Egypt: The Aqsunqur Mosque (The Blue Mosque)

The Aqsunqur Mosque (The Blue Mosque)

by Lara Iskandar

During the fourteenth and fifteenth centuries, the heart of Islamic Cairo shifted south to an area called Darb al Ahmar (the red road), to the south and east of Bab Zuweila (Zuweila Gate). Many great Mamluk Monuments are found in the zone especially in Bab al-Wazir Street (Gate of the Minister) which is the main street leading to the northern side of the Citadel.

Exterior View of Aqsunqur Mosque from Bab al-Wazir Street.

(Middle): Map

1. Alin Aq Palace
2. Khayerbek Complex,
3. Aqsunqur Mosque

Two of the earliest buildings on the Darb al-Ahmar road are the Mosques of al-Maridani (1339) and the so-called Blue Mosque (1347) more properly called after its owner, Amir (Prince) Aqsunqur al-Nassery.

The Blue Mosque shares a common wall with a 17th Century house named Mustahfazan House - after its owner- and is located next to the Khayerbek Complex which dates back to the 16th Century. Also nearby are two other interesting Mamluk Monuments; the Mausoleum of Amir Tarabay al-Sharifi (1504) and the Mosque of Umm al-Sultan Shaaban (1369) which lies further along Bab al-Wazir street.

Above Left: Mausoleum of Amir Tarabay seen from the Aqsunqur Mosque. Above Right: Dome of the Asunqur Mosque from the roof and seen behind is the minaret of Umm al-Sultan Shaaban with the missing top.

The Mosque follows the traditional hypostyle plan, a Durqa'a (central courtyard) surrounded by four porticoes, the largest of which is the main prayer hall with two Iwans (side aisles).

To the left of the open courtyard is the Mausoleum of Aqsunqur and his son. Beside it stands the Mausoleum of his brother-in-law, Sultan Ala'a al-Din Kuchuk (the little one) son of al-Nasir Mohammed who ruled for five month before being assassinated at the age of six. To the right is the tomb of Ibrahim Aga Mustahfazan, owner of the adjacent house.

Top: Mausoleum of Amir Aqsunqur. Left: Mausoleum of Ibrahim Aga Mustahfan.

A curious feature of this Mosque is the use of piers sustaining cross-vaults which could be

explained as the beginning of departure from the Bahri-Mamluk structural style, originally consisting of arcades formed of marble columns carrying arches supporting a flat wooden ceiling. Both square and octagonal pillars support the Mosque's arches giving it an unusual and unique aspect.

The name "Blue Mosque" derives from its East wall, the Qibla (direction of the Ka'ba, toward which believers turn to face for prayer) tiled from floor to ceiling in beautifully colored Majolica, the predominant shade being blue. This floral tile work was a later addition from one of the renovations carried out by Ibrahim Aga Mustahfazan. These tiles are in the style of ceramics manufacture in Iznik in Turkey, although the quality suggests they are provincial imitations possibly from Damascus.

The Mosque's Minaret that was restored at the

beginning of the 20th Century has features that are rare in Cairene Minarets. Originally composed of four stories, now only three remain; the first story, plain and circular rising from the square base, the second also circular and ribbed and the third is open, octagonal and carries a bulb. The original minaret of Aqsunqur and the rectangular minaret of al-Ghuri are the only documented four-story minarets in Cairo. It had an exceptional view of the street, this was subjected to many illustrations showing the four-story instead the regular three.

The Aqsunqur Mosque is very characteristic of the Mamluk architecture, a carefully composed monumental faade, it presents the street viewers with a view of a tall dome, elaborate carved surfaces and a slender minaret. Instead of the usual position at the portal, the minaret is strategically located at the southern corner of the faade, which projects into Bab al-Wazir Street. This provides it with a complete visual domination of the street and the surrounding area.

See Also:

• Mosques

• Original Tour Egypt Information on the Blue Mosque

References:

Lara Isklander is employed in the field of Islamic monument restoration in Cairo, and this article draws from her experience in that field.