08.12.

2020 TOPKAPI PALACE | H story of Istanbul

Home / VOLUME 9 / TOPKAPI PALACE

Nicole Kançal Ferrari

TOPKAPI PALACE

The building of the Topkapı palace complex, also known as Saray-ı Cedide-i Âmire or Saray-ı Hümayun, started
immediately following the conquest of Constan nople. The name Topkapı Palace was influenced by the Top Kapısç ı
Sahilsarayı (coastal palace), which was built during the reign of Mahmud I and burned down in 1862. The en re
palace became known by this name in the nineteenth century.

As soon as Mehmed II conquered Constan nople, the first thing he did was to convert Hagi a Sophia into a mosque.
He also converted some of the churches and monasteries into madrasahs, dervish lodges and other buildings that
might be needed in an Islamic city. It is commonly known that the buildings of the Byzan ne palace were not used
by the O omans. Mehmed II, who started an enthusias c building and transforma on phase, laid the founda ons
for a social complex that was to be the educa on center of the ulama (Islamic scholars) located in the old Havariyun
Church (Hagioi Apostoloi 1462-1470). They began construc on of two palaces; one for a residence and the other for
the seat of state. The first one was located in the city center. The joint construc on of the Saray-ı A k (1454-1458)
was located in what is today the main building of Istanbul University and partly situated on the grounds of the
Süleymaniye Mosque in Beyazıt Square. This construc on, encircled by walls, lost its significance with the
construc on of the New Palace and became a home for families of deceased sultans. We have informa on about the
Old Palace from wri en sources as well as from miniatures.

Upon the orders of Mehmed II, between 1459 and 1478 the New Palace was built on a hill at the far end of the
peninsula, which was close to the city, the sea and the opposite shore. This highly advantageous area, which was
referred to as Sarayburnu, was divided into imperial residences and buildings for the crowded palace staff with the
construc on of the palace. This important part of town was also densely populated during the Byzan ne period;
however, some of the buildings were destroyed during the reign of Sultan Mehmet II and were men oned as being
olive groves by some O oman sources. However, there were buildings from the Byzan ne and earlier periods that
were maintained surprisingly well within the palace complex and which have survived un l today. It is also known
that there were numerous churches and monasteries in the fields that belonged to the Palace. One of the most
famous churches was Hagia Eirene. The Byzan ne city walls also served as walls of the palace as well as the “Column
of the Goths”, located in the center of a square and the Byzan ne terrace walls in Sarayburnu during the Byzan ne
period. Cisterns and remnants of the Byzan ne infrastructure can be found in almost every sec on of the palace.

According to the inscrip on above the Bâb-ı Hümayun, the main entrance, the construc on of this palace was
completed in 1478. The palace was the center of government of the O oman state and the living quarters for the
dynasty un l the nineteenth century. In 1856, the head of government and the family and staff relocated to the
modern, western-style Dolmabahçe Palace. However, Topkapı Palace was not completely abandoned, and was used
for official occasions such as fes vals, enthronements, funerals and embassy recep ons un l the last days of the
O oman state. Bodies of deceased sultans were cleansed at the Hırka-ı Saadet Fountain at the Sofa-i Hümayun. On
the 15th day of Ramadan, the hırka-ı şerif (a mantle belonging to Prophet Mohammed) would be displayed in the
Holy Relic Chambers in the palace. The palace was transformed into a museum in 1924 and opened its gates to the
public in 1934. The Hırka-ı Saadet Chamber was opened to the public in 1962. Today, Topkapı Palace is considered to
be one of the most important museums in terms of world architecture. The building itself is an architectural
museum, the clothing of the O oman dynasty, personal objects and gi s they received, the opulent collec on of
china and weaponry are also on exhibit in different parts of the museum. The Topkapı Palace Museum houses an
incredibly rich collec on of wood and metal works, and jewellery, da ng back to the 15th century up un l the 19th
century. The objects known as the “Holy Relics”, which belong to the early ages of Islamic history, are kept safely in
the palace, making the palace a sacred place in the eyes of Muslim visitors. The palace also has a library that
contains the world’s most precious miniatures, manuscripts and archive materials.

https:// stanbultar h . st/692-topkap -palace 1/9

08.12.2020 TOPKAPI PALACE | H story of Istanbul

1- Topkapı palace and Sultanate walls (Hünername)

Mehmed II followed his father, Murad II, who started building the Edirne Palace in Edirne (formerly known as
Adrianople). Mehmet II completed this palace, as well as having the New Palace built behind Hagia Sophia, to the
northeast of the old Byzan ne Palace. The sec ons of the palace, namely the birun (outer), enderun (inner) and the
harem, were situated around courtyards and gardens. The palace consisted of consecu ve buildings formed around
the three courtyards built in the fi eenth century. In addi on, there were gardens and pavilions located on the top
of the hill where the palace was situated, all stretching down to the sea. The en re palace was separated from the
outside world by a high wall known as the Sur-ı Sultanî. This wall contained three large gates and five service gates.
Despite undergoing great changes, especially in the gardens, the main plan did not change. There are three gates
that opened onto the three courtyards and formed the ceremonial and symbolic core of the palace. The first one is
the Bâb-ı Hümayun and it opens onto the Alay Meydanı, or the first courtyard. The second gate, the Bâbüsselâm,
opens onto the Divan Meydanı (Imperial Council Square), or the second courtyard, where the main buildings of the
palace are situated. This courtyard lead one through the Bâbüssaâde gate and opens onto the Enderun Meydanı
(Palace School Square) or the third courtyard.

2- Topkapı Palace (Pertusier)

https:// stanbultar h . st/692-topkap -palace 2/9

08.12.2020 TOPKAPI PALACE | H story of Istanbul

It is assumed that the harem was actually in the Old Palace in Beyazıt, and although there was a young women’s
sec on in the New Palace, it was not un l the reign of Süleyman I (1520-1566) that Hürrem Sultan (aka Roxelena)
moved to Topkapı Palace, along with the en re palace household. The transi on to the New Palace was completed
during the reign of Sultan Murad III.

The Bâb-ı Hümayun, the gate that opened onto the outside, provided entrance to the Alay Meydanı, the palace and
the first courtyard. Originally, this entrance was made up of a pavilion on top and a monumental gate below, but the
pavilion burnt down in 1867. The Hagia Sophia Mosque, located opposite the Bâb-ı Hümayun, always had a close
rela onship with the palace; the sultans usually performed Jum’ah prayers and the ‘Eid prayers in this mosque. Of
the numerous service entrances, only the former Eirene one, located in the northwest, and the Mint entrance beside
it survive today. Hagia Eirene was used as a storage area for weaponry treated as precious booty throughout
O oman history. The first O oman museum was established in this building by Fethi Ahmed Pasha in 1848. The
museum, which holds both the ‘mecmûa-i âsâr-ı a ka’ (an que works collec on), and the ‘mecmûa-i esliha-i a ka’
(an que weapon collec on), makes up the core of the current Istanbul Archaeology Museum and Military Museum.
Large amounts of residual objects were found in the excava on works held around the buildings. To the east of the
first courtyard was the Deâvî Pavilion, but only the founda on can be seen today. The sultan and his wife would
collect pe ons presented to the Imperial Council in this pavilion.

The Bâbüsselâm is an impressive entrance opening onto the second courtyard. Two octagonal gates, which were
surrounded by the conical-shaped towers, were built by Mehmed II and Süleyman I. The gate opened onto the
official parts of the palace where the administra ve authori es resided. Only the sultan was allowed access to the
gate while mounted on a horse. Engraved on the 16th-century metal gate is the date and name of the master
ar san who made it. The second courtyard, known as the Divan Meydanı, is also the second Alay Meydanı. ‘Eid
ceremonies and enthronement ceremonies a ended by ministers, high officials, Muslim scholars and
representa ves of the armed forces were held at this courtyard. The matbah-ı âmire (palace kitchens) were located
in the southeast, and were partly constructed on founda ons from previous periods; however, it was the chief
architect of the O oman State, Koca Sinan (1538-1588), who originally gave them a shape in 1574 and built the
structures we see today. The Kubbeal (Divanhane, i.e. banquet hall) where the divan would meet on specific days,
and the Hazine-i Âmire (treasury) are located in the northeast of this courtyard. The İstabl-ı Âmire (stables) are
behind the second courtyard and the Kubbeal . The current shape of the Kubbeal was designed during the reign
of Süleyman I. The Kubbeal replaced the Divanhane, which was situated by the walls that ran along the third
courtyard and the wooden por coes that provided access to this courtyard, being located on both sides of the
Bâbüssaâde. The name Kubbeal (literally under the dome) is derived from the three domes that cover the
Divanhane and their three sec ons. Covering the divan with a dome, or emphasizing the divan with a dome, is an
ancient tradi on. The dome is not only a symbol of sovereignty, but also symbolizes the state that the sultan
represents and the jus ce he provides. The western chamber of the divan, which is half-open, is the actual loca on
where the divan met. The divan ka bs (clerks) were located in one of these two chambers, which are
architecturally iden cal and adjacent, and the nişancı (chancellor or the clerk who carried the sultan’s seal) were
situated in the other chamber. The construc on of the Kubbeal , Kasr-ı Adl (tower of jus ce), behind the Kubbeal ,
is the most dis nc ve and highest building of the palace. The Kasr-ı Adl connects the building with the harem,
which is located behind the Kubbeal . The tower was rebuilt many mes and its most recent form is from the reign
of Sultan Abdülmecid. This building, which was originally built as a treasury and observa on tower, is a frequently
noted element of the Turkish – Islam palace tradi on. In addi on to the prac cal aspect, these tower structures
also have a symbolic significance, being a symbol of the sultan, just like the domes. During the reign of Mehmed II,
there were cymba (oriel windows) that opened from the Tower of Jus ce to the divanhane. This window is one of
the most important symbols used to emphasize the idea of spreading the greatness of the sultan. Instead of
a ending the mee ngs in their private chambers, sultans would follow the mee ngs in the divan from behind this
window while the mee ngs were being conducted by the grand vizier.

The gate that opens to the third courtyard is known as the Bâbüssaâde. Symbolically, it is the most significant part of
the palace and this gate opens to another sec on of the palace, known as the enderun. Behind the third courtyard
and the arzodası (visi ng room), is the Bâbüssaâde complex with its wide, overhanging, dome-shaped roof with
por coes on both sides. The current form of the Bâbüssaâde dates from 1774. This gate is one of the important exits

https:// stanbultar h . st/692-topkap -palace 3/9

08.12.2020 TOPKAPI PALACE | H story of Istanbul

that symbolize the sultan. The Bâbüssaâde was the place where the sultan would sit on his throne on specific days,
watching the ceremonies that took place in the second courtyard and welcoming emissaries. During the crusades,
the Sancak-ı Şerif would be brought to the Bâbüssaâde and people would offer up prayers.

The arzodası in the third courtyard, which is surrounded by por coes, was the place where the sultan would follow
the decisions of the divan and receive guests. While the arzodası had wooden poles during the reign of Mehmed II,
the marble columns were installed during the reign of Süleyman I. Its shape, which has remained much the same
over the centuries, is in the shape of a pavilion. The ambassadors would be presented to the sultan only a er they
followed the strict protocol that included how to walk in the presence of the sultan. The ambassadors could only
approach the sultan from the side and at a determined distance, emphasizing the sultan’s greatness.

In the third courtyard is the four-domed Hasoda, ini ally designed as an area for Mehmed II’s private life; this is also
known as the Fa h Pavilion (inner treasury), and is located in the northeast corner of the L-shaped, three-domed
complex of por coes. The Hasoda was the chamber where the holy relics were kept in the 16th century, and today
this is called the Hırka-ı Saadet Dairesi. At one me, Selim II used to have a pavilion with a private pool, behind the
Arz Odası.. Today, Ahmed III’s library, which has a beau ful fountain in the foreground, stands in its place. The
courtyard where the enderun mektebi (palace school) was located also contains the Ağalar Mosque; the school had
apartments that were arranged in a hierarchical system for the boys of the school. When it was constructed, the
school was connected to the founda on of the palace.

3- Topkapı Palace (From Gülhane side)

The harem, which was con nually enlarged a er the era of Mehmed II, ini ally only consisted of semi–independent
buildings around the small courtyards known as taşlık. These include the Valide Taşlığı and Valide apartments, and
Cariye Taşlığı, Darüssaâde (Kara Ağalar) wings. The most important pavilions of the harem are those built in 1578 by
Koca Sinan, including the Murat III pavilion. Venues such as the small–domed chamber of Ahmed I, the Hünkâr
Sofası, which was built during the reign of Mehmed IV (1648-1687), are also part of the important chambers of the
harem. The Yemiş chamber, built in 1705 by Ahmed III, along with the Ahmet III Square Fountain in between the
palace entrance and Hagia Sophia, are considered to be leading structures that used the new concept of decora ve
arts. The addi onal chambers built during the reign of Osman II (1754-1757), Selim III (1789-1807) and Abdülhamid I
(1774-1789) are fine examples of the baroque and rococo styles which were popular in the day. Due to the ever-

https:// stanbultar h . st/692-topkap -palace 4/9

08.12.2020 TOPKAPI PALACE | H story of Istanbul

increasing popula on and addi onal buildings, the harem became a restricted complex. An example of the most
important civil O oman architecture, this complex, which burnt down many mes over the years, is also one of the
best kept harem buildings in the Islamic world.

4- Topkapı Palace

The hasbahçe behind the third courtyard, which belonged to the sultan, was built on several levels. Due to the fact
that this area was used for growing tulips, it is also known as the Tulip Garden. The Fourth Place behind the Hasoda,
which was built by Mehmed II, is also known as the Sofa-i Hümayun. The Bağdat and Revan pavilions, built by Murad
IV (1623-1640) in honour of victorious crusades, are on this marble terrace with a pool and were the sultan’s private
areas. These two pavilions are great examples of seventeenth-century O oman civilian architecture. Water being an
indispensable element of Eastern palaces can be seen in the form of the rectangular fountain. The terrace that looks
at the harem to the northwest of the Sünnet Odası (circumcision chamber) is famous for the extraordinary ceramic
les in the entrance hall. The open arbor, also known as the İ ariye Pavilion was built by Sultan İbrahim (1640-1648)
and looks at the Golden Horn; this is one of the finest examples of tombak art.

The Hekimbaşı Tower and Sofa Pavilion, one of the most beau ful examples of seventeenth-century O oman rococo
architecture da ng back to 1752, can be considered to be significant buildings in the hasbahçe. The Mecidiye
Pavilion, built in the 1850s, is situated in the same corner of the garden that looks at the Marmara Sea, and is the
final building of the palace. Built in a Western style, this pavilion was s ll used for ceremonies and visits held at
Topkapı Palace even a er the palace moved to Dolmabahçe.

At various periods there were areas where cirit and tomak were played in these large gardens. Large tents would be
set up in the gardens and courtyards on special days. The Çinili Pavilion (Sırça Palace), built by Mehmed II and
separate from the palace complex today, is the most important of these remaining buildings. The pavilion is one of
the oldest examples of O oman civilian architectural in Istanbul. This pavilion was different from the O oman style
and was carried out in the “Persian” and “Karamanian” style, which was built using a four-iwan scheme; according to
sources from the period different styles were used to symbolically represent the idea of world dominion by Mehmed
II. However, other pavilions men oned by the sources did not survive. The Sepetçiler Pavilion, built in 1643, is
another example of pavilions that have survived. Above the northwest part of the Sur-ı Sultanî, is the Alay Pavilion,
opposite the Bâbıâli, which dates back to the reign of Murad III (1574-1595), but its current form dates to the reign
of Mahmud II. Most of these pavilions were built using a private room plan.

https:// stanbultar h . st/692-topkap -palace 5/9

08.12.2020 TOPKAPI PALACE | H story of Istanbul

5- Bab-ı Hümayun (The gate opening to the first yard of Topkapı Palace)

Topkapı Palace is of the classic O oman style, the style in which imperial symbolism can be found in a construc on
covered by a single dome, with double-lined windows and decorated with les; this is a style that demonstrates the
residen al architecture of the period. Over the centuries, the interior designs of the complex were renewed with the
“current fashion” of the period. In fact, quite a small number of buildings have survived un l today with original
decora ve design.

In numerous places in the palace there are inscrip ons to remind the palace staff of their responsibili es, providing
informa on about the construc on and repairs. In addi on, complete works can be seen in the forms of verses from
the Qur’an, hadiths and beau ful sayings; these too are a part of the decora on. Some of these inscrip ons were
wri en by famous calligraphers of the period.

https:// stanbultar h . st/692-topkap -palace 6/9

08.12.2020 TOPKAPI PALACE | H story of Istanbul

6- Babüsselam (The gate opening to the second yard of Topkapı Palace)

7- Babüssaade (The gate opening to the third yard of Topkapı Palace)

It is possible to see a long palace tradi on in the layout and architectural func on and ceremonial dimension of
Topkapı Palace. In addi on to the geographical loca on and interac on between the Byzan ne and Islamic
civiliza ons, as the successor of this civiliza on, this is also part of the Turkish–Mongolian palace tradi on. The
pavilions and tents placed in large fields stretching from Central Asia to Anatolia are features of the Turkish - Islamic
palace tradi on. Topkapı Palace, which is monumental from the outside, but has a flexible appearance from the
inside, creates a mobile impression, even resembling a tent city. This flexibility makes the palace unique, being open
to addi ons and adapta ons, when compared to the other palaces built during the same centuries.
https:// stanbultar h . st/692-topkap -palace 7/9
08.12.2020 TOPKAPI PALACE | H story of Istanbul

The out-of-date palace in Edirne and the Hansaray, which was the administra ve center of the Crimean Khanate in
Bahçesaray and even the Indian–Mongolian palaces to some extent demonstrate the same layout scheme as Topkapı
Palace. Buildings placed around two or three courtyards and the order of the divanhane and arzodası are similar. The
placements of gates and the courtyards to one another and the placement of buildings reflect the palace protocol.
The protocol became stricter and separated the sultan from the public to a certain extent; this was also partly
reflected in the architectural order of the palace. The layout symbolically represents the power and the world
dominion of the sultan. The sultan shows himself and sees his public; the public sees their sultan to the extent that
he allows. In addi on to all these symbolic architectural approaches, the decora on of the palace is also unique and
precious. The les used in the palace make up the largest and the most valuable le collec on of the O oman
period and represents all the techniques and most successful examples of the O oman periods.

8- Topkapı Palace

BIBLIOGRAPHY
Ayverdi, Ekrem Hakkı, Osmanlı Mi‘mârîsinde Fa h Devri: 855-886 (1451-1481), Istanbul: İstanbul Fe h Cemiye ,
1989.
Eldem, Sedat Hakkı and Feridun Akozan, Topkapı Sarayı: Bir Mimari Araş rma, Istanbul: Kültür ve Turizm Bakanlığı,
1982.
Eldem, Sedat Hakkı, Köşkler ve Kasırlar, Istanbul: Devlet Güzel Sanatlar Akademisi, 1969, vol. 1.
Eyice, Semavi, “İstanbul’da Bizans İmparatorlarının Sarayı: Büyük Saray”, STAD, 1988, no. 3, pp. 3-86.
Koçu, Reşat Ekrem, Topkapı Sarayı, Istanbul: İstanbul Ansiklopedisi ve Neşriyat, 1960.
Kuban, Doğan, “Topkapı Palace”, DBİst.A, VII, 280-291.
Necipoğlu, Gülru, 15. Ve 16. Yüzyılda Topkapı Sarayı, Mimari Tören ve İk dar, Istanbul: Yapı Kredi Yayınları, 2007.
Sakaoğlu, Necdet, Tarihi Mekânları, Kitabeleri ve Anıları ile Saray-ı Hümayun, Istanbul: Denizbank, 2002.
Seçkin, Nadide, Topkapı Sarayı’nın Biçimlenmesine Egemen Olan Tasarım Gelenekleri Üzerine Bir Araş rma:: 1453-
1755, Ankara: Atatürk Kültür, Dil ve Tarih Yüksek Kurumu Atatürk Kültür Merkezi, 1998.
Sözen, Me n, Bir İmparatorluğun Doğuşu: Topkapı, Istanbul: Golden Horn, 1998.
Tanman, M. Baha, “Âsitâne”, DİA, III, 486-487.
Tanman, M. Baha, “Divanhâne”, DİA, IX, 437-445.

https:// stanbultar h . st/692-topkap -palace 8/9

08.12.2020 TOPKAPI PALACE | H story of Istanbul

Tanyeli, Uğur, “Anadolu-Türk Saray Mimarlığının Evrimi Üzerine Gözlemler (12.-16. Yüzyıl)”, Topkapı Müzesi: Yıllık,
1988, no. 3, pp. 181-210.
Tanyeli, Uğur, “Topkapı Sarayı Üçüncü Avlusu’ndaki Fa h Köşkü (Hazine) ve Tarihsel Evrimi Üzerine Gözlemler”,
Topkapı Müzesi: Yıllık, 1990, no. 4, pp. 150-187.
Tarım-Ertuğ, Zeynep, “Topkapı Sarayı”, DİA, XLI, 256-261.
Tezcan, Hülya, Topkapı Sarayı ve Çevresinin Bizans Devri Arkeolojisi, Istanbul: Istanbul Türkiye Turing ve Otomobil
Kurumu, 1989.
Uzunçarşılı, İsmail Hakkı, Osmanlı Devle nin Saray Teşkilâ , Ankara: Türk Tarih Kurumu, 1988.

This ar cle was translated from Turkish version of History of Istanbul with some edi ons to be published in a digitalized form in 2019.

https:// stanbultar h . st/692-topkap -palace 9/9