Turkey - Cappadocia


While it's possible to visit the major sites of the area in 2 full days with the assistance of a local tour operator, a few days here (AND with the assistance of a good operator here - there are many) are without a doubt, the better choice.
For a more off-the-beaten track experience, contact Cappadocia Tours, Istiklal Cad. 19/9, Ürgüp (tel. 0384/341-7485; http://www.cappadociatours.com/), which is the companion agency to Gamirasu Hotel. Led by Süleyman Çakir, tours and hotel stays will be assured the highest of quality; think visits to local village events and historical hikes lead by Süleyman or a professional archaeologist. Expect to pay 216YTL ($160) per day for between 2 and 10 passengers including the guide and driver.
Aiming for the middle ground is Stone Park Tourism, Istiklal Cad. 19/E, Ürgüp (tel. 0384/341-8897; fax 0384/341-5348; http://www.stonepark.com.tr/), at about 88YTL ($65) per person per day. As for budget outfitters, they come and go, and vie for your business around the bus station.
The practice of monasticism was developed by St. Basil the Great, bishop of Caesarea (Kayseri) in the 4th century, as a reaction to his increased disillusionment with the materialism of the Church. St. Basil's definition of monastic life, based on the idea that men should live in small, self-sufficient units with an emphasis on poverty, obedience, labor, and religious devotion, took root in Cappadocia, later becoming the basis for the Orthodox monastic system.
St. Basil, his brother St. Gregory of Nyssa, and St. Gregory of Nazianzoz (St. Gregorios the Theologian), greatly influenced the course of religious thought through their writings, contributing to the development of Eastern Orthodoxy. In his extensive writings St. Basil describes the nature of the Holy Spirit as a trilogy, while St. Gregory of Nyssa wrote of the dogma of the Virgin Mary, and St. Gregory of Nazianzoz developed the thesis on Jesus as a representative of the indivisible nature of the human and divine. Because of their contributions, Cappadocia became known as "the land of the three saints," but was soon divided in two in A.D. 371 when Emperor Valens rejected Basil's thesis on Jesus as the son of God.
There are at least 10 churches and chapels in the museum area dating between A.D. 900 and 1200, each one named (after a prominent attribute) by the local villagers who were exploring these caves long before there was an entrance fee. The paintings and decoration represent a flowering of a uniquely Cappadocian artistic style, while the Byzantine architectural features of the churches, like arches, columns, and capitals, are interesting in that not one of them is necessary structurally. The best way to approach the site is to begin in a counterclockwise direction toward a clearly marked path.
During the Iconoclastic period, many of the frescoes and paintings were damaged, while the eyes of the images were scratched out by the local Turkish population superstitious of the "evil eye."
Past a small rock tower or Monks' Convent is the Church of St. Basil, whose entrance is hollowed out with niches for small graves. This is a common feature of Cappadocian churches and it's still not uncommon to reach down and come up with a knuckle bone every now and again in the more remote valleys. Another recurring theme in Cappadocian churches is the image of St. George slaying the dragon. St. George was considered a local hero, as local lore equated the dragon with a monster on the summit of Mount Erciyes. The church is decorated with scenes of Christ, with St. Basil and St. Theodore depicted on the north wall.

Santa Barbara was an Egyptian saint imprisoned by her father to protect her from the influences of Christianity. When she nevertheless found a way to practice her faith, her father tortured and killed her. The Church of Santa Barbara, probably built as a tribute, is a cross-domed church with three apses, with mostly crudely painted geometrical patterns in red ocher believed to be symbolic in nature. The wall with the large locust probably represents evil, warded off by the protection of two adjacent crosses. The repetitive line of bricks above the rooster in the upper right-hand corner, symbolically warding off the evil influences of the devil, represents the Church.

Until the 1950s the Dark Church (Karanlik Kilise) was used as a pigeon house. After 14 years of scraping pigeon droppings off the walls, these newly restored frescoes, depicting scenes from the New Testament, are the best preserved in all of Cappadocia and a fine example of 11th-century Byzantine art. Because light is allowed in through only one small opening, the richness of the pigments has survived the test of time. At the time of this writing, the additional 5.50YTL ($4) admission fee for entry into the church had been suspended.
Cut into the same rock as the Dark Church and accessible via a metal walkway, the Church with Sandals (Çarikli Kilise) takes its name from the two imprints on the floor inside the entrance. In the land of truth-stretching, these footprints have been given some weighty religious significance, but the fact is, they're just footprints and all of those stories are just more creative embellishment. The church is carved into a simple cross plan with intersecting barrel vaults. The frescoes, which date to the 11th century, depict the Nativity, the Baptism, the Adoration of the Magi, and other New Testament themes.
The last thing to see before exiting the museum is the Nunnery or Girls' Tower (Kizlar Kalesi), a six-story convent cut into the rock with a system of tunnels, stairways, and corridors. The convent housed up to 300 nuns, whose proximity spawned rumors of a tunnel connecting the tower and the Monks' Convent to the right of the museum entrance.
About 5m (17 ft.) outside the exit to the museum site on the right is The Buckle Church (Tokali Kilise), the largest rock-cut church and the one with the most sensational collection of frescoes in all of Cappadocia. Of all of the narrations of scenes from the Bible in the region, these are painted with the most detail and use the richest colors.
This area near the village of Uchisar is named for the thousands of pigeon houses carved into the rock. It is a surreal vision: an outrageously phallic landscape straight out of a Salvador Dalí painting. The conical formations are the result of volcanic eruptions that took place millions of years ago. Eons of wind, rain and other forces of nature have eaten away at the volcanic rock creating tufa, a soft and malleable stone. Many of these cones, known as fairy chimneys, contain caves and labyrinths.

As early as the third century, those chimneys became a hiding place for early Christians who fled persecution from the Romans, and then later from raiding Muslims. They dug deep into the rock, carving out underground cities that went eight stories below ground, as well as thousands of cave chapels and monastery cells. As recently as 20 years ago, most of the cave dwellings were empty — abandoned for more modern, concrete homes. In the last several years, though, affluent Turks and foreigners have started turning them into second homes and, in a few cases, boutique hotels like the Cappadocia Cave Suites and the recently opened Anatolia Houses.
URGUP AREA - 23km (14 miles) east of Nevsehir; 6.5km (4 miles) east of Göreme.
Of the major villages in Cappadocia, Ürgüp strikes a balance between preserving its Anatolian traditions and cultivating an unobtrusive yet irresistible tourist infrastructure. To meet the rising demand, hoteliers are all too eager to create magical and otherworldly accommodations for an increasingly upscale market. Crumbled hovels are snatched up for a song, human odors of food and sweat are scraped away with the top layers of porous tufa, and perfectly charming romantic retreats materialize. Of course, one day, all of those abandoned terraced houses will sprout brand-new facades, a gentrification process that, while polished and attractive, will probably be devoid of the character that drew us here in the first place. The process has already begun, particularly in the wake of press provided by the highly popular Turkish soap opera, Asmali Konak. But for now, Ürgüp remains a tranquil yet convenient corner of Cappadocia that makes an ideal base from which to explore the surrounding valleys.
Near Ürgüp and carved into a uniquely pink tufa, Zelve was once home to one of the largest communities in the region, inhabited by a Greek population until the 1922 population exchange, when Greeks and Turks were "repatriated" to their mother countries. When Muslims took over the valley, a mosque was hewn out of the rock, and stands near the entrance.
The first known inhabitants of the valley were monks, and although we can say for sure that they carved out the chapels, it's unclear who first began hollowing out the valley. The cave dwellings were used by local villagers up until 1952, when the structures were determined to be unsafe and the villagers were moved en masse over to nearby Aktepe, or New Zelve.
Now a national park, Zelve consists of three consecutive valleys whose walls are riddled with living quarters, blind tunnels, passageways, and traps for protection against attacks. Footholds chiseled into the smooth vertical tufa require an agility once aimed at keeping out unwanted visitors, but now present a fantastic challenge to modern-day rock climbers. Those interested in hiking should set aside plenty of time to explore the area, following a path over the mountain to Red Valley, about 4km (2 1/2 miles) away. Exploring the caves can be exhilarating, challenging, and downright dangerous. Don't attempt anything fancy without a guide; Argeus offers excellent guided tours, but you can also arrange one through one of the many shops in town.
Wherever you see tour buses or souvenir stands, there's bound to be something interesting. Pasabag, also known as Valley of the Monks, is a forest of cone-shaped fairy chimneys more shocking and lifelike (not life-size) than most. Not surprisingly, it's a popular stop for photo ops.
The chimneys of Pasabag harbor a number of chapels and dwellings used by Christian hermits, the most prominent of which is a tri-level chapel with depictions of the life of St. Simeon. St. Simeon the Stylite lived a life of hardship and denial in Antioch around the 4th century, high atop a 15m (50-ft.) pillar. Later hermits were inspired to do the same, initiating a "stylite" movement of isolated living.














































