Apparently, the link between the central dome and half-domes illustrates the Islamic multifaceted implementation of the gorgeous ornaments. To say more, the dome was inserted with a huge passion of Sinan who tried to engrave the memory of the sultan Suleyman’s son Mehmet (Foster, 2004). What is more important, the construction of the columns supporting the dome in the mosque is also done in a symmetrical proportion, so that to shed light on the logic of the architectural form. Coloured stones and the mosaics incremented in the interior part of the dome of the Sehzade Mosque are done with the pure genius of Sinan.
It means that the glory of the Ottoman classical architecture is rooted to the picturesque and full-of-wealth representation of the religious tradition throughout the Empire. Admittedly, Sinan felt his responsibility for praising Islam in terms of the architecture. Hence, his first mosque proved this idea right. Another Example of Sinan’s talent, as an architect is Selimiye Mosque. Built by Sinan in 1575 in Edirne, Turkey, the mosque is full of the architect’s idea of symmetry and geometrical concept of sphere-plus-square representation.
Looking at this mosque, an expert would see that Sinan viewed the use of the half-domes as obsolete for the whole embrace of the symmetrical bizarrerie of the building. Robinson (1996, p. 277) illustrates the peculiarity of the Selimiye Mosque by analyzing what came new to the Sinan’s idea of dome in the framework of the whole architectural environment around it, namely: “The dome, the largest in Ottoman architecture (102 feet in diameter), is carried on eight massive piers, which made the large half-domes of earlier mosques unnecessary. ” Thus, the mosque in Edirne magnifies the use of the octagonal support for the spherical continuation of the building implemented in the use of the dome. Both examples of the dome in the architecture by Sinan take notice of the evolution in the creative work by the architect.
That is to say, one admits the improvement of Sinan’s talent developed at a frantic pace. With no step back from his ideal of the dome as an illustration of the divine design of God’s mind, Sinan puts emphasis on the core idea of his architectural style as a huge contribution into the world’s architectural heritage. On the other hand, it is high time one drew parallel to the works by another 16th century architect from Italy.
Needless to say, it is all about Andrea Palladio. He was well accurate in approaching the architecture by means of both theoretical and practical constituents.
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