About Tokyo Camii

The History of the Tokyo Camii 

The history of Tokyo Camii dates back to the pre-war era. In 1938, the Tokyo Islamic School was completed with the cooperation of the Japanese government. It was established as a place of worship for Kazan Turks who fled the Russian Revolution and migrated to Japan.

This mosque served as a cornerstone for all Muslims in Japan for more than half a century but was demolished in 1986 due to structural deterioration. It was then reconstructed in 2000 as Tokyo Camii & Turkish Culture Center.

When the social revolution occurred in Russia in 1917, many Muslims were persecuted and forced to evacuate. Turks from the Kazan province moved through Central Asia to Manchuria, then emigrated to South Korea and Japan in search of safety.

The Turks who settled in Tokyo and Kobe adapted well to Japan’s moderate climate. After the Great Kanto Earthquake in 1923, despite an offer from the U.S. government to evacuate foreigners from Yokohama Port, the Turks chose to remain in Japan. In the same year, they founded the Mahalle Islamiye Association, deepening their friendship with the Japanese government, with Abdurrashid Ibrahim playing a key role. Concerned about their children’s education, they established a school named Mekteb Islamiye in 1928, with permission from the Japanese government.

With further cooperation from the Japanese government, they purchased land in Shibuya, Tokyo, and relocated the school there in 1935. In 1938, they built a mosque adjacent to it, fulfilling a long-cherished wish.

Tokyo Camii, which served as a cornerstone for Muslims in Japan for more than half a century, was demolished in 1986 due to structural deterioration. The site was donated by the Tokyo Turk Association, which was newly founded after the Mahalle Islamiye Association, to the Republic of Turkey under the condition of rebuilding the mosque. In 1997, the Tokyo Camii Foundation was established under the Presidency of Religious Affairs of the Turkish Republic, with contributions received from all over Turkey. The design of the new place of worship was created by Muharrem Hilmi Şenalp, a representative architect of modern Turkish religious architecture. Approximately 100 engineers and craftsmen from Turkey participated in the construction and interior work. The construction of Tokyo Camii, which began on June 30, 1998, was completed in about two years, thanks to the efforts of people from both Japan and Turkey. The grand opening ceremony was held on June 30, 2000, marking a new chapter as a place of worship and dia

logue among civilizations.

The Features of Tokyo Camii

Tokyo Camii complements the architectural silhouette of its region, with the Shinjuku skyscrapers behind it. As the largest mosque in Japan, it plays a vital role in meeting the needs of Muslims who live in Tokyo or visit for various occasions.

Tokyo Camii and the Diyanet Turkish Culture Center were built in the classical Ottoman-Turkish architectural style, representing the pinnacle of religious architecture in Islamic civilization. With a central plan structure featuring six half-domes, it seamlessly integrates tradition and technology, bridging the past and future. The mosque showcases examples from almost every branch of Turkish-Islamic arts, each a distinct work of art.

Constructed on a 734 m² plot with a total area of 1693 m², Tokyo Camii features a steel-reinforced concrete system on an earthquake-resistant pile foundation. The domes were cast without using molds, and all stone and marble elements were placed with steel mounting equipment, without mortar. The acoustics are enhanced by spaces within the dome, a technique used for thousands of years.

In the interior and exterior decoration of Tokyo Camii and the Diyanet Turkish Culture Center, there is a harmonious blend of various works from Turkish-Islamic arts, such as calligraphy. The mosque section (second floor) is adorned with exquisite examples of these arts, creating an atmosphere that fascinates visitors. The decoration includes not only artistic features but also verses and hadiths with important religious messages. For instance, the “Hadith of Gabriel,” which describes Islam, faith, and goodness (Ikhlas), is inscribed above the windows.

The ground floor entrance is arranged as a “Turkish-Islamic Handicrafts Exhibition.” Additionally, a “chief room” with traditional elements is included as an example of Turkish civil architecture. There is a multipurpose hall adjacent to the entrance. The main area of the mosque, including the mahfil, can accommodate 630 worshippers, and up to 2000 people can worship simultaneously when other sections are opened.

The mosque building includes a book sales section on the ground floor, offering works in many languages, including Turkish, Japanese, English, and Arabic. This section provides publications for all ages, allowing visitors to obtain information on religious and cultural topics.

One corner of the multipurpose hall on this floor is designed as a small library. The library contains works in several languages, including Turkish and Japanese, and is arranged for easy access by visitors. Those who come to the mosque can read books in this section while enjoying complimentary tea and dates.

On this floor, there is also an exact scale model of the old mosque and school building. Created by professors and students from the architecture department in Japan, the model allows visitors to visualize the historical buildings.

Turkish Islamic Arts in the Tokyo Camii

Tokyo Camii and the Diyanet Turkish Culture Center are built on Ottoman architecture, featuring various branches of art throughout the mosque. Turkish-Islamic arts express the Turkish-Islamic civilization’s understanding of thought and beauty, symbolizing the bond between humans and Allah. This perspective emphasizes that every being is a manifestation of Allah, who is eternal. An artist reflects the divine harmony established by Allah rather than creating something new. Traces of the journey from the worldly to the divine can be found in all types of Turkish-Islamic arts, each an expression of divine love.

Hüsn-i Hat (Calligraphy):  

Hüsn-i Hat, the art of beautiful writing, originated from the desire to write the Holy Quran beautifully, reflecting respect. Calligraphy artists, or “hattats,” have kept the art alive through dedicated efforts. The best examples of calligraphy, in styles such as Thuluth and Naskh, adorn the interior and exterior of Tokyo Camii.

Kalemişi/Kalemkari:

In Ottoman mosque architecture, Kalemişi or Kalemkari involves decorating the dome, arches, and walls. Unlike other arts, it features geometric patterns and floral designs rather than portraits. Kalemkar, the artist, engraves these designs on materials like gypsum plaster, wood, leather, and stone.

Çini (Tile):

This art involves crafting ceramic pieces, applying a thin primer, decorating them with colors and motifs, and then glazing and firing them. Tiles can be large single plaques or small pieces combined into square or hexagonal patterns, used for both wall decorations and items like plates and bowls.

Kündekari:

This ancient art form creates large works by interlocking small wooden pieces in geometric shapes without using screws or glue. This prevents rust and deterioration over time. Durable woods like oak, walnut, ebony, and rosewood are preferred.

Sedefkari:

Mother of pearl, a glossy stone found in shells, is carved into wood inlays, creating intricate designs at the same level as the wood. In Tokyo Camii, Sedefkari is used alongside Kündekari.

Revzen:

This art involves creating patterns with colored glass pieces set in plaster on mosque windows. Each window’s design is unique, and the size and color depend on the de

sired light reflection.

Stone and Marble Craftsmanship:

In Ottoman architecture, stone and marble, the primary building materials, are artistically crafted using various carving techniques. This art can be seen in elements like the mihrab and minbar, as well as birdhouses on the mosque’s outer walls, symbolizing Islam’s love and mercy for all beings.

Ebru (Turkish Art of Marbling):

Ebru, meaning “cloud,” involves creating patterns on water with paints, then transferring them onto paper. This art is used for book pages and paintings, producing beautiful cloud-like images.

Tezhip (The Art of Illumination):

Tezhip, or decoration with gold, involves adorning text page edges with intricate patterns painted in gold and other colors. Historically used for important documents, the finest examples are found in the Holy Quran, especially on pages with Surah al-Fatiha and the first verses of Surah al-Baqarah.

Hilya-i Şerif (The Hilya Sharif):

Hilya combines various Turkish-Islamic arts to depict the physical and spiritual beauty of the Prophet Muhammad (saw.). Without using portraits, these works may include images of the Prophet’s holy tomb in Medina, symbolizing his transcendent beauty and divine personality. Hilya artworks reflect the profound love and respect for the Prophet (saw.) with elegant lines.