Ottoman Architecture - Early Architecture

Early Architecture

In their homeland in Central Asia, Turks lived in dome-like tents appropriate to their natural surroundings. These tents later influenced Turkish architecture and ornamental arts. When the Seljuks first arrived in Iran, they encountered an architecture based on old traditions. Integrating this with elements from their own traditions, the Seljuks produced new types of structures, most notably the "medrese" (Muslim theological schools). The first medreses – known as Nizāmīyah – were constructed in the 11th century by the famous minister Nizam al-Mulk, during the time of Alp Arslan and Malik Shah I. The most important ones are the three government medreses in Nishapur, Tus and Baghdad and the Hargerd Medrese in Khorasan. Another area in which the Seljuks contributed to architecture is that of tomb monument. These can be divided into two types: vaults and large dome-like mausoleums (called Türbes).

The Ribat-e Sharif and the Ribat-e Anushirvan are examples of surviving 12th century Seljuq caravanserais, which offered shelter for travellers. Seljuq buildings generally incorporate brick, while the inner and outer walls are decorated in a material made by mixing marble, powder, lime and plaster. In typical buildings of the Anatolian Seljuq period, the major construction material was wood, laid horizontally except along windows and doors where columns were considered more decorative.

Read more about this topic:  Ottoman Architecture

Famous quotes containing the words early and/or architecture:

    The Americans never use the word peasant, because they have no idea of the class which that term denotes; the ignorance of more remote ages, the simplicity of rural life, and the rusticity of the villager have not been preserved among them; and they are alike unacquainted with the virtues, the vices, the coarse habits, and the simple graces of an early stage of civilization.
    Alexis de Tocqueville (1805–1859)

    Polarized light showed the secret architecture of bodies; and when the second-sight of the mind is opened, now one color or form or gesture, and now another, has a pungency, as if a more interior ray had been emitted, disclosing its deep holdings in the frame of things.
    Ralph Waldo Emerson (1803–1882)