The Medallions of Hagia Sophia Istanbul: What They Are, How to Visit Them

Upon entering the central nave of the Hagia Sophia Mosque in Istanbul, the eye is immediately caught by eight huge black circles suspended between the columns. No, these are not just decorations: they are the calligraphic medallions, among the most fascinating and mysterious elements of the former Byzantine basilica.

Each of these medallions measures more than 7 meters in diameter and is decorated with golden Arabic inscriptions. If you are wondering what they represent and why they are there, you are in the right place.

These medallions are not part of the original structure of Hagia Sophia, built in 537 AD at the behest of Emperor Justinian I.

They were added much later, when the building had already been converted into a mosque under the Ottoman Empire.

They were made a reality by the calligrapher Kazasker Mustafa İzzet Efendi in the 19th century, during restorations led by Swiss architects Fossati under Sultan Abdülmecid I.

They represent the holiest names in Islam, and their presence has a strong impact both aesthetically and symbolically: they visibly signal the building’s transformation from a Christian church to a mosque. They are a visual bridge between two religious, cultural and historical worlds.

If you plan to visit Hagia Sophia, you cannot ignore them.

Although today part of their view may be covered during church services, they remain among the most majestic and photographed works in the entire complex.

Want to find out how and when to visit them? Check out our tickets page for all the useful information.

Origin and history of the medallions of Hagia Sophia

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The medallions you can admire inside Hagia Sophia today date neither from the Byzantine era nor from the first centuries of Ottoman rule. They were installed only in the 19th century, during a major restoration campaign promoted by Sultan Abdülmecid I between 1847 and 1849.

Two Swiss architect brothers, Gaspare and Giuseppe Fossati, directed the work.

They were in charge of consolidating the structure, restoring the mosaics and updating the spaces according to the needs of the mosque.

It is in this context that the famous medallions came into the picture.

They were created by one of the most prominent calligraphers of the time, Kazasker Mustafa İzzet Efendi, a leading figure in Ottoman calligraphy. His signature is recognizable in every elegant and proportionate line of the gilded inscriptions.

The medallions were made of wood, probably with a base of camel skin treated and stretched on large circular frames. They are so large, more than 7.5 meters in diameter, that when Hagia Sophia was turned into a museum in 1935, there were plans to remove them…but they did not go through the doors!

Eventually, they were left in place, becoming an integral part of the visual identity of the building.

Each medallion was placed at one of the eight columns supporting the dome, helping to balance the huge empty space of the nave with strong, recognizable visual marks.

These elements, which originated in a more recent era, now tell the story of a fundamental part of the long life of Hagia Sophia: the Ottoman and Islamic life, which left a profound imprint on the quintessential Byzantine monument.

Dimensions and technical characteristics

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The medallions of Hagia Sophia certainly do not go unnoticed.

One only has to look up to realize their exceptional size: each is about 7.5 meters in diameter, almost as large as a city bus.

They are among the largest calligraphic panels in the world, and they visually dominate the entire nave.

They are made of wood, probably reinforced with treated animal skin, such as camel skin, which provides elasticity and durability. The surface is painted black, while the calligraphic inscriptions, in golden arabesque, stand out for their elegance and precision.

The calligraphy used is a refined form of the thuluth style, one of the most beloved styles in the Islamic tradition. Credit for these works goes to master Kazasker Mustafa İzzet Efendi, who managed to combine monumentality and legibility in a space as large as it is delicate to handle visually.

A curious detail? The medallions are not attached directly to the walls: they are suspended by a chain system, which makes them slope slightly downward.

This expedient makes it easier to read the lettering even from the ground, and adds a dramatic touch to the whole.

The inscriptions are not just decorative: they are true theological statements that fill the sacred space with a powerful symbolic presence. In a building where Christian mosaics coexist with Islamic elements, these medallions are the strongest visual sign of the religious transformation experienced by Hagia Sophia over time.

What the medallions depict

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The large medallions of Hagia Sophia are not mere decorations: they tell, in a few golden words, the essence of Sunni Islam. Each one bears a sacred name, arranged with calligraphic mastery on a black background, and together they form a kind of written pantheon of the Muslim faith.

Here is what you will find on each of the eight medallions:

• Allah (الله): the name of God, placed in a prominent position.
• Muhammad (محمد): the Prophet of Islam.
• Abū Bakr (أبو بكر): the first caliph, Muhammad’s direct successor.
• ʿUmar (عمر): the second caliph, known for the expansion of the Islamic Empire.
• ʿUthmān (عثمان): the third caliph, during whose reign the Quran was compiled.
• ʿAlī (علي): the fourth caliph, also considered a central figure in Shiism.
• Ḥasan (حسن): grandson of Muhammad, son of ʿAlī.
• Ḥusayn (حسين): another grandson of Muhammad, a martyr revered throughout the Islamic tradition.

These names make up a spiritual gallery that summarizes the roots of Sunni Islamic thought.

The four caliphs, known as the “Rashidun,” or “well-led,” represent the first period of Islam after the Prophet’s death, and are revered as examples of righteousness and leadership.

Ḥasan and Ḥusayn, sons of ʿAlī and Fatima (Muhammad’s daughter), are particularly cherished figures in the Shiite tradition as well, and their presence in the medallions testifies to a certain openness and cross-reverence within Ottoman Islam.

In summary: What you read on the medallions is much more than a collection of names.

It is a visual manifesto of faith, memory and religious identity, set in the heart of a building that has gone through centuries of history and transformation.

Medallions in the architectural context of Hagia Sophia

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When you enter Hagia Sophia, you cannot ignore them.

The medallions seem to float between the columns of the nave, perfectly framed by the Byzantine structure.

And it is this contrast – between Christian architecture and Islamic calligraphy – that makes them so powerful.

Each of the medallions is placed at the four corners of the central square covered by the great dome, and in the center of each of the main walls, for a total of eight.

This geometric arrangement creates balance and symmetry within the sacred space, and at the same time guides the eye upward, right where the dome, the symbolic heart of the entire building, is located.

The dome of Hagia Sophia, 56 meters high and 30 meters in diameter, was, for the Byzantines, the image of the vault of heaven.

When the building was converted into a mosque in 1453, the Christian elements were not destroyed, but integrated or hidden.

The Ottoman medallions are the most visible evidence of this: they mark the building’s new religious identity, but do so in dialogue with Byzantine magnificence.

The suspended position of the medallions exploits the verticality of the building, but does not overpower it.

Their precisely designed downward tilt ensures that each name is legible even from the floor, without breaking the overall harmony.

Fun fact: When it was considered to remove them

You may not know it, but the medallions of Hagia Sophia were in danger of disappearing forever.

It happened in 1935, when the then president of Turkey, Mustafa Kemal Atatürk, turned the mosque into a museum.

The intent was clear: to give the building a more neutral appearance by removing the most conspicuous religious symbols, both Christian and Islamic.

In the original plan, the large medallions were to be dismantled and taken away.

But there was a problem: they would not fit through the doors. Their size-more than 7 1/2 feet in diameter-made it impossible to transport them without completely disassembling them. And disassembling them, with the techniques of the time, would have meant damaging them beyond repair.

In the end, a pragmatic decision was made: leave them where they were.

This episode entered legend and, for many, became a symbol of the silent resistance of Ottoman identity inside a building that was once again changing its face.

Even as a museum, Hagia Sophia could not ignore its Islamic past, and those medallions-as cumbersome as they were loaded with meaning-remained hanging between the columns, silent witnesses to centuries of history.

Today, after conversion to a mosque in 2020, the medallions are still there.

At certain times, however, they may be covered by cloths during religious services, as is also the case with some Christian mosaics.

How to see the medallions today

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Yes, you can still see the medallions of Hagia Sophia, but with some caution. After the building is converted to a mosque in July 2020, the rules for visiting have changed from when Hagia Sophia was a museum.

During prayer hours, the medallions, as well as many Christian mosaics, are covered with cloths or movable panels, in compliance with Islamic regulations that prohibit the depiction of religious figures during worship.

This means that they will not always be fully visible, especially during the busiest times of the day.

But don’t worry: If you arrange your visit outside of prayer times, you can admire them in all their grandeur. The best times? Early morning or early afternoon, avoiding the five time slots dedicated to Muslim prayer.

Also remember that Hagia Sophia is an active place of worship today, so:

• Admission is free, but proper attire is required (shoulders and legs covered, and veil for women).
• Shoes must be removed before entering the prayer area.
• Areas accessible to tourists may be restricted at times of high religious turnout.

For those who want to explore thoroughly, it is recommended to go up to the upper galleries, from where there are spectacular views of the nave and medallions.

From there you can grasp the harmony between space, light and suspended writing.

Check out our tickets page to find out how to arrange your visit, updated schedules, and all the practical information you need to enjoy the experience to the fullest.

Conclusion

The medallions of Hagia Sophia are not just decorative elements: they are icons that tell the story of centuries of religious, cultural and political transformations.

Their presence inside a Byzantine basilica, now a mosque, is a visual symbol of a layered identity, the child of empires and civilizations that overlapped without completely erasing themselves.

Made at the height of the Ottoman 1800s, but designed to harmonize with a 6th-century Christian structure, the medallions represent the compromise between devotion and art, power and spirituality.

Their golden calligraphy suspended between the building’s vaults is the clearest sign of Hagia Sophia’s ability to accommodate and adapt, always remaining true to its role as a sacred place, across religions.

Today more than ever, while the significance of its new function as a mosque is being debated, Hagia Sophia continues to speak, through its mosaics, columns and medallions, to millions of visitors from around the world.