Located on the Beşiktaş shoreline directly across from the historic Çırağan Palace, the Küçük Mecidiye Mosque, also known as the Çırağan Mosque, serves as a striking architectural gateway to the Yıldız Palace groves.

Built in the 19th century, this landmark is celebrated for its distinctive single-minaret design, offering a unique silhouette against the Bosporus that distinguishes it from other Ottoman imperial mosques of the era.

It was commissioned in 1849 by Ottoman Sultan Abdulmejid I. Because the same sultan also built the much larger Ortaköy Mosque, the structure eventually came to be known as "Küçük Mecidiye Mosque” (Little Mecidiye Mosque).

Due to its proximity to Çırağan Palace, the mosque also functioned as a palace mosque, frequently used by palace staff and workers from the surrounding Yıldız Palace grove.

Architecturally, the mosque follows a square plan topped with a single dome. On either side of the entrance courtyard are sections known as imperial pavilions (kasr-ı hümayun).

The mosque’s round-bodied minaret features a balcony encircled by a gallery formed by slender columns. The arches around the balcony reflect stylistic experimentation typical of the period. Overall, the structure represents a stage in Ottoman architecture when Western stylistic influences were becoming increasingly visible.

Inside, both the prayer hall and imperial pavilion sections are decorated with ornaments reflecting the artistic tastes of the 19th century.

According to Belkıs Doğan, a faculty member in the Department of Turkish-Islamic Arts History at Istanbul Medeniyet University, the mosque built by Sultan Abdulmejid I in the 19th century is known by several names, including Çırağan Mosque and Küçük Mecidiye (Teşrifiye) Mosque.

She explained that the name "Çırağan” derives from its close proximity to Çırağan Palace, while the name "Küçük Mecidiye” emerged after the construction of the larger Ortaköy Mosque by the same sultan.

Doğan noted that the mosque follows a single-domed square plan, a layout common among many imperial Ottoman mosques of the era.

She emphasized that Baroque stylistic elements dominate the structure. However, the imperial pavilion (hünkar kasrı) features an oval plan, an architectural choice reflecting the Baroque influence visible in the building’s design.

The mosque’s entrance hall forms a deep niche, with oval-shaped imperial sections positioned on both sides.

Doğan pointed out that the mosque belongs to the category of single-minaret imperial mosques, which is unusual because most imperial Ottoman mosques typically feature two or more minarets.

Although the mosque largely reflects Baroque characteristics, the minaret balcony displays an eclectic style.

She noted that muqarnas, an architectural decorative element less commonly used in the period, appears in the transition to the balcony. The balcony itself is dominated by Gothic-style arches, forming a gallery supported by columns, which contributes to the mosque’s distinctive architectural identity.

Historical sources suggest that the structure may have been designed by architects from the Balyan family, though the exact architect remains uncertain. Doğan explained that architects of the period, both Muslim and non-Muslim, frequently experimented with new forms and styles.

The mosque also features remarkable decorative details. Sultan Abdulmejid I himself was known as an accomplished artist. According to Doğan, the "Kelime-i Tevhid” calligraphy panel on the mosque’s marble minbar was personally created by the sultan.

She noted that Abdulmejid began practicing Islamic calligraphy during his princely years and later received formal certification from the renowned calligrapher Mustafa Izzet Efendi.

The mosque’s dome inscriptions are also attributed to Mustafa Izzet Efendi. The text includes the opening part of Verse 35 of Surah An-Nur, which translates as, "Allah is the Light of the heavens and the earth.”

The mosque’s marble minbar is particularly notable for its multi-colored stone, featuring red, brown and green tones, an uncommon feature, as most Ottoman marble minbars were carved from a single color of stone.

The inscription plaque (kitabe) of the mosque was written in poetic form by Ziver Bey, an Ottoman statesman and poet who later died while serving in Medina and was buried in Jannat al-Baqi.

According to Doğan, soil from the Kaaba was brought and added to the mortar used in building the mosque, upon the request of Sultan Abdulmejid.

She also noted that the current main form of Al-Masjid an-Nabawi, excluding later Saudi-era expansions, was largely shaped during Abdulmejid’s reign.

Since the sultan could not personally visit Medina, he requested a scale model of the mosque to be built so he could follow restoration and architectural developments. Historical sources also indicate that the Bab-ı Mecidi gate, bearing the sultan’s tughra, still exists from that period.

Abdulmejid I is remembered for his devotion to the three holy sanctuaries of Islam, including the Masjid al-Haram and Al-Aqsa Mosque, where he sponsored major renovations and improvements.

Despite these contributions, the sultan died before reaching the age of 40, making him one of the Ottoman rulers who passed away at a relatively young age.