Hagia Sophia as an Architectural Wonder
The Hagia Sophia has a rich history dating back to the 4th century. The original church was built on the foundations of a pagan temple by Constantine I in 325 and was later consecrated by Constantius II in 360. In 404, the church was damaged by a fire that erupted during a riot following the second banishment of St. John Chrysostom, who was the patriarch of Constantinople at the time. Following this, the church was rebuilt and enlarged by Roman Emperor Constans I and was rededicated in 415 by Theodosius II.
Unfortunately, the church was burned again in the Nika insurrection of January 532. However, this presented an opportunity for Justinian I to envision a splendid replacement, which led to the construction of the renowned Hagia Sophia that we know today. Unlike other buildings of the time, the names of the architects, Anthemius of Tralles and Isidorus of Miletus, are well known, as is their familiarity with mechanics and mathematics.
The Hagia Sophia was completed in 537 CE in just six years, which was an impressive feat at the time. However, the structure was not immune to damage, as it experienced a partial collapse of the dome in 558 due to an earthquake. Although it was restored in 562, two further partial collapses led to the church being rebuilt on a smaller scale and reinforced from the outside. In the mid-14th century, it was restored again.
For more than a millennium, the Hagia Sophia was the Cathedral of the Ecumenical Patriarchate of Constantinople until it was looted in 1204 by the Venetians and the Crusaders during the Fourth Crusade. After the Turkish conquest of Constantinople in 1453, Mehmed II had it repurposed as a mosque, with the addition of a wooden minaret, a great chandelier, a mihrab, and a minbar.
As we are talking about Mihrab and Minbar; let's clarify what they stand for. A mihrab is a unique structure that is present in the wall of a mosque, which is designed to indicate the direction of the Kaaba in Mecca. This direction is known as the qibla, and it is the direction towards which Muslims should face when they are offering their prayers. The mihrab is not just an architectural element but also serves as a symbolic focal point of religious buildings. To the right of the mihrab, there is a raised platform known as the minbar. This is where the imam, who is the leader of prayer, addresses the sermons or speeches. The minbar serves as an important component of the mosque and plays a crucial role in the religious activities that take place in the mosque.
The red minaret that stands on the southeast corner of the structure was erected by either Mehmed II or his son, Bayezid II, and the narrow white minaret on the northeast side of the mosque was erected by Bayezid II. The two identical minarets on the western side were commissioned by Selim II or Murad III and built by renowned Ottoman architect Sinan in the 1500s.
UNESCO stated that Hagia Sophia is a property inscribed on UNESCO's World Heritage List in 1985, along with other major historic buildings and locations in the city. The building's rich history and stunning architecture make it a popular tourist destination for people from all over the world.
The Sweating Column
One of the most intriguing features of Hagia Sophia is the "Sweating Column," or, in other words, the miraculous "St. Gregory's Column." This column is believed to have the power to heal the sick, and visitors often try their luck by rubbing their fingers on the column's sweat. Some say this tradition dates to the 13th century.
The Nur Surah (In the center of the dome)
During the reign of Sultan Abdulmecid, a remarkable restoration project was undertaken. Kazasker Mustafa Izzet Efendi, a prominent calligrapher, left his mark on the project by inscribing the beginning of the 35th verse of the Nur Surah in an exquisite, stacked Jeli Thuluth script at the center of the dome. The verse reads, "Allah is the light of the skies and the earth", and is a testament to both the skill of the calligrapher and the grandeur of the restoration effort.
The Deësis (Deisis) Mosaics
During the period of Latin occupation, Constantinople and its churches were in disrepair. To rectify the situation, the Byzantines began restoring the whole city and structures, with Emperor Michael VIII Palaiologos spearheading the effort to reclaim the Byzantine capital. One of the most significant developments during this time was the installation of a monumental new mosaic of the Deësis in the south gallery of Hagia Sophia - a part of the church that was reserved for imperial use. It is believed that this mosaic was created soon after the Byzantines reclaimed Constantinople in 1261 as a part of a larger restoration project in the church of Hagia Sophia. The Deësis mosaic is a grand representation of Christ, flanked by the Virgin Mary and John the Baptist, each figure depicted approximately two and a half times larger than life. This reflects their immense importance in Byzantine culture. Christ, the Son of God, is positioned at the center of the composition and labeled IC XC, the Greek abbreviation for “Jesus Christ.” The Byzantines viewed the Virgin Mary, Christ’s mother, as a powerful protector, and she appears at Christ’s right hand with the label (MP ΘY) or “Mother of God.” John the Baptist was a prophet and relative of Christ. He prepared the way for Christ’s ministry in the Gospels through his preaching and baptizing. He appears on Christ’s left with the label “Saint John the Forerunner.” In the mosaic, Christ is portrayed sitting on a jeweled throne like an emperor or judge (although most of the throne and bottom half of the mosaic have been lost). The Virgin and John turn inward toward Christ in a three-quarter view and would have extended their hands toward Christ in a pleading gesture. This type of image is referred to as a Deësis, which means “entreaty,” suggesting an act of asking, pleading, or begging. However, this title does not appear in the mosaic, and scholars debate whether the Byzantines used this term much to describe such images. This type of image reflects the Byzantine belief that the hierarchical order of their empire on earth mirrored heaven above. In the Deësis, the Virgin and John appear like courtiers in the heavenly court, asking God to have mercy on humanity. It is not hard to imagine why such an image of intercession and divine mercy might appeal to the new ruler of an empire still on precarious footing on the world stage.
The Mosaic of Emperor Constantine the 9th and Zoe
At the upper south gallery on the eastern wall lies a magnificent mosaic that dates back to the 11th century. The artwork portrays Jesus Christ seated atop a splendid throne adorned with precious jewels. He is draped in a dark blue robe and is depicted blessing with his right hand while holding the Bible firmly with his left hand.
On the left of Jesus stands Empress Zoe, holding a scroll that symbolizes the generous donations she made to the church, while dressed in her formal attire. Interestingly, the face of her consort has been changed three times to depict her two previous husbands. As of now, it is the face of her final spouse, Constantine IX Monomachus, that stands beside her.
Emperor Constantine IX can be seen offering a purse, which represents his generous contribution to the church. The text below him reads, "Constantine, pious emperor in Christ the God, king of the Romans, Monomachus," while the text above the head of Empress Zoe reads, "Zoë, the very pious Augusta." The artwork is truly a masterpiece, portraying the grandeur of the Byzantine era.
The Seraphim/Seraph Angels
Hagia Sophia, a grand monument is adorned with exquisite mosaics and frescoes that have been captivating visitors for centuries. Among these works of art are four seraphim mosaics, which depict God's protector angels with six wings, located on the four pendentives that carry the dome. These heavenly beings also referred to as cherubim or cherub, are known in Hebrew as Seraphim, which translates to "the burning ones" due to their proximity to the throne of God. These Seraphim were assigned the role of guarding the central image of Christ on the dome, and their depiction has remained an awe-inspiring sight for centuries.
During the reign of Ottoman Sultan Ahmed in 1609, the faces of the Seraphim were covered with stars, which remained in place for centuries until 2009. Meanwhile, the faces of the four Seraphims were concealed with 6-7 layers of plaster for almost 160 years. It was only in the 1840s when the Swiss architects the Fossati Brothers were undertaking restoration work at Hagia Sophia that someone laid eyes on the faces of these celestial beings. After ten days of meticulous effort, experts finally succeeded in removing the seven layers of plaster and revealing the face of one of the seraphim. The Seraphim are depicted with six wings - two covering their feet, two covering their faces, and two outstretched and ready to fly. Interestingly, while the Seraphims on the east side are original, the others are painted copies, which implies that the artists who worked on the mosaic had a certain level of skill and dedication to replicate the Seraphim's unique features so accurately.
Marble Jars
In Hagia Sophia, one can admire the antique marble jars that were used for distributing water and sherbet during special events. These jars are made of solid marble and date back to the Hellenistic period, making them some of the oldest artifacts found within the premises. They were transported from Bergama during the reign of Sultan Murad III, who ruled from 1574 to 1595. These jars serve as a testament to the grandeur and elegance of the past and continue to fascinate visitors with their exquisite craftsmanship.
The Omphalion
The Omphalion, the section of the floor is made of marble and has a rich history in which Byzantine emperors were coronated on it. You can find the Omphalion in the southeast quarter of the main square beneath the magnificent dome, and it is strategically located at the exact center of the square. When Hagia Sophia was converted into a mosque for the second time in 2020, the marble section of the floor was covered with carpets for the rituals (namaz/salaat) to take place. Although the Omphalion is not visible to the naked eye, it still exists beneath the covering, preserving its historical significance.
The Komneos Mosaic
Located at the southern endpoint of an ancient site, there is a mosaic panel that dates back to the 13th century. This panel is similar to another mosaic called the Zoe Panel (Mosaic), which also features the 'imperial offering to Mary and Christ'. In this panel, Mary the Virgin is portrayed as smaller than the Emperor and Empress. Christ the Child is seated on her lap, making a benediction with his right hand while holding a roll on his left hand. Mary is accompanied by the monograms of 'Mother of God' MP OV. All the figures in this panel are depicted in a humanistic style. Christ has a cruciform nimbus around him.
Empress Eirene, with her distinctive physiognomy characterized by blonde hair, is depicted holding a scroll of parchment that contains donations made to the Great Church. She is dressed in an elegant royal red garment with embellished jewelry and gold. She also has a gold imperial crown and pear-shaped earrings. Her inscription reads 'Eirene', which means the most pious Augusta that shows her devoutness.
Emperor Komnenos II, son of Alexios Komnenos, is shown presenting a money purse to Mary and Christ. He is attired in royal jeweled clothes and wears a cap-shaped crown called camelaucum.
The Calligraphy Plates
In these calligraphic inscriptions are a sight to behold with their intricate designs and meaningful messages. Created by Teknecizade Ibrahim Efendi in 1644, they feature the names of Allah, the Prophet Muhammad, and the Four Caliphs, elegantly displayed on six rectangular plates. The plates were originally installed in Hagia Sophia and remained there for centuries until the restoration work by the Fossati Brothers in 1849. During this restoration, the plates were replaced by Kazasker Mustafa Izzet Efendi, who added six more inscriptions, this time featuring the names of the grandchildren of the Prophet Muhammad.