Urfa Grand Mosque

Urfa Ulu Camii is a historical place of worship located in the city center of Şanlıurfa, within the boundaries of Camii Kebir Mahallesi, between Haşimiye and Sarayönü streets. The site lies within the ancient core of Urfa, which has functioned throughout history as one of the city’s religious and social centers. Its layered history, architectural plan features, material use, and evolutionary transformations bear traces from both the late antique period and the early phases of Islamic architecture.

^{Urfa Ulu Camii(}Türkiye Culture Portal⁾

The area where Urfa Ulu Camii stands has been a site for sacred structures since early antiquity. The building originally served as a synagogue, and was later converted into the Church of St. Stephanos in 435–436 CE by Rabula, the bishop of Urfa who died in that year.

The numerous red marble columns used in the church structure led to its popular designation as the “Red Church” (Mescidü’l-Hamra / Câmiu’l-Ahmer).

It is believed that the mosque was constructed after Urfa came under the control of the Zengids in 1144, ending Crusader rule. Although no original foundation inscription has been found for the mosque, the most significant evidence for its pre-1191 construction is the inscription on the adjacent Eyyûbî Medresesi, dated 1191 (H.587).

Therefore, it is generally accepted that the mosque was built between 1145 and 1190, most likely during the third quarter of the 12th century, under the Zengid dynasty.

^{Urfa Ulu Camii(}Şanlıurfa Metropolitan Municipality Directorate of Culture and Social Affairs Cultural Publications No: 2-Science 2.⁾

Urfa Ulu Camii belongs typologically to the group of “multi-columned mosques.” The mosque consists of three main components: the harim, the final congregation hall, and the courtyard. The Eyyûbî Medresesi, situated directly adjacent to the eastern façade of the mosque, forms an architectural unity with it.

The harim is composed of three transverse naves. Each nave is bounded by fourteen nearly square rectangular piers arranged in an east-west direction. The naves are covered with cross vaults. At the center of the structure, directly aligned with the mihrab axis, the space is emphasized by the dome over the mihrab area. The dome rests on an octagonal drum supported by squinches. On the drum, pointed-arch windows are placed on four sides, and a horizontal row of mukarnas adorns the upper section.

To the right of the mihrab stands a stone minbar, though it is not original. The extensive use of piers as load-bearing elements in the harim limits spatial coherence, while the low ceiling height creates a cramped atmosphere within the space.

North of the harim, the final congregation hall is defined by ten rectangular piers arranged in an east-west direction and consists of eleven cross-vaulted units. This architectural arrangement is considered the first known application of its kind in Anatolian mosques, introduced at Urfa Ulu Camii.

Five doorways connect the final congregation hall to the harim. Above these doorways, some units feature double rows of windows, while others display mihrabiye motifs.

North of the final congregation hall lies a large inner courtyard, bounded by entrances on the east, west, and north sides. To the east of the courtyard is an access passage leading to the medrese, and in the northwest corner is a cemetery area. Within the cemetery are the tomb of Şehâbeddin Ahmed, son of Khalid al-Baghdadi, founder of the Khalidiyya Sufi order, and graves traditionally attributed to several Seljuk commanders.

In the center of the courtyard stands a sixteen-sided fountain, covered by a circular drum supported by eight columns.

The minaret, located in the northeast corner of the courtyard, has an octagonal shaft. Originally part of the earlier church structure as a bell tower, it now serves as the mosque’s minaret and is also recognized as the city’s first clock tower. The shaft features four horizontal bands and window openings at the gallery level, supported by columnettes.

The primary building material used in the construction is fine-cut ashlar stone. Stone surfaces in the harim and façades are laid with precise craftsmanship. Reused architectural elements, particularly red marble columns, are present both in the harim and the courtyard. These columns are regarded as remnants from the prior structure—most likely the church.

Decorative elements are limited but notable. The squinch arches transitioning to the dome over the mihrab area, the mukarnas band on the drum, and the stonework of certain door and window frames stand out. Within the harim, occasional secondary mihrabiye niches are visible, and some windows display geometric patterns.

No original foundation inscription survives, but several repair inscriptions from later periods remain:

• 1684 (H.1096): An inscription above the courtyard gate records repairs commissioned by Ali Pasha.
• 1779 (H.1193) and 1780 (H.1194): Repairs carried out by Hacı Fîrûz Bey.
• 1870 (H.1287): An inscription on the courtyard fountain was issued in the name of Mustafa Efendi.

The structure underwent a comprehensive restoration between 2010 and 2011 by the General Directorate of Foundations. Stone surfaces were cleaned, plaster was renewed, and the dome covering was reconfigured.

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The mosque sustained varying degrees of damage during the Kahramanmaraş-centered earthquakes of February 6, 2023. In response, the General Directorate of Foundations conducted ground surveys, ground-penetrating radar scans, crack inspections, and material testing. Following approval by a scientific committee, restoration projects were implemented, with initial steps including demolition of unstable sections and crack monitoring completed.

The restoration of the mosque is planned for completion and reopening for worship by the end of 2025.

Urfa Ulu Camii is a multi-columned structure with a transverse nave layout. Its dome over the mihrab area, three-nave cross-vaulted roof, application of the final congregation hall, and courtyard plan make it a unique example among 12th-century Anatolian Turkish mosques. Its architectural similarities with the Great Mosque of Aleppo further demonstrate its connection to the Zengid architectural tradition.