Observations on the Existing Ottoman Mosques in Albania

ITU A|Z • Vol 12 No 2 • July 2015 • 69-81 Observations on the existing Ottoman mosques in Albania

Edmond MANAHASA1, İlknur AKTUĞ KOLAY2 1 [email protected] • Department of Architecture, Faculty of Architecture, Tirana, Albania 2 [email protected] • Department of Architecture, Faculty of Architecture, Istanbul, Turkey

Received: January 2015 Final Acceptance: April 2015

Abstract Te construction of mosques in Albania starts right afer the Ottoman sover- eignty at the end of the 14th century. Te 15th and 16th century mosques were commissioned by the Ottoman administrators or by the Albanian-Ottoman nobles and the ones built afer the 16th century were commissioned by the local Muslim notables. Today, only nine mosques that were built during the Otto- man period exist in Albania. Te existing mosques are surveyed and evaluated regarding the Ottoman and local Albanian architectural features. Te Ottoman architectural features are seen at the last prayer hall and north-west façade of the Leaden, Bayezid II and Mehmet Pashë Bushatlliu mosques, the side rivaqs and the courtyard of the Mehmet Pashë Bushatlliu Mosque, and the small balcony protruding at the middle part of the women’s gallery of the Bayezid II and the Mirahor Ilyas Beg mosques. Whereas, the inset wooden domes covered by a curb roof of Bayezid II Mosque, the two small domes at the center of the last prayer hall of the Leaden Mosque, the cross vaults of the Mehmet Pashë Bushatlliu Mosque, the wide last prayer hall area of the Haxhi Et-hem Beg, Beqarëve and the Bayezid II mosques, the decoration of the mihrab and minber, and the wall paintings of the Mirahor Ilyas Beg, the Haxhi Et-hem Beg and the Beqarëve mosques with a diferent painting technique from the ones in Istanbul and Anatolia are found as local Albanian properties.

Keywords Mosques in Albania, Mosque architecture, Ottoman architecture. 70

1. Introduction Compared to the other parts of the Balkans Albania is relatively far from the center of the Ottoman Empire. Te frst contact between the Albanians and the Ottomans were in the second half of the 14th century and the Arnavut İli Sancağı was established in 1431 (Kiel, 1990, p. 18). Te mosques, built till the 17th century, were commissioned by the Ottoman administrators or the Figure 1. Te plan of the Mosque of Mirahor Ilyas Beg (M. Kiel, Albanians who were recruited and 1990) and south-east (qibla) and north-east façades. brought up in the Ottoman capital. In the 17th century there was a massive conversion to Islam and from then on quite a number of mosques were commissioned by the local Muslim notables. Te “Cultural Revolution” of 1967 demolished the religious buildings either mosques or churches in Albania, almost “erased” them. Today, there are only nine mosques that survive from Ottoman times. Figure 2. (a) Te minber and (b) the women’s gallery of the Mirahor Ilyas Beg Mosque in Korçё. 2. Ottoman mosques in Albania Te case study is focused on the scheme of 11.75x11.75 m² and is cov- plan schemes and interior elements of ered by a dome on squinches. Te the existing mosques. Te nine existing squinches have muqarnas decoration mosques are the three mosques in Berat, at the corners and in the middle of the the Bayezid II, the Leaden (Kurşunlu) lower part, adjacent to the wall. Te Mosque and the Beqarëve (Bekârlar) last prayer hall covers the north-west Mosque and the Mosque of Muradije façade of the mosque and covered by (Muradiye) in Vlorë, the Mosque of three domes supported by four piers Pazar in Gjirokaster, the Nazireshës and pointed arches between them (Fig- (Nazire) Mosque in Elbasan, the ure 1). Haxhi Et-hem Beg (Hacı Ethem Bey) Te mihrab niche of the mosque with Mosque in Tirana, the Mirahor Ilyas muqarnas rows at the top is adorned Beg (Mirahor İlyas Bey) Mosque in with golden gilded and framed by two Korçë, the Mosque of Mehmet Pashe golden-gilt frames with a rectangu- Bushatlliu (Mehmed Paşa Buşatlı) is in lar profle. Te wooden minber of the Shkodër. mosque is constructed on a wooden base raised from the ground with two 2.1. Mosque of Mirahor İlyas Beg in steps (Figure 2a). Te podium of pred- Korçë ication used for the Friday sermons Te mosque of Mirahor Ilyas Beg is is placed in the north-east wall of the the only existing Ottoman monument mosque and rests on a white washed in the city of Korçë. It is located near the half conic console. Te podium ends center of the settlement. According to with a wooden balcony. the inscription plate over the entrance Te women’s gallery of the mosque written in 1872-1873, the mosque was is a narrow wooden balcony along the commissioned by Mirahor Ilyas Beg north-western wall of the prayer hall. in 901AH (1495-1496), its dome was Te middle part of this structure has a covered with lead by Mehmed Beg in console rectangular balcony protrud- 1572-1573, repaired by Dervish Islam ing into the prayer hall (Figure 2b). Te protruding balcony of the women’s Beg in 1833-1834 and by Salih Beg in th 1868-1869. gallery is found in 19 century Otto- Te prayer hall of the mosque of man mosques; therefore, the gallery of Mirahor Ilyas Beg has a square plan the mosque must be a work of Dervish

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Islam Beg who made the frst repair of to the end of the base of the minaret the building in 1833-34 or Salih Beg and the wall that is equal to the length who made the second repair in 1868- of the base of the minaret and extends 69. on the north-east side of the mosque’s Te interior walls of the mosque façade. It is a closed hall with walls have wall paintings of pictures from with large windows. Evliya Çelebi diferent well known and holy mosques (1999:554-568) noted that the building and landscapes. Te Holy Kaaba is had seven domes. Te traces of a curb painted at the south-west façade and roof in the north-west façade adjacent the Mesdjid-i Nebevi at the north- to the last prayer hall indicates that east. Te Mosque of Sultan Ahmed, there had been an intervention afer Hagia Sophia, Mosque of Pertevniyal his visit. Today the last prayer hall has Valide Sultan, the Tower of Galata, two four domes. Te large two domes over pictures of the mosque itself, diferent the lateral parts and two small domes landscapes and scenes from Istanbul at the center placed next to each oth- cover the upper parts of the walls. Uçar er in the mihrab axes cover the last (2013b: 677) points out that the wall prayed hall. Te two small domes are paintings of the mentioned buildings supported by the walls and two marble are done from their photographs. columns placed at the center of the last prayer hall (Figure 3). 2.2. Te Leaden Mosque in Berat Te mosque was restored in 1977-78 Te Leaden Mosque of Berat is one to be a museum. Te interior elements of the best preserved Ottoman build- and decoration was demolished at that ings in Berat and also in all of Albania. time. Terefore, the mihrab, the minber It is the only domed mosque of Be- and the wooden women’s gallery were rat. Te building is situated about fve constructed afer the change of regime hundred meters east of the Bayezid and it has the 20th century architectural Mosque, which is located at the city tradition of the local masters. center. It was commissioned by a local Noble called Uzgur Ahmet Beg. Sule- 2.3. Te mosque of Muradije in Vlora jman Dashi (1980: 101) an Albanian Te mosque of Muradije is the only scholar gives the date as 1553-1554, existing monument built in Vlorë which he based on the copy of the in- during the Ottoman period. Te build- scription once found at the mosque. ing is situated on one of the main roads Te prayer hall has a square plan of the city center. Actually, we don’t 12.50x12.50 on the exterior sides and is have defnite information regarding to covered by a dome on squinches. Te its date of construction and the build- squinches have melon-like ribs done in ing does not have an inscription plate. the grand manner of the 16th century. Gj. Frasheri and S. Dashi (1988:122) Te base on which the squinches rest consider its construction as during the is connected diagonally to the corner reign of Suleyman the Magnifcent and of the building using a fne muqarnas attribute the mosque to an early work in plaster. Te last prayer hall extends of Architect Sinan.

Figure 3. Te plan (Kiel, 1990) and the north-west (entrance) façade of the Leaden Mosque in Berat. Observations on the existing Ottoman mosques in Albania 72

Te prayer hall has a square plan scheme and is covered by a dome. Te transition element to the dome is squinch. Te squinches have melon like ribs and make a swif transition to the corner of the prayer hall with muqarnas rows at its base. Te mosque had a last prayer hall which was destroyed at an uncertain date and only its foor survived. Te foor of the last prayer hall has a central passage to the gate of the mosque with higher platforms on Figure 4. Te plan (Kiel: 1990) and the south-west façade of the both sides. (Figure 4). Te base of the Muradije Mosque in Vlorë. minaret makes a projection at the west corner of the building. Te mihrab niche has a fve sided plan scheme and the transition to the wall is by muqarnas rows. It is surrounded by a rectangular frame that has palmet leaves at the top. Te minber is constructed of wood. Te pointed arched doorway of the minber has two wooden columns whose capitals are decorated with diagonal embossed elements. On the balustrades Figure 5. Te plan and the north-west and south-east façades of of the minber stairway there is a row the Nazireshës Mosque in Elbasan. of Ottoman pointed arches placed next to each other. Te baldachin of square plan scheme and is covered by a the preacher’s platform minber has dome on squinches. Te lower middle four columns with capitals that are the part of the squinches is decorated with same as the ones at the door way and is muqarnas rows to provide a smooth covered by a pointed cross vault. Te transition to the corner of the walls. pointed arches and the pointed cross Te outer dimension of the square is vault are crowned by a pyramidal cap, 10.70 m., while the inner space is 8.70 which is a local Albanian tradition. m. Te mosque had a last prayer hall Te mosque does not have a women’s when it was constructed. Te traces of gallery. the diagonal lines of a curb roof, the holes where its beams once plunged 2.4. Te Mosque of Nazireshës in El- into the wall and the existing mihrab basan niche on the wall are the only remains Te mosque of Nazireshës is the of the last prayer hall today. Te de- only preserved mosque of Elbasan. struction date of the last prayer hall It is located in the southern suburb is unknown. Te base of the minaret of Elbasan, a few hundred meters to makes a projection at the west corner the north of the river Shkumbin and of the building (Figure 5). along National Street. Vehbi Buharaja Since the mosque was used as a (1969:81) known for his study on Ot- store during the communist regime toman inscriptions in Albania says: much of the interior elements are lost. “Te mosque of Nazireshës was built Te mihrab is the only element that before the year 1599, as we understand survives. Te mihrab niche has a fve from the two notes in its interior”. Te sided plan scheme and the transition referred notes have disappeared due to the wall is by muqarnas rows. It to the white wash of the interior walls has been white washed over and over today. During the communist regime through the years and lost its brilliance. period the mosque was used as a store and today, it is open only for Friday 2.5. Te mosque of Pazar in Gjiro- prayers. kaster Te mosque of Nazireshës has a Te mosque of Pazar in Gjirokaster

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is one of the most beautiful buildings 2.6. Te mosque of Mehmet Pashe that have survived in South Albania. It Bushatlliu in Shkodër is located on a hill side, under the old Te mosque of Mehmet Pashe castle of the city. Down the hill side Bushatlliu is the only building lef in and below the mosque is the commer- Shkodër that was built in the Ottoman cial center of the old city, the bazaar period. At the same time, it is the larg- (Pazar). Te founder of the building is est building in Shkodër and in Albania. not known but the construction date is Te mosque is located in the Bahçallek stated as 1168 AH (1754-55) in the in- quarter, just at the foot of the Rozaf- scription plate over the entrance door at Castle in a meadow along the Drin (Kiel, 1990: 41-42). River. It was built by Mehmet Pashe Te mosque of Pazar is situated at Bushatlliu, the governor of the İşko- the traditional market at an inclined dra Sancağı (Shkodër Sanjak) and the site, which enabled constructing the construction was completed in 1773- ground foor as a covered market and 74 just a year before he died. It was the upper foor as a mosque. Te plat- repaired in 1863-64. Te mosque has form over the shops is 15.90 m. wide; similarities with the imperial mosques while the prayer hall with a square of İstanbul to show the power of Meh- plan scheme has a side of 11.40 m. met Pashe Bushatlliu regarding the re- Te remaining area at the lef side of lation between the local lord and the the mosque was used as a lodge for sultan (Kiel, 1990:232). Te mosque the imam. Te mosque has a single fell into disuse afer the massive food domed square plan and the transition which swept away that part of the city element to the dome is squinch. Te in 1865. Te minaret was torn down last prayer hall covers the north-west during the Cultural Revolution. Te façade of the mosque leaving the base mosque started to be used afer the of the minaret as an extension on the change of regime in Albania. south-west façade. Te three domes of Te Mosque of Mehmet Pashe the last prayer hall are supported by Bushatlliu is of large dimension and round arches and four piers. Te access has a diferent plan scheme compared to the last prayer hall is provided by a to the other mosques in Albania. It is half-pace stairs. Te foor of the cen- the only mosque in Albania that has a tral part of the last prayer hall has the courtyard. Te prayer hall has a single same height as the landing of the stairs domed square plan scheme, with an in- till the door of the mosque while the ternal side length of approximately 10 fanking parts have a higher foor level. m. Te mihrab area makes an extension (Figure 6). in the form of a rectangular niche from Te mihrab due to the several the prayer hall and is covered by a semi paintings has lost its original niche dome on squinches. Te transition ele- contour and muqarnas details. Te ment to the main dome is pendentives mihrab niche is bordered by narrow (Kiel, 1990: 233). At the north-east of and tall semicircular planed niches the prayer hall there is a side rivaq that over rectangle pilasters on the two covers the three quarters of the façade. sides. Tere is no original minber in Te rivaq is covered by three domes this mosque. supported by three round arches resting on two columns and the masonry walls on both sides (Figure 7). At the western corner of the prayer hall, the base of the minaret protrud- ed in a long horizontal rectangular form. Next to it there is another side rivaq covering the half of the south- west façade flling the gap between the base of the minaret and the wall of the mosque. Te rivaq is covered by two domes supported by two round arches resting on a column and a masonry Figure 6. Te plan (Kiel: 1990) and the south-west façade of the Pazar Mosque in Gjirokaster. wall at each side. At the south-west, ad-

Observations on the existing Ottoman mosques in Albania 74 jacent to the prayer hall and the outer construction of the Haxhi Et-hem rivaq there is a tomb with an “L” plan Beg Mosque was started by Molla Beg scheme. Te tomb has large round arch who was the grand-son of the found- openings, two on the south-west façade er of Tirana Sulejman Pashë Mulleti in and one on the south-east façade. Ac- 1793-94 (1208 AH). Te minaret, the cording to Kiel (1990:233) the tomb last prayer hall and the paintings were was once covered by a wooden roof. fnished by the son of Molla Beg, Hax- Te last prayer hall covers the distance hi Et-hem Beg in 1822-23 (1238 AH) between the outer lines of the outer (Rey & Ceka, 1935:251). Afer the con- rivaqs of the mosque forming a hori- struction of the mosque with the com- zontal band with even extensions from mercial center in front, Tirana became the high mass of the mosque. Four col- an attractive settlement. Te building umns and round arches support the went through several maintenance res- roofng system consisting of alternat- torations in 1960-63, 1969 and 1974. ingly placed cross vaults and domes. Afer the regime changed in Albania, Te cross vaults are at the center and, the mosque is now used with its orig- at the sides with the domes in between. inal function. Te courtyard has a rectangular plan Te mosque is built over a platform scheme, and its outer dimensions are of approximately 0.80 m. higher than 19.60 x 15.40 m. Te rivaq of the court the ground level. Te prayer hall of yard has columns that support round the mosque has a single domed square arches with iron tie bars. Te side riva- plan scheme with sides of 10.50 m. qs are covered by two domes and the Te transition element to the dome is rivaq at the entrance of the courtyard squinch. Te last prayer hall has an “L” repeats the cross vault and dome ar- form plan scheme covering the north- rangement at the last prayer hall. Te east as well as the traditional the north- foor level of the rivaq is about 40 cm. west (entrance) façade of the prayer higher than that of the courtyard. Te hall. Kiel (1990:251) suggests that the columns have capitals adorned with building must have been surrounded by foral embossed motives. other buildings and the site at that time Te interior elements of the mosque was not suitable for the construction of have lost their original character as it the south-west wing of the last prayer has been abandoned since 1865. hall. Te last prayer hall is a wide one extending from the prayer hall at the 2.7. Te mosque of Haxhi Et-hem Beg entrance façade with three arched bays. in Tirana It is covered by a tilted curb roof having Te mosque of Et-hem Beg is the best an eave protruding approximately 1.00 maintained mosque in Albania and the m. At the north-west (entrance) façade only one surviving from the Ottoman there are 6 bays. Te second bay from period in Tirana today (Figure 22). It the right has piers with column like is located at the center of the city. Te pilasters on the outer side and a door

Figure 7. Te plan (Kiel: 1990) and view from the west of the Mehmet Pashe Bushatlliu Mosque in Shkodër (Çağhan Keskin). ITU A|Z • Vol 12 No 2 • July 2015 • E. Manahasa, İ. Aktuğ Kolay 75

frame in the inner side. Te arch above en-gilt arch. Te preacher’s platform the gate is a blind round arch. Te last of the minber has a wooden baldachin prayer hall has seven bays at the north- which is surrounded by a cornice and east and three bays at the south-west covered with a pyramidal cap crowned sides. All the bays consist of columns by a crescent (Figure 9 (a)). and round arches. Te south-east Te wooden women’s gallery covers façade of the last prayer hall is a wall the entrance side of the payer hall and with a mihrab niche on it. Just at the is supported by two marble columns lef of the last prayer hall gate there are which are adjacent to the lateral walls. stairs leading to the ablutions fountains Tere is a small balcony protruding at of the mosque. Te access to the last the middle part of the women's gallery prayer hall is with four steps designed with a rectangular plan. Te access to with a semicircular plan. Te last prayer the gallery is from the stairs of the min- hall foors on both sides of the passage aret which has the entrance from the to the mosque are approximately 0.45 prayer hall and thus must have been m higher (Figure 8). constructed at the same time as the Te mihrab has a semicircular plan mosque (Figure 9 (b)). scheme and the transition to the wall Te interior walls of the mosque and surface is through a conical form. It the walls of the last prayer hall have wall is surrounded by a frame of decorat- paintings of mosques, city scenes and ed bands. Te wooden minber of the landscape as well as foral decorations building is maintained in good state. (Figure 8 (a) and (b)). At the prayer Te lateral parts of it are covered by a hall, the wall paintings begin from the complete triangle, which begins from upper level of the frst row windows. the lower part of the stairs and ends in Te paintings are placed in rectangu- the landing part. Te balustrade con- lar frames and continue all around the sists of slim vertical wooden elements. interior walls (Figure 9 (b)). On the Te door of the minber has a gold- walls there are three, on the transition zone one and on the dome three rows of paintings, perhaps symbolizing the seven levels of the Heaven. Most of the decoration consists of foral motifs. Beside the foral decoration at the transition zone row there are scenes of imaginary Ottoman mosques, palaces, towns and landscape pictures. At the last prayer hall, the wall paintings are on the walls of the building and on the Figure 8. Te plan (Meksi and Frasheri: 1977) and general view walls above the arches of the rivaq on of the Haxhi Et-hem Beg Mosque from Skenderbeg Square in the façade. On the walls it begins above Tirana (Şükrü Sönmezer). the lower row windows as two rows. Here also, the scenes of imaginary Ot- toman mosques, palaces, towns and landscape pictures are placed in the foral motifs (Figure 10).

Figure 10. An imaginary scenes on the last Figure 9. (a) the minber and (b) the interior of the Haxhi Et-hem prayer hall of the Haxhi Et-hem Beg Mosque Beg Mosque in Tirana. in Tirana.

Observations on the existing Ottoman mosques in Albania 76

2.8. Te mosque of Beqarëve in Berat Te mosque of Beqarëve is situated at the lower part of Mangalem quarter of Berat along the main street of the city that once was the old commercial center. Te mosque was commissioned by Sulejman Pashë Vlorë in 1243 AH (1827/28) (Ekrem Bey Vlorë, 1911:61), but in fact it is known popularly as “Mosque of Beqarëve” (mosque of Figure 11. Te plan (Meksi and Frasheri: 1977) and a general Bachelors). view of the mosque of Beqarëve in Berat (Şükrü Sönmezer). Te mosque is constructed at a hill side and the rock ground was partial- ly cut to obtain a platform while the street side is pulled to that level with a substructure of three barrel vaults. Te barrel vaults are supported by four columns and the space is used as shops. Te plan scheme of the prayer hall consists of a rectangle having sides 11.25 x 9.63m. long (Figure 11). At equal distances from the lateral sides and almost four meters from the entrance wall, two wooden posts, supporting three segmental arches, divide the central prayer hall into south-eastern and north-western parts. Tese posts carry the ceiling and the saddle roof of the prayer hall. Te division is further em- Figure 12. Wall paintings on the façade of the mosque of Beqarëve phasized with the diferent decorations in Berat. on the walls and the ceiling. Te last prayer hall has a plan a (Figure 12). Uçar refers to the architec- scheme in the form of an “L”. It has a tural paintings as imaginary Istanbul width of 16.90 m. and extends 2.45 me- scenes (Uçar, 2013a:1173). ters from each of the lateral parts of the prayer hall. At the south-west of end 2.9. Te mosque of Bayezid II in Be- the last prayer hall extends till the base rat of the minaret covering the one-fourth Te mosque of Bayezid II is located of the prayer hall’s façade. Te curb in the northern part of the main square roof of the last prayer hall is support- which is practically the center of Berat. ed by round arches with iron tie beams Locally it is named as the mosque of the resting on “L” formed masonry piers at Ruler (King). Evliya Çelebi (1999: 693) the corners and columns in between. described the mosque and attributed it Te foor level of the passage to the to Sultan Bayezid II, who could have or- prayer hall is about 50 cm. lower than dered its construction when he passed the foor level of the last prayer hall on through Berat during the Albanian both sides. campaign in 1492. According to the Te mihrab of the mosque ends in inscription found by Vehbi Buharaja, a conical shape on which motives of the reconstruction of the mosque was triangular shape are painted, giving the fnished in the year 1248 AH (1832- image of muqarnas. Tere is no origi- 1833) and was commissioned by the nal minber in this mosque. Ottoman Grand Vizier Mehmed Reşit

Te wall paintings are at the façade, Pasha (Frasheri & Dashi, 1988: 122). in the prayer hall and in the last prayer Kiel (1990: 55) visited the building in hall of the mosque. Te scenes of 1967 and saw that the building was the imaginary Ottoman mosques, palac- same as described by Evliya Çelebi. In es, towns and landscape pictures take his visit to Berat in 1978, the building place in the foral decoration in rows had changed totally and was convert-

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ed to a store for the municipality. Te supported by three half arches resting building was restored in 1983 and the on posts and the preacher’s platform later additions were removed and used rests on a round arch. Tis construc- as a museum. Today it functions as a tion of the stairs is a technique used by mosque. local masters in vernacular houses in Te prayer hall of the mosque is a the region. Te preacher’s platform has rectangle of 16.85 x 13.95 m., approx- a baldachin with a conic cap. imately the same as given by Evliya Te women’s gallery is constructed Çelebi (1999: 693) who mentioned 50 over the wooden posts in the back of x 60 feet. (Figure 32). Two large domes the prayer hall and its middle part pro- at the center and four octagonal (close trudes as a balcony with semi-circular to an elliptic form) smaller domes on plan scheme, while its lateral parts ex- each side cover the hall. Te domes are tent until to the load bearing posts of inset domes constructed of wood cov- the domes on both sides. Its balustrade ered by a curb roof, which is supported is made by fnely carved wooden ele- by two wooden posts in the hall. Te ments. Te entrance to the gallery is base of the minaret protrudes from the from the stairs outside the prayer hall at west corner and a wall of the same size the north corner of the building. Since where the landing of the women’s gal- there was not a women’s gallery in the lery’s stair rests protrudes from the east 15th century mosques, this gallery was corner of the building. Te last prayer constructed during the reconstruction hall covers the north-west façade of the works of Grand Vizier Mehmed Reşit mosque along both ends of the base of Paşa in 1829-33 ( Frasheri and Dashi, the minaret and the protruding wall 1988:122). on the opposite side. It is a wide space in three aisles. Te pitched tilted roof 3. Conclusion of the last prayer hall is supported by Te existing mosques built during round arches resting on “L” shaped the Ottoman period in Albania car- piers and columns in between. Tere ry features that are strongly related are two mihrab niches on its wall. (Fig- to socio-politico-cultural situation of ure 13). the time they were constructed. Te When the building was converted to Mosque of Bayezid II (1492) was built a store for the municipality, the walls for the spiritual needs of the Ottoman were white washed but the mihrab, army. Te Mosque of Mirahor Ilyas Beg minber, women’s gallery and the ceiling (1495) was commissioned by Mira- were preserved. Te mihrab has a semi- hor Ilyas Beg1 who was an Albanian circular plan scheme and the transition brought up in the Ottoman palace and to the wall surface is through muqarnas the son-in-law of Sultan Murad II. Te rows. On both sides of the niche there mosques of the 16th century, the Lead- is a pilaster in the form of a column. en Mosque (1553) and the Mosque of Te minber is a wooden structure. Te Nazireshës (1599) were built by Alba- stairs leading the preacher’s platform is nian-Ottoman nobles. In the 17th cen- 1 Mirahor Ilyas Beg was born in 1408 in the village of Panarit in Korçё. He was recruited to be a janissary. Later he was appointed to the post of director of the stables (emir-i ahur) and thus had the title of Mirahor. At the same time he was the tutor (lala) of Sultan Bayezid II when he was a prince (Mehmed, 1996: 188). Figure 13. Te plan (Kiel: 1990) and a general view of the mosque of Bayezid II in Berat.

Observations on the existing Ottoman mosques in Albania 78

2 tury, the massive conversion to Islam mosque in Albania that has a courtyard Te founder of the mosque Sulejman caused an increase in the number of that is common in Ottoman mosque Pasha was the son mosque constructions commissioned designs. of Ibrahim Pashë by the local Muslim notables of which Te side rivaqs of the Mehmet Pashë Vlorë who was the none survive today. Te political situ- Bushatlliu Mosque fll the gap between governor of the ation in the 18th century developed lo- the base of the minaret on one side and province of Vlorë (Avlonya) in 1240 cal aristocrats in Albania. Te Mosque the wall extension on the other side to AH (1824-25) of Pazar (1754-55) and the Mosque of unify the mass of the building. Tis ar- and Berat was Mehmed Pashë Bushatlliu 2 (1773-74) chitectural solution is observed in Ar- the capital of the were commissioned by those aristo- chitect Sinan’s mosques and one of the province (Mehmed, crats. Te 19th century mosques were best examples is the Selimiye Mosque 1996: 95-96). the Haxhi Et-hem Beg Mosque (1793- where the galleries are placed between 94/1822-23), commissioned by the the bases of the minarets. grandson of the founder of the city, and Te mosques of Beqarëve and Pazar the Beqarëve Mosque (1827-28). were constructed on the frst foor over Most of the plan schemes of the shops in the commercial center of the prayer halls including the Mosque of settlement as seen in Istanbul Rüstem Mehmet Pashë Bushatlliu, are square Pasha and Piyale Pasha mosques of except the rectangular plan scheme of Architect Sinan. But the lodge of the the Mosques of Bayezid II and of Be- imam placed along the east façade of qarëve. Te square mosques are cov- the Pazar mosque on the frst foor ered by single domes. Te rectangular having access from the last prayer hall praying hall of the Beqarëve Mosque is a unique local design. is covered by a wooden saddle roof. Te women’s galleries of the Muradi- Te rectangular prayer hall of Bayezid je Mosque, Leaden Mosque, Nazireshës II is covered by two large domes at Mosque and Mehmet Pashë Bushatlliu the center and four octagonal small- Mosque are new structures added afer er domes on each side constructed of 1992 and the Mosque of Pazar does not wood as inset domes and covered by a have one. Te women’s galleries of the curb roof. Te domes of the Bayezid II mosques of Bayezid II, Mirahor Ilyas Mosque were constructed during the Beg and Haxhi Et-hem Beg are works of reconstruction of the mosque in 1832- 19th century. Te women’s gallery of the 1833. Te inset dome construction was Mosque of Bayezid II was construct- a specifc architectural tradition in the ed during the reconstruction work Balkans as of the 18th century (Kiel, of Grand Vizier Mehmed Reşit Pasha 2000: 47). in 1829-33. Te one at the Mosque of Te last prayer halls of the mosques Mirahor Ilyas Beg must a be a work of of Muradije and Nazireshës were de- Dervish Islam Beg who conducted the molished. Te last prayer hall of the frst repair of the building in 1833-34 Leaden Mosque, Bayezid II Mosque or Salih Beg who conducted the second and Mehmet Pashë Bushatlliu Mosque repair in 1868-69. Te women’s gallery cover the base of the minaret and make of the Mosque of Haxhi Et-hem Beg is an extension of the same length as the a work of Molla Beg built in 1793-94 base of the minaret on the north-east or Et-hem Beg who completed the con- side. Tis last prayer hall design, mak- struction in 1822-23. ing an extension wall on the other side, Te women’s gallery of the Haxhi was widely used by Architect Sinan in Et-hem Beg and the Mirahor Ilyas Beg mosque design. Te two small domes at mosques lies along the entrance wall the center of the last prayer hall of the (north-west) of the building where Leaden Mosque and the cross vaults of as the one at the Bayezid II Mosque the Mehmet Pashë Bushatlliu Mosque continues along the side walls (south- are unique examples and must be local west and north-east) till the middle of Albanian designs. Also the wide last the praying hall below the side domes prayer hall area, which is not common forming a “U” plan scheme. Te small in Ottoman mosques, of the Haxhi Et- balcony protruding at the middle part hem Beg, Beqarëve and the Bayezid II of the women’s gallery of the Bayezid mosques are local designs. Te Mosque II Mosque and Haxhi Et-hem Beg of Mehmet Pashe Bushatlliu is the only Mosque as rectangular plan and the

ITU A|Z • Vol 12 No 2 • July 2015 • E. Manahasa, İ. Aktuğ Kolay 79 one of Mirahor Ilyas Beg Mosque as a Açılış ve Osman Hamdi [Westerniza- semicircular plan became an architec- tion in Art and Osman Hamdi]. İstan- tural feature of the 19th century Otto- bul: Erol Kerim Aksoy Kültür, Eğitim, man mosques of the capital and the Spor ve Sağlık Vakfı. provinces. Te mihrab and the minber Dashi, S. (1980). Tradita ne Arkitek- of these mosques show local workman- ture dhe ne Art, Insituti i Monu- ship regarding their decoration. menteve te Kultures dhe i Arteve [Tra- Most of the mosques that are sur- dition in Art and Architecture]. Tirane. veyed have wall paintings done in re- Ekrem Bey Vlore, (1911). Aus Berat cent years. Te Mirahor Ilyas Beg, the und Vom Tomor, Zur Kunde des Bal- Haxhi Et-hem Beg and the Beqarëve kanhalbinsels [From Tomor and Berat, mosques have original wall paint- Information on Balkan Peninsula]. Sa- ings. Tey cover the interior walls and rajevo. façades of both the prayer hall and the Evliya Çelebi, (1999). Seyahatname last prayer halls of these mosques. Te [Travels]. 8, İstanbul: Engin. remarkable point of the wall paintings Frasheri, Gj. and Dashi, S. (1988). is that the scenes of imaginary Ot- Fillimet e Artit Islamik ne Qytetin e toman mosques, palaces, towns and Beratit [Te Beginnings of Islamic Art landscape pictures take place in the fo- in Berat City], Monumentet, 1 , 97-131. ral decoration which is applied in rows. Kiel, M. (2000). Bulgaristan’da Os- Te earliest examples of the scenes of manlı Dönemi Kentsel Gelişimi ve Mi- mosques, palaces, towns and landscape mari Anıtlar [Urban Development and pictures as wall painting are seen in the Monuments in the Ottoman Period in 18th century in the Ottoman architec- Bulgaria]. Ankara: Kültür Bakanlığı. ture in the capital (Cezar, 1995: 92). Kiel, M. (1990). Ottoman Architec- Te wall painting of such scenes spread ture in Albania 1385-1912. Istanbul: to the provinces in Anatolia and Bal- Research Centre for Islamic History, kans in the 19th century and were ex- Art and Culture. ecuted in the buildings commissioned Mehmed, S, (1996). Sicil-i Osmani by the local aristocrats who emulate [Biography of the Ottomans] 3, İstan- the capital (Renda & Erol, 1980: 65). bul: Tarih Vakfı. Te wall paintings of the Albanian Meksi, A. and Frasheri, Gj. (1977). mosques have similarities in style with Arkitektura dhe Restaurimi i Xhamise the ones in Anatolia but diferences in se them Beut ne Tiranë [Te Architec- painting technique (Uçar, 2013a: 1173- ture and Restoration of Et-hem Beg 1174). Te diference in the painting Mosque in Tirana]. Monumentet, 14, technique shows that a signifcant local 125-144. Albanian art existed in the region. Renda, G and Erol, T. (1980). Te nine mosques that still exist Başlangıcından Bu Güne Çağdaş Türk from the Ottoman period in Albania Resim Sanatı Tarihi [History of Con- are integrated with the local features temporary Turkish Painting Art from and show similarities with the Ottoman the Beginning till Today]. Istanbul: Ti- mosques in the vicinity of the capital. glat Sanat Galerisi. Te local features are seen in the con- Rey, L. and Ceka, H. (1935). La struction techniques, decorations and Mosquee de Ethem Bey. [Te Mosque in some of them in the plan schemes. of Ethem Bey] Albania, 5, 65-75. Tey are the existing monuments of a Uçar, M. (2013a). Berat Bekârlar synthesized common culture of the Ot- Camii Duvar Resimleri. [Wall Paint- tomans and Albanians. ings Bekârlar (Beqars) Mosque in Be- rat] Journal of Academic Social Sci- References ence Studies, 6(7), 1161-1184. Buharaja, V. (1969). Mbishkrimet Uçar, M. (2013b). Arnavutluk’taki turko-arabe te vendit tone si deshmi Osmanlı Dönemi Mimarisinde İstan- historike [Turco-Arabic Inscriptions of bul Tasvirli Duvar Resimleri [Istanbul Our Country as a Historical Witness]. Depiction Mural Paintings in Archi- Konferenca e dyte e studimeve albano- tecture of Ottoman Period in Albania]. logjike, 81-85. Tirane, Albania. Turkish Studies, 8(7), 671-686. Cezar, M. (1995). Sanatta Batı’ya

Observations on the existing Ottoman mosques in Albania 80

Arnavutluk’daki mevcut Osmanlı ca- idir (1827-28). mileri üzerine gözlemler Plan şemaları dikdörtgen olan II. Arnavutluk’ta cami inşaatı bölge- Bayezid ve Beqarëve camileri dışındaki nin 14. Yüzyılda Osmanlı hâkimiyeti camilerin plan şemaları karedir. Kare altına girmesinden hemen sonra baş- planlı camiler tek kubbe ile örtülüdür. lamıştır. 1967 yılındaki Kültür Dev- Dikdörtgen planlı Beqarëve Camii rimi’nden sonra Arnavutluk’ta cami ahşap beşik çatı, II. Bayezid Camii ise veya kilise olsun tüm dini yapılar yok üstü beşik çatı olan ortada iki büyük edilmiştir. Bugün tüm ülkede Osman- yanlarda dörder küçük sekizgen ahşap lı döneminde inşa edilmiş dokuz cami gömme kubbe ile örtülmüştür. Ahşap bulunmaktadır. Mevcut camiler Be- gömme kubbe örtü tekniği tüm Bal- rat’ta II. Bayezid, Leaden (Kurşunlu) ve kanlar’da yaygın bir uygulama olarak Beqarëve (Bekârlar) camileri, Vlorë’da 18. ve 19. yüzyıllarda görülmektedir. (Avlonya) Muradije (Muradiye) Camii, Muradije ve Nazireshes camileri- Gjirokaster’da Pazar Camii, Elbasan’da nin son cemaat yerleri yok olmuştur. Nazireshës (Nazire) Camii, Tiran’da Leaden, II. Bayezid ve Mehmet Pashë Haxhi Et-hem Beg (Hacı Ethem Bey) Bushatlliu camilerinde son cemaat yeri Camii, Korçë’da (Korça) Mirahor Il- cami kütlesinden taşan minare kaide- yas Beg (Mirahor İlyas Bey) Camii ve sini içine alıp diğer tarafa da minare Shkoder’da (İşkodra) Mehmet Pashe kaidesi kadar kütleden taşar. Bu son Bushatlliu (Mehmed Paşa Buşatlı) Ca- cemaat yeri tasarımı Mimar Sinan ta- miidir. Bu çalışmada, Balkanlar’daki rafından yaygın olarak uygulanmış- diğer bölgelere kıyasla Osmanlı İmpa- tır. Leaden Camii son cemaat yerinin ratorluğunun merkezine nispeten uzak orta kısmındaki iki kubbe ve Mehmet olan Arnavutluk’taki mevcut camilerin Pashë Bushatlliu Camiinin son cema- plan şemaları ve iç mekân özellikleri at yerindeki çapraz tonozlar sıra dışı üzerinde durularak Osmanlı ve yerel örnekler olup yerel Arnavut ustaların Arnavutluk mimari özellikleri belirle- tasarımları olmalıdır. Aynı zamanda, nip değerlendirilecektir. Osmanlı cami mimarisinde görülme- Mevcut Osmanlı dönemi camileri- yen Haxhi Et-hem Beg, Beqarëve ve II. nin mimari özellikleri inşa edildikleri Bayezid camilerinin geniş son cemaat dönemin sosyal, politik ve kültürel or- yerleri de yerel tasarımlardır. Mehmet tamı ile yakın ilişkiler sergiler. II. Ba- Pashe Bushatlliu Camii Arnavutluk’ta yezid Camii (1492) bölgedeki Osmanlı Osmanlı cami mimarisindeki avluya ordusunun dini ihtiyaçlarını karşıla- sahip tek camidir. mak için inşa edilmiştir. Mirahor Il- Mehmet Pashë Bushatlliu Camiin- yas Beg Camii (1495) Arnavutluk’tan de yan dış revaklar giriş cephesinin bir devşirilmiş Sultan II. Murad’ın dama- tarafındaki minare kaidesi ile diğer ta- dı olan Mirahor İlyas Bey tarafından rafındaki duvar uzantısı ile cami yapısı yaptırılmıştır. Leaden Camii (1553) ve arasındaki boşluğu doldurarak kütlede Nazireshës (1599) Camii Arnavut- Os- bütünlüğünü sağlar. Bu mimari çözüm manlı soyluları tarafından inşa ettiril- Mimar Sinan’ın cami tasarımlarında da mişlerdir. 17 yüzyılda Arnavutluk’ta görülür ve en iyi örneği minare kaide- büyük kitlelerin İslam dinini kabul et- leri arasına yerleştirilmiş olan Selimiye mesi nedeniyle, bu dönemde bölgenin Camii dış galerileridir. yerel Müslüman ileri gelenleri tarafın- Beqarëve ve Pazar camileri Mimar dan inşa ettirilen cami sayısı artmıştır. Sinan’ın İstanbul Rüstem Paşa ve Piya- Bu yüzyılda inşa edilen camilerden hiç le Paşa camilerinde olduğu gibi yerleş- biri günümüze kalmamıştır. Arnavut- menin ticaret bölgesinde zemin katta luk’ta 18. Yüzyıldaki politik ortam yerel dükkânların bulunduğu tahtâni cami- aristokratların ortaya çıkmasına neden lerdendir. Fakat Pazar Camiindeki son olmuştur. Pazar Camii (1754-55) ve cemaat yerinden girişi olan camiin Mehmed Pashë Bushatlliu (1773-74) doğu cephesini kaplayan bir imam evi Camii bu aristokratlar tarafından inşa özgün yerel bir tasarımdır edilmiş yapılardır. 19. yüzyıl camileri Muradije, Leaden, Nazireshës ve ise Tiran şehrinin kurucusu tarafından Mehmet Pashë Bushatlliu camileri- yaptırılan Haxhi Et-hem Beg Camii nin kadınlar mahfilleri 1992 yılından (1793-94/1822-23) ile Beqareve Cami- sonra inşa edilmiş yeni eklerdir, Pazar

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Camiinin kadınlar mahfili ise bulun- lemişi bezemenin yanı sıra özgün du- mamaktadır. II. Bayezid, Mirahor Ilyas var resimleri de günümüze kalmıştır. Beg ve Haxhi Et-hem Beg camilerinin Bu camilerdeki duvar bezemesi (kale- kadınlar mahfilleri 19. yüzyılda inşa mişi, duvar resmi) harim ve son cema- edilmiştir. II. Bayezid Camiinin kadın- at yerinin iç ve dış duvarlarında bulun- lar mahfili 1829-33 yıllarında yapının maktadır. Duvar bezemesinde hayali Sadrazam Mehmed Reşit Paşa tarafın- Osmanlı camileri, sarayları, şehirleri ve dan onarımı sırasında inşa edilmiş- kır manzaraları bitkisel motifi çerçeve- tir. Mirahor Ilyas Beg Camiindeki ise ler içinde yatay bantlar halinde duvar 1833-34 yılında yapının ilk onarımını yüzeyinde yer alır. Osmanlı mimarlı- gerçekleştiren Dervish Islam Beg veya ğında ilk başkentte 18. yüzyılda görül- 1868-69 yılında ikinci onarımı yapan meye başlanan cami, saray, şehir ve kır Salih Beg tarafından inşa edilmiştir. manzaralı duvar resimleri 19. yüzyılda Haxhi Et-hem Beg Camii kadınlar Anadolu ve Balkanlar’daki eyaletlere mahfili de ya 1793-94 yılında Molla de yayılmıştır. Eyaletlerde duvar re- Beg veya 1822-23 yılında inşaatı ta- simleri başkentin konumu ile kendini mamlayan Et-hem Beg tarafından yap- özleştiren yerel aristokratlar tarafından tırılmıştır. inşa ettirilen yapılarda görülmektedir. Kadınlar mahfili Haxhi Et-hem Arnavutluk’taki camilerde gördüğü- Beg ve Mirahor Ilyas Beg camilerin- müz duvar resimleri başkent ve Ana- de yapının giriş iç cephesi (kuzeybatı) dolu’daki duvar resimleri ile üslup açı- boyunca uzanır. II. Bayezid Camiinde sından benzerlik göstermekle birlikte ise giriş iç cephede yer alan mahfil her boyama tekniği açısından farklılık gös- iki yan duvar boyunca (güneybatı ve termektedir. Duvar resimlerinin boya- kuzeydoğu) harimin ortalarına kadar ma tekniğindeki farklılık 19. yüzyılda yan kubbeler altında uzayan “U” plan Arnavutluk’ta önemli bir yerel sanat şemasına sahiptir. II. Bayezid ve Haxhi ortamının varlığına işaret etmektedir. Et-hem Beg camilerinde dikdörtgen, Arnavutluk’ta günümüze kalmış Mirahor Ilyas Beg Camiinde ise yarım Osmanlı döneminde inşa edilmiş olan daire plan şemalı olan kadınlar mahfi- dokuz cami Osmanlı başkenti ve çev- linin orta kısmından konsol çıkan bal- resinde inşa edilmiş camilerle temelde kon Osmanlı başkenti ve eyaletlerinde benzerlikler göstermekle birlikte yerel 19. yüzyılda ortaya çıkan bir mimari mimari geleneklerle iç i çe geçmiş bir özelliktir. Bu camilerin mihrab ve min- bütünlüğe sahiptir. Yerel mimari özel- berleri bezemeleri açısından yerel işçi- likler yapım teknikleri, mimari bezeme lik özellikleri gösterir. ve bazı camilerde de plan şemaların- İncelenen camilerin çoğunda yakın daki farklılıklar olarak tanımlanabilir. tarihlerde yapılmış kalemişi duvar be- Bu çalışmada incelenen camiler sergi- zemesi bulunmaktadır. Bu yapılardan ledikleri mimari özellikleri ile Osmanlı Mirahor Ilyas Beg, Haxhi Et-hem Beg ve Arnavut ortak kültürünün sentezi ve Beqarëve camilerinde ise özgün ka- olan anıt yapılardır.

Observations on the existing Ottoman mosques in Albania