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Aya Sofya/ Church of Holy Wisdom

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walkman
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The Pot of Gold at the End of My Rainbow

The Pot of Gold at the End of My Rainbow

The Aya Sofya, or Haghia Sophia, Church of the Holy Wisdom, may no longer dominate the skyline of Istanbul as it once did, but it is still a beacon, an object of veneration, a sacred space to worshippers of many faiths. As I made my way up overland through the Middle East from Cairo I felt its lure. If Istanbul was the end of my rainbow, the Aya Sofya, I felt, would be the glittering pot of gold.

Aya Sofya has a proud pedigree. It was commissioned in the 6th century by the Byzantine Emperor Justinian. This was the Imperial church of his successors’ realms and was to remain the empire’s holiest spot for 900 years, until Mehmet the Conqueror took the city for the Ottomans. He personally rode to Aya Sofya and commanded a halt to the looting. Then he prayed. Church became mosque, and the continuity of worship continued, its sanctity respected. In 1934 it was opened to the public of all faiths and none as a museum. (In fact the only ones not to respect the church were fellow Christians; Catholic Crusaders sacked Constantinople in 1204 in preference to fighting the armies of Islam. Aya Sofya’s altar was smashed, and a prostitute was seated on the throne of the patriarch where she "sang and danced in the church, to ridicule the hymns and processions of the orientals". Its treasures were carted off as booty – St Mark’s Basilica in Venice alone is home to the Pala d’Oro, the porphyry ‘Four Tetrarchs’, and the Roman Horses that once adorned the neighbouring Hippodrome).

Entrance to Aya Sofya is 20TL, making it one of the more expensive things to do in Istanbul. But before entering keep going through the gardens towards the Blue Mosque to get a proper look at it. Compared to the elegant 16th century Ottoman mosques Aya Sofya ain’t much to look at. A sort of paté grey-pink colour, it squats. While once it was dizzying in its height and majesty it has had so many supporting buttresses and assorted tombs, libraries and baptisteries accreted on to it that now it splays out like a partially-melted snowman, diminishing its grandeur considerably.

Inside you enter the huge domed core of the basilica. This stood as the largest covered space in the world for a thousand years. The pinnacle of the dome stands 56m overhead, and it spans 30m, a mind-boggling feat back in the day, one that brings to mind other miraculous couldn’t-be-done domes such as the earlier Pantheon in Rome and Brunelleschi’s later Duomo in Florence. Justinian’s hagiographer Procopius stated that the dome "seems not to be founded on solid masonry, but to be suspended from heaven by that golden chain". Justinian’s own judgement? "Solomon, I have surpassed thee". This was designed as a new Temple, the holiest place in the world, planned to bring divine grace and favour upon dynasty and realm and awe its rivals. It clearly worked. Stunned ambassadors of Kievan Rus reported back that they "knew not whether we were in heaven or on earth… We only know that God dwells there among men…"

The interior is dark, light filtering through its few high windows and flickering from low-hanging chandeliers. The stone-work is dark too, not the riot of glittering gold tiling I had imagined. In fact the first impression is a gloomy one, as though outliving its benefactors, its empire, and its religion has cast a sombre shadow across this once most magnificent of churches. Despite almost continuous maintenance Aya Sofya is degrading before your eyes. Scaffolding swathed the northern wall, and beneath the galleries I saw small piles of peeling plaster, and lost pigeons fluttering from column to moulding and back or just pacing the dusty floor. However, it some ways these forgotten corners were more atmospheric than the great central nave. The Swiss Fossati brothers renovated the mosque in the 19th century. While their work to shore up the edifice was dearly needed some of their additions – painted fake marble sheathing and the huge pendant medallions bearing Arabic calligraphy in the nave – are frankly rubbish. Also beneath the galleries at least the chatter and footfalls of tourists were hushed and muffled; back in the nave they echoed like a wall of sound. For you will not be left alone with your thoughts here. More than anywhere else in Istanbul it is Tourist Central. And the layout of the floor tends to funnel them towards certain choke points, for despite its expanse the nave can feel almost cluttered. The two massive carved marble urns were almost certainly looted from elsewhere in antiquity, but it is the carved minbar that really channels the crowds into a holding pattern before the apse. High above here are mosaics of the Virgin Mary and Archangel Gabriel, once covered over during Aya Sofys’a incarnation as a mosque.

Walking among the crowds thronging that cavernous space I did not feel inspired by the sanctity of the site, I did not feel awed by the majesty of its construction; I merely felt slightly let down. Perhaps I had been building it up in my mind for too many years, but I felt disappointed. This changed once I discovered the way up to the galleries. Head to the north-west corner (left from where you enter). Over here you will find the weeping column of St Gregory the Miracle-Worker. There is a gap in the column’s brass cladding, and a hole worn by eight centuries of thumbs; the trick is to insert your thumb in the hole, fingers facing down towards the base of the column, then rotate your hand 360 degrees. Just past here is the way up to the galleries. Now this does transport you back through the centuries. A shallow ramp, certainly shallow enough for a horse to be ridden up it, switch-backing upwards, the walls made of thin red brick tiles glued together by layers of cement almost as thick, all very romanesque. Once up in the galleries progress anti-clockwise. Once through the marble portal known as the ‘Gates of Heaven & Hell’ you will find three very impressive Byzantine gold mosaics. The first is the Deisis starring a Christ Pantocrator, right hand raised in blessing. Opposite it there is a grave in the floor. This is the last resting place of Enrico Dandolo, Doge of Venice, the man who loosed the Crusaders to sack the city. In that context it is about as appropriate as Adolf Hitler getting a prime burial plot in Warsaw.

Carrying on towards the apse you will find two more great mosaics, glorifying the Byzantine rulers. One shows the Virgin, dandling an infanct Jesus, flanked by Emperor John II Comnenus, who ruled 1118-1143, and his Empress Irene (who overturned the iconoclast policy and therefore allowed mosaics like this to be created). Their son Prince Alexius has been added as an afterthought on the corner of the wall. The other depicts Christ in gorgeous blue robes being paid homage by Emperor Constantine IX Monomachus and his Empress Zoe. Or rather I should say ‘Empress Zoe and her Emperor Constantine IX Monomachus’, for the royal line had passed down through Zoe, and the mosaic originally depicted one of her three earlier husbands; it was amended after her marriage to Constantine. They ruled jointly from 1042 to 1055. All are lavishly backed by the shimmering gold we tend to instinctively associate with Byzantine mosaics, with the various imperials dressed in ornate tesselated and patterened robes, that do indeed evoke the decorations of the Pala d’Oro.

The final mosaic is seen on the exit from Aya Sofya. You exit through the route that the emperors used to take from their place quarters. The last room is where their bodyguard used to wait for them, the Vestibule of the Warriors. Turning back, over the Portal of the Emperor there was an image to remind the city’s rulers of the sacred duty. Mary and Jesus are being honoured by two illustrious forebears. To the right Constantine offers the city of Constantinople itself, and on the left Justinian presents a model of Aya Sofya (or the ‘Haghia Sophia’ as it was in those days). It is interesting to see what the great church would have looked like in those days without the later accretions built up and around it.

The Aya Sofya was not as impressive and uplifting as I had previously imagined it to be. If it had not been for the ability to climb to the galleries and see mosaics up close I would have actually been rather diappointed with the experience. As it was I would have to say that if in Istanbul with time to spare this should be one of the places you should endeavour to see – though even then I would personally prioritise the Topkapi Palace, the Blue Mosque and taking a trip out on the Bosphorus.

From journal Holy of Holies

Breathtaking Beauty and History

  • November 7, 2008
  • Rated 4 of 5 by oldscratch from New York, New York
Breathtaking Beauty and History

Our first stop on our first full day was one of Istanbul's most famous attractions, the Hagia Sophia, a massively domed cathedral built in 532 AD that throughout the centuries has served as both a church and a mosque. Today it operates as a museum, and as you might imagine given its long history, it's of significant interest to tourists of all stripes. As a result, one of the most fascinating aspects of visiting the museum is admiring all the disparate cultures that gather under its roof on any given day.

For whatever reason, we didn't opt to take a tour, but if you have the time, I would definitely recommend doing so. The Hagia Sophia is full of amazing artwork and views of the city that can be appreciated on it's own, but I'm sure a little context would have helped as well.

From journal Three Days in Istanbul

Editor Pick

Aya Sofya, Church of Holy Wisdom

  • August 27, 2007
  • Rated 5 of 5 by barbara from Atlanta, Georgia
Aya Sofya, Church of Holy Wisdom

The Aya Sofya or Haghia Sophia is a marvel of architecture. Its giant dome is an amazing thing to see, and a walk through this great Christian Church, turned into Mosque, and turned into Museum is like a walk through Istanbul's religious history.

Knowing the significance of this place, we did not want to visit without any guidance. So, we went to the City Sights Kiosk across the street on the corner, the place where you buy bus tickets for a City Sight tour, and rented an audio guide for 4 Lyre each. This was a great move on our part. Very, very dense, the guide gives a ton of information. But it greatly enhanced our visit because we knew where to look for some of the most interesting features in the building.

For instance, when you first walk into the church/mosque/museum, you will see the Emperor's Doors. Above these you will find a mosaic of Christ flanked by Mary and the Archangel Gabriel. An emperor who has sinned by cheating on his wife---and thus not been granted the heir that he wanted---is kneeling prostrate before Jesus, asking for forgiveness for his sins.

Walk through the doors and see the giant dome. You'll notice giant circles with Arabic writing. These are the names of the sons of Mohamed.

Go to the left and find the column with a band of iron around its base. You might see people putting their thumbs into a hole in the column. This is the "sweating column" and the story is that the water you can feel inside has holy properties capable of healing eye problems and infertility.

Go up the stairs past the door where the women would have entered the Aya Sofya and you'll find other important mosaics. One is of Christ, Mary, and St. John the Baptist. You'll see the bottom of the mosaic is chipped off. This is because the janitors who worked in the Aya Sofya when it was first turned into a museum would sometimes chip off pieces of this mosaic for souvenir hunters who paid them money.

As you leave the church, look behind you and find Mary again with Christ. Flanking them are the Emperors Justinian and Constantine. One is holding up the Aya Sofya itself. The other is holding a model of the city. This was meant to represent the fact that both were built to the glory of Mary and Christ.

Go through the courtyard and notice the small building to the left. During the time of the Ottomans, the person who calculated the time for prayers every day---apparently they change according to lunar/solar cycles---lived here.

One of the audio guides we rented died while we were walking through the museum. The fee for this guide was refunded when we went to pick up our deposit and return the mini-I-pods on which the tour was recorded.

If you like history---if you have an interest in religion and architecture---you'll enjoy the Aya Sofya.

From journal Turkey with Teenager

Aya Sofya/ Church of Holy Wisdom

  • July 13, 2006
  • Rated 4 of 5 by dackelynn from Misaka, Japan
Aya Sofya/ Church of Holy Wisdom

Although this church may look a bit worn-down, especially on the outside, it still has a lot of heart. You don't need a tour guide to enter and if you don't want to pay for one then ignore the touts around the entrance.

The Church of Holy Wisdom was originally constructed in Roman times and contains Byzantine architecture. Parts of the building periodically collapsed. The church was made into a mosque following the conquest of the Turks, and you'll see lots of hanging examples of Islamic calligraphy. Be sure to look up at the very tall ceilings; you don't want to miss all of the little touches. Take your time exploring this vast church/mosque/museum and keep in mind that you can explore the second floor.

From journal Istanbul, Turkey: West and East

Editor Pick

Aya Sofya/Church of Holy Wisdom

  • April 8, 2006
  • Rated 3 of 5 by reynosora403 from Hamilton, Ontario
Before entering the Blue Mosque (Sultan Ahmet Cami), we spent time wandering around the vast courtyard and gardens. In the center courtyard, as in all Moorish structures, a lovely central fountain predominates. Six minarets reached like stalagmites toward the incredibly blue sky. It was a stunning and unforgettable image evoking the tales of the Arabian Nights. The Turkish architect Mehmet Aga built the mosque in the 1600s. The intention was to build a mosque to outshine that of the Sofya Aya. Both edifices are magnificent. Sultan Ahmet the First ordered that the mosque have six minarets, but he had to pay for a seventh to be added to the mosque in Mecca. We entered the mosque by a side door; only Muslims may enter through the massive main portal. An impassive custodian ensured all footwear was removed whilst scrutinizing the dress of females, as a hair covering is required and supplied if needed. The interior is awash in a sea of blue Iznic tiles (approximately 20,000). It is said that one tile is worth about $35. Soaring aloft is a canopy of heavenly domes supported by four massive pillars. The center dome is 109 feet wide and the pillars are 15 feet thick. Shafts of light from hundreds of stained glass windows bathe the entire room in a magical pale blue haze, which imbue this massive space with illumination and serenity. A huge chandelier lit with tiny bulbs hangs from the center. The wires holding it are barely visible, creating the feeling of a star-filled room. It was a totally mesmerizing experience and I know my description fails to impart its sheer splendor and majesty. The floor coverings are rich ruby-red Turkish carpets with smaller prayer mats atop, but it is the soaring domes and the sheer size of the interior that astounds the visitor. Don’t miss the sound-and-light show every evening at dusk. The show is in a different language each evening, but whatever the language, it is not to be missed.

From journal Istanbul Adventure

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