This article explores the architectural luminosity of the Karađoz Beg Mosque in Mostar, a masterpiece attributed to Mimar Sinan. As a gem of Islamic architecture that harmonizes the physical and divine orders, the mosque stands as both an artistic and conceptual benchmark, not only for other mosques in the city but for the entire corpus of Islamic architecture in Mostar. Despite experiencing functional fluctuations due to regime changes following the Ottoman departure from Bosnia and Hercegovina, the mosque has consistently stood “tall,” radiating the supremacy, persistence, and resilience of truth, and defiantly confronting its antitheses. The article analyzes the mosque’s major architectural components: the dome, minaret, windows, mihrab, minbar, mahfil (gallery), entrance, portico, and decorative strategies, relating each to the principles that govern both terrestrial and otherworldly dimensions of life. Through the Karađoz Beg Mosque as an archetype, the study affirms that Islamic architecture is not merely a dialogue between form and function; it is a metaphysical expression of the earth–heaven axis, affirming man’s existential purpose and his noble mission as vicegerent (khalifah) upon the earth. The methodology employed combines descriptive and analytical approaches, treating the mosque as both a conceptual and perceptible reality
