University Name: Art 100 - Hagia Sophia: History and Cultural Analysis

This essay provides a comprehensive analysis of the Hagia Sophia, a historically significant structure located in Istanbul, Turkey. The paper delves into its origins as a Christian church, its transformation into an Ottoman mosque, and its current status as a museum. It explores the building's rich historical background, including its representation of Christianity within the ancient Roman Empire and its cultural fusion between the East and West. The essay also examines the architectural features of the Hagia Sophia, such as the primal dome, pendentives, and the use of bricks and mortar, as well as its decorative elements, including the mosaics and marble decorations. The essay also highlights the patronage the building received, and concludes by emphasizing the structure's role as a symbol of peace, harmony, and tolerance, reflecting its rich cultural and artistic history.

Running head: HAGIA SOPHIA
HAGIA SOPHIA
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The Hagia Sophia is a former “Greek Orthodox Christian patriarchal cathedral which
was later transformed into an Ottoman imperial mosque and now a museum” located in
present day beautiful city of Istanbul, Turkey. In around 1,500 years ago, as mentioned earlier
Hagia Sophia was originally constructed as a Christian Church (Eastmond 283- 297). The
artistic feature, beautiful architecture and the various international policies can be connected
with Hagia Sophia. The main focus in the following paper will be on the analysis of the
historic and cultural background of the Hagia Sophia. In addition, the different artistic and
decorative features of Hagia Sophia were also analyzed.
Talking about the historic background significance of the building of Hagia Sophia,
it can be said that Hagia Sophia represents an “indisputable symbol of Christianity” which
was present within the ancient Roman Empire. The fact that Hagia Sophia was constructed
within a short period of six years is also worth mentioning.
Hagia Sophia also holds a rich cultural history and background. As mentioned
earlier, Hagia Sophia which was initially build as an “orthodox church” but was later
converted into a mosque by the Ottoman Empire. Many Christian Mosaic who were initially
there in the Hagia Sophia buildings are still present even after the fact that the after the
possession of the building, the Ottoman remove all the symbols related to Christianity. Thus
Hagia Sophia also stands for cultural fusion between the East and West. Hagia Sophia even
till the present day, represent an amalgamation between the eastern and the western cultures.
Hagia Sophia also stands for rich religious background. In the year 537, in the
month of December dated 27th, the first religious service was conducted at the newly
constructed Hagia Sophia under the rule of Emperor Justinian. During that time, Emperor
Justinian is recorded to have said, “My Lord, thank you for giving me the chance to create
such a worshipping place”. Since then Hagia Sophia was being considered as the culmination

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and the celebration of the Christianity. Over the period of time, the church had to endure fire
and earthquakes before finally bring taken up Ottomans communities. The Muslim
community as mentioned earlier had not only Christian symbols, but they also build the
minarets which represents the Muslim culture. It is worth mentioning that the “walls of the
monuments serves as a meeting point between the artistic symbol of Christianity and Islam”
(Eastmond 283- 297).
In addition, the architectural plan and architectural style of the Hagia Sopia is also
worth mentioning. The primal dome of Hagia Shopia is around 108 feet in diameter and the
height is around 180 feet. “This structure contains pendentives, also known as triangular
sections, which are strategically placed in order to support the massive height of the
monument”. The base construction of the building was primarily made of using bricks and
mortar. In addition, the geometry that is found in Hagia Shopia is majorly found in the Greek
layout and designs. “Even though the base is not completely straight, its curvature helps
support the dome while enabling the weight to flow in a downwards motion” (Eastmond 283-
297).
The decoration that is found in the Hagia Sophia is greatly responsible for the artistic
beauty of the building. Hagia Sophia is highly well known for the mosaics that are beautifully
decorated in the interior walls. Different religious portraits of Jesus Christ are used as motif
in order to assemble the different mosaics (Moropoulou et al. 170-184). Till date these
beautiful mosaics are still known to be a masterpiece and they are generally referred to while
doing a study on the Byzantine art. Many small marbles decorative pieces were also used in
overall decoration of Hagita Sophia. These marbles have said to have been brought from
many far off distant lands. These marbles were procured from many distant areas. The round
marble jars that are situated in the entrance were also utilized for various religious

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ceremonies. These beautiful decorations are hence able to attract the tourist towards Hagia
Sophia even today (Schibille 318- 337).
In addition, Hagia Sophia also got a notable patronage from many. In the beginning,
it was from Michael VIII , who took the initiative to build the Deesis in the Southern gallery.
He took this duty to mainly show his gratitude for the reposition of the “Constantinople”. In
addition due to lots of defects in the first architecture and construction of the Hagia Sophia ,
the builder took the troll of the weather over the period of time. And hence, “Emperor John
VI Kantakouzenos attempted to raise public funds in order to restructure the damaged
sections of the monument” (Moropoulou et al. 170-184).
Hence it can be concluded that Hagia Sophia is one of greatest structure present in the
modern time representing peace, harmony and tolerance through its rich cultural and artistic
history.

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References
Eastmond, Antony. Art and identity in thirteenth-century Byzantium: Hagia Sophia and the
empire of Trebizond. Routledge, 2017: 283- 297
Moropoulou, A., et al. "Analytical and technological examination of glass tesserae from
Hagia Sophia." Microchemical Journal 125 (2016): 170-184.
Schibille, Nadine. Hagia Sophia and the Byzantine aesthetic experience. Routledge, 2016.
318- 337