Suleymaniye Mosque Shrines and Mimar Sinan Shrine

The shrine of Suleiman the Magnificent was built 13 months after the Sultan's death in 1566 in the burial area. The shrine has an octagonal plan with the entrance facing east and is made of cut molded stone. The facade is entirely coated with marble and colored stones. The plan, facade arrangement, materials, and architectural elements of the classical Ottoman shrine architecture are repeated in the tomb, but unlike the other shrines, there is an open portico with 29 columns outside the main volume. After the cornice decorated with a large palmette array, it is covered with a lead-covered, brick double-encircled dome.

Haseki Hürrem Sultan Shrine was built by Suleiman the Magnificent in 1559. It is located in the burial area in the qibla direction of Süleymaniye Mosque. The shrine has an octagonal plan scheme on the outside and hexagonal on the inside. The shrine, in which limestone is used in the wall weave, is covered with a 9.20 meter diameter, semicircular dome with a high pulley and covered with lead.

Her iki türbede 16. Both shrines are adorned with the most elegant examples of 16th century decorative arts.

Architect Sinan Shrine is a baldachin-style mausoleum with a fountain, open on four sides on the Ağakapısı side of the Süleymaniye Complex. The shrine, built using limestone, is quite modest compared to Sinan's works. Located behind the fountain made of solid marble, the shrine was built of marble with chipped limestone. There is a monolithic marble inscription above the pilgrimage window in front of Architect Sinan's symbolic coffin. The semi-open shrine is covered with a dome carried by six columns connected to each other by pointed arches.

Within the scope of the Restoration works, the cement plasters of 3 shrines were removed, and the original plaster application, lead repair, and facade cleaning were carried out. Research rasps were made and original hand drawings restored. The special tiles of the buildings were micro-injected and then surface cleaned. Deficiencies in semi-precious materials such as missing ebony, ivory mother-of-pearl on the chest railings, kundekari doors and shutters were completed, and shellac polishes were applied. The paint layers on the iron socket bars on the window were scraped, and the original brass material was revealed and polished.