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Centuries before the Ottoman conquest of Bosnia, Mostar was a small hamlet situated at a strategic crossing of the Neretva River. Its hinterlands consisted of a broad agricultural plain on the west bank and steep terraces on the east bank surrounded by barren mountains. Mostar was a representative multi-ethnic and multi-cultural settlement in Bosnia and Herzegovina, which had possessed an independent political identity since the twelfth century. By the fifteenth century, most of the lands that would later become part of modern Yugoslavia were inhabited primarily by peoples of the same south Slavic heritage. ==Ottoman era== The first document that names the city was written in 1474, only eleven years after the Ottoman conquest of Bosnia. The bridge is at the heart of the town’s identity: Mostar means in fact “bridgekeeper”. Bosnia was added to the Ottoman Empire as a province and ruled by a pasha: an administrator of elevated rank. Following this occupation, Mostar was transformed, in a matter of decades, from a minor river crossing to a thriving colonial crossroads. As Ottoman administrators strove to integrate local inhabitants into their empire and extend their influence, architecture expressed important social and economic changes in Mostar. During the Ottoman period, the Stari Most was built to replace a precarious wooden suspension bridge that had spanned the river. Facilitating travel, trade and the movement of military troops, the Stari Most became a symbol of the benevolence and powerof the Ottoman Empire; it insured Mostar’s primacy as the capital of the county of Herzegovina. The Ottomans used monumental architecture to affirm, extend and consolidate their colonial holdings. Administrators and bureaucrats – many of them indigenous Bosnians who converted to Islam – founded mosque complexes that generally included Koranic schools, soup kitchens or markets. These foundations, or ''vakufs'', were a traditional mode of philanthropy which allowed for routine distribution of wealth within the empire. The grandest mosques were characterized by a large single dome, like the Koski Mehmet Paša Mosque in Mostar on the east bank of the Neretva or the Karadjozbeg Mosque, bearing many hallmarks of the famous Ottoman architect Sinan. The dome had come to represent the imperial presence of the Ottomans throughout the territories they controlled; it seems to have signified both Ottoman dominion over a colony and benevolence towards the colonized. Mosques defined and strengthened communities. A good example is the Sevri Hadži Hasan Mosque, a hip-roofed structure that forms the nucleus and principal public open space of its neighborhood, or mahalla. Such mahallas developed quickly on both banks of the Neretva during the Ottoman period. One- and two-storey houses were anonymous at the street level but rich and expressive within. Each was carefully sited to catch a view of a cypress or minaret from second-story windows and each was legally obliged not to block the views of a neighbor. A street-level entry would access the courtyard, creating a transition that allowed for intimacy and privacy within; rooms dedicated to family life were separated from those intended to receive outsiders. Mostar’s Biščevića house is a case in point: an austere entrance belies rooms of built-in cabinets, elaborately carved wooden ceilings and a windowed room that cantilevers over the Neretva River. In thriving commercial areas, houses like the Alajbegovica house addressed the commercial thoroughfare with a shop, with residential spaces above and behind. Though Mostar was officially part of the Ottoman Empire until the third quarter of the nineteenth century, all of the territories that would later become Bosnia and Herzegovina enjoyed an unusual measure of independence in the eighteenth and most of the nineteenth centuries. Ottoman legislation assuring religious tolerance between Christians, Muslims and Jews had become an integral part of indigenous social and political values, and the city functioned as a bonded, multicultural social entity. In Mostar, historicist architectural styles reflected cosmopolitan interest and exposure to foreign aesthetic trends and were artfully merged with indigenous styles. Examples include the Italianate Franciscan church, the Ottoman Muslibegovića house, the Dalmatian Ćorovića House and an Orthodox church built with a gift from the Sultan.〔Pasic, Amir. Conservation and Revitalisation of Historic Mostar. Geneva: The Aga Khan Trust for Culture, 2004.pg 1-7〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Architecture of Mostar」の詳細全文を読む スポンサード リンク
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