drini", Nae starine, IV, 1955, 59. 14 A. Andrejevi, Islamska monumentalna umetnost, s.l. s.a., 75 15 D. eli, "Poitelj na Neretvi", Nae starine, XVII, 1959, 45 16 E. H. Ayverdi, Avrupa'da Osmanl Mimr Eserleri, II. cild, Yugoslavya, stanbul 1981, 189.

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the Ferhad Bey Mosque (1562)17 in Sarajevo, Kalaun Jusuf Pasha Mosque in Maglaj (1619-1621)18, the Dukatar Hadji Ahmed Agathe Mosque in Livno (1587/88)19, the Hasan Defterdar Mosque in Banja Luka (1594/95)20, and the Sinan Bey Boljani Mosque in ajnie (1569)21.

The possible role of Mimar Sinan

Although built in small towns, these mosques bear the characteristics of the Istanbul mosques: clarity of style, harmony of all parts of the structure, and a distinct simplicity of architectural solutions. Many legends have it that Koda Mimar Sinan built them. We know that Ajem Esir Ali, Sinan's predecessor as chief architect, built the Gazi Husrev Bey Mosque in Sarajevo22, and that Ramadan Aga, one of Sinan's assistants, built the Alada Mosque in Foa23. Mimar Hajrudin, Sinan's successor, built the Old Bridge in Mostar24, and Sinan himself the Sokolovia Bridge in Viegrad25. But is there any evidence that the Ferhadiya Mosque in Banja Luka, the Karadoz Bey Mosque in Mostar, the Sinan Bey Mosque in ajnie, the Ali-Pasha Mosque in Sarajevo and the Hadji Ali Mosque in Poitelj were built by Koda Mimar Sinan himself?26.

The sources, which could be used in order to confirm or refute this hypothesis, are the inventories of buildings (presumably) built by Sinan. The first two inventories were compiled in the last quarter of the 16th century. They are the Tezkiret l Bnyan and the Tezkiret l Ebniye. Montani Effendi published both inventories in 187327, and scholars such as

17 H. abanovi, "Ko je osnovao sarajevsku Ferhadiju", Glasnik Vrhovnog islamskog starjeinstva, V, 1953, 89. 18 M. Kiel, "The Mosque of Kalaun Yusuf Pasha in Maglaj. Its Date of Construction and Stylistic Features", Symposium 50 years Oriental Institute Sarajevo, Sarajevo 2000 (unpublished). For the identity of Kalaun Yusuf Pasha see also . H. Danimend, zahl Osmanl Tarihi Kronolojisi, stanbul 1971/72, V, 264 and III, 821-22. Also M. Sreyya, Sicill-i Osmani, stanbul 1308-1316 (1890/1891-1899), IV, 655. 19 Alii, Livanjske damije, 169. 20A. Bejti, "Banja Luka pod turskom vladavinom", Nae starine, I, 1953, 119. 21 "Vakufnama Sinan-bega, sina Bajram-age; Vakufname XV i XVI vijeka iz Bosne i Hercegovine", Monumenta turcica, IV, Sarajevo 1985, 162-189. 22 Redi, Studija, 119. 23 A. Bejti, "Povijest i umjetnost Foe na Drini", Nae starine, IV, 1955, 59. 24 D. eli and J. Neidhart, "Stari most u Mostaru", Nae starine, I, 1953, 145. 25 M. Mujezinovi, "Obnova natpisa na Sokolovievom mostu u Viegradu", Nae starine, I, 1953, 185. 26 Sinan was even credited with the construction of the Gazi Husrev Bey Mosque in Sarajevo. See Redi, Studija, 95. 27 A. Kuran, The Mosque in Early-Ottoman Architecture, Chicago-London 1968, idem, Mimar Sinan, stanbul, 1986.

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F. Babinger (1914)28, A. Refique (1931)29, C. E. Arseven (1939)30, E. Egli (1954)31, and R. M. Meri (1965)32 have used these inventories for their works on Sinan. The third inventory the Tuhfet l Mimarin, published by A. Kuran33, was compiled in 1590. It contains the largest number of structures, but it also differs from the first two ones. According to the first two inventories Sinan built the following structures in Bosnia:

1. The Bridge in Viegrad (1571-1577) (Figure 2). 2. The Court-Serai in the village of Sokolovii near Viegrad,

including a mekteb (elementary religious school), and a mosque. 3. An imaret (public kitchen) in Sarajevo (all during the rule of Grand

Vizier Mehmed Pasha Sokolovi). 4. In addition, under # 72 of the first inventory and # 75 of the second a

mosque of Sofi Mehmed Pasha. Since in 1554/55 a Sofi Mehmed Pasha Mosque was erected in Banja Luka, it was assumed that this could have been Sinan's mosque. Because the mosque was pulled down in the 17th century, there is no possibility for further research.34.

The Tuhfet l Mimarin under # 57 gives the Mehmed Bey Karadoz

Mosque (1557)35 in Mostar instead of the Sofi Mehmed Pasha Mosque. In addition this inventory mentions three other structures built in Sarajevo for Grand Vizier Mehmed Pasha Sokolovi: the courtserai, the imaret and caravanserai, and the bridge in Viegrad36.

However, on the basis of their style and architectural features it can be concluded that a larger number of domed mosques in Bosnia was designed in Istanbul and their construction supervised by architects from the capital, probably in association with masters from Dubrovnik or Dalmatia. The classical Ottoman style of Mimar Sinan not only ruled in the imperial capital stanbul, but in the Bosnian Pashalik as well.

28 F. Babinger, "Die trkische Renaissance, Bemerkung zum Schaffen des grossen trkischer Baumeister Sinan", Beitrge zur Kenntnis der Orient, XI, 1914. 29 A. Refique, Mimar Sinan, stanbul 1934. 30 C. Arseven, LArt turc, stanbul 1939, 198. 31 E. Egli, Sinan, der Baumeister osmanischer Glanzzeit, Zrich 1954, 124-125. 32 R. M. Meri, Mimar Sinan, Hayat, Eserleri, I, Ankara 1965, 195. 33 Kuran, Mimar Sinan. 34 The mosque was destroyed in 1689 by Austrian troops, but the minaret was preserved until 1989. The original mosque probably had a dome as was written in the waqfnamah (For Sofi Mehmed-Pashas Waqfnamah see "Vakufname iz Bosne i Hercegovine XV i XVI stoljea", Monumenta turcica, IV/I; A. Bejti, "Banja Luka pod turskom vladavinom", Nae starine, I, 1953, 195. 35 Kuran, Mimar Sinan. 36 Ibid.

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Mosques in the classical Ottoman style

The beginning of the classical Ottoman style in Bosnia is marked by the Hasan Nazir Mosque built in Foa in 1550/51, also called the Alada (the Colourful) because of the arabesques decorating it. The Alada Mosque, with its clear architectural composition and good proportions, soon after its completion became the standard for new mosques in Bosnia and Herzegovina. E. Chelebi writes: "In this mosque, from the point of view of architecture, so much ability, so much taste and refinement was expressed, and so much grace achieved that this is the impressiveness achieved by no other architect on the Globe"37. The dome marks the center of the graded composition, and the minaret emphasizes its verticality. The mosque was decorated with arabesques and "hatayi" motifs. It is known that masters from Dubrovnik took part in the construction.38 The way all architectural elements are executed, confirms that the mosque was built by Ramadan Aga, an assistant of Mimar Sinan, as is also indicated by a written source.39. The harmonious beauty of the building made it (until it was blown up and pulled down in 1992) the most beautiful mosque in Bosnia and Herzegovina. (Figure 4)

The Sanjak Bey of Herzegovina, Mehmed Bey Karadoz, built his mosque in Mostar in 155740, taking the Alada Mosque as a source of inspiration. It has the same concept of space as the Alada Mosque where the square area was surmounted by a large dome. The transition from the square space to the dome was made over crossed three-part tromps, like in the Alada Mosque. The technique of brick laying and the workmanship of the architectural details in white Herzegovina lime-stone used for the mihrab, minber and the stalactite-decorated erefet (minaret balcony), gives the mosque an exquisite beauty. The interior was decorated with arabesques executed between the 16th and 19th centuries. The mosque is listed among Sinan's works. It is very likely that the design was drawn up in his Istanbul studio. Mimar Hajrudin, one of Sinan's assistents, who in 1566 built the Old Bridge in Mostar and the fortress in Makarska41, was probably also engaged in the construction of this mosque. Shelling during the 1992-1995 war damaged the mosque. (Figure 5)

Among these Bosnian mosques in the classical Ottoman style of Mimar Sinan, is also the mosque of Hadim Ali Pasha, the Beylerbey of

37 E. elebi, Putopis, translated by A. abanovi, Sarajevo 1965, 195. 38 . Truhelka, "Tursko-slavjenski spomenici dubrovake arhive", Glasnik Zemaljskog muzeja, XXIII, 1911. 39 A. Bejti, "Povijest i umjetnost Foe na Drini", Nae starine, IV, 1955, 59; A. Andrejevi, Alada damija u Foi, Beograd 1972, 15. 40 H. Hasandedi, Kulturno-istorijski spomenici u Mostaru iz turskog doba (POF, X-XI) Sarajevo 1961, 149. 41 A. Nametak, Mostarski Stari most, Sarajevo 1932, 9.

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Buda (1560/61).42. The classical style is clearly expressed in the composition and the proportions. The high dome (15.85 m.) on a small base (9.5/9.5 m.), in addition to all other architectural details, gives this mosque the beauty of the classical Ottoman style. Masters from Dubrovnik built the mosque, and the Dubrovnik ell43 (lakat: 55 cm) was used instead of the Turkish ell (arin)(which was used for the Alada Mosque).

The simplicity and clarity of the architectural composition and the well-chosen proportions - all features of the classical Ottoman style can also be found in the mosque of Hasan Defterdar the Arnaudiya (1595)44 in Banja Luka (Figure 6), and in the Kalaun Jusuf Pasha Mosque in Maglaj (1585)45. These two mosques have extraordinary slender minarets. The Arnaudiya Mosque was blown up and entirely demolished in 1993, and its site cleared46. The Kalaun Jusuf Pasha Mosque was badly damaged by shelling. Its restoration, however, has started47. (Figure 7)

The Alada Mosque and Karadoz Bey Mosque, as representatives of the classical Ottoman style, would have great influence in Herzegovina and Montenegro. Thus the two Boljani brothers, i.e. Sinan Pasha (Sanjak Bey of Herzegovina and son-in-law of Mehmed-Pasha Sokolovi)48 and Husein Pasha, built their own mosques following the new standard: the former in ajnie (1570/71)49, and the latter in Pljevlja (1569)50. Both mosques have the characteristics of the classical Ottoman style. They have one central dome, and three small domes over the porch. The transition from the square base to the dome was solved in the same way as in the previous mosques (tromps). The pilasters, which reinforce the tambour and the dome make these two mosques different from the others and emphasize even more distinctly the influence of Sinan's school. In the Husein Pasha Mosque in

57 A. Bejti, "Ali-paina mahala u Sarajevu", Prilozi za prouavanje istorije Sarajeva, II, Sarajevo 1966, 19-59. 58 Andrejevi, Islamska monumentalna umetnost u Jugoslaviji, 69. 44 S. Husedinovi, Vakufname - znacajni izvori za upoznavanje urbanog razvoja Banja Luke Osmanskog doba, Glasnik arhiva BiH, Sarajevo 1989. 45 M.Hamidovi, Kurumlija damija u Maglaju, Bosnien ett islamiskt kulturarv i Europa, En moske i Maglaj, Stockholm 1999. 46 "A report on the devastation of the cultural, historical and natural heritage of the Republic, Federation of Bosnia and Herzegovina (5th April 1992 - 5th September 1995", Nae starine, XXI, 1995). 47 The rehabilitation and restoration of the Kalaun Jusuf Pasha Mosque in Maglaj is carried out by the Swedish organization "Cultural Heritage without Borders". 48 M. Mujezinovi, Islamska epigrafika u Bosni i Hercegovini, Sarajevo 1985, 479. 49 Ibid. 50 A. Andrejevi, Pljevaljska damija i njeno mesto u islamskoj umetnosti na naem tlu Symposium, Pljevlja 1978, 179.

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Pljevlja, there are small blind domes over the corner tromps51. The ajnie mosque was blown up in 1992, its remains used as landfill52. (Figure 8)

The Hadji Ali Mosque, built in 1562 in Poitelj53, has the same spatial layout as the Alada Mosque in Foa. The transfer of the weight of the dome is again via cross-like tromps. The mosque was built from white limestone. The round pillars of the porch with their stalactite capitals, as well as other stone parts, are the work of masters from Dubrovnik. This mosque was badly damaged in the 1992-1995 war. (Figure 9)

A special place among the Bosnian mosques is reserved for the Ferhadiya Mosque, built in 1579 in Banja Luka54 as the endowment of Ferhad Pasha Sokolovi, Beglerbey of Bosnia. It has a special ground plan: the central prayer area has a dome supported by pendentives, while the aisles are surmounted by vaults and the mihrab by a semi-cupola. The Gazi Husrev Bey Mosque, the largest and most important Ottoman structure in Bosnia, has a similar layout55. (Figure 10) However, this mosque was built in early-Ottoman style, and its base extensions have a functional role, while the ones in the Ferhadiya are the result of an architectural concept. The same feature can be seen in the Muradiye Mosque, built by Murad III in Manisa56. A. Refique claimed that Sinan constructed this mosque57. He entrusted his best associate, Mahmud, with the construction of the mosque. However, Mahmud soon died and Mehmed, who would later become the chief architect of the Empire58 and built the Blue Mosque59, continued the construction. The Muradiye Mosque was completed in 158660, i.e. seven years after the Ferhadiya. The two mosques have the same ground plan, although the Muradiye, being Imperial, is bigger and has two minarets. The dome is only 10.5 m. in diameter, thus having the same proportions as the Ferhadiya. The extensions are surmounted in the same way by semi-monastic vaults, just as the mihrab. The same stone was used for all interior elements (like the pillar capitals of the porch, the entrance part of the minber, as well as the minaret balustrade). (Figure 11) The possibility that the Ferhadiya designs were made in Sinan's Istanbul studio is reinforced by the fact that Sinan made many buildings for Grand Vizier Mehmed Pasha

51 Ibid. 52 "A report on the devastation of cultural-historical and natural heritage of the Republic, Federation of Bosnia and Herzegovina (5th April 1992)", Nae starine, XXI, 1995. 53 D. eli, "Poitelj na Neretvi", Nae starine, IV, Sarajevo, 95. 54 For Ferhad-Pashas Waqfnamah see "Vakufname XV i XVI stoljea u Bosni i Hercegovini", Monumenta turcica, IV/I, Sarajevo, 1985. 55 Redi, Studija o islamskoj arhitektonskoj batini, 95. 56 G. Goodwin, A History of Ottoman Architecture, BaltimoreLondon 1971, 215. 57 Refique, Mimar Sinan, 95. 58 L. A. Mayer, Islamic Architects and Their Works, Geneva 1956, 85. 59 Kuran, Mimar Sinan, 169. 60 Kuran, Mimar Sinan, 195.

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Sokolovi, who belonged to the Sokolovi family, one of the most important families in the Ottoman Empire of that time. It is quite possible that Ferhad Pasha, another member of the Sokolovi family, was also in touch with the famous architect. In addition, many features of the mosque of Mehmed Pasha Sokolovi in Kadrga, Istanbul, can also be found in the Ferhadiya Mosque.

After analyzing these mosques, the following conclusions can be drawn:

Purity of architectural composition is achieved by the square base (except for the Ferhadiya in Banja Luka), surmounted by one single dome, skillfully shaped and raised onto the polygonal tambour.

The postulate of Islamic architecture "constructing the ideal circle above the ideal square"61 is achieved.

All mosques are built using regularly hewed stones, usually lime-stone and quick lime, junctions are filled up with lead.

Domes and vaults are made using Turkish brick "tula". In a number of cases, the mosques were built by masters from

Dubrovnik and Dalmatia. Transition from dome to walls was achieved by means of tromps. The minaret was always carefully built. Its proportions, height and

workmanship reveal the style of the mosque. The minaret base was built from broken or cut stone, sometimes decorated with stone profiles. On the base is the 12-, 14- or 16-sided minaret shaft, often finished with profiled decorations and small arches. The sherefet (minaret balcony) often has a fence decorated with stone frames and is decorated with stalactites.

The lightness of the proportions in these mosques is remarkable. In some cases the proportions of 3:4:5 were used (proportions of the

Egyptian triangle62 the Ferhadiya Mosque) or 3:4:7:13 (the second Lam's series of the golden section the Alada Mosque)63.

The measure unit for the building of some mosques was the Dubrovnik ell64 (lakat: 55 cm) in the Alada in Foa and the Ali Pasha Mosque in Sarajevo. However, for the majority of the mosques it was the Turkish ell (arin: 68.579 cm).

The porches in all these mosques are always in the north-west and are supported by massive stone pillars. The capitals are decorated with geometrical and stalactite decorations, linked by broken arches

61 S. gel, Der Kuppelraum in der trkischen Architectur, stanbul 1972. 62 T. Kurent, "Ferhadija numeriki simbol kosmosa", Most, 1983. 63 Andrejevi, Alada damija u Foi, 45. 64 Andrejevi, Islamska monumentalna umetnost u Jugoslaviji, 169.

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supporting the domes65. In some mosques there is another lower porch under this porch, with a slanting roof ensuring a connection between the mosque and the small buildings in the business center - arija66. The only one preserved is in the Karadoz Bey Mosque in Mostar67. (This feature also existed in the Ferhadiya and Arnaudiya Mosques in Banja Luka, and the Sinan Bey Mosque in ajnie68). These porches are also one of the elements characteristic for Sinan's mosques69.

Great attention was paid to the workmanship of portals, which have a symbolic role, emphasizing the entrance from the common into the spiritual world70. All portals are centrally placed, occupying the middle space of the porch. Emphasized verticals are composed of the outer frame within which is the door opening with a segmented arch, while the frame finishes in a crown wreath often shaped as stylized flowers and leaves.

The interior prayer hall is the most important part of the mosque. It contains the mihrab, minber and mahfil (raised women's gallery).

The mihrab, the focal point of the south-east wall pointing in the direction of Mecca (kibla), is the most important feature of the interior. The interior is richly decorated with stalactites, and the crown is decorated with floral motifs, which refer to paradise. The minber always has a portal, staircase and canopy covered by a small pyramidal roof. In all domed mosques in Bosnia and Herzegovina the minbers are made of stone, and often painted. (Figure 12)

In accordance with the Islamic prohibition to paint living beings, the mosques are painted with arabesques representing infinite lines whose composition emphasizes rhythm and gives dynamic. Their shape helps the believer to reach faster and easier a contemplative state of mind. They are always done in secco technique, and motifs are "rumi" and "hatayi" ornaments. Calligraphic texts are not mere decorations, they are a kind of permanent invitation to prayer.

65 All monumental domed mosques in Bosnia and Herzegovina have a porch with three small domes. The Gazi Husrev-Bey Mosque in Sarajevo, however, has five. 66 Most mosques built in business centers had such a wooden porch. Mosques which were not in business centers, like the Alada Mosque in Foa, often also had a porch. The porch protected the painted arabesques on the mosques front faade. However, with its pulling down (after the Second World War) the arabesque decoration was seriously damaged. 67 This porch has been pulled down and rebuilt several times (Hasandedi, Kulturno-historijski spomenici osmanskog doba u Mostaru, 69). 68 The porch was preserved in the Mosque of Sinan-Bey in ajnie until its destruction in the 1992-1995 war. 69 Such a porch is found in the Rstem Paa Mosque in stanbul. 70 Smailagi, Leksikon islama, 195.

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The importance of these mosques becomes not only visible in their architecture, but also in their relation to other buildings. They are the centres of mahalas and the main nuclei of those spatial units around which the urban structure has been developing for centuries. (Figure 13)

When we compare Sinan's mosques and the Bosnian mosques in the

classical Ottoman style, we can notice the same basic elements: In all these mosques the elements are graded to form pyramidal

compositions, which is a feature of the classical style. Proportional relations of all mosque elements are expertly chosen. Successful proportioning of these structures can be found in the

mystic meaning of numbers, mathematical regularity and standards applied.

Rambling masses are emphasized by profiles, i.e. stone pilasters on the tambour, and decorations on transennae and wreaths forming shadows emphasizing the playfulness of the architectural elements.

All elements of the mosque are grouped and each of them has its own effect, but they leave the impression of integrality and have a unique composition.

All elements of the architectural composition both on the faade (the portal) and in the interior (mihrab, minber) have their height emphasized, which is another characteristic of this style.

Architectural stone work decoration, on the faade and portal equally, and also on the interior elements, is beautifully executed and installed with the aim to emphasize architectural values, which clearly identifies the style.

Destruction and reconstruction

Although mosques in Bosnia and Herzegovina have been destroyed throughout history, never before has it been done in such a systematic and planned way as in the 1992-1995 war. 1,195 mosques71 were destroyed, most of them in the occupied territories (according to the Dayton Agreement: Republika Srpska). Thus, the following domed mosques were pulled down: the Arnaudiya and Ferhadiya in Banjaluka, the Sinan Bey Mosque in ajnie, the Mehmed Pasha Kukavica Mosque and the Alada Mosque in Foa. The sites where these mosques used to stand were levelled and their remains used in landfills or gravel pits. The mosques which

71 S. Husedinovi, A report on the all sacral facilities which were partly damaged or totally destroyed in the 1992-1995 war. (Published by Federal Ministry for Education, Science, Culture and Sport, Sarajevo at the Conference : "UNESCO - Cultural Heritage of Risk", Paris, 1995)

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happened to be in conflict zones were damaged by shelling, but these can be rehabilitated, like the Karadoz Bey Mosque and the Koski Mehmed Pasha Mosque in Mostar, the Hadji Ali Mosque in Poitelj, and the Kalaun Jusuf Pasha Mosque in Maglaj.

Today, standing on the borderline between reason and emotions, aware of the values, which vanished, we should start the reconstruction process based on the scientific principles of active protection, respecting world conventions and charters on the protection of cultural property, taking the same approach to all historical layers and evaluating them equally.

The motive for the reconstruction of the cultural and historical heritage destroyed in the last war in Bosnia and Herzegovina does not only come from the need to obtain sacral or functional spaces, to restore the national identity, or to reconstruct valuable monuments part of our cultural and historical heritage. Although these are important factors, there is also the need to re-establish spatial relations between urban structures (i.e. the urban tissue). Spatial continuity is a link between the past and the future. It conveys messages from the past, which contain indications for the future. Reconstruction activities should not, therefore, be limited to individual monuments, but be part of a broader plan that covers the entire urban fabric of which the monument was just one element.

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Figure 1: The Gazi Husrev Bey Mosque-Medrese Complex was damaged by shelling during the war of 1992-1995, but restored afterwards

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Figure 2: Viegrad, Mehmed Pasha Sokolovic's Bridge (a work of Koda Mimar Sinan)

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Figure 3: 1. Aya Sofya (523-537), 2. ehzade Mosque (1548), 3. Sleymaniye Mosque (1557). 4. Mehmed Paa Sokolovi Mosque (1571), 5. Selimiye Mosque (1575)

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Figure 4: Foca, The Aladza Mosque was blown up and completely destroyed, the remains dumped

in the river during the 1992-1995 war

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Figure 5: Mostar, The Karadjoz Bey Mosque was damaged by shelling during the 1992-1995 war. Reconstruction has begun.

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Figure 6: Banja Luka, The Arnaudia Mosque (1595) was totally destroyed during the 1992-1995 war.

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SABIRA HUSEDZINOVIC

Figure 7: Maglaj, The Kalaun Jusuf Pasha Mosque (Kursumlija, 17th c.) was heavily damaged during the 1992-1995 war. Above the situation after restoration

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Figure 8: ajnie, The Sinan Beg Beljanic Mosque was totally destroyed during the 1992-1995 war.

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SABIRA HUSEDZINOVIC

Figure 9: Pocitelj, The Hadzi Alija Mosque (16th c.) as it looked in the 1980's and after the war.

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Figure 10: Banja Luka, The Ferhad Pahsa Mosque (1579)

was totally destroyed during the 1992-1995 war.

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SABIRA HUSEDZINOVIC

Figure 11: The Muradiye Mosque in Manisa (1586) has the same ground plan and spatial conception as the Ferhadija Mosque (1579)

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Figure 12: Mostar, The Koski Mehmed Pasha Mosque (17th c.), Mihrab and Minber

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Figure 13: Travnik, View of the town with the Mosque of Hasanaga in the foreground and other mosques as centers of mahalas.

husedzinovic, sabira - mosques

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