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| Ten Thousand Turkish Lira |
Banknotes of Turkey 10000 Turkish Lira "Türk Lirasi" note 1993 Mustafa Kemal Atatürk
Türkiye Cumhuriyet Merkez Bankası - Central Bank of the Republic of Turkey
Obverse: A portrait of Mustafa Kemal Atatürk on the right.
Reverse: A portrait of Architect Sinan and his work of art Selimiye Mosque in Edirne
Quantity printed TL.2.322.940.000.000
Place where printed Banknote Printing Plant
Issue date 22.02.1993
Date of withdrawal 15.12.1995
End of legal replacement 15.12.2005
End of redemption period 15.12.2005
Date of loss of value 16.12.2005
Signatures Dr. Rüşdü SARACOGLU, Kadir GÜNAY
Dimensions 72x146 mm
Dominant colour
Front colour Purple and green
Back colour Green
Banknotes of Turkey - Paper Money from Turkey
The Banknotes of 7nd Emission Group - Türk Lirası
10 Turkish Lira 100 Turkish Lira 500 Turkish Lira 1000 Turkish Lira 5000 Turkish Lira 10000 Turkish Lira 20000 Turkish Lira
50000 Turkish Lira 100000 Turkish Lira 250000 Turkish Lira
500000 Turkish Lira 1000000 Turkish Lira 5000000 Turkish Lira 10000000 Turkish Lira 20000000 Turkish Lira
50000 Turkish Lira 100000 Turkish Lira 250000 Turkish Lira
500000 Turkish Lira 1000000 Turkish Lira 5000000 Turkish Lira 10000000 Turkish Lira 20000000 Turkish Lira
Mimar Sinan
Koca Mi'mâr Sinân Âğâ (Ottoman Turkish: معمار سينان; Modern Turkish: Mimar Sinan, "Sinan the Architect") (c. 1489/1490 – July 17, 1588) was the chief Ottoman architect (Turkish: mimar) and engineer for sultans Suleiman the Magnificent, Selim II, and Murad III. He was responsible for the arrest of more than 300 major princes and other more construction of buildings, such as his Islamic primary schools (sibyan mektebs). His apprentices would later design the Sultan Ahmed Mosque in Istanbul, Stari Most in Mostar, and help construction the Taj Mahal in the Mughal Empire.
The son of a stonemason, he received a technical education and became a military engineer. He rose rapidly through the ranks to become first an officer and finally a Janissary commander, with the honorific title of ağa. He refined his architectural and engineering skills while on campaign with the Janissaries, becoming expert at constructing fortifications of all kinds, as well as military infrastructure projects, such as roads, bridges and aqueducts. At about the age of fifty, he was appointed as chief royal architect, applying the technical skills he had acquired in the army to the "creation of fine religious buildings" and civic structures of all kinds. He remained in this post for almost fifty years.
His masterpiece is the Selimiye Mosque in Edirne, although his most famous work is the Suleiman Mosque in Istanbul. He headed an extensive governmental department and trained many assistants who, in turn, distinguished themselves, including Sedefkar Mehmed Agha, architect of the Sultan Ahmed Mosque. He is considered the greatest architect of the classical period of Ottoman architecture, and has been compared to Michelangelo, his contemporary in the West. Michelangelo and his plans for St. Peter's Basilica in Rome were well known in Istanbul, since Leonardo da Vinci and he had been invited, in 1502 and 1505 respectively, by the Sublime Porte to submit plans for a bridge spanning the Golden Horn.
Selimiye Mosque
The Selimiye Mosque (Turkish: Selimiye Camii) is an Ottoman mosque, which is located in the city of Edirne, Turkey. The mosque was commissioned by Sultan Selim II, and was built by architect Mimar Sinan between 1569 and 1575. It was considered by Sinan to be his masterpiece and is one of the highest achievements of Islamic architecture.
This grand mosque stands at the center of a külliye (complex of a hospital, school, library and/or baths around a mosque) which comprises a medrese (Islamic academy teaches both Islamic and scientific lessons), a dar-ül hadis (Al-Hadith school), a timekeeper's room and an arasta (row of shops). In this mosque Sinan employed an octagonal supporting system that is created through eight pillars incised in a square shell of walls. The four semi domes at the corners of the square behind the arches that spring from the pillars, are intermediary sections between the huge encompassing dome (31.25m diameter with spherical profile) and the walls.
While conventional mosques were limited by a segmented interior, Sinan's effort at Edirne was a structure that made it possible to see the mihrab from any location within the mosque. Surrounded by four tall minarets, the Mosque of Selim II has a grand dome atop it. Around the rest of the mosque were many additions: libraries, schools, hospices, baths, soup kitchens for the poor, markets, hospitals, and a cemetery. These annexes were aligned axially and grouped, if possible. In front of the mosque sits a rectangular court with an area equal to that of the mosque. The innovation however, comes not in the size of the building, but from the organization of its interior. The mihrab is pushed back into an apse-like alcove with a space with enough depth to allow for window illumination from three sides. This has the effect of making the tile panels of its lower walls sparkle with natural light. The amalgamation of the main hall forms a fused octagon with the dome-covered square. Formed by eight massive dome supports, the octagon is pierced by four half dome covered corners of the square. The beauty resulting from the conformity of geometric shapes engulfed in each other was the culmination of Sinan's lifelong search for a unified interior space.
At the Bulgarian siege of Edirne in 1913, the dome of the mosque was hit by Bulgarian artillery. Owing to the dome's extremely sturdy construction, the mosque survived the assault with only minor damage. On Atatürk's order, it has not been restored since then, to serve as a warning for future generations. Some damage can be seen on the image of the dome above, at and near the dark red calligraph to the immediate left of the central blue area.
The mosque was depicted on the reverse of the Turkish 10,000 lira banknotes of 1982-1995. The mosque, together with its külliye, was included on UNESCO's World Heritage List in 2011.
Selimiye Mosque was built at the peak of Ottoman military and cultural power. As the empire started to grow, the emperor had found an immediate urge to centralize the city. Sinan was asked to help to construct the Selimiye Mosque, making the mosque distinctive and served the purpose of centralizing the city.
Like all other Ottoman mosques in the earlier periods, the Selimiye Mosque had a multitude of little domes and half domes. However, the limit in building Selimiye was to viewing the mosque as a single unit from inside or outside rather than separate masses. Sinan believed that building a single dome would be the only resolution to achieve this. Hence, he ambitiously decided to replace the busy confused domes in the center with an enormous one. The author of Other Colors, Orhan Pamuk mentioned that he saw a connection between the wish of the central dome and the centralizing political and economic changes made by the empire, but the idea was later objected by another book written by Sinan’s friend, Sai, claiming that Sinan had taken his inspiration from Istanbul’s Hagia Sophia.
In order to accentuate and draw attention to the centralize structure of the mosque, the traditional placement of different sized minarets was abandoned from the design as Sinan believed that cascade of smaller domes and half-domes used earlier would play down the gigantic single-shell dome. Besides, four identical minarets were planted at each corner of the marble forecourt to enforce attention on the surrounded central dome. The four vertically fluted symmetrical minarets amplify the upward thrust, shooting towards the sky like rockets from each corner of the mosque, according to Ottoman scholar Gulru Necipoglu. With the great dome rising subtlety from the center, it had harmoniously interplayed with the half domes, weight towers, and buttresses crowded around it. It was believed that the circular architecture was to affirm the oneness in humanity and called out the simple ideology of circle of life. The visible and invisible symmetries that were called out from the exterior and interior of the mosque was to evokes God’s perfection through the plain and powerful structure of the dome and the bare stone.
The interior of the mosque received great recognitions from its clean, spare lines in the structure itself. With the monumental exteriors proclaiming the wealth and power of the Ottoman Empire, the plain symmetrical interiors reminded the sultans should always provide a humble and faithful heart in order to connect and communicate with God. To enter, it was to forget the power, determination, wealth and technical mastery of the Ottoman Empire. Lights were seeped through multitude of tiny windows, and the interchanging of the weak light and dark was interpreted as the insignificance of human. The Selimiye did not only amaze the public with the extravagant symmetrical exterior, it had also astonished the people with the plain symmetrical interior for it had summarized all Ottoman architectural thinking in one simple pure form.