Susuz Inn, constructed in the 13th century during the Seljuk period, stands as a remarkable example of Seljuk architecture. It exemplifies the distinctive characteristics of Seljuk caravanserais, which served as roadside inns providing safe havens for travelers and their animals along trade routes. Located on a crucial trade route of its time, Susuz Inn is now positioned along a major highway towards to the southern coast of Turkey, ending in the city of Antalya. This strategic placement underlines its historical importance in facilitating commerce and cultural exchange during the Seljuk era.

Geographically, Susuz Inn is situated 76 kilometers from Antalya and 54 kilometers from Burdur, the province to which it is administratively affiliated. Its proximity to these significant urban centers underscores its role in the network of trade and travel that connected various parts of the Seljuk Empire. 

Despite the absence of a definitive inscription, the architectural and decorative features of Susuz Inn provide valuable clues about its origins. Based on stylistic and decorative comparisons with other contemporaneous caravanserais, researchers have attributed its construction to the period of Ghiyath al-Din Kaykhusraw, specifically between the years 1239 and 1240. This dating is not arbitrary but is derived from detailed studies of similar structures with known construction dates.

Further speculation suggests that Susuz Inn may have been built during the reign of Ala al-Din Kayqubad I. This hypothesis is supported by stylistic similarities in the architectural elements and decorative motifs that align with other buildings from his reign. It is plausible that the same group of architects and stonemasons, who were active during the reigns of both sultans, might have been responsible for the construction of Susuz Inn.

Susuz Inn’s architectural integrity has been preserved to a significant extent, particularly in its closed section, which retains its primary structural mass. However, the courtyard section did not withstand the ravages of time and did not survive to the present day. The most striking aspect of Susuz Inn is its portal, which is richly adorned with intricate decorations. In contrast, the interior and exterior walls of the structure are devoid of any embellishments, emphasizing the portal as the focal point of artistic expression.

The decorative elements on the portal can be categorized into floral motifs, geometric patterns, text, and figures. These elements are meticulously carved into stone, showcasing the high level of craftsmanship that was prevalent during the Seljuk period. The main entrance gate, made of marble, is the most impressive part of the building, drawing attention to its ornate portal.

The focus of this research is on five distinct geometric patterns and the main muqarnas found on the portal. These geometric patterns and the muqarnas are analyzed to understand their design principles and to propose methods for accurately redrawing them.

First Border: The outermost border features an intricate composition of circular knots that develop around a central diamond-shaped motif. This motif is framed by broken lines that intersect repeatedly, creating a complex and visually engaging pattern. The meticulous arrangement of these elements demonstrates the Seljuk artisans’ proficiency in geometric design. Second Border: The second border consists of half-sixarmed star motifs. These stars are formed by breaking the lines at specific intervals and intertwining them in a harmonious arrangement. This border exemplifies the Seljuks’ ability to create dynamic and interconnected geometric patterns. Third Border: The third border, which is the most elaborately decorated, features a central ten-pointed star. From this star, broken lines intersect at various angles, forming a swastika and an intricate composition of irregular polygons. This border showcases the Seljuks’ mastery in combining geometric shapes to create intricate and meaningful designs. Fourth Border: The fourth border displays intricate geometric patterns that form hexagons and quadrilaterals. These shapes are created through the interlocking of broken lines, resulting in a visually complex and harmonious design. Fifth Border: The fifth border has the structure of octagonal patterns based on the gridal system. It consists of the intersection of segments surrounding octagonal forms. Main Muqarnas: The main muqarnas has a conical structure composed of seven layers arranged in a five-order sequence. This element is a prime example of the Seljuks’ skill in creating three-dimensional decorative elements that are both visually stunning and structurally functional.

Seljuk stonemasonry represents a unique artistic tradition that emerged with the Turks’ adoption of Islam. The migration of Turkish communities from Central Asia to Anatolia brought about a fusion of artistic influences. The Anatolian Seljuk culture, influenced by both Islamic principles and indigenous Anatolian traditions, created a distinctive and rich ornamental style. This style is characterized by a blend of geometric precision and elaborate decorative motifs.

The 11th to 13th centuries of the Anatolian Seljuk period witnessed a remarkable diversity in architectural surface decoration. This period is noted for its innovative use of various decorative techniques and materials. The geometric patterns and floral motifs used in Seljuk architecture often reflect Sufi concepts such as limitlessness, infinity, and diversity. These motifs transcend spatial boundaries, creating dynamic and interconnected designs that symbolize the infinite nature of the divine.

The geometric and floral motifs in Seljuk decorations are not mere embellishments but are imbued with symbolic meanings. These motifs often reflect Sufi philosophical concepts, such as the idea of the infinite nature of the universe and the continuous renewal and transformation of life. The repetitive and interconnected patterns suggest a sense of order and harmony, which is a reflection of the divine order.

The geometric shapes used in Seljuk ornamentation include circles, polygons, squares, rectangles, and triangles. These shapes are arranged within rectangular and square frames, adhering to the principle of surface filling, a common feature in Islamic art. This principle involves covering surfaces with intricate patterns, leaving no empty spaces, thus creating a sense of completeness and unity.

The creation of geometric patterns in Anatolian Seljuk ornamentation involved meticulous planning and execution. The process began with the identification of the main pattern through projective photography and sketching. The centers of stars and circles were determined to establish the system networks. These networks were then constructed using the compass-ruler method, a traditional technique that does not rely on measurements but on the intersections of circles.

This method involves creating patterns by dividing lines equally, drawing perpendicular lines, and extending lines with the help of a ruler. Secondary and tertiary networks are added by introducing new segments from intersecting points on the primary network. These networks are then coded with different colors to distinguish between various geometric arrangements.

Muqarnas is a distinctive type of decoration in Islamic architecture, characterized by its three-dimensional, prismatic elements. Although primarily decorative, muqarnas also serves a structural function by transforming architectural elements into geometric forms. This transformation creates a visually complex and harmonious design that enhances the architectural space.

The muqarnas at Susuz Inn exemplifies the Seljuks’ expertise in creating such intricate decorations. The conical structure of the muqarnas, with its seven layers arranged in a five-order sequence, demonstrates the complexity and precision of Seljuk stonemasonry. The use of muqarnas in Susuz Inn not only adds to the aesthetic appeal of the structure but also highlights the architectural ingenuity of the Seljuk artisans.

Geometric orders are fundamental to Islamic art and architecture. These orders are defined by the spatial relationships and angles of lines, creating a grid system that allows for precise and systematic geometric arrangements. This grid method divides surfaces into equal units, enabling the creation of complex and harmonious patterns.

In the case of Susuz Inn, the geometric patterns on the portal are established within a grid system. The limits of these geometric arrangements are clearly defined, and the relationship between the geometric units and the overall design is meticulously planned. This approach ensures that the patterns are not only aesthetically pleasing but also structurally sound.

The analysis of geometric patterns in Susuz Inn involves a systematic methodology. The first step is to identify the main pattern through projective photography and sketching. The centers of stars and circles are marked to establish the system networks. These networks are then constructed using the compass-ruler method, which involves creating patterns without measurements.

The process continues by dividing lines equally, drawing perpendicular lines, and extending lines with the help of a ruler. Secondary and tertiary networks are added by introducing new segments from intersecting points on the primary network. These networks are coded with different colors to distinguish between various geometric arrangements.

Susuz Inn stands as a testament to the rich architectural and artistic heritage of the Seljuk period. Its intricate decorations, particularly the geometric patterns and muqarnas, reflect the Seljuks’ mastery in stonemasonry and their ability to blend diverse cultural influences into a cohesive artistic expression. Through meticulous analysis and reconstruction of these patterns, this research contributes to the preservation and appreciation of this architectural marvel.

The detailed examination of the geometric patterns and muqarnas at Susuz Inn provides valuable insights into the design principles and techniques used by Seljuk artisans. The proposed methods for redrawing these patterns not only enhance our understanding of Seljuk art but also offer practical guidelines for preserving and replicating these intricate designs.

In summary, Susuz Inn is more than just a historical structure; it is a symbol of the Seljuk Empire’s architectural and artistic achievements. Its intricate decorations and geometric patterns are a testament to the Seljuks’ ingenuity and craftsmanship. By studying and preserving these elements, we ensure that the legacy of the Seljuk period continues to inspire and inform future generations.