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Qantara - Mosque-hospital of Divrigi
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Qantara Qantara

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Canopy of west portal

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Mosque-hospital of Divrigi

Décor

  • Name : Mosque-hospital of Divrigi
  • Place : Divrigi, Turkey
  • Construction date/period : 1228-1229
  • Construction materials : Light yellow stone
  • Architectural pattern : Decorated with sculpted stone, traces of polychromy
  • Dimensions : H. 64 m; l. 32 m
  • Inscriptions :

    - North portal of the mosque, on a band, in naskhi script: ‘This Great Mosque has been built for the love of God by the order of his slave who requires the mercy of God, Ahmad Shah, son of Sulayman Shah - may God immortalise his kingdom - in the year 626 (1228-1229)’ together with a reference to the name of the sovereign ‘‘Ala al-Din Kay Qubad, son of Kay Khusraw’ at the top of the bay.’

    - West portal of the mosque, on a plaque, in nashki script: ‘He who built the foundations of this Great blessed Mosque, in the desire to please God, was the humble slave, who requires the mercy of God,Ahmad Shah, son of Sulayman Shah, son of Shahan Shah, assistant of the Emir of believers, - may God immortalise his kingdom and double his strength –in the year 626 (1228-1229)

    - Inside the mosque, narrow bay, to the West, on the dome of the mihrab: ‘Work of Hürrem Shah ibn Mugis al-Hilati

    - West portal of the hospital, three lines in naskhi script above the rectangular panel surmounting the entrance: ‘Blessed Turan Malik, fille d’al-Malik al-Sa’id Fakhr al-Din Bahram Shah ordered the construction this blessed house of health (dar al-shifa) in the year 626 (1228-1229)

    - Window (former portal) west facade of the mosque, incomplete inscription: ‘Ahmad…

    - Back of  north iwan of the hospital: ‘Work of Hurrem Shah d’Akhlat

    - Minbar of the Great Mosque, on the balustrade: ‘Ahmad Shah ordered the construction of this minbar in 1241’; and on a star motif, in the centre of the left side: ‘Work of Ahmad of Tbilissi, son of Ibrahim’.

    - Buttress of minaret: ‘…constructed in the reign of Süleyman I… by Ibrahim, son of Ahmad, between 1523 and 1533’.

This edifice was built under the Menjugiqids, in a principality governed from 1072 by Menjugekm Ghazi, which was established by the Seljuk Sultan Alp Arslan. It encompasses a large mosque, which also probably served as a madrasa, and a hospital in which one of the rooms probably contained a mausoleum. It is the first complex in Anatolia, the germ of an evolution which would culminate in the Ottoman külliyye of the 16thTopkapi Palace during the second world war. century. Classed a world heritage site by Unesco, the ensemble served as a secret cache for the treasury of the

Like many other Anatolian buildings, Christian and Muslim, the quality of its construction is remarkable. On its façade, there are two portals (north and west) which lead to the mosque. The main portal to the north contains a surprising sequence of varied decorative motifs. There are echoes of Armenian art, in the quality of stonework and the decorative vocabulary. The west entrance presents recurrent motifs from the Seljuk repertoire, such as the double-headed eagle[1], alongside floral arabesques[2] reminiscent of Armenian art. The east entrance, which has been transformed into a window, looks out onto the sultan’s loggia. With its triangular muqarnas niche, it conforms to classic Seljuk architecture[3]. To the west, another portal opens onto the hospital. This portal, set within a broken double arch, is surmounted by a tympanum pierced by a window with a central column. The contrast (reminiscent of stucco work) between sculpted motifs and unadorned areas and the sometimes illogical arrangement of motifs creates a ‘baroque’ effect, present in other Anatolian monuments[4]. The circular medallions decorated with faces possibly represent the Sun and the Moon.

The mosque-madrasa is organised around five naves perpendicular to the wall of the qibla. The large central space is accentuated by two domes: a lobed dome in front of the mihrab, and lantern dome above the middle zone which contains a pool at ground level. Lantern domes, allowing air and light to enter, were particularly popular in Anatolian khans of the thirteenth century [5]. Thick restored pillars support the arches. The vaults, each unique, together with the skill of the stonework are characteristic of Anatolian buildings and recall the virtuosity of Iranian brick architecture[6].

In the northwest corner, a staircase leads to a cylindrical minaret supported by a circular buttress from the Ottoman period[7]. The stone mihrab is sculpted with concave and convex motifs. The minbar in ebony, signed by a Georgian craftsman, presents a geometric, vegetal and epigraphic design characteristic of period[8].

The interior layout of the hospital is influenced by the plans of Anatolian khans and madrasas[9]. The Iranian influence is apparent. Four iwans, of very different sizes, are arranged around a central zone with an octagonal pool surmounted an oculus. The iwans by theentrances are flanked by enclosed rooms, just like the side iwans to the east and west, flanked by a small gallery. The principal iwan to the east, framed by two rooms, is decorated with an imposing motif of a shell on the east wall. The piers with truncated sides are original; the mosque probably contained similar piers. A staircase against the west wall leads to the second floor. A room in the north east corner leading to the mosque contains, according to tradition, the tombs of the founders.

NOTE

[1] Vase with double-headed eagle, Jezireh, end of twelfth century - beginning of  thirteenth century, fritware, glaze on painted decoration, Paris, musée du Louvre, inv. OA 8178.

[2] Gospel of Awagvank, High-Armenia, 1201, Erevan, Matenadaran, n°10359, f°11.

[3] Mosque of Khuand Khatun, Kayseri, Anatolia 1237-1238.  

[4] Ince Minareli madrasa, Konya, Anatolia, 1258.

[5] Sultan Han, Anatolia, route from Sivas to Kayseri, 1232-1236.

[6] South dome and north dome of the Great Mosque of Isfahan, Iran, end eleventh century.

[7] See its inscription, dating from the reign of Süleyman the Magnificent.

[8] The vegetal motifs of fleshy demi-flowerets recall the wooden pulpit from the tomb of Jalal al-Din Rumi, Konya, 1279, painted and giltwood, Konya, Mevlana,Museum inv. 332.

[9] Cifte Minareli Madrasa, Erzerum, Turkey, 1253.

BIBLIOGRAPHY RELATED TO THE MONUMENT

Bakirer, O., ‘The Story of Three Graffiti’, in Muqarnas, vol. XVI, 1999, pp. 42-69.

Combe, E., Sauvaget, J., Wiet, G. (dirs), Répertoire chronologique d’épigraphie arabe, vol. X, Cairo, Institut Français d’Archéologie Orientale, 1939, pp. 265-266.

Ettinghausen, R., Grabar, O., The Art and Architecture of Islam, 650-1250, Yale University Press, 1987, p. 316-317.

Gabriel, A., Monuments Turcs d’Anatolie, vol. II, Amasya, Tokat, Sivas, Paris, E. de Broccard, 1934, pp. 174-188, pl. LXIV-LXXVIII.

Konya et le règne des Seldjoukides, (exh. cat., Amiens, musée de Picardie, 24th December 1999 − 2000), Amiens, Éditions du musée de Picardie, 1999, p. 11-14.

REFERENCE BIBLIOGRAPHY

Cassanelli, R., La Méditerranée des Croisades, Paris, Citadelles & Mazenod, 2000, pp. 174-194.

Crowe, Y., ‘Divrigi: Problems of Geography, History and Geometry’, in Colloquies on Art and Archaeology, n° 4, London, W. Watson, 1974.

Donabédian, P., Thierry, J.M., Civilisation et Arts arméniens, Paris, Citadelles & Mazenod, 1987, p. 130-136, p. 378-385, p. 261-271.

Ettinghausen, R., Grabar, O., The Art and Architecture of Islam, 650-1250, Yale University Press, 1987, p. 314-332.

Ibn Khaldun, the Mediterranean in the fourteenth Century, Rise and Fall of Empires, (exh. cat., Séville, Real Alcazar, 2006), Sevilla, Fundación El Legado andalusi, 2006, p. 276-285.




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