Haci Bektas-i Veli Complex

The architectural structure and historical development of this complex, which is located in the Hacibektas sub-distri of Turkey's Nevsehir province and is the site where the patron saint of the Bektasi order of Islam is buried, is complex to say the least.

This group of buildings, which were first founded in the mid l3th century and continued to expand over the centuries until the first quaiter of the 20th century are, in all their aspects,one of the rare surviving examples of a "külliye" or complex of buildings around a place of worship founded by one of the non-sunnite orders of Islam, and as such occupies an important place in the history of Turkish architecture.

It is known that Hacı Bektaş-ı Veli (d.1271), who was a disciple of Baba İlyas-ı Horasani (d.1240), came to Hacıbektaş, or Sulucakarahöyük as it was then known and set up a dervish convent or retreat in his own name. The only element of the original convent, (which must have been a fairly modest building) to have survived is the small cell known as "Kızılca Halvet" (the rosy cell), said to have been used by Haci Bektas-i Veli himself. It is the tomb of Haci Bektas-i Veli, together with the retreat referred to above, that should be regarded as the nucleus of this complex. It was in the l4th century, defined as "the formation period of the Bektaüi movement" by A.Y Ocak, an expert on the subject, that a group of buildings considerably larger than the original one began to take shape.

Balım Sultan (d.1516), regarded as the Bektaşi sect's second founder (pîr-i sânisi), assumed the role of sheikh of the Hacı Bektaş-ı Veli dervish convent with the support of Bayezit II in 1501 (H.907) and, with his interpretations of religious doctrine brought the semi-independent dervish groups which were under the moral influence of the Hacı Bektaş centre, under the centre's umbrella and organised them under a centralised administration under the guidance of a group of elders. The Hacı Bektaş-ı Veli complex, which was the centre of the movement, set up new dervish convents in the rapidly expanding territories of the Ottomans with the support of the Corps of Janissaries (which was under their religious influence) and the "beys" (heads of clans that were then advancing into Rumelia), thus increasing both their sphere of influence and wealth, and building a num- ber of new centres in the process from the first quarter of the l6th century onwards.

The Bektaüi movement was abolished by Mahmut II in 1826 when he abolished the Corps of Janissaries. Meanwhile, the Pîr Evi (tomb of the Founder) which, like other buildings belonging to the order, could not be demolished, were classified as “being of historic value” and turned over to the Nakşibendi order. However, as a result of the freedoms achieved in the Tanzimat (reform) Period, Hacı Bektaş-ı Veli was moved to the present museum. Major repairs to the complex were started by the Ministry of Education in1958 and continued in 1959 by the Foundations General Directorate. The group of buildings, which were repaired and restored more or less according to the original, were, together with the many .. original items inside them, opened as a museum in 1964.

Architecture

The layout plan of the Hacı Bektaş-ı Veli complex is identical to that of the Turkish palaces of those centuries, with three courtyards. The units inside the complex were located around these courtyards in a manner in keeping with their functions. Here, in the “Pîr Evi”, where an almost military hierarchy and discipline reigned, there was a unit for every conceivable function. These units all bore names specific to the terminology of the Bektaşi sect “the Guest House”, “the Horse House” (stables), “the bread House” (bakery). At the head of each unit, which was organised like a “hearth” or “cell”, there was a “baba”, or elder, with his suite of dervishes, or “souls” as they were called. All of these “elders” were answerable to the “dede baba”, or “chief elder” of the “Pîr Evi” (house of the Founder), who was the head of the order.

The first of these courtyards, which lie on a north-south direction, but on different axes, is known as “the Nadar Courtyard”, which lies to the south. Access to the courtyard is via the Çatal (fork) Gate on the south Side. This gate has a low arch, above which is a niche surmounted by a pointed arch, reflecting the classical style of Ottoman architecture. Many visitors coming from distant places were received in the complex and the Nadar Courtyard was surrounded by service areas and facilities for these travellers. To the west of Çatal Gate, which was known to have had a dovecote on one side, was Mihman Evi (the Guest House), where visitors slept, to the east was At Evi (the Stables), at the east end of the courtyard was the Main Larder, whose functions were linked to those of the Kitchenin the second courtyard. The Bakery lay between the Larder and the Kitchens. These buildings, which are no longer in existence, were siııiple structures with walls of rubble stone and mud brick and flat roofs of timber.

The Laundry was located in the group of buildings to the west of the Second Courtyard and also opened on to the Nadar Courtyard. It consisted of two rooms, one of which was the actual laundry, the other being the place where the dead were washed before burial. The fountain in the east wall of this courtyard is known as öáler (the Three) Fountain, or the Feyzi Baba Fountain. Its design and ornamentation, just like many features of the complex, indicate that it could date from the l6th century. On the other hand, an inscription in the sülüs style of calligraphy informs us that it was built by Fatma Fikriye Hanım, wife of the Grand Vizier Halil Rıfat Pasha (1827-1901) in H.1320 (1902). The fountain, in which yellow and red cut stoize have been used, has a niche surmounted by a pointed arch adorned with a Bektaşi crown in the “hüseyni” style.

On the north side of the Nadar Courtyard, in a wall made of reddish cut stone is the Üçler Gate, which provides access to the Second Courtyard, known as Dergâh (dervish convent) Courtyard, or Meydan Courtyard. Above the gate, which is surmounted by a pointed arch of yellow cut stone, is a triangular lunette. On the square reddish stones at the sides are rosettes of twelve segments, symbolising the twelve imams. There are three steps on either side of the landing on the other side of this gate leading down into the courtyard, wi th pool is the square bowl of the fountain and above it is a triangular lunette surmounted by a crown in the hüseyni style, below which is an inscription from which we learn that the pool was built under the guidance of Hacı Feyzullah Dede of Tepedelen (d.1913) on behalf of Nazlı Hanım, wife of Halil Pasha, governor of Beirut, in H.1326 (1908). There are colonnades on the east and west sedis of DergÉh Courtyard. Behind the colonnades are areas arranged in two groups which were used for various purposes, such as worship, the admi tration of the Complex and of the Order. In the east wing are (from south to north), the Arslanlı (lion) Fountain, the Kitchens and mesjid. Above the fountain is a structure known as the Kitchen Pavilion. The group of rooms in the middle, on the west side of the courtyard belonged to the Meydan House, (where services took place), those on the south side to the Guest House (Mihman Evi) and the Laundry and the ones to the north were the Larder. Access to the winter quarters of Dede Baba (the head of the Order) was via the Larder; the walls of the former formed a protrusion on the north east side of the courtyard. On the upper floor of the Larder was the pavilion of Dede Baba, which commanded a view of the entire complex.

The colonnade surrounding the Dergâh Courtyard consisted of five columns in front of the Kitchens to the east, three in front of the mesjid and seven in its west wing; these square columns are of cut stone and they support fifteen pointed arches. It is certainly no coincidence that numbers such as three, five and seven, all of which occupy an important place in Bektaüi symbolism, have been used in the arrangement of the columns. Between the first and second arch after the entrance in its east wing is an anonymous verse dated H.951 (1544/45) stating when the colonnade was built.

In an inscription which adorns the pier of the wall on the right side of the Arslanlı (lion) Fountain, it is stated that the fountain was built by Malkoçoğlu Bâli Bey, an “akıncı” who led forays into new territories. The other inscription on its front informs us that it was restored in H.1270 (1853/54). The person mentioned in the latter inscription was said to be “Kara Fatma Hatun/Sultan of Egypt”. Adorned with six pointed arches of yellow and red cut stone laid in decorative patterns, the fountain belongs to the classical period of Ottoman architecture. In the middle of this fountain, which also manifests provincial Mameluke influence, is a statue of a lion said to have been brought from Egypt by Kara Fatma Hatun. This statue, in which Western influences can also be detected, and on which the words “Ya Ali” and “Zülfikâr” (the cleft sword of Ali) are carved, represents His Excellency Ali, the saint known as “the Lion of Allah”. Together with this, on the facade of the fountain, are three lüle's (short pipes used to measure water discharge), five flat, dodecahedral stones and a number of twelve-segmented rosettes, all of which are of symbolic significance. The inscription on the inner door of the Kitchens states that they were built in H.968 (1560/61) by Malkoçoğlu Bâli Bey. The Kitchens were regarded as the most important part of the Pîr Evi, which was visited by a large number of people. The “baba”, or person in charge of the kitchens, was the second most important person in the complex after Dede Baba.

On a symmetrical axis with the kitchens, the design of which is an interesting synthesis of functional and symbolic architectural elements, are two corridors which come after the outer door and, in the east wall of the building is a fireplace where the Black Cauldron, one of the symbols of the Bektaşi order and the Corps of Janissaries, once stood. On the right hand (south) side of the corridors, which terminate in gates ornamented with the dodecahedral stones referred to previously were the rooms of Aşevi Baba (Chief Cook) and on the left (north) side, two special larders attached to the Kitchens. In the room of Aşevi Baba, which is rectangular (4m x 3m) and has a barrel vauled ceiling is a sarcophagus dedicated to an unknown Head of Kitchens. The room of Aşevi Babası (this person was in charge of the kitchens as a whole) is comparatively large (6.75 x 4.00) and its position overlooking the main kitchen where the food was cooked indicates the privileged position of its occupant. The larders referred to above (measuring 6.50 x 3.00 m and 4.50 x 3.00 m) were used for the storage of certain foodstuffs such as meat, yoghourt and milk, which needed to be kept cool. The small amount of light entering these rooms and the current of air which passed through them made them suitable for use as “cold stores”.

The wooden beams supporting the ceiling of the main kitchen, which measures 8.50 x 8.50 m, are reinforced by a broad, pointed arch of cut stone extending in a north-south direction. The biggest of the seven fireplaces is that of the Black Cauldron on the axis of the east wall. The Black Cauldron, which symbolised fertility and bounty, was only used on the l2th day of the month of Muharrem (the first month of the Arabic lunar year), when elegies for the martyrs of Kerbelâ were read, to cook aşure (a sweet dish prepared for this day). Food for everyday consumption was prepared in the other fireplaces. In the north west corner of the kitchen was a niche in which the washing up was done. The marble pedestal visible in the middle of the kitchen was used to chop meat and the marble trough in front of it, to drain off the fat.

Apart from its other functions, the Kitchen Pavilion served as a venue in which official visitors were entertained, where the “baba's” of the Pîr Evi (House of the Founder) could rest. Sometimes a meeting would be held under the chairmanship of Dede Baba. To the east of this Pavilion, which now serves asaccommodation for the museum administration, is an area used for coffee-making; to the south is a small larder where the nuts offered to visitors are kept and to the west is a rectangular room (7.50x4.00 m) where visitors are received and meetings held.

Some scholars allege that the Mesjid was built on the orders of Mahmut II after the “happy event” (the dissolution of the Corps of Janissaries) in H.1250 , (1834/35). However, although many people believe this to be true there is no foundation for such an assumption. Thus, in the period between the closing down of the dervish convents in 1925 and the commencement of repairs in 1958 the complex was studied by C.H Tarım in 1948. The latter gives us the text of an Arabic inscription referring to the date of building, although this inscription is no longer in existence. According to this, the mesjid was built in the reign of Yavuz Sultan Selim, in H.926 (1520) by the last emir of the Dulkadiroğlu clan (which had come under Ottoman rule) Ali Bey (d.1522), son of ûehsuvar Bey. Thus, the design of the mesjid, its squat proportions and its architectural details in particular are exactly the opposite of the Empire style which was current in the reign of Mahmut II. On the other hand, certain other details, such as the altar niche, the trefoil arch and low trompes at the corners evoke pre-Ottoman features belonging to the Mameluke architecture encountered in some of the mosques built by the Dulkadiroğlu clan, which was under theinfluence of Mameluke art. The walls of the mesjid, which consists of an external area for prayer in three sections with a flat roof and the main body of the square mosque (10.75 x 10.75 m) . are of cut stone. Due to the situation of the courtyard, the pointed arches of the colonnade of the external area for prayer in front of the west wall of the mosque rest on octagonal piers. The minaret, which obviously assumed its final form after repairs carried out in the l9th century and is quite ordiıaary in appearance, may be reached via a staircase leading from the small iwan in the north of the external area for prayer. In each of the walls of the mosque itelf, where symmetrical design is evident, are two rectangular windows. There is a low-arched entrance between the two windows in the west wall, a dais from which the sermon was read in the east wall and an altar niche in the south wall. The fact that the altar niche was hollowed out after the windows on either side shows that the mesjid was in existence before the Kitchens (H.968) (1560-1561), the walls of which it abuts. The low dome, which rests on trompes with pointed arches, is surrounded with an octagonal drum, and concealed under a pyramidal octagonal roof. The style of both the altar niche and the dais are striking because they do not conform to Ottoman notions of architectural design. The dais is an integral part of the structure and an architectural solution has been found by siting it in a niche resembling an altar nichel m above ground level. This niche is rectangular with a stalactite vault which has a multifoil arch; the area of the niche has been enlarged by means of a protruding segmental section. The classical painted designs and calligraphy in this mesjid were renewed in the Republican period.

Cut stone has been used in the east walls of Meydan Evi and other adjoining units (the Guest House and Larder), which face the courtyard, and rubble stone in the remainder. The lintel over the door of Meydan Evi is in turn surmounted by another, load-spreading arch which is pointed and crowned with a dodecahedral stone. On the face of this borrowed lintel (for there is an inscription in Greek on its underside) there are geometrical dovetailed designs in the Seljuk style. In the Arabic inscription on the lintel dated H.769 (1367-68), Murad Hüdavendigâr I is significantly referred to as “Ahi Murat”.

In the recess on the right of the entrance hall, after the front door, is a wooden platform with a handrail on which the dervishes would sit and chat when not engaged in worship and where those who were on duty in the Meydan Evi would spend the night. The diagonal passageway in the southwest corner of this hall was linked to an “L” shaped corridor which led to some of the Larders and the small kitchen of Meydan Evi. At the end of this corridor was a door opening into the private garden of Dede Baba. Entrance to the main part of Meydan Evi was through a rectangular door in the west wall of the entrance hall. This area, which was square (7.50 x 7.50 m) and furnished in traditional Turkish style, represented the universe in Bektaşi doctrine; many of its architectural details, particularly its roof, which resembles a series of overlapping domes, are all interpretations of the “microcosmos”. Of the twelve services held by the Bektaşi order, the first six, referred to as “smelling the rose”, were held in this room. Much of the mystic and cosmic symbolism of the service is reflected in the features of the room. Thus, as in the majority of Bektaşi dervish convents, the marble threshold of the door opening to the east is referred to as “the guide's threshold”, which symbolises the boundary between the outer and visible world and the inner. Persons entering the room jump over the threshold as an act of supplication to God. The low platform running right round the room, on which animal skins were spread during services is broken by the entrance door, this being opposite the stove. The latter, apart from heating the room, is also referred to as “the sphere”, which represents the hearth of “Hamse-i âl-i abâ” (the Five from the Family of the Fathers). At the beginning of the service the “çerağcı” or torch-bearer, whose duty it was to “light the torches” would take the small candle he had received from the “mürşid” or spiritual teacher who led the service, and light it from the stove, receiving a “particle of its light”, after which he would light the torches of “Mohammed's throne”, which was to the left of the animal skin occupied by the “mürşid”. The twelve torches on the throne, to which three steps provided access, represented the Twelve imams and the lantern with three wicks standing in front of the throne, referred to as “the torch of law”, or “the torch of Horasan”, represented the trinity of Allah, Muhammed and Ali.

The overlapping dome of the Meydan Evi, referred to as “swa low- tail” in Anatolia because of the dovetail effect on the inside, is formed by the placing of steadily diminishing squares of wooden beams (each of which is at an angle of 45% to the other), one on top of the other, each being dovetailed into the next. This technique has been known both in Central Asia and in Anatolia since ancient times. The seven squares in this overlapping dome represent the seven worlds of Islamic mysticism - şehâdet (testimony), berzâh (period between death and resurrection), ervâh (spirits), hakîkat (truth), erkân (the elders), gayb (the unknown), kesret (abundance) and vahdet (unity). The “muhabbet divanı”, where meetings of the elders took place, was reached by a door in the south wall. This area is rectangular (5.75 x 4.50 m) and is covered by a dome which is a smaller copy of that in the Meydan evi.

The elder (baba) in charge of the Guest House in Dergâh Courtyard, which is much smaller than the one in Nadar Courtyard would receive visitors and relay their requests to Dede Baba (the head of the order). It was also the duty of dervishes in this unit to look after the private garden of Dede Baba. Thus, there were two units, the big one, in which guests were received and entertained and the small one, which served as accommodation for the “baba” of the Guest House.

The Larder, which was under the direct supervision of Dede Baba, also served as a place where ritual objects such as rosaries, censers, torches, halberds, trumpets, beggar's bowls, dodecahedral stones etc. were kept, together with the keys of Hacı Bektaş-ı Veli's tomb. Thus, it was in this part of the complex where matters such as the maintenance of thtomb, the accounts and storekeeping were attended to. There was an ante-chamber where visitors waited to see Dede Baba, a reception room with a stove where the latter received his visitors, a special kitchen attached to the Larder and granaries - and, to the east of all these areas, the winter quarters of Dede Baba. The pavilion of Dede Baba occupied a commanding position, just like the personage whose name it bore, with a view of the whole complex. The pavilion consists of three rooms and an external entrance hall. Its architectural details reflect the classical Ottoman style and although its date of construction has not been established exactly it can safely be said that it was built before the mid l8th century, when Baroque influences began to manifest themselves.

To the north of the Dergâh courtyard, between the mesjid and the winter quarters of the head of the order is the Gateway of the Six, which affords access to the Third Courtyard, the most sacred of all areas for the Order. The low archway of this gateway, which is in classical Ottoman style, is crowned with a dodecahedral stone made of black and white marble. In the Third Courtyard, known as “Hazret Avlusu” (the Courtyard of the Prophet) or “Huzur Avlusu” (the Courtyard the Presence), opposite the Gateway of the Six, is a building known as “Huzur-u Pîr” (the presence of the Founder), in which is the tomb of Hacı Bektaş-ı Veli, the Burial Chamber of Güvenç Abdal, the Burial Chamber of Resûl Bâlı, and the Kızılca Halvet (the rosy cell, or retreat) an the Assembly of the Forty (Kırklar Meydanı), where the other six services of the Bektaşi order, known as “picking a rose from the garden”, are performed. The Council of Elders that elected the Dede Baba also met in this chamber. The east side of the Courtyard of the Prophet is in fact a graveyard with the burial chamber of Balım Sultan in it.

The burial chamber of Balım Sultan, which possesses the traditional features of Seljuk burial chambers, was built by Ali Bey, (son of şehsuvar Bey), the last emir of the Dulkadiroğlu clan in H.925 (1519), and it could be regarded as the lastof its kind in Anatolia. In this structure, which is made of dark yellow cut stone, there are two entrance halls to the west of the actual burial chamber. The first of these is arectangular colonnade (7.00x3.00m) with a flat roof which has three pointed arches faciing westwards. The arch in the middle is slightly higher than the ones on either side and is crowned with the traditional Bektaşi dodecahedral stone. On the capitals of the squat columns supporting the arches are leaf and volute motifs, which prove that the colonnade was repaired in the second half of the l8th century or the first quarter of the l9th century. It was here that the ears of those wishing to become hermit dervishes were ceremonially pierced and the secrets of the dervishes imparted to them. In front of the verandah in question is a marble column in which a couplet in cramped sülüs style in cylindrical form, known in Bektaüi terminology as a “mounting block” is inscribed. It is said that Shah Kalender, who led a revolt against the Ottoman state in 1527 was murdered on the site of this stone, which visitors always embrace. Also, the mulberry tree in front of the burial chamber is considered by members of the Bektaşi order to be sacred, for it is believed to be the tree that grew from a seed thrown by Cen Ahmed Yesevi from Horasan to Diyâr-ı Rûm which took root on the spot where it fell.

The surface of the gate in the east wall of the iwan in the entrance is embellished with sun motifs. The rectangular frame of yellow and red cut stone within which there is a niche supported by a pointed arch is adorned with geometrical ornaments in which dodecahedral stones feature. In the centre of the intersecting vault is a small dome with a radius of 1.70 m. The dome is surrounded by 8 small , semi-domes. In the middle of the east wall is a door opening into the actual burial chamber. Above the low arch over this door, which is enclosed in a rectangular frame ornamented with intertwined geometrical patterns are rows of sun symbols filled with ornate leaf patterns and above the arch is an inscription in Arabic stating the construction date. The actual burial chamber, which rests upon a square crypt (7.00 x 7.00 m), is octagonal on the outside and square on the inside (4.30 x 4.30 m) and the dome over this structure is covered with an octagonal pyramidal roof. The transition from square to octagonal is achieved by means of triangular pendentives and the dome rests on an octagonal drum, In the south and east walls of the burial chamber is a rectangular window in a marble frame and iron bars set in a load-spreading pointed arch; on its southside is a rectangular, protruding structure with a barrel-vaulted roof linked to the main area of the burial chamber by means of a pointed archway. The bigger of the two anonymous graves in this area is considered to be that of Shah Kalender (d.1527). The grave of Balım Sultan stands alone in the main area of the chamber. The walls and superstructure are ornamented with painted designs in l5th century style that were executed in the course of repairs in the Republican period. The finial surmoun- ting the pyramidal roof consists of amarble globe and metal dove, which originates in the legend that Hacı Bektaş-ı Veli came to Anatolia from Horasan in the form of a dove.

The building containing the tomb of Hacı Bektaş-ı Veli, the burial chambers of Resûl Bâlî and Güvenç Abdal, the Rosy Cell and the Room of the Forty took shape as all these sections, which belong to different periods, were added. The area it occupies is irregular in shape, its widest dimensions being 28.25 x 25.00 m. The areas with walls of cut stone, apart from the tombs and burial chambers, have solid wooden ceilings. However, in the entrance colonnade and the Room of the Forty there are small domes in the wooden ceilings.

The entrance colonnade is on the north side of the Courtyard of Muhammed and its facade is surmounted by atriangular lunette. It has three pointed archways opening to the south and itself consists of three sections. Due to the fact that this structure was built on sloping terrain facing north, access to the area in the middle, which is the entrance, is via a flight of steps. The sections on either side of this entrance are slightly higher and contain the unroofed tombs of the twelve heads of the order.

The portal opening into the entrance hall in front of the Room of the Forty is known as the White Gate because it is entirely of marble. The pointed arch of the portal niche is backed by rows of muqarnas and on either side of the niche is a cell of semi-octagonal shape with stalactite vaults on which there are rows of muqarnas. The frame of this doorway rests on S-profile spats and has a low arch that is richly ornamented with intertwined geometrical patterns and the dodecahedral stones of the Bektaşi order in repoussê work. On the keystone is the inscription “Ya Allah” (Oh, my God!) in the form of a lantern and over the arch is a relief of the double-headed Seljuk eagle. The proportions and ornamentation of the portal, together with the emblem in question indicate that it dates from a period just before the collapse of the Seljuk dynasty ( 1308) or from the early years of the Karamanoğlu dynasty (the first half of the l4th century), who claimed to be the heirs of the Seljuks.

The roof of the rectangular area just inside the portal (7.50 x 8.0 m) consists of a small dome with a radius of 2.50 m which rests on an octagonal drum surrounded by two pointed barrel vaults. The pointed arch in the west wall opens into a small private room (2.25 x 0.90 m) in which only one person could pray; this had a tiny altar niche with rows of muqarnas. The small private room (the Rosy Cell) to the east measures 2.50 x 2.00 m and has a barrel vaulted ceiling; it is also referred to as “Çile Damı” (the roof of penitence). The frames of its door- way, which has a low arch, rest on S-profile spats and the displaced keystone of the arch sags noticeably.

The Arabic inscription over the second portal (which opens into the Room of the Forty and, just like the architecture of the section in question, manifests a style that is a mixture of Ottoman and Karamanoğlu) states that it was built by Yâsiâbâd emîr-î livâsı (or Sancak Bey) Murad bin Abdullah in H.960 (1552-53). The portal is surrounded by a frame with muqarnas on it and embellished with peonies and stylised leaf designs.

The dimensions of the Room of the Forty, if the platforms on which the tombs stand are ignored, are 10.60 x 9.00 m at its east and west ends. The beams resting on the north and south walls of the room support three pointed arches. Between the latter are two square areas used for services. In the south wall of the area on the east side is the entrance to the tomb of Hacı Bektaş-ı Veli. In the north wall is an aperture referred to as “the prayer for the Founder” and known among members of the Order as “the window of aid and munificence”. On the walls of the Room of the Forty (where many objects used in the Bektaşi rituals of today are exhibited and where the famous Candelabra of the Forty Branches, which is lit during services, stands) and in other areas of the building as well are painted designs completed in the Republican period in which l5th and l6th century motifs have been used. The pointed arch in the south wall behind the east end of the raised platform running right round the room opens into the rectangular burial chamber (7.50 x 4.50 m) of Resûl Bali (d.1278/79), one of the successors of Hacı Bektaş-ı Veli. To the south of the platform on the west side of the room is the square (4.25 x 4.25) burial chamber of Güvenç Abdal. The door of the tomb of Hacı Bektaş-ı Veli, which dates from the last quarter of the l3th century, displays proportions and ornamentation typical of the Seljuk style, together with various symbolic elements. The outer frame of the door consists of intertwining leaf designs, followed by two bands of chain pattern with intertwined geometrical forms running round the edge. Between the first chain pattern, the composition of which is complex, there are 3 fish motifs to the right. Over the keystone of the low archway is a stylised, double-headed Seljuk eagle and two dove reliefs on the spats of the doorframes. The threshold of this door, known as “the threshold of heaven”, is considered sacred and people jump over it saying a prayer. In the upper part of the square tomb structure (4.50 x 4.50), a transition is made from square to octagonal by means of triangular pendentives. The dome of the tomb is covered by an octagonal pyramidal roof.

Here, in one of the most frequented tombs in the world, there is only one item that actually belonged to Hacı Bektaş-ı Veli - a wooden chest.