Celaleddin Karatay, a vizier of Sultan Izzeddin Keykavus, founded Karatay Madrasa. Because of its perforated dome, which covers a central space with a pool in the middle, Karatay Madrasa falls into the enclosed-madrasa group. There is a comprising iwan on the west opening to this central space. The main entrance gate of the madrasa is not on the same axis with this iwan. Once, there was a square entrance section covered with a dome in the southeastern corner. This part is totally collapsed today. A prominent portal gives way to this part. Its surface decoration reminds contemporary Syrian Zengid lattice works.

The rectangular panels on the two sides of the gate are striking with swastika motifs (compare with Guduk Minare in Sivas).  At first sight, there seems to be a zig zag pattern (photograph below, on the extreme left). Only a keen eye can perceive the swastika motifs, ancient Mesopotamian sun symbols, which indicate a sun-gate leading to heavens. These two panels truly represent the general characteristics of the Anatolian Seljukid architectural decoration. Optical illusion is the essential character of these decorative designs. Whenever one perceives a second layer of motifs, also grasps a continuos flux of lines and motifs that go beyond the bounds of the panel. The conceptual explanation of this decorative understanding can be found in Sufi philosophy of the time. Here, within the limits of this short text,  it is adequate to state that the main idea behind this understanding is 'continuity' and 'unity' in cosmos, which are frequently underlined in Sufi texts. Inside the enclosed section of the building, two domed rooms are placed on  the two sides of the iwan facing the inner court. The southern one of these rooms is the tomb of Celaleddin Karatay. The small rooms flanking the central hall were student cells and the iwan functioned as a seminar room or assembly hall.  The interior wall surfaces are covered with mosaic tiles mainly coloured in turquoise and dark blue. The geometrical star designs on the tiles of the dome create an image of heavens with its stars and planets. Karatay Madrasa today is a museum of Seljukid arts. The glazed tiles shown above are from its collections. These tiles were brought from the summer palace of the sultans on the shores of the Lake Beysehir. Once, they decorated the inner surfaces of the palace walls. In the example above, two birds flank a palmet shaped sacred-tree, an ancient Mesopotamian sun symbol. A peacock can be seen in another one on the right. In these tiles, double-headed and eared eagles, hares, lions, griffons and other animal genera and composite creatures are represented among and on the two sides of plant motifs. The human motifs that are represented sitting crosslegged constitute another type. These motifs and the colours applied to paint them created a heavenly atmosphere in spaces they once existed. These tiles without doubt, express a peculiar understanding of life. Here, we can merely say that a heavenly domain was probably regarded appropriate to the Turkish Sultan who was the applier of the power of God (Sultan: governmental power bestowed by God). The supernatural character of some motifs and the existence of ancient sun symbols among them support this idea. The cross-shaped tiles have the purpose of fastening the eigth-cornered tiles that contain these motifs. On the other hand, they are the symbols of old cosmological notions like four directions, the centre of the world and four sun-gates. The literature on Buddhist Mandala and Chinese  'TLV' mirrors is advisable to the reader in order to interpret the symbolism behind these motifs.