The tile calligraphy in Rüstem Paşa Mosque

The Rüstem Pasha Mosque is regarded as one of the finest examples in which the use of Iznik tiles in mosque architecture reached its pinnacle, both in its interior and exterior spaces. These tiles, which constitute a significant part of the building's decorative program, clearly demonstrate the technical and artistic advancements achieved by Turkish Tile Art in the 16th century. The mosque is also considered an important representative of the calligraphic aesthetics of the period, offering a rich repertoire not only in tile art but also in calligraphy.in the study titled. "The Art of Calligraphy in the Tiles of Rüstem Pasha Mosque", the calligraphic panels are examined comprehensively alongside the tile decorations within the artistic context of the period. The inscriptions on the mosque's tiles are primarily positioned on window lunettes, in parallel with the decorative style of Mimar Sinan's Classical Period mosques. There are eight circular panels located in the portico area of the forecourt and two panels on the ground floor window lunettes of the exterior façade. Within the interior space, there is a mihrab lunette, two window lunettes on the mihrab wall, seven window lunettes on the west side and five on the east side of the upper gallery reserved for women, and eight circular panels on the pendentives, making a total of thirty-three calligraphic panels. The dominant script style across these panels is celî sülüs (large thuluth), with occasional use of muhakkak script in certain panels. The calligraphy on these panels reflects the writing aesthetics of the period in terms of composition and letter anatomy. The inscriptions feature texts composed of Qur'anic verses, hadiths, and prayers, with messages concentrated around several main themes. On the window lunettes of the portico and mihrab wall, Qur'anic verses of a supplicatory nature are used, while the window lunettes of the women's gallery focus on invocations seeking the pleasure of Allah, prayers for happiness in both this world and the hereafter, and aspirations to be worthy of paradise, emphasizing Allah's infinite mercy and forgiveness. In the arches of the portico and on the pendentives, names such as Allah (c.c.), Muhammad (s.a.w.), the Four Rightly Guided Caliphs (Çeharyâr-i Güzîn), and Hasan and Husayn (Hasaneyn) are featured. The calligraphy on the tile panels not only achieves an aesthetic harmony with the architectural space but also presents an artistic expression when combined with the tile ornamentation. In this respect, the Rüstem Pasha Mosque constitutes a highly significant example for studying the interaction and harmony between calligraphy and tile art in Ottoman mosque architecture. Keywords: Rüstem Pasha Mosque, Mimar Sinan, Calligraphy, Turkish Tile Art, Ottoman Mosque Architecture.