Is There a Mental Architectural Code in the Reliefs of Divriği Ulu Mosque?
The door knockers, arches, and column capitals of the Divriği Ulu Mosque and Darüşşifa are decorated with intricate floral and geometric motifs. At first glance, each door facade appears symmetrical, but upon closer inspection, it becomes clear that all the motifs are different and that no motif is repeated. According to Sufi tradition, different beings in the universe exist in perfect harmony, and architects have reflected this on stone surfaces; as Sakaoğlu emphasizes, “there are thousands of motifs in the structure, and none of them are repeated.” At the same time, these motifs are all interconnected, forming a fractal-like pattern with curved star shapes and intertwined circles. For example, these arrangements, which point to the microcosmos in every part, like Atlas, seem to be a reflection of the divine order on stone. This understanding suggests that the decoration in Divriği is not only a visual richness but also a symbolic “visualization” effort that reflects the unity of God and the order in the universe.
- The door reliefs of Divriği are carved in a baroque style using high relief technique. Each vault, column, and arch is decorated with different patterns (no motif is repeated), and the stone is carved as if it were lace.
- These unique, multi-layered motifs evoke cosmic narratives in Islamic mysticism. The design uses concepts such as the “four-axis defining vault” to directly reflect metaphors of divine light flowing into the interior space.
- Therefore, it can be thought that the geometric and floral motifs in the decorations symbolize the invisible divine order, depictions of paradise, or the inner world of the believer. From this perspective, every form in Divriği carries both aesthetic and metaphysical meaning.
The Asymmetrical Structure of the Divriği Plan: Coincidence or a Conscious Spiritual Orientation?
When viewed from the ground, Divriği Mosque and Darüşşifa appear to be a unified structure, but there is a striking asymmetry in the plan. The complex extends in a north-south direction, and the mosque section has a five-aisled structure; the central aisle widens in front of the mihrab and houses a domed skylight. This interior layout has been preferred over the traditional courtyard-style mosque plan. However, the most striking difference lies in the relationship between the mosque and the hospital: The Darüşşifa forms a third of the southern wall of the mosque. The magnificent portal on the western facade of the Darüşşifa rises higher than the mosque wall, creating a different sense of scale and weight in relation to the mosque.
This deliberate asymmetry may have been designed to influence the sense of direction in the space. For example, there are subtle relationships between the placement of the doors, the main entrance axes, and the direction of the mihrab. Visitors encounter a spatial composition with different elevations and transitions rather than a simple rectangular plan. This asymmetrical layout does not disrupt the understanding of worldly balance but rather conveys a sense of humility and conscious ambiguity. For example, the arrangement of columns inside the mosque and the position of the dome in front of the mihrab depart from traditional symmetry, transforming the visit into an inner journey. While this situation can be interpreted as emphasizing the oneness of Tawhid, it may also aim to keep the individual oriented toward God at all times without getting lost in space. In other words, the asymmetrical layout in Divriği should be considered part of a holistic spiritual roadmap that does not view the quest, worship, and healing as completely separate entities.
- The mosque body and hospital block are designed on different scales; the hospital’s high dome and crown gate stand out, while the mosque section creates a more horizontal composition.
- Asymmetry creates rhythmic movement rather than monotony in a space. Architects who incorporate concepts of time and space into their work may aim to encourage visitors to engage in introspection through such differences.
- This arrangement also symbolizes the transition between the mosque and the healing center; emphasizing spiritual purification in one direction and the search for medical healing in the other, it is likely that a space has been designed where “advice and meaning” are intertwined.
The craftsman’s unconscious pattern memory, or a cybernetic architectural reading?
In Divriği’s stonework, we see the uniqueness and creativity of the master craftsmen in every motif. As emphasized in Archnet documents, these works are proof of the craftsmen’s skill and creativity. The reliefs, which are said to have been created by groups of craftsmen from the Ahlat region of Sivas, are an advanced stone version of the Iranian-inspired decorative styles of the period. During this process, the masters seem to have consciously applied the principle of “never repeating themselves”: as Sakaoğlu points out, it is noteworthy that none of the tens of thousands of motifs in Divriği have been used again. This conscious chaos transforms the “each one different” designs into a memory, into the inner world of the craftsman. Each motif tells a new story; the connections between motifs serve more to maintain a general aesthetic unity.en detaylarda ustanın sezgisel tercihlerinin izini sürdürür.
On the other hand, contemporary interpretations suggest a “cybernetic” approach to deciphering this design code. In other words, it is possible to view the patterns in Divriği as a system language: modern analyses that seek mathematical ratios, mandala-like structures, or symmetrical transformations between motifs aim to understand the underlying structure of the patterns. Indeed, some geometric motifs appear to repeat similar forms as the scale changes (this creates a somewhat fractal-like perception). However, at this stage, there is insufficient evidence to support this perspective, which remains largely metaphorical. Even when the structure itself is conceived as a “grand order,” the creative process relies heavily on the meticulous skill of the human hand. Ultimately, the reliefs in Divriği reflect both the craftsman’s unique individuality and the hierarchical order established throughout the work. Each motif is vivid in the craftsman’s memory while also appearing as an integral part of the broader cosmic order.
- The craftsmen of Divriği experimented with new combinations in every motif, creating a complex network of knowledge in stone without repeating themselves.
- This work is considered to be “the product of the skill and creativity of the masters”; in other words, the density of detail in the stone is largely the product of human memory and the individual creativity of the master craftsman.
- On the other hand, when the underlying order of the patterns is examined, the question arises whether there is a system. Although modern interpretations attempt to analyze the relationships between motifs using “cybernetic” terms, at this stage, the memory of stone is thought to be more of a synthesis of human tradition.
What do shadow, silence, and slowness convey in Divriği Ulu Mosque?
The interior of Divriği Mosque has a relatively dim atmosphere. This spiritual space, illuminated by small windows compared to its exterior, creates a sense of tranquility through the delicate balance between light and shadow. As noted by visual perception expert Arnheim,i gibi, “ışığın var olabilmesi için karanlığın da var olması gerekir”. Divriği’de mimar, bu dengeyi kasıtlı kullanarak ziyaretçiye karanlıkta hissederek tefekkür etme imkânı tanımış gibidir. Üstelik içeri giren ışık güneş hareketine bağlı olarak sürekli değişir; sirkadiyen ritmi takip ederek sabahın ilk ışığını batıdaki pencerelerden süzer, kubbedeki açıklıktan gelen öğle güneşi odayı bir anda aydınlatır, akşam üstü yeniden loşluğa döner.
These light effects and shadows emphasize perception through feeling rather than sight. As anthropologist Doğrusoy points out, the use of “dimness and shadow rather than light” in sacred spaces creates an atmosphere that is different from the normal flow of the space and turns inward. The domes of Divriği feature round light openings (referred to as “sun doors”); according to Sufi interpretation, these openings symbolize the entry of divine light into the interior space.
The architects and builders of the structure spent two years studying the movements of the sun and stars to make detailed calculations for the emergence of silhouettes and shadows.
In particular, the silhouette of a person praying at the western crown gate in the afternoon, the silhouette of a woman appearing at the gates of paradise in the morning, and the silhouette of a man’s head seen at the Shah gate demonstrate that these designs are not coincidental. These shadows are the product of a design philosophy shaped by science and faith, and they gain a spiritual meaning when associated with the shadow verses in the Quran.
Discovered in 2005 thanks to a photograph taken by a tourist, the silhouette of a person praying has made the structure famous worldwide. Today, visitors, especially those who want to see this impressive shadow, prefer to come to the structure at the time of afternoon prayer.
In the words of A.U. Peker, “Each vault defines an axis; these are the intermediate spaces of a microcosm. The lower and upper surfaces of the four axes form the ceiling, while the apex represents the sky. In the sky, there is a door leading to the sanctity of God.” The balance of light and darkness in the interior of Divriği has both supported biological rhythms and symbolically created a foundation for spiritual silence and slowness. This design offers a worship experience that is not “seen” but “felt.”
- The interior is lit by narrow windows on the west wall and an opening in the dome; light is concentrated in the center and gradually diminishes toward the edges.
- The balance between light and darkness affects human perception; in accordance with the principle that “light cannot exist without shadow,” shadows intensify the atmosphere.
- In Sufi cosmology, the symbol of the sun gate represents the flow of divine light inward. These openings in the domes of Divriği can be interpreted as metaphorical reflections of the visitor’s spiritual ascent.
Why does Divriği Ulu Mosque say so much without saying anything?
There is almost no textual description of the Divriği structure. As mentioned in historical records (although there are a few inscriptions on the northern door of the mosque), there is no inscription or verse that directly “describes” the mosque other than the decorations. This choice gives the architecture a kind of silent narrative power. As Evliya Çelebi noted centuries ago, this masterpiece is “where words fail and pens break.” In other words, the beauty and depth of meaning of the work are beyond the reach of words. Divriği is not a place for reading or interpreting, but for “contemplative reflection.”
Decoration and structural rhythm offer a set of images that will be remembered instead of written text. Each motif creates a record in the visitor’s mind; architects and craftsmen have built a visual memory on stone. Textless architecture, in this sense, does not present the viewer with an empty canvas but opens up a thought space filled with images. Thus, the visitor will create their own inner experience, following the path of imagination rather than the map.
- In Divriği, stone surfaces serve as narrators instead of inscriptions; for example, the non-repetitive motifs in the decorations, which imply the unity of Allah, are themselves like sacred texts.
- This void allows visitors to listen and reflect. With its rich visual density, the work “constructs a memory without text,” allowing each viewer to create their own meaning.
- In the words of Evliya Çelebi, Divriği is such a masterpiece that words cannot describe it: “Tongues are speechless, pens are broken.” This silent monument is a spatial area of contemplation, as if designed for inner conversations.
The silent architecture of Divriği speaks through symbols in its design: mosaic flowers, star motifs, double-headed eagles… Each of these is a sign with spiritual meaning. This visual language creates a more lasting environment for contemplation than language alone, drawing on the memory it has carved out over time.
