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Chora Church

A medieval Greek Orthodox church building, mostly used as a mosque since the 16th century in Istanbul.

Exterior of the Chora Church in Istanbul, today a museum. It is famous for its Byzantine mosaics.

Looking back to the entrance from the esonarthex, above the door, one sees a depiction of the "Death of Mary." She is lying on a bed, as if asleep (hence "Dormition"), and her soul, swaddled like a baby, is held by her son, Christ. Apostles, evangelists, and early bishops stand around her. A six-winged seraph hovers over Christ.

On either side of the apse, there is a mosaic with Christ on the left and Mary with child on the right.

Ceiling fresco of the Virgin Mary and Child, Chora Church, Istanbul.

Saint Peter mosaic from Chora church in Istanbul.

Byzantine paintings in the parecclesion of the Chora Church in Istanbul depict the Anastasis.

Looking back to the entrance from the esonarthex, above the door, one sees a "death of Mary." She is seen lying on a bed, as if asleep (hence "dormition"), her soul, swaddled like a baby, is held by her son, Christ. Around her stand apostles, evangelists, and early bishops. A six-winged seraph hovers over Christ.

Looking back to the entrance from the esonarthex, above the door, one sees a depiction of the "death of Mary". She is shown lying on a bed, as if asleep (hence "dormition"), and her soul, swaddled like a baby, is held by her son, Christ. Surrounding them are apostles, evangelists, and early bishops. A six-winged seraph hovers over Christ.

Looking back to the entrance from the esonarthex, above the door, one sees a "Death of Mary." She is lying on a bed, as if asleep (hence "dormition"), and her soul, swaddled like a baby, is held by her son, Christ. Apostles, evangelists, and early bishops stand around, while a six-winged seraph hovers over Christ.

Mary with Child (the theme is called Hodegetria) to the right of the apse.

A mosaic of Christ to the left of the apse.

Chora Church

Istanbul, Turkey

Chora Church, whose name means “countryside,” began as a monastery during the 4th century. At that time, it was located just outside the city walls built by Constantine. By the 5th century, as the city expanded, new walls—the Theodosian walls—were constructed, bringing the monastery within the boundaries of Constantinople.

Centuries of Change and Restoration

The building underwent significant changes over the centuries. In the 11th century, it was completely rebuilt. However, disaster struck when an earthquake damaged the structure. The Chora Church seen today, along with its remarkable mosaics, dates mostly from the 14th century, reflecting the rich artistry of that era.

From Church to Mosque and Museum

In 1500, the church was converted into a mosque. During this time, the famous mosaics were covered with plaster, hiding them from view. The building’s story changed again in 1958, when it became a museum and the mosaics were carefully restored for visitors to admire.

Current Status and Visiting Tips

In 2020, Chora Church was once more designated a mosque. However, unlike some other historical sites, the mosaics here have been preserved because of their cultural importance and the value they bring from tourism. Visitors are welcome, but it is important to plan around prayer times when the mosque is closed to tourists.

Source - https://en.wikipedia.org/wiki/The_Chora

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A ritual dancing hall of the mystical Mevlevi order, the followers of the teachings of Mewlānā Rumi. The quiet and peaceful garden is a welcome escape from the hustle and bustle of Beyoğlu. The oldest Mevlevi lodge in Istanbul, the convent was started in 1491, when the surrounding area was, hard to believe today but, pure wilderness beyond the city walls of Galata, although the current building dates back to 1855, as the older versions succumbed to repairs, rebuildings, and fires. However, the lodge was shut down in the early years of the republic (in 1925) along with all other 'reactionary' movements in Turkey, and the building has been serving as a museum dedicated to the Mevlevi order since 2010. Downstairs is a series of rooms dealing with the daily life of an average dervish, with informational signs in Turkish and English about the history of Islam and the Mevlevi order (also notice the original wooden pillars that support the building on this floor). On the upper floor is a dancing hall, a perfect example of 19th century Ottoman Baroque. Pre-Covid, this was where the sema whirling ceremonies were held every weekend evenings (admission by an extra ticket costing around 100 TL); check if they resumed. On the third floor is a display of various traditional Turkish/Islamic arts, including paper marbling (ebru), and calligraphy. After exiting the building, check out the small graveyard (or the "silent house" as the sign at its entrance says) on one side of the building, shaded by a number of hackberry trees, which Ottomans favoured to plant in the yards of mosques and graves to sign holiness. Here, the carved fez, or the basket of flowers in case of women, perched upon the highly detailed marble gravestone indicates the occupant's rank in the dervish hierarchy. At one corner of the necropolis is the grave of İbrahim Müteferrika, a converted Hungarian who was the first to start automated publishing in Ottoman Turkish in the 18th century, and served as the translator of Hungarian revolutionaries who sought asylum in Turkey, such as Kossuth, who stayed for a year in Kütahya, or Ferenc Rakoczi, who lived his last years in Tekirdağ.