Istanbul is one of my favorite cities for a stopover and it is easy to do 1-2 day stop over through Turkish airlines Istanbul stopover program. We have utilized this program by Turkish airlines twice, once in April 2023 on our way to Egypt and again in June 2024, on our way to Bosnia. You can check this blog post for more details on how to do a layover in Istanbul. On both visits, we stopped at Hagia Sophia, a place that fascinated me since I read about it in Wonders of the World. In 2023, we were able to go to the ground floor of Hagia Sophia while 2024, ground floor was only for praying Turkish nationals/Muslims while 2nd floor is open to all.
- A brief history lesson of Hagia Sophia
- Mosaics of Hagia Sophia
- Other significant things to see at Hagia Sophia
- Calligraphy Roundells
- Sultan’s chamber
- Omphalion
A brief history lesson of Hagia Sophia
Consecrated to Holy Wisdom of God (Sophia) by Emperor Justinian in 537, Hagia Sophia was largest church in the world at that time. The emperor’s dream was to build a church that surpassed Temple of Jerusalem in splendor. Before being rebuilt in 537, Hagia Sophia has been rebuilt several times due to fire damage. The original church at this site was built by Constantine I in 325, on the foundation of a pagan temple and it was damaged in fires in 404, and again in 415. After being rebuilt by Justinian in 537, Hagia Sophia stood as a monument for Byzantine era engineering and ingenuity and has stood the test of time even though there have been some damages due to earthquake. The building now standing is the 6th century edifice with some modifications added due to the political and religious transformation that Istanbul/Constantinople underwent.
After the Turkish conquest of Constantinople in 1453, Mehmed II had it repurposed as a mosque, with the addition of a wooden minaret (tower used for the summons to prayer), a great chandelier, a mihrab (niche indicating the direction of Mecca), and a minbar (pulpit). Hagia Sophia served as mosque until 1934, when it was converted to a museum by the first president of Turkey, Mustafa Kemal Atatürk. However, in 2020, it was reclaimed back as a mosque and now serves as functional mosque again.
Mosaics of Hagia Sophia
Hagia Sophia, with its awe-inspiring architectural design, has captured the imagination of visitors for centuries. Beyond its magnificent exterior, the interior of this iconic structure is adorned with a breathtaking array of artistic masterpieces. The intricate gold-plated, silver-plated, glass, terracotta, and colored stone mosaics add a layer of exquisite detail, each telling a unique story. Notably, the original ceiling mosaics dating back to the 6th century are adorned with intricate floral and geometric motifs, offering a glimpse into the rich historical tapestry of this remarkable edifice.
Iconoclasm and Mosaics of Hagia Sophia: Iconoclasm, a period marked by the destruction of religious images and artifacts, had a significant impact on the mosaics of Hagia Sophia. During the period of Leo III and following byzantine kings from 746 to 827, all the pictorial depictions of Christ and the saints were removed and replaced with simple motifs. The best example of the iconoclast movement can be found in another church in Istanbul Hagia Irene -within the walls of Topkapi palace. The apse of Hagia Irene is decorated with a simple cross which iconoclast found acceptable.
The transition from plant-based and geometric mosaics to figured mosaics reflects the changing religious and cultural landscape during tumultuous time. Despite the challenges posed by the Iconoclast period, the tradition of mosaic art continued to evolve, yielding a rich tapestry of artistic expression that spans several centuries. The mosaics from the 9th to 13th centuries, alongside those from the 6th century, provide a captivating glimpse into the history and artistic prowess of Hagia Sophia, showcasing the enduring legacy of mosaic craftsmanship in this iconic structure. The Virgin and Child mosaic that can be seen in the apse of Hagia Sophia was made after the Iconophiles came back to power in 847.
Apse mosaic: Virgin and Child
With its stunning golden background and intricate details, the mosaic of the Virgin and Child holds a significant place in the rich tapestry of Byzantine art within the walls of the Hagia Sophia. Situated in a quarter-dome on the eastern side, occupying the space that once was the church’s apse, this mosaic stands as a testament to the artistic and spiritual significance attributed to it. It is widely believed that the mosaic visible today is a reconstruction of an earlier work, believed to have been dismantled by iconoclasts. The origins of this masterpiece can be traced back to the ninth century, during the reign of the emperors Michael III and Basil I, showcasing the enduring legacy of Byzantine art and culture. Furthermore, the mosaic underwent extensive restoration during the 14th century, following the substantial damage inflicted by earthquakes, marking a testament to the resilience and commitment to preserving this invaluable cultural heritage. Initially, the Virgin Mary was flanked by depictions of the archangels Gabriel and Michael within majestic arches, yet today only Gabriel remains, adding an air of mystery and intrigue to this cherished artwork.
Soon after Constantinople was sacked by Sultan Mehmed II’s Ottoman forces in 1453, the Hagia Sophia was turned into a mosque, symbolizing the shift in power and religious influences in the region. The conversion of the Hagia Sophia into a mosque led to significant structural and decorative changes, including the plastering over of Christian mosaics and frescoes during the reign of Sultan Suleiman I in the next century. The transformation of the Hagia Sophia continued over the centuries, with notable renovations such as the installation of an ornate mihrab, or niche pointing towards Mecca, as part of a major renovation of the mosque by the Swiss-Italian architect brothers Gaspare and Giuseppe Fossati in 1847-49. This architectural addition now stands below the depiction of the Virgin and Child, creating a juxtaposition of Islamic and Christian elements within the revered space. Despite the alterations to the original artwork, the enduring historical and cultural significance of the Hagia Sophia remained evident. The preservation and restoration efforts of American archaeologist Thomas Whittemore from 1935 to 1939 brought to light the hidden beauty of the mosaics, contributing to a renewed appreciation of the site’s artistic and historical value. Whittemore’s access to the Hagia Sophia was facilitated by his friendship with the first president of the Turkish Republic, Mustafa Atatürk, who played a pivotal role in the secularization of the country and the transformation of the Hagia Sophia into a museum, thereby shaping its identity as a symbol of cultural pluralism and historical continuity.
Both in April 2023, and June of 2024, we couldn’t see the Virgin Mary and the archangel Gabriel mosaic as it is located in the direction Muslims face while praying, or Qiblah and is covered with curtains during prayer time. We were able to get a peak of it from the upper gallery when we were there in June of 2024. The intricate detail of the mosaic, depicting biblical scenes and figures, is truly remarkable. In the mosaic, Mary is enthroned, and she puts her right hand on shoulder of the Child Christ who is seated in her lap. Her left hand holds a handkerchief, which is on Christ’s knee. There is a decorated inscription which is mostly erased around them, which says: “The images which impostors cast down here pious emperors have again set up’’.
Mosaic Of Emperor Leo VI
The mosaic of Emperor Leo VI, also known as Leo the Wise, is a breathtaking masterpiece located above the imperial gate in Hagia Sophia, serving as a vivid testament to the rich history and cultural significance of the Byzantine Empire. We saw this remarkable artwork during our visit in April 2023, when non-praying tourists were allowed access to the main floor of the mosque, allowing us to marvel at the intricate details and symbolism within the mosaic.
Emperor Leo VI’s reign over the Byzantine Empire, spanning from 886 to 912, was marked by both political prowess and personal controversy. His marriages sparked scandal and condemnation within Byzantium, as they deviated from established tradition, leading to dispute and disapproval from certain church leaders. The mosaic encapsulates these tumultuous aspects of Leo’s life, offering a visual narrative of the challenges he encountered in gaining recognition for his multiple marriages from the church.
Within the stunning mosaic, you can see the portrayal of Emperor Leo VI engaged in prayer to Jesus, a poignant representation of the emperor’s reverence and his quest for divine guidance amidst the complexities of his reign. The script held by Jesus in the mosaic reads “Peace be upon you. I am the light of the world,” serves as a powerful testament to the spiritual themes woven into the artwork, echoing the enduring significance of faith and divine illumination in the life and reign of Emperor Leo VI.
Mosaic of Emperors Justinian and Constantine
The mosaic located over the South door in the vestibule holds significant historical and artistic value, dating back to the 10th century. It is believed to have been created to commemorate the Russians’ retreat from Constantinople in 971 or the defeat of the Bulgars by Basil in 1018. The rich imagery of the mosaic features iconic figures such as Justinian, Christ, Mary, and Constantine, providing a vivid portrayal of historical and religious significance.
Mary is depicted seated, holding Child Christ and a handkerchief, draped in a maphorion with a hood, while “The Mother of God’’ monograms surround them, adding a layer of sacred symbolism to the mosaic. Interestingly, Child Christ is shown making a blessing gesture with a larger hand, symbolizing divine authority and grace. The portrayal of the two most famous Byzantine emperors, Justinian and Constantine, adds an intriguing political and cultural dimension to the artwork.
Emperor Justinian is depicted on the left side presenting his architectural masterpiece, the Hagia Sophia, to the Virgin and Child, while Emperor Constantine appears on the right, presenting his own masterpiece, Constantinople, to the holy family. The attention to detail in the depiction of the emperors’ attire is remarkable, from their gold embellished crowns with pearls and emeralds to their imperial clothes and leather shoes—all lavishly adorned.
Justinian’s portrayal exhibits signs of age, with wrinkles on his face, and is accompanied by the inscription: ‘’Justinian, Emperor of Illustrious Memory’’. In contrast, Constantine appears youthful and emotive, with an inscription around him declaring: ‘’Constantine, the great Emperor amongst the saints’’. This detailed portrayal of the emperors not only adds historical context but also captures the essence of their individual reigns and contributions to Byzantine history and culture.
Deesis Mosaic of Christ
The Deesis Mosaic of Christ is situated in the south gallery on the upper floor of Hagia Sophia. Dating back to the 13th century, this mosaic is considered one of the finest examples of Byzantine art, portraying the Judgment Day, a popular theme in Byzantine religious art. It exemplifies the flourishing of the arts and a growing interest in naturalism in the latter centuries of the Byzantine Empire. Emperor Michael VIII Palaiologos, credited with reclaiming the Byzantine capital, is likely responsible for the installation of this monumental new mosaic, possibly as part of a larger restoration project in Hagia Sophia. The Deesis, a traditional representation of the Virgin Mary and St. John the Baptist imploring Christ for the salvation of mankind, holds significant importance in Byzantine art as a pioneer of the Renaissance period, characterized by its soft tones, intense humanity, and emotional realism in the figures’ faces. At the center of the Deesis Mosaic is Christ Pantocrator, flanked by the Virgin Mary on the left and John the Baptist on the right, beseeching Jesus for mercy for the people on the Day of Judgment. The vivid colors and the emotive expressions on the characters’ faces contribute to the mosaic’s success, leading the Deesis in Hagia Sophia to be considered the revival of Byzantine mosaic art. This monumental mosaic portrays Christ, the Virgin Mary, and John the Baptist in a scale that reflects their significance in Byzantine culture, with Christ at the center bearing the Greek abbreviation “IC XC”, the Virgin Mary to his right labeled “MP ΘY”, and John on his left as “Saint John the Forerunner,” each symbolizing the Son of God, the Mother of God, and the prophet who prepared the way for Christ’s ministry.
Emperor Constantine IX and Empress Zoe Mosaic
Emperor Constantine IX and Empress Zoe Mosaic is one of the most striking mosaics in the south gallery. This remarkable artwork depicts the intertwining stories of Byzantine emperor Constantine IX Monomachos and Empress Zoe. Zoe, being the only heir after her father’s death, had a significant role in determining the emperor by virtue of her marriage. Her marital history, which includes the mysterious deaths of her first two husbands and her subsequent marriage to Constantine Monomachus, sparked public controversy, as he brought his mistress Maria Skleraina to the palace. The mosaic is believed to have been created in honor of Zoe’s first or second marriage, with the man’s face being later altered. Although not immediately evident in photographs, close inspection of the mosaic reveals the damage around the man’s face and the narrowing of the longer family name “Monomachos” to fit the frame. Inscriptions on the mosaic emphasize Zoe’s piety and the family’s contributions to the church. Discovered in 1934 by the Byzantine Institute, The Zoe Mosaic offers valuable insight into the life of Empress Zoe. The mosaic’s portrayal of Zoe, regardless of her actual age, conveys a sense of piety and generosity, as depicted by her holding an inscribed scroll signifying contributions to the church. The inscription around her reads: ‘’Zoe, the most pious Augusta’’. The Emperor’s face in the mosaic is that of her third husband, Constantine XI, depicted wearing a crown with hanging pearls and holding a purse, known as a pokombion. The mosaic also features a larger figure of Christ, dressed in a chiton, signifying benediction with his right hand while holding an ornamented Holy Book with his left hand.
Emperor John Komnenos II and Irene Mosaic
Situated at the southern endpoint of the historical site, the magnificent mosaic panel dates back to the 13th century, serving as a timeless testament to the art and heritage of the era. This remarkable piece is reminiscent of the Zoe Panel in its portrayal of the “imperial offering to Mary and Christ”, capturing the attention of visitors with its intricate details and symbolism. The Virgin Mary, a central figure in the composition, is depicted in a manner that emphasizes her humility, portrayed smaller than the Emperor and Empress. Her tender expression and the endearing depiction of Christ the Child seated on her lap, making a benediction with his right hand and holding a roll in his left, evoke a sense of reverence and devotion. The artistic rendition showcases Mary accompanied by the monograms of “Mother of God” (MP OV) in a humanistic style, while Christ is adorned with a cruciform nimbus, adding to the spiritual significance of the scene.
The Empress Eirene, a figure of regal grace and benevolence, is portrayed with distinctive physiognomy, characterized by her blonde hair and attire befitting her lofty status. Holding a scroll of parchment, symbolizing a noble donation to the Great Church, she exudes an aura of generosity and piety. The intricate details of her royal red garment, adorned with jewelry and gold, along with her majestic imperial crown and pear-shaped earrings, reflect the opulence of the imperial court. The accompanying inscription “Eirene, the most pious Augusta” further emphasizes her devout nature and esteemed position. Similarly, John II Komnenos, the illustrious son of Alexios Komnenos, is depicted with utmost reverence and grandeur as he presents a money purse to Mary and Christ. His royal attire, adorned with jewels, and the distinguished cap-shaped crown known as “camelaucum” signify his noble lineage and authority. The accompanying inscription eloquently describes him as “John in Christ the God, faithful king born in the purple, Autocrat of Romans, the Komnenos”, highlighting his significant role in the imperial heritage. To the right of Empress Eirene and Emperor Komnenos, a panel is allocated to their son, Alexios, representing a poignant portrayal of the young prince. The mosaic captures Alexios at approximately 17 years of age, immortalizing his presence in a moment of youth and regal poise. However, the somber undertones of the depiction become evident, as the selected tesserae in the mosaic reflect a melancholic tone, foreshadowing the untimely demise of the young prince. The panel, believed to be from a later period than that of his parents, showcases distinct artistic styles, further enriching the historical narrative and artistic evolution of the era.
Other significant things to see at Hagia Sophia
Calligraphy Roundells
After the Ottomans conquered Constantinople and transformed Hagia Sophia into an Imperial Mosque, the decorations inside Hagia Sophia changed to calligraphic representations of god’s name, rather than literal depictions of the human figure. In the Islamic tradition, only Allah has the power to create life, and so they did not create artistic depictions of the human form. In the Images below, calligraphy can be seen used as grand decorations in the interior of Hagia Sophia. The calligraphic panels in Hagia Sophia are the works of master calligraphers, such as Kazasker Mustafa İzzet Efendi. His work in the dome inscriptions is not just calligraphy; it’s poetry in motion, a fluid dance of script that speaks volumes about the artistic and spiritual ethos of the Ottoman era.
Sultan’s chamber
Situated to the left of the mihrab, Sultan’s lodge is where the Sultan would perform his prayers. Nobody is sure who built it or when it was built, but historians speculate that its construction may have been commissioned by a prominent ruler of the time. The architectural details of the lodge, including the intricate carvings and ornate decorations, suggest a significant level of craftsmanship and attention to detail.
Omphalion
In 1935, Mustafa Kemal Atatürk turned Hagia Sophia into a museum and had the carpets removed to reveal the marble floors, allowing visitors to see the Omphalion, the spot where Byzantine emperors were coronated. Most of the floor is again covered by carpet but you can see part of the marble floor near the mihrab
Peaks to Palaces 