Located in Tophane Square in Istanbul’s Beyoğlu district, the Nusretiye Mosque stands out as one of the significant architectural works reflecting the Ottoman Empire’s Westernization period and serves as a symbolic structure of the military and administrative transformations during the reign of Sultan Mahmud II.
The Nusretiye Mosque, one of the notable works reflecting the Westernization era of the Ottoman Empire, has been examined in detail.
Commissioned by Sultan Mahmud II between 1823 and 1826, the mosque derives its name from the term “nusret,” meaning “victory,” following the “Vaka-i Hayriye,” an event that led to the abolition of the Janissary Corps and marked a major turning point in Ottoman history.
Therefore, the structure is not only a place of worship but also regarded as a monument symbolizing the political and social transformations of the period.
Situated in Tophane Square, an area historically dense with Ottoman military and commercial activity, the mosque was constructed on the site of the former Top Arabacı Barracks and Mosque. According to historical sources, the architect of the Nusretiye Mosque was Krikor Amira Kalfa from the Balyan family, which designed numerous state buildings during the late Ottoman period.
Architecturally, the mosque departs from the classical Ottoman style, drawing attention with its Baroque and Empire-style ornamentation and slender, tall minarets. Featuring a single-domed plan, the interior is brightened by large windows, while the wall decorations, calligraphy panels, and inscriptions reflect its aesthetic character.
The prayer hall stands out with its high-arched windows, elaborate decorative program, and dynamic architectural details. The sultan’s gallery and the entrance layout echo the palace architecture of the era.
Because of its location near the Bosphorus, the Nusretiye Mosque is easily visible from the sea and is considered one of the key examples of the 19th-century transition in Ottoman architecture from classical styles to Western-influenced design.
Today, both as a place of worship and as a historical landmark, the Nusretiye Mosque continues to attract visitors as an important part of Istanbul’s cultural heritage within the historical texture of the Tophane neighborhood.
Prof. Dr. Fatih Özkafa, a faculty member in the Department of Turkish-Islamic Art History at Marmara University’s Faculty of Theology, spoke about the mosque’s architectural structure, calligraphy, and ornamentation.
Özkafa stated that the construction of the mosque began in 1823 under the patronage of Sultan Mahmud II and noted that the site previously hosted the Top Arabacı Barracks and Mosque.
He added that following the fire in 1823, the Nusretiye Mosque was built and completed in 1826. “According to sources, the architect was Krikor Balyan. The mosque displays the late-period characteristics in the Baroque and Empire style. Its prominent towers are pear-shaped and heavily applied, which is one of the mosque’s striking features. After the abolition of the Janissary Corps, the mosque was considered a symbol of ‘victory,’ hence the name Nusretiye Mosque. Locally, it is also known as the Tophane Mosque, and it is a coastal mosque built near the Bosphorus,” he explained.
Özkafa emphasized the mosque’s significance in calligraphy, noting, “The mihrab’s protruding design is remarkable. The way the inscription band rises and falls in the mihrab area is also notable. This form is referred to in our sources as resembling a camel’s neck, hence the description.”
He also highlighted that the renowned calligrapher Mustafa Rakım Efendi wrote 1.5 pages of the Surah An-Naba in “jeli thuluth” script within the mosque. “This calligraphy, also known as the Amme Surah, is important for the development of “jeli” script, showcasing intricate composition, letter structure, and layout characteristics.”
“Mustafa Rakım Efendi, who was somewhat unwell during the writing, was assisted by his students Şakir Recai and Mehmet Haşim Efendi, who contributed significantly to this work. Additionally, there is fountain kiosk next to the mosque with inscriptions in “jeli talik” script by Yesarizade Mustafa Izzet Efendi,” he added.
Özkafa further noted additions made later to the mosque. “During the reign of Sultan Abdulhamid II, a fountain was built in front of the mosque by the renowned architect Daronko. However, due to subsequent urban development, the fountain was relocated opposite Istanbul Technical University in Maçka,” he said.
Emphasizing the mosque’s importance in calligraphy, Özkafa remarked, “Mustafa Rakım Efendi was also the calligraphy teacher of Sultan Mahmud II. He is the sultan whose calligraphic works are most preserved today. Despite some negative impressions among the public due to the radical reforms he enacted, Sultan Mahmud II remains a significant figure in Ottoman history. The mosque does not have a classical complex; it includes a fountain kiosk, timekeeping room, and fountain.”
