|Name of the Structure
|Mevlevi Lodge (Greek Orthodox Church, the Alâeddin Zawiya)
|It is part of the Mevlevi Lodge (Mevlevihane) Museum.
|14th century (around 1377)
|According to the waqfiyya (Foundation Charter) of the Mevlevi Lodge written by Bayezid II’s son Prince Sultan Korkud (1470-1512) in the sixteenth century, the Mevlevi Lodge was formerly referred to as the “Alā ad-Dīn Zawiya.” The mention of this name and the fact that the inscription of the soup kitchen built by Alā ad-Dīn is indicated as being part of the Mevlevi Lodge complex raises the possibility that the Lodge was built on the ruins of the Imaret Madrasa of the demolished Alā ad-Dīn Complex or converted from it.
The inscription found in the bath of the Yivli Minaret Complex, known as the Mevlevi Lodge Bath, concerns an almshouse dated to 1215, which Prince Alā ad-Dīn Kayqubād ibn Kaykhusraw had built by the architect Tuğrul.
|Location / Address
|Selçuk, No:36, 07100 Muratpaşa/Antalya
It is thought that the Imaret Madrasa was converted into a Seljuk Palace and later into a Mevlevi Lodge. There are no windows on the north façade because the ground floor of the building leans against the fortification walls rising on the rocks to the north. The rectangular building extends an east-west direction and has two floors. The north façade is like a blank wall on the ground level, serving only the spaces on the upper floor. There are two rectangular windows on the east façade, each opening into separate vaulted spaces. The door with a depressed arch on the south façade opens into the building. The lantern-domed central courtyard (semahane) of the trapezoid building is flanked by two large iwans covered with barrel vaults in the east and small, two-story cells also covered with barrel vaults on the north and west. The iwans and domed cells encircle the central semahane.
In the east is an iwan covered with a pointed barrel vault, accessed by a five-step staircase. On the south wall of the iwan is a round-arched mihrab niche, similar to the one in the main space. On the north wall is a door leading to another pointed vaulted space that forms the eastern corner of the building. The same space is also accessible by a four-step staircase in the northeast corner of the main domed section. On the north side of the main section, there are five dervish rooms covered with pointed barrel vaults, two of which are on the ground floor and three above. The upper floor is reached through a door in the western area accessed by a staircase. There are two vaulted rooms on the upper floor of the west wing. Two rooms covered with pointed barrel vaults on the lower floor are accessible from the middle section by a door with a pointed arch.
K. Turfan, 1955 Yılı Antalya Merkez Eski Eser Fişleri. Antalya 1955, no. 32.
İ. Numan, “Antalya Mevlevi Hanesinin Aslı Hali Hakkında Bazı Düşünceler,” Vakıflar Dergisi XIV, 1982, 125-137.
Türkiye’de Vakıf Abideler ve Eski Eserler (I), Vakıflar Genel Müdürlüğü Yayınları, 1983, 533-535.
M. Kırmızı, “Yivli Minare ve Külliyesi,” Antalya 1. Selçuklu Eserleri Semineri 22-23 Mayıs 1986, Antalya Valiliği, Antalya, 40-41.
E. Emekçil, “İçinde Yaşadığım Selçuklu Eseri,” Antalya 1. Selçuklu Eserleri Semineri 22-23 Mayıs 1986, Antalya Valiliği, Antalya, 13-16.
L. Yılmaz, Antalya: Bir Ortaçağ Türk Şehrinin Mimarlık Mirası ve Şehir Dokusunun Gelişimi (16. Yüzyılın Sonuna Kadar), Ankara 2002, 74-81.
T.C. Antalya Valiliği, Antalya Kültür Envanteri (Merkez), Antalya 2003, 48.
C. C. Sönmez, Antalya Kaleiçi Selçuklu ve Beylikler Dönemi Eserleri, Antalya 2009, 23-50.
A. Durukan, “Yeniden İşlevlendirilmiş Anıtsal Yapılarda Deneyim Odaklı Tasarım: Antalya Kaleiçi ve Balbey Örneği,” Mediterranean Journal of Humanities 10, 2020, 200-201.