Yazılıkaya (literally "written rock") was a sanctuary of Hattusa, the capital city of the Hittite Empire, today in the Çorum, Turkey.
This was a holy site for the Hittites living in the nearby city of Hattusa. Most impressive today are the rock-cut reliefs portraying the gods from the Hittite pantheon. There were also shrines built adjacent to the rocks. It is believed that New Year's celebrations took place at the site. The sanctuaries were used from the fifteenth century BC, but most of the rock carvings date to the reign of the Hittite kings Tudhaliya IV and Suppiluliuma II in the late 13th century BC.
The most impressive Chamber is Chamber A, which contains rock-cut relief of 64 deities in procession. The left wall shows a procession of male deities, wearing the traditional kilts, pointed shoes and horned hats. Mountain gods are also shown with scaled skirts to symbolise the rocky mountains. The right wall shows a procession of female deities wearing crowns and long skirts. The only exception to this divide is the goddess of love and war, Shaushka (Mesopotamian goddess Ishtar/Inanna) who is shown on the male procession with two female attendants. This is likely to be because of her male attributes as the goddess of war. The processions lead to a central scene of the supreme couple of the pantheon; the storm-god Teshub and the sun-goddess Hebat. Teshub stands on two mountain gods whilst Hebat stands on a panther. Behind Hebat are shown their son Sharruma, daughter Alanzu and a granddaughter.
It is intriguing to note how the Hittite practise of assimilating other cultures' gods into their own pantheon is in evidence at Yazilikaya. The Mesopotamian god of wisdom, Ea (Enki) is shown in the male procession and the god Teshub was a Hurrian god who replaced the Hittite storm god. Hebat's original consort is changed into her and Teshub's son (Sharruma) and she is later synchronized with the Hurrian sun goddess of Arinna. Much of this is attributed to the wife of Hattusili III, Puduhepa, who was the daughter of a Hurrian priestess.
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The ancient Lake Abant Nature Park in Bolu
The lake lies at an altitude of 1,328 m at a distance of 32 km from the provincial seat of Bolu city. It is a favorite vacation and excursion spot for both Turkish and foreign travellers thanks to the natural beauty of its surroundings, which are covered with dense forests, and easy access by car (it is served by a 21 km road leaving from the İstanbul-Ankara E 80 highway at the level of Mount Bolu, three hours' drive from these two largest cities of Turkey). Lake Abant is a natural park.
History, people, places
Embroidery is the art or handicraft of decorating fabric or other materials with needle and thread or yarn. Embroidery may also incorporate other materials such as metal strips, pearls, beads, quills, and sequins.
A characteristic of embroidery is that the basic techniques or stitches of the earliest work—chain stitch, buttonhole or blanket stitch, running stitch, satin stitch, cross stitch—remain the fundamental techniques of hand embroidery today.
Machine embroidery, arising in the early stages of the Industrial Revolution, mimics hand embroidery, especially in the use of chain stitches, but the "satin stitch" and hemming stitches of machine work rely on the use of multiple threads and resemble hand work in their appearance, not their construction. Read more...
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Amasra (from Greek Amastris Ἄμαστρις, gen. Ἀμάστριδος) is a small Black Sea port town in the Bartın Province, Turkey. The town is today much appreciated for its beaches and natural setting, which has made tourism the most important activity for its inhabitants. As of 2010 , the population was some 6,500.
Amasra has two islands: the bigger one is called Büyük ada (Great Island) while the smaller one is called Tavşan adası (Rabbit Island).
More to read about Amasra
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Karagöz (meaning blackeye in Turkish) and Hacivat (shortened in time from "Hacı İvaz" meaning "İvaz the Pilgrim", and also sometimes written as Hacivad) are the lead characters of the traditional Turkish shadow play, popularized during the Ottoman period and then spread to most nation states that comprised the Ottoman Empire and most prominently in Turkey and Greece.
The central theme of the plays are the contrasting interaction between the two main characters. They are perfect foils of each other: In the Turkish version Karagöz represents the illiterate but straightforward public, whereas Hacivat belongs to the educated class, speaking Ottoman Turkish and using a poetical and literary language. Although Karagöz has definitely been intended to be the more popular character with the Turkish peasantry, Hacivat is always the one with a level head. Though Karagöz always outdoes Hacivat’s superior education with his “native wit,” he is also very impulsive and his never-ending deluge of get-rich-quick schemes always results in failure. In the Greek version Hacivat (Hatziavatis) is the more educated Turk who works for the Ottoman state, and often represents the Pasha, or simply law and order, whereas Karagöz (Karagiozis) is the poor peasant Greek, nowadays with Greek-specific attributes of the raya.
(more about Karagöz and Hacivat)
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