Women who built Jerusalem: Hürrem Haseki Sultan c.1500 - 1558

Many artists arrived in Istanbul to paint Roxolana, as the Europeans called Hürrem Khassaki Sultan. Diplomats, after having met her in the palace, reported she was neither beautiful nor tall but that she was charming.

The fifth figure in the series "Women Who Built Jerusalem" is Hürrem Haseki Sultan, a Muslim, and one of the most intriguing and vibrant personalities of the Renaissance. Her story, like many of her predecessors in this series, begins in Constantinople, along the banks of the Bosporus. Together with her husband, Sultan Suleiman the Magnificent (known in the Muslim world as Suleiman Qanuni, or Suleiman the Legislator), she played a pivotal role in the development of Jerusalem during the Renaissance. Beyond establishing a vast empire that spanned from northern Europe to Africa, Arabia, and Persia, Suleiman's contributions to Jerusalem included renovating the Al Aqsa Mosque and constructing the impressive 3 km of walls surrounding the city. He also repaired the aqueducts that supplied water to the city, renovated the major pools and cisterns, and built six public water fountains. Their efforts preserved, completed, and enhanced the constructions of the former Mamluk rulers (1187-1516), shaping the city's present character during the 400 years of Ottoman rule from 1516 to 1917. Construction commenced in 1538 and concluded shortly thereafter, atop the ruins of previously destroyed fortifications. The result was a magnificent wall that leaves a profound impression on tourists of all backgrounds—Christian, Jewish, Muslim, and others—whom I guide through the city. I, too, am continually awed by the sight of the Holy City's walls.

It is unlikely that either Suleiman or his wife, the central figure of this chapter, Hürrem Haseki Sultan, ever visited Jerusalem. Despite this, she orchestrated, funded, and oversaw the construction of a significant complex of buildings that now bears her name. But who is she, and what makes her so captivating? One reason is the remarkable love story between the esteemed emperor and the harem girl, a Christian slave. Ambitious and young, she captured the emperor's attention and became his sole wife, defying custom and tradition. Her influence ensured that her descendants ascended to the throne of the empire, thereby securing the continuation of the sultanate's dynasty.

She originated from western Ukraine, specifically a region known as Ruthenia, which was then part of the Kingdom of Poland. Likely the daughter of a priest, she was captured by Tatar raiders who abducted her and sold her into slavery in Istanbul. While her original name is uncertain, it might have been Alexandra Lisowska. She was purchased for the Sultan's Harem, where she was given the title of Hürrem ("the cheerful" in ancient Persian) Haseki Sultan (the Sultan's favorite). In the West, she is referred to as Roxolana, Ruslana, or the "Red." We will refer to her as Hürrem.

During that period, the Sultan did not have an official wife. The most influential figure in the harem was the Sultan's mother, known as the Valide-Sultan. The role of the harem concubines was to provide entertainment and bear children. Once a potential heir was born, he, along with his mother, was sent away from Istanbul and the palace during his adolescence to ensure their safety, as well as the Sultan's. In the Sultan's court in Constantinople, much like its Byzantine predecessor, the use of daggers, strangling cords, and poison vials were common methods for self-promotion or survival, necessitating caution.

Press photos to enlarge

Different representations of them in later years, by diverse artists, including Titian.

Hürrem was not known for her caution. At fifteen, she arrived at the palace as a young slave girl with ambitions to reach the highest ranks. She immersed herself in the study of classical Persian and Turkish, converted to Islam, and learned religious law, foreign languages, and philosophy. Her efforts soon attracted the attention of the emperor. An Italian ambassador reported to his government: "She was pretty, but not beautiful and on the short side. 'Giovane ma non bella' (young but not beautiful) ..." In 1526, the Venetian ambassador noted that she was "graceful and short of stature." Hürrem was bold and straightforward, qualities that captivated Suleiman. Her provocative nature and willingness to take risks may have intrigued him. Suleiman's influential mother and Mahidevran, his chief concubine, whose son Mustafa was likely the heir apparent, began to feel the strain. Mahidevran physically attacked Hürrem in the harem, leading to Suleiman's loss of patience. He had another child with Hürrem and decided to marry her, marking a significant departure from tradition. Together, they had six more children, and Suleiman remained devoted to her until her death.

Suleiman was a contemporary of notable figures such as Francois I of France, Henry VIII of England, Charles V of Habsburg, Ivan the Terrible of Russia, Cosimo de Medici I, and Isabella D'Este in Italy. Their love story was well-known even during their time. Unlike previous figures in this series, whose appearances we can only imagine, numerous Italian Renaissance painters, including Titian, traveled to create portraits of the Muslim Oriental monarchs, particularly of Roxolana. The love poems they exchanged were published in Europe, and I will present to you the renowned "Muhibi," which Suleiman composed for her.

The Turkish television series "The Magnificent Century" captivated audiences with its dramatic portrayal of Hürrem and her relationship with Suleiman, achieving widespread success across the Muslim world, from Bosnia to Indonesia. In the series, Hürrem is depicted in a somewhat negative light, as if she wielded significant influence over Suleiman. It is believed that she was involved in the intrigue against Suleiman's son and heir apparent, Mustafa, who was executed by the Sultan. This action paved the way for her own children to ascend as heirs. This can be viewed as an act of survival, protecting her children who would have faced execution had Mustafa assumed power. It was customary to eliminate rival siblings once power was secured.

Press photos to enlarge

'The Magnificent Century' (Turkish: Muhteşem Yüzyıl) has made this series of love and intrigue popular worldwide, especially in the Muslim world. They chose two highly glamorous actors: the German-Turkish actress Meryem Uzerli, portraying a sassy, conniving, and calculating character. Halit Ergenç portrays a suave, aloof, idealized Sultan. To the right: a water fountain at the entrance of Temple Mount/Haram a-Sharif, part of the Jerusalem water system they constructed

It is often suggested that, as an act of atonement, she established the significant charity center in Jerusalem in 1552 and developed additional substantial charitable institutions across the empire. This included a soup kitchen in Mecca, similar to the one in Jerusalem, and two prominent bathhouses in central Istanbul, which remain operational near Hagia Sophia.

The Jerusalem project was constructed on the site of a neglected Sufi center (Zawiya), originally built over 200 years prior by another Muslim woman, Lady Tunshuq of Muzafer, in 1338. Lady Tunshuq erected a magnificent palace in the Mamluk style within the heart of the Muslim Quarter, intended to serve as a hostel. Following her death, the palace fell into disuse.

It appears that emissaries of the Sultan's wife selected the old palace, undertook its renovation, and added another structure, which included a soup kitchen for the impoverished, providing two meals daily for Jerusalem's destitute and al-Aqsa's needy worshipers and scholars. According to the endowment document, the site also comprised a large khan (inn) for travelers and merchants, a mosque (no longer extant) with domes and arches, a 55-room lodge for the poor and needy, a large kitchen with a bakery and flour mill, several warehouses, and a fountain supplying fresh running water for the residents and kitchen. Most of the buildings, except for the lodge and mosque, remain intact today. The soup kitchen continues to operate, still serving meals to the poor according to Hürrem's original recipe.

The site is known by various names, reflecting its diverse historical periods and institutions. It is referred to as Al-Imara Al-Amira, a Turkish term for a soup kitchen, as well as T'kiya Khassaki Sultan in honor of Hürrem, and the Islamic Orphanage. The Jerusalem municipality officially recognizes it as the Lady Tunshuq Palace, named after the medieval establishment.

Who provided the funding for the meals, shelter, and charitable initiatives? Hürrem endowed 26 entire villages along the route between Jaffa and Jerusalem, as well as several shops in the city, an indoor market, two soap factories, eleven flour mills, and two bathhouses throughout Palestine and Lebanon for this project. For centuries, the taxes generated from these properties supported a substantial charity, a mosque, and two lodges for pilgrims and travelers. Many of these villages were destroyed in the 1948 war, and now funding is available only to the schools from other charitable organizations. The building complex also houses an orphanage, a professional school, and a high school.

Diplomats who encountered the couple in their later years noted that they remained deeply in love and true friends in their relationship. Merely four years after establishing the site, Hürrem Haseki Sultan passed away. She successfully arranged her daughter's marriage and positioned her son as the heir. Hürrem assumed a statesman-like role, fostering relationships with European leaders and assisting Suleiman with his international relations. It is reported that she had an influential Jewish advisor, a businesswoman of Spanish descent named Esther Handali. Hürrem died in 1558 and was interred in a mausoleum at the Suleymaniye Mosque in Istanbul. It is said that Suleiman never fully recovered from her death. He passed away eight years later in 1566 and was buried beside her in the courtyard of the mosque that bears his name.

I would like to express my sincere gratitude to Dr. Yusuf Natsheh, Director of the Department of Islamic Archaeology at al-Haram al-Sharif (the Noble Sanctuary) in Jerusalem and a lecturer at al-Quds University. Dr. Natsheh, who attended the school built by Hürrem in his youth, has become the chief researcher and guardian of the site, overseeing its restoration. Much of my understanding of this place is derived from his book "Development and Restoration of Dar al-Aytam al-Islamiya" and a personal tour he once conducted. He is an outstanding and insightful researcher, and regrettably, the ongoing Israeli-Palestinian conflict limits our access to his profound wisdom and extensive knowledge. Let us hope for a resolution to this unfortunate situation.

Renovation of the Haram a-Sharif

The original Dome of the Rock was constructed in 705 CE by the Caliphs of the Umayyad dynasty and was initially adorned with mosaics. By the time the Ottomans arrived 900 years later, the structure may have been in disrepair. The Ottomans replaced the mosaics with Persian-style Qashani ceramic tiles.

Rebuilding the walls of Jerusalem

Press photos to enlarge

During Suleiman's era, the city's walls were in a state of disrepair. He envisioned constructing a new wall to safeguard the city. The project commenced at the prominent Damascus Gate in 1538 and was completed several years thereafter. The walls visible today are the result of Suleiman's initiative.

The Ambitious Project of Hürrem Haseki Sultan

The area highlighted in the photo is where our buildings, known as 'Imara al'Amira,' are located. These buildings house a charity dedicated to education, social support, and a soup kitchen for the needy, continuing to operate to this day. Situated in the heart of the Muslim quarter, this cluster of buildings is less prominent compared to other monumental institutions and requires a closer look to be fully appreciated.

The other landmarks visible in the image, from left to right, include the Khurvah Synagogue in the Jewish quarter, followed by the conical dome and belfry of the Dormition Abbey. In the center, you can see the white belfry and black dome of the German Lutheran Erlöserkirche, with the Citadel positioned right behind it. To the right are the two grey domes of the Basilica of the Holy Sepulcher. Finally, at the bottom right, is the silver dome of the Armenian-Catholic Church of Our Lady of Sorrows, located at the fourth station of the cross.

Press photos to enlarge

As we proceed up the alley, the grand portals, remarkable examples of Mamluk and Ottoman art, remain inconspicuous. The first monumental portal, (top, right), originates from the Lady Tunshuq Palace of the medieval period. It showcases an opulent Mamluk style, featuring alternating colorful stones (Ablaq), stone mosaics, and stalactite-like decorations, which have become characteristic of Islamic architecture. The second monumental portal, (bottom, left), also from the Lady Tunshuq Palace of the same era, exhibits a distinct Mamluk style with alternating colorful stones (Ablaq).

The third monumental portal, (bottom, center), also dates back to the medieval period. Hürrem's architects preserved this section and incorporated it into the complex. It is designed in classical Mamluk style, with alternating colorful stones (Ablaq), stone mosaics, and carvings of Koranic verses. Finally, the fourth monumental portal, (bottom right), constructed by Hürrem's architects in 1552, serves as the entrance to the soup kitchen, the 'Imara al'Amira, the school, and the remaining buildings. This portal is crafted in Ottoman style, featuring a trefoil shape and delicate, lace-like stone carvings typical of the Ottoman aesthetic.

(From left) The dome of the soup kitchen, a pot filled with soup from today's service, and one of the antique copper pots.

The original recipe of the soup

The recipe given by the empress is still used in 'Imara-al 'Amira. There is a morning and afternoon soup.

Frike Soup (Green smoked wheat)

Serves: the poor of Jerusalem

Ingredients

Frike . . . . 14.380 kg

Butter . . . 2.457 kg

Salt . . . . 2.047 kg

Onions. . . 1.638 kg

Cumin . . . . . . . . . . .0.614 kg

Chickpeas . . . . . . . .1.228 kg

Yoghurt . . . . . . . .20.475 kg

Firewood for cooking 57.33 kg

left: The endowment manuscript of the charity

Muhibbi - the great love poem

One of History's most renown love poems is Muhibbi - the lover. Written by the all powerful emperor to his beloved spouse, his total devotion moves us to this day.

click to enlarge your preferred language

Hurrem's Mausoleum in Istanbul