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 aJanissary commander, with the honorific title of Sinan.[1] 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 andaqueducts.[2] 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.[2] He remained in this post for almost fifty years.
Mimar Sinan was born with the name Joseph in a small town calledAğırnas near the city ofKayseri inAnatolia (as stated in an order by SultanSelim II).[7]His birth is variously placed either between 1489 and 1491 or between 1494 and 1499.[a] His origin is disputed, mainly betweenArmenian,[10][11][12][13] andCappadocian Greek.[14][15][16][17] One argument that lends credence to his Armenian or Greek background is a decree bySelim II datedRamadan 7 981 (ca. December 30, 1573), which granted Sinan's request to forgive and spare his relatives from the general exile of Kayseri's Armenian community to the island ofCyprus;[12] this decree was published in the June 1930-May 1931 edition of the Istanbul Turkish journalTürk Tarihi Encümeni Mecmuası.Godfrey Goodwin stated that "after theOttoman conquest of Cyprus in 1571, when Selim II decided to repopulate the island by transferringRum (Orthodox Christian) families from theKaraman Eyalet, Sinan intervened on behalf of his family and obtained two orders from the Sultan in council exempting them from deportation."[15] According to several scholars, this means that his family wasCappadocian Greek because the only Orthodox Christians (Rûms) of the region were Greek-speaking.[18]
Sinan's place of birth,Ağırnas, was a Greek village with no Armenian inhabitants, which some scholars argue would give more credence to the theory of him being of Greek origin.[19] Additionally, before the Greeks evacuated the village, a Cappadocian Greek family from the village named Taşçıoğlu (Greek: Ταστσιόγλου) had claimed Sinan as a member of their own family.[19]
Less popular theories among scholars are that Sinan wasAlbanian,[17][20] or evenJewish,[21] or ChristianTurkish.[21] According to theEncyclopædia Britannica, Sinan had either Armenian or Greek origin.[8] A local tradition in the village ofShiroka Lăka holds that Sinan was ofBulgarian origin and his family came from that village.[22] Turkish scholars have meanwhile argued that Sinan's family wasChristian Turkish.[21] In 1935, a council commissioned by theTurkish Historical Society went so far as to open up Sinan's tomb and measure his skull so as demonstrate his Turkish "racial" heritage.[23]
Sinan grew up helping his father in his work, and by the time that he was conscripted would have had a good grounding in the practicalities of building work.[24] There are three brief records (Anonymous Text; Architectural Masterpieces; Book of Architecture) in the library ofTopkapı Palace, dictated by Sinan to his friend and biographer Mustafa Sâi Çelebi. In these manuscripts, Sinan divulges some details of his youth and military career. His father is referred to as "Abdülmennan" (literally "Servant ofthe Generous and Merciful One"), a title which was commonly used in the Ottoman period to define the non-Muslim father of a Muslim convert.[9]
In 1512, Sinan was conscripted into Ottoman service under thedevshirme system.[7][25] He was sent to Constantinople to be trained as an officer of theJanissary Corps and converted to Islam.[7] He was too old to be admitted to the imperialEnderun School in theTopkapı Palace but was sent instead to an auxiliary school.[7] Some records claim that he might have served theGrand VizierPargalı İbrahim Pasha as a novice of the Ibrahim Pasha School. Possibly, he was given the Islamic nameSinan there. He initially learned carpentry and mathematics but through his intellectual qualities and ambitions, he soon assisted the leading architects and got his training as an architect.[7]
During the next six years, he also trained to be a Janissary officer (acemioğlan). He possibly joinedSelim I in his last military campaign,Rhodes according to some sources, but when the Sultan died, this project ended. Two years later he witnessed the conquest ofBelgrade. Under the new sultan,Suleiman the Magnificent, he was present, as a member of the Household Cavalry, at theBattle of Mohács. He was promoted to captain of the Royal Guard and then given command of the Infantry Cadet Corps. He was later stationed in Austria, where he commanded the 62nd Orta of the Rifle Corps.[7] He became a master of archery, while at the same time, as an architect, learning the weak points of structures when gunning them down. In 1535 he participated in the Baghdad campaign as a commanding officer of the Royal Guard. In 1537 he went on expeditions toCorfu andApulia andMoldavia.[26]
During these campaigns he proved himself an able architect and engineer. When the Ottoman army capturedCairo, Sinan was promoted to chief architect and was given the privilege of tearing down any buildings in the captured city that were not according to the city plan.[citation needed] During the campaign in the East, he assisted in the building of defences and bridges, such as a bridge across theDanube. He converted churches into mosques. During thePersian campaign in 1535 he built ships for the army and the artillery to crossLake Van. For this he was given the titleHaseki'i,Sergeant-at-Arms in the body guard of the Sultan, a rank equivalent to that of theJanissary Ağa.[citation needed]
When Chelebi Lütfi Pasha becameGrand Vizier in 1539, he appointed Sinan, who had previously served under his command, to the office of Architect of the Abode of Felicity. This was the start of a remarkable career. The job entailed the supervision infrastructure construction and the flow of supplies within the Ottoman Empire. He was also responsible for the design and construction of public works, such as roads, waterworks and bridges. Through the years he transformed his office into that of Architect of the Empire, an elaborate government department, with greater powers than his supervising minister. He became the head of a whole Corps of architects, training a team of assistants, deputies and pupils.[citation needed]
His training as an army engineer gave Sinan an empirical approach to architecture rather than a theoretical one. But the same can be said of the great Western Renaissance architects, such asBrunelleschi andMichelangelo.
Various sources state that Sinan was the architect of at least 374 structures which included 92mosques; 52 small mosques (mescit); 55 schools of theology (medrese); 7 schools forKoran reciters (darülkurra); 20 mausoleums (türbe); 17 public kitchens (imaret); 3 hospitals (darüşşifa); 6aqueducts; 10bridges; 20caravanserais; 36palaces andmansions; 8vaults; and 48baths.[27] Sinan held the position of chief architect of the palace, which meant being the overseer of all construction work of the Ottoman Empire, for nearly 50 years, working with a large team of assistants consisting of architects and master builders.
The development and maturing stages of Sinan's career can be illustrated by three major works. The first two of these are in Istanbul: theŞehzade Mosque, which he calls a work of his apprenticeship period and theSüleymaniye Mosque, which is the work of his qualification stage. TheSelimiye Mosque in Edirne is the product of his master stage.
Şehzade Mosque is the first of the grand mosques created by Sinan. The Mihrimah Sultan Mosque, which is also known as the Üsküdar Quay Mosque, was completed in the same year and has an original design with its main dome supported by three half domes. When Sinan reached the age of 70, he had completed the Süleymaniye Mosque complex. This building, situated on one of the hills of Istanbul facing the Golden Horn, and built in the name of Süleyman the Magnificent, is one of the symbolic monuments of the period. The diameter of the dome, which exceeds the 31 m (102 ft) of the Selimiye Mosque which Sinan completed when he was 80, is the most outstanding example of the level of achievement reached by Sinan. Mimar Sinan reached his artistic peak with the design, architecture, tile decorations and land stone workmanship displayed at Selimiye.
Another area of architecture where Sinan produced unique designs are his mausoleums. The Mausoleum of Şehzade Mehmed is notable for with its exterior decorations and sliced dome.[clarification needed] The Rüstem Paşa mausoleum is a very attractive structure in classical style. The mausoleum of Süleyman the Magnificent is an interesting experiment, with an octagonal body and flat dome. The Selim II Mausoleum with has a square plan and is one of the best examples of Turkish mausoleum architecture. Sinan's own mausoleum, which is located in the north-east part of the Süleymaniye complex on the other hand, is a very plain structure.
Sinan masterfully combined art with functionalism in the bridges he built. The largest of these is the nearly 635 m (2,083 ft) long Büyükçekmece Bridge. Other important examples are the Ailivri Bridge, theOld Bridge inSvilengrad on the Maritsa, the Lüleburgaz (Sokullu Mehmet Pasha) Bridge on the Lüleburgaz River, the Sinanlı Bridge over the river Ergene and theMehmed Paša Sokolović Bridge overDrina river inBosnia and Herzegovina.[28]
While Sinan was maintaining and improving the water supply system of Istanbul, he built arched aqueducts at several locations within the city. The Mağlova Arch over the Alibey River, which is 257 m (843 ft) long and 35 m (115 ft) high, has two tiers of arches, and is one of the best examples of its kind.
At the start of Sinan's career, Ottoman architecture was highly pragmatic. Buildings were repetitions of former types and were based on rudimentary plans. They were more an assembly of parts than a conception of a whole. An architect could sketch a plan for a new building and an assistant or foreman knew what to do, because novel ideas were avoided. Moreover, architects used an extravagant margin of safety in their designs, resulting in a wasteful use of material and labour. Sinan would gradually change all this. He was to transform established architectural practices, amplifying and transforming the traditions by adding innovations, trying to approach perfection.
The early years (till the mid-1550s): apprenticeship period
During these years he continued the traditional pattern of Ottoman architecture, but he gradually began exploring other possibilities, because during his military career he had had the opportunity to study the architectural monuments in the conquered cities of Europe and the Middle East.
His first opportunity to design a major building was theHüsrev Pasha Mosque and its doublemedresse inAleppo, Syria. It was built in the winter of 1536-1537 for his commander-in-chief and the governor of Aleppo between two army campaigns. It was built hastily and this is evident in the coarseness of execution and the crude decoration.
His first major commission as the royal architect was the construction of theHaseki Sultan Complex forHurrem Sultan, the wife of the sultan,Suleiman the Magnificent. He had to follow the plans drawn by his predecessors. Sinan retained the traditional arrangement of the available space without any innovations. Nevertheless, it was already better built than the Aleppo mosque and it shows a certain elegance. However, it has suffered from many restorations. Sinan is credited to have built a defensive tower inVlorë, southAlbania, in 1537, very similar to theWhite Tower of Thessaloniki,[29] as well asMuradie Mosque, during Suleiman the Magnificent's stay in the town for the preparation of his expedition towardsItaly.[30][31]
In 1541, he started the construction of the mausoleum (türbe) of the Grand AdmiralHayreddin Barbarossa. It stands on the shore ofBeşiktaş on the European part of Istanbul, at the site where his fleet used to assemble. Oddly enough, the admiral is not buried there, but in his türbe next to the Iskele mosque. This mausoleum has been severely neglected since then.
Mihrimah Sultan, the only daughter of Suleiman and Hurrem and wife of the Grand VizierRüstem Pasha gave Sinan the commission to build a mosque withmedrese (college), animaret (soup kitchen) and asibyanmekteb (Qur'an school) inÜsküdar. Theimaret no longer exists. ThisIskele Mosque (or Jetty mosque) already shows several hallmarks of Sinan's mature style: a spacious, high-vaulted basement, slender minarets, single-domedbaldacchino, flanked by threesemi-domes ending in threeexedrae and a broad doubleportico. The construction was finished in 1548. The construction of a double portico was not a first in Ottoman architecture, but it set a trend for country mosques and mosques of viziers in particular. Rüstem Pasha and Mihrimah required them later in their three mosques in Constantinople and in the Rüstem Pasha Mosque inTekirdağ. The inner portico traditionally havestalactite capitals while the outer portico has capitals withchevron patterns (baklava).
When sultan Suleiman the Magnificent returned from another Balkan campaign, he received news that his sonŞehzade Mehmed had died at the age of twenty-two. In November 1543, not long after Sinan had started the construction of the Iskele Mosque, the sultan ordered Sinan to build a new major mosque with an adjoining complex in memory of his favourite son. ThisŞehzade Mosque would become larger and more ambitious than his previous ones. Architectural historians consider this mosque as Sinan's first masterpiece. Obsessed by the concept of a large central dome, Sinan turned to the plans of mosques such as the Fatih Pasha Mosque inDiyarbakır or the Piri Pasha Mosque inHasköy. He must have visited both mosques during his Persian campaign. Sinan built a mosque with a central dome, this time with four equal half-domes. This superstructure is supported by four massive, but still elegant, free-standing octagonal fluted piers and four piers incorporated in each lateral wall. In the corners, above roof level, four turrets serve as stabilizing anchors. This coherent concept already is markedly different from the additive plans of traditional Ottoman architecture.Sedefkar Mehmed Agha would later copy the concept of fluted piers in hisSultan Ahmed Mosque in an attempt to lighten their appearance. Sinan, however, rejected this solution in his next mosques.
By 1550, Suleiman the Magnificent was at the height of his powers. Having built a mosque for his son, he felt it was time to construct his ownimperial mosque, an enduring monument larger than all the others, to be built on a gently sloping hillside dominating theGolden Horn. Money was no problem, since he had accumulated a treasure from the loot of his campaigns in Europe and the Middle East. He gave the order to Sinan to build a mosque, theSüleymaniye, surrounded by akülliye consisting of four colleges, a soup kitchen, a hospital, an asylum, ahamam, acaravanserai and a hospice for travellers (tabhane). Sinan, now heading a formidable department with a great number of assistants, finished this formidable task in seven years. Before Süleymaniye, no mosques had been built with half cubic roofs. He got the idea of half cubic roof design from theHagia Sophia. Through this monumental[according to whom?] achievement, Sinan emerged from the anonymity of his predecessors. Sinan must have known the ideas of the Renaissance architectLeone Battista Alberti (who in turn had studiedDe architectura by the Roman architect and engineerVitruvius), since he too was concerned in building the ideal church, reflecting harmony through the perfection of geometry in architecture. But, contrary to his Western counterparts, Sinan was more interested in simplification than in enrichment. He tried to achieve the largest volume under a single central dome. The dome is based on the circle, the perfect geometrical figure representing, in an abstract way, a perfect God. Sinan used subtle geometric relationships, using multiples of two when calculating the ratios and the proportions of his buildings. However, in a later stage, he also used divisions of three or ratios of two to three when working out the width and the proportions of domes, such as theSokollu Mehmed Pasha Mosque at Kadırga.
While he was fully occupied with the construction of the Süleymaniye, Sinan or his subordinates drew up the plans and gave instructions for many other constructions. Sinan built a mosque for the Grand VizierPargalı İbrahim Pasha and a mausoleum (türbe) atSilivrikapı (Constantinople) in 1551.
The next Grand Vizier,Rüstem Pasha gave Sinan several more commissions. In 1550 he built a large inn (han) in the Galata district of Istanbul. About ten years later he built anotherhan inEdirne, and between 1544 and 1561 the Taṣ Han atErzurum. He designed acaravanserai inEregli and an octagonalmadrasah in Constantinople.
Between 1553 and 1555, Sinan built theSinan Pasha Mosque atBeşiktaş, a smaller version of theÜç Şerefeli Mosque atEdirne, for the Grand AdmiralSinan Pasha. This proves again that Sinan had thoroughly studied the work of other architects, especially since he was responsible for the upkeep of these buildings. He copied the old form, pondered over the weaknesses in the construction and tried to solve this with his own solution. In 1554, Sinan used the form of the Sinan Pasha mosque again for the construction of the mosque for the next Grand VizierKara Ahmet Pasha in Constantinople, his first hexagonal mosque. By using a hexagonal plan, Sinan could reduce the side domes to half-domes and set them in the corners at an angle of 45 degrees. Clearly, Sinan must have appreciated this form,[citation needed] since he repeated it later in mosques such as theSokollu Mehmed Pasha Mosque atKadırga and theAtik Valide Mosque atÜsküdar.
In 1559, he built the Cafer Ağa madrasah below the forecourt of the Hagia Sophia. In the same year he began the construction of a small mosque forIskender Pasha atKanlıca, beside the Bosphorus. This was one of the many minor and routine commissions the office of Sinan received over the years.
In 1561, when Rüstem Pasha died, Sinan began the construction of theRüstem Pasha Mosque, as a memorial supervised by his widowMihrimah Sultan. It is situated just below theSüleymaniye. This time the central form is octagonal, modelled on the monastery church ofSaints Sergius and Bacchus, with four small semi-domes set in the corners. In the same year, Sinan built a türbe for Rüstem Pasha in the garden of theŞehzade Mosque, decorated with the finest tilesIznik could produce. Mihrimah Sultan, having doubled her wealth after the death of her husband, now wanted a mosque of her own. Sinan built theMihrimah Mosque atEdirnekapı (Edirne Gate) for her on the highest of the seven hills of Constantinople. He raised the mosque on a vaulted platform, accentuating its hilltop site. There is some speculation concerning the dates; until recently this was supposed to be between 1540 and 1540, but now it is generally accepted to be between 1562 and 1565. Sinan, concerned with grandeur, built a mosque in one of his most imaginative designs, using new support systems and lateral spaces to increase the area available for windows. He built a central dome 37 m (121 ft) high and 20 m (66 ft) wide, supported bypendentives, on a square base with two lateral galleries, each with three cupolas. At each corner of this square stands a gigantic pier, connected with immense arches each with 15 large windows and four circular ones, flooding the interior with light. The style of this revolutionary building was as close to theGothic style as Ottoman structure permits.
In 1566 Sinan completed theBanya Bashi Mosque inSofia,Bulgaria, currently the only functioning mosque in the city. His first mosque in Sofia was built in 1528; popularly known asImaret Mosque orBlack Mosque due to the dark colour of its building stone, it was damaged by an earthquake and abandoned in the 19th century.
In the 1560s he built the Kirkcesme water supply system for Istanbul. It is seen as a masterpiece of his work. It spans 55 km and includes 35aqueduct bridges, 4 of which are notable for their height (up to 35m) as well as their length (up to 700m).[32]
Between 1560 and 1566 Sinan built a mosque in Constantinople forZal Mahmud Pasha on a hillside beyond Ayvansaray. Sinan certainly conceived the plans and partly supervised the construction, but left the building of lesser areas to less than competent hands, since Sinan and his most able assistants were about to begin his masterpiece, the Selimiye Mosque in Edirne. On the outside, the mosque rises high, with its east wall pierced by four tiers of windows. This gives the mosque an aspect of a palace or even a block of apartments. Inside, there are three broad galleries making the interior look compact. The heaviness of this structure makes the dome look unexpectedly lofty. These galleries look like a preliminary try-out for the galleries of theSelimiye Mosque.
In this late stage of his life, Sinan tried to create unified and sublimely elegant interiors. To achieve this, he eliminated all the unnecessary subsidiary spaces beyond the supporting piers of the central dome. This can be seen in theSokollu Mehmed Pasha Mosque in Kadırga, Istanbul (1571–1572) and in the Selimiye Mosque in Edirne. In other buildings of his final period, Sinan experimented with spatial and mural treatments that were new in the classical Ottoman architecture.
According to him from his autobiographyTezkiretü'l-Bünyan, his masterpiece is theSelimiye Mosque inEdirne. Breaking free of the handicaps of traditional Ottoman architecture, this mosque marks the climax of Sinan's work and of all classical Ottoman architecture. While it was being built, the architect's saying of "You can never build a dome larger than the dome ofHagia Sophia and specially as Muslims" was his main motivation. When it was completed, Sinan claimed that it had the largest dome in the world, leaving Hagia Sophia behind. In fact, the dome height from the ground level was lower and the diameter barely larger (0.5 meters, approximately 2 feet) than the millennium-older Hagia Sophia. However, measured from its base the dome of Selimiye is higher. Sinan was more than 80 years old when the building was finished. In this mosque he finally realized his aim of creating the optimum, completely unified, domed interior: a triumph of space that dominates the interior. He used this time an octagonal central dome (31.28 m wide and 42 m high), supported by eight elephantine piers of marble and granite. These supports lack anycapitals but have squinches or consoles at their summit, leading to the optical effect that the arches seem to grow integrally out of the piers. By placing the lateral galleries far away, he increased the three-dimensional effect. The many windows in the screen walls flood the interior with light. The buttressing semi-domes are set in the four corners of the square under the dome. The weight and the internal tensions are hidden, producing an airy and elegant effect rarely seen under a central dome. The four minarets (83 m high) at the corners of the prayer hall are the tallest in the Muslim world, accentuating the vertical posture of this mosque that already dominates the city.
At the start of his career as an architect, Sinan had to deal with an established, traditional domed architecture. His training as an army engineer led him to approach architecture from an empirical point of view, rather than from a theoretical one. He started to experiment with the design and engineering of single-domed and multiple-domed structures. He tried to obtain a new geometrical purity, a rationality and a spatial integrity in his structures and designs of mosques. Through all this, he demonstrated his creativity and his wish to create a clear, unified space. He started to develop a series of variations on the domes, surrounding them in different ways with semi-domes, piers, screen walls and different sets of galleries. His domes and arches are curved, but he avoided curvilinear elements in the rest of his design, transforming the circle of the dome into a rectangular, hexagonal or octagonal system. He tried to obtain a rational harmony between the exterior pyramidal composition of semi-domes, culminating in a single drumless dome, and the interior space where this central dome vertically integrates the space into a unified whole. His genius lies in the organization of this space and in the resolution of the tensions created by the design. He was an innovator in the use of decoration and motifs, merging them into the architectural forms as a whole. He accentuated the centre underneath the central dome by flooding it with light from the many windows. He incorporated his mosques in an efficient way into a complex (külliye), serving the needs of the community as an intellectual centre, a community centre and serving the social needs and the health problems of the faithful.
When Sinan died, classical Ottoman architecture had reached its climax. No successor was gifted enough to better the design of the Selimiye Mosque and to develop it further. His students retreated to earlier models, such as the Şehzade mosque.[citation needed] Invention faded away, and a decline set in.
According to the official list of his works, theTezkiretü'l Ebniye, during his 50 year tenure of the post of imperial architect Sinan constructed or supervised 476 buildings, 196 of which survive. He could not possibly have designed them all, but relied on the skills of his office. He took credit and the responsibility for their work. As ajanissary, and thus a slave of the sultan, his primary responsibility was to the sultan. In his spare time, he also designed buildings for the chief officials. He delegated to his assistants the construction of less important buildings in the provinces.
Sinan's octagonal water dispenser on the left next to his tomb behind the iron grill on the right,Fatih district of IstanbulSinan and theSelimiye Mosque on the reverse of the Turkish 10,000 lira banknote of 1982–1995
Sinan died inAH 996 (1587–88 CE) and is buried in a tomb inIstanbul, atürbe of his own design, just to the north of theSüleymaniye Mosque, across a street named Mimar Sinan Caddesi in his honour. He was buried near the tombs of his greatest patrons:SultanSüleyman I andSultanaHaseki Hürrem, Suleiman's wife. Above the iron-grilled prayer window of his tomb is an epitaph written inOttoman Turkish by the poet Mustafa Sai. It gives the year of his death and records that Sinan built 400 masjids (small mosques), 80 Friday mosques and theKanuni Sultan Suleiman bridge atBüyükçekmece.[36] In the position of chief imperial architect he was succeeded byDavud Agha, one of the architects who had worked under him.[37]
In 1935, his remains were exhumed by a group of Turkish scholars. Proponents of the racial science popular at the time, they claimed that measurements of Sinan's skull proved that he was actually Turkish.[38] As of 2016, the skull is missing.[39]
Sinan's portrait was depicted on thereverse of the Turkish 10,000lira banknotes of 1982–1995[40]and a 7 500 000 lira coin of 2001 (in the "millennium" series), also on 6 postage stamps: 100 lira 1957 (400th anniversary of the opening of the Suleymaniye Mosque), 50 lira 1988 (400th anniversary of Sinan's death) and a set of 4 issued on 14 November 2007 (60, 70, 70 & 80 Kurus - Sinan and his works).
^According to contemporary biographer,Mustafa Sâi Çelebi, Sinan was born in 1489; Encyclopædia Britannica claims a birthdate of 1490;[8] the Dictionary of Islamic Architecture places it on 1491; and, according to theTurkish professor and architect Reha Günay, some time between 1494 and 1499.[9]
Sinan, also called Mimar Sinan ("Architect Sinan") or Mimar Koca Sinan ("Great Architect Sinan") (born c. 1490, Ağırnaz, Turkey—died July 17, 1588, Constantinople [now Istanbul]),
^Zaryan,Sinan, Armenian Soviet Encyclopedia, p. 385.
^Kouymjian, Dickran. "Armenia from the Fall of the Cilician Kingdom (1375) to the Forced Emigration under Shah Abbas (1604)" inThe Armenian People From Ancient to Modern Times, Volume II: Foreign Dominion to Statehood: The Fifteenth Century to the Twentieth Century. Richard G. Hovannisian (ed.). New York: St. Martin's Press, 1997, p. 13.ISBN0-312-10168-6.
^"Sinan, an Armenian architect": Chisholm, Hugh.The Encyclopaedia Britannica; A Dictionary of Arts, Sciences, Literature and General Information. 1910, page 426.
^Talbot, HamlinArchitecture Through the Ages. University of Michigan, p. 208.
^Rogers, J. M. (2006).Sinan: Makers of Islamic Civilization. I.B.Tauris: Oxford Centre for Islamic Studies. p. backcover.ISBN978-1-84511-096-3.(Sinan) He was born in Cappadocia, probably into a Greek Christian family. Drafted into the Janissaries during his adolescence, he rapidly gained promotion and distinction as a military engineer.
^abKuban, Doğan (1997).Sinan's Art and Selimiye. Economic and Social History Foundation. p. 29.ISBN978-975-7306-30-6.Konyalı reports that Ağırnas was a Greek village with no Armenian inhabitants, and that before the Greeks evacuated the village a Greek family named Taşçıoğlu had claimed Sinan as a member of their own family.
^Brown, Percy (1942).Indian architecture: (The Islamic period). Taraporevala Sons. p. 94.… the fame of the leading Ottoman architect, Sinan, having reached his ears, he is reported to have invited certain pupils of this Albanian genius to India to carry out his architectural schemes.
^abcAkgündüz Ahmed & Öztürk Said, (2011), Ottoman History, Misperfections and Truths, IUR Press (Islamitische Universiteit Rotterdam), Pg.196,See online. Quoted from the book: "some Jewish writers claimed that the actual name of Sinan the Architect was Yusuf Sinan and was, accordingly, Jewish... According to yet another view, Sinan came from a Christian Turkish family, whose father's name was Abdulmennan and his grandfather's Doğan Yusuf."
^Gjergji Frasheri (2000).Fjalori Enciklopedik Shqiptar. Akademia e Shkencave e Shqipërisë. p. 2946.ISBN978-99956-10-32-6.
^Albanian Cultural Heritage(PDF). Republic of Albania, National Tourism Agency. 2000. p. 59. Archived fromthe original(PDF) on 2010-10-08. Retrieved2012-04-07.
^Harmancioglu, Nilgun B.; Altinbilek, Dogan (2019-06-04).Water Resources of Turkey. Springer. p. 46.ISBN978-3-030-11729-0.
Necipoğlu, Gülru (2007). "Creation of a national genius: Sinan and the historiography of "classical" Ottoman architecture".Muqarnas.24:141–183.JSTOR25482458.
(in Armenian) Alboyachian, Arshag A.Patmutiwn Hay Kesarioy: teghagrakan, patmakan, ew azgagrakan usumnasirutiwn [History of Armenian Kayseri: A topographical, historical, and ethnographic study]. 2 vols. Cairo: H. Papazian, 1937.
(in Turkish) Çelebi, Sai Mustafa (2004). Book of Buildings: Tezkiretü'l-Bünyan ve Tezkiretü'l-Ebniye (Memoirs of Sinan the Architect). Koç Kültür Sanat TanıtımISBN975-296-017-0
Güler, Ara; Burelli, Augusto Romano; Freely, John (1992).Sinan: Architect of Suleyman the Magnificent and the Ottoman Golden Age. WW Norton & Co. Inc.ISBN0-500-34120-6
Sezgin, A. 'Dramatizing an Architect Hero: Sinan in Fiction' inThe Meeting Place of British Middle Eastern Studies: Emerging Scholars, Emergent Research & Approaches (2009), p. 119-143.
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