
300 degree view of Istanbul from the top of the Seven Hills Restaurant, where we ate breakfast (photography and image stitching courtesy of Paul Mallery)
There is a knock on the door. Jon is wondering if we are ready to leave. I jolt out of bed, turn around and squint trying to make out a Paula who was sleeping soundly. We are late. Only until we have crossed the outer corner of the Blue Mosque do I realize that it is cloudy. Maybe it will rain today, I think. Paula and I climb the seventy steps of the Seven Hills Hotel to join our group that is already in line. We are there to celebrate what I now know to be called Eid ul-Fitr or the festival after completing the month of fasting, Ramadan.
We eat a full Turkish breakfast: bread with sesame seeds, tomatoes, strong, salty cheese, pitted olives, some dry fruit, honey and salted yogurt. I carry my ‘Cok Seker’ Turk Kavesi—loosely translated as ‘a lot of sugar’ Turkish coffee—up some steps and gaze at what the hotel accurately calls “a spectacular and unique panorama, a rare one in the world.” From my spot on a terrace chair I am completely surrounded: left by the Blue Mosque, right by the Hagia Sofia, and straight onto the Bosporus Sea. It is a magnificent view for us all, but I am most ecstatic that for a few in our group—Xander, Kelli, and Carlos—this is their first Turkish breakfast since choosing to participate in Ramadan. We sit enjoying every pixel of our breath-taking scenery until Hugh notices drops of water covering my plate. We move underneath a terrace covering as a light Turkish shower envelopes the city. It is dream-like and I cannot help but feel as if a heavy burden has been lifted and carried across the sea.
We leave the city across the tramway to take a ferryboat to the Eyup Sultan Mosque. We are told it was built in honor of Eyup-el-Ensari, a standard-bearer and close friend of the Prophet Muhammad. It is hot after the clouds have dissipated and some of us fight with the heat and some with the people to squeeze our group in and out of the boat. We arrive and walk along a narrow street to get to the square. Venders are selling adorned prayer beads, decorated headscarves and pocket Qurans. I take out my scarf and tie it like a shower cap around my head.
The mosque is swarming with people and we struggle to push our way inside the outer gate. People are praying at a fence that lines the tomb of the standard-bearer; palms open, head bowed, and still, the people look like statues with adjustable lips. We crowd around the entrance to the musalla, take off our shoes and duck our heads to enter. I automatically head for the stairs since—here and with most non-tourist mosques—men and women are separated by a towering column that supports the surrounding balcony. I kneel behind the balcony’s stone railing and pier down at the scene: men placing their heads and feet between the lines of blue tulips that run across the red carpet, boys chasing their friends around columns, and all with a combination of whispers, yelps, mummers, laughter, and—weirdly enough—silence.
There is a tap on my shoulder as I turn to see Dr. Mallery motioned us to leave. We leave the mosque and wait for the ferryboat. As I watch Hugh sip some tea and hum to the faint song that I could hear from Paula’s ear buds, I can’t shake a feeling that I have forgotten something. I hurry to the apartment and empty my backpack searching for something that I am missing. Stricken with panic I reorganize my suitcase; I check the bathroom, scan my shoes, and even skim the pockets inside my shirts. A few hours pass and we leave for dinner. Before the lights are turned, I walk over to the sink and notice a small cut on my hand. I smile, bandage myself, and go to sleep.
Being invited by Turkish shop owners to enter into their carpet stores is an all too regular occurrence when maneuvering through the narrow cobblestone streets of Istanbul. When we had first arrived in Turkey the majority of us students were unaccustomed to the almost too friendly and forward manner of the Turkish owners and would shy away from making any sort of contact with them unless completely necessary. But after walking these streets of Sultanahmet and calling this place our own home for the past twelve days, the skittering of stray cats across the sidewalks, the smell of grilled corn, hazelnuts, and doner wafting through the air to trigger the growling of our stomachs, and even now the forward gestures and insistent invitations from shop owners to tarry a while to consider their wares all seem like a part of everyday life. Today, however, we are crossing the threshold and entering into one of the places that instinct has pleaded for us to avoid at all costs—a Turkish carpet shop.
Dr. Mallery had scheduled for our class to attend a lecture on carpet weaving at one of the local shops down one block from their apartment. We flocked into the store in Dr. Mallery’s steps like a herd of baby ducklings waddling after their mother into an unknown realm. Like little children at Toys R’ Us-- everything that met our gazes and we were able to reach, we touched. As we walked down the wooden spiral steps to another part of the store, I reached my hand out to run my fingers across one rug that looked particularly beautiful. The sensation that slid up my fingertips and through my limbs immediately triggered a memory in my mind from years ago when my grandmother had taken me to silk farm in China and I had run my fingers through strands of pure, unwoven white silk.
Once we reached the bottom of the stairwell, the owner led us into a large room where three rugs were arranged neatly into a semicircle on the wooden floor. The owner motioned for us to enter and take a seat around the room on the ornate rugs that were laid out on the floor. Lining every square inch of the walls, whether hanging, stacked, or rolled, where hundreds of the most colorful and uniquely patterned rugs I had ever laid my eyes upon. It was if we had all died simultaneously and entered into a Turkish merchants version of heaven. Moments after taking our seats and situating our legs in either a cross-legged or kneeling fashion (in order to avoid accidentally causing offense by pointing our bare feet towards our gracious host), a younger Turkish man began to quietly circle the room, taking orders for Apple and Chai tea. As the owner patiently waited for the orders to be taken, he paced the room and delved right into introductions as soon as his young assistant bustled out of the room to fill our orders. Although his Turkish accent was thick and heavier than the ones that we have become accustomed to being addressed with, his command of the English language was rather proficient, to say the least. But whatever he may have lacked in eloquence, he most assuredly made up for in gusto. His knowledge and command of the subject of carpets extends as far back as the first invention of the single and double knotting methods of carpet weaving and continues on, growing further in abundance with each and every day that he wakes in the morning.
He spoke with such animation that I found myself staring, captivated by the motions of his hands and arms that moved in such rapid and expressive ways as if using charades to help us to better understand the words and phrases that may have been lost in the thick folds of his strong Turkish accent. The light clinking of the delicate crystal teacups on their matching saucers interrupted my fascination with his impassioned lecture on Turkish carpets. And then came the aroma—that sweet, yet distinct scent that can only be found during the autumn and winter holidays in America—apple cider. After the tea had been distributed, the lecture on carpet weaving was now accompanied by the sound of the miniature spoons clinking against the sides of the teacups, almost as if he had secured his own personal crystal bell choir to play as the soundtrack to his performance. The musical number continued on and was added to when a loom was deposited into the front of the room and a middle-aged Turkish woman began to pluck at the silk strings, weaving not only the silk strands into the fabric of the carpet, but also harmonies to complement the crystal clinks and complete the musical score. The woman’s fingers moved deftly through the rows of taught silk strands, plucking each strand as if she were David serenading King Saul into a state of relaxation. In the midst of the musical score, our host continued to explain how each rug and carpet was much more than just a pattern that was invented out of pure creativity for arts sake. In fact, each piece, he informed us, told a story about its maker. If a death occurred in the family a darker edge to the carpet could be visibly seen. When a young girl fell in love, felt the frustrations and pressures of the world weighing on her shoulders, or for some reason was overcome with sadness, it can be read in her carpet. In a sense, each carpet is the diary of the given creator.
Three hours, a round of Turkish tea, and 15 carpets later, we finally bid our hearty host “farewell” and stood gingerly to our feet, taking care since the kneeling for three hours had slowed our circulation and made us uneasy on our footing. Then ensued the shaking of the hands, the exchange of words and “teÅŸekkür ederim,” and then of course the standard invitation to come back again. With our last waves over the shoulder to our newfound friend who was standing jovially at the steps of his shop waving and grinning from ear to ear, we began to stroll leisurely down the street discussing amongst ourselves about when we all finally achieve our goals of becoming physicians, lawyers, and world reknown mathematicians, perhaps we will one day return and be able to buy for ourselves one of the silk masterpieces that had awed us with its craftsmanship and beauty.
(This is taken from my personal travel blog: http://yolcu-yasam.tumblr.com/)
For those of you who adamantly argue that art is the worst form of a stress reliever and actually serves to further exacerbate your frustrations, I am more than willing to go to war with you on the grounds of what I experienced only but few hours ago. I have seen marbling patterns in small notebook stores, art stores, and boutiques flowing across the face of a silk scarf or paper notebook with patterns that seem as fluid, yet complex as the intonations and reflected hues that are seen in the churning of the sea.
Beytul, our dear marbling instructor, attempted to demystify the secrets behind the creation of a marbling piece. She led us into a small room on the second story of their apartment turned studio where an open window blew the white curtains lightly into a gentle frenzy, almost as if motioning us to enter further into the safety of picturesque room. Two glass tables were arranged so that they were perpendicular to the wall adjacent with the window. Each table was covered by newspapers that bore not only headlines inscribed in a language so foreign to us that the the letters appeared to dance across the pages like figures and pictures more than words meant to convey the tragedies, finances, and horoscopes of the day, but also smatterings and smears of brilliant gold, aubergine, cornflower blue, and blood orange. The origins of the stains of color were seen on the far side of the table in small jars full of the same pigments, each containing a different color and rose-stem-handled horsehair paint brush. Although each step of the process of marbling was translated into English for us to understand, as soon as Beytul lifted her brush from the jar of rosebud pink, a sort of reverence fell over all of us present and focused solely on the magic occurring before our very eyes.
Drops of the rosebud pigment were smattered across the pan of water in a tiny rainstorm of pink tears. Next, the cornflower blue--another brief raining down of paint dripped gently into the canvas of water. A final layer of aubergine is scattered amidst the droplets of pinks and blues, never mixing like water and oil. Time for a new instrument to continue the magic. Beytul selects a small handled metal instrument that she proceeds to drag through the water, each stroke with such gentle but strong purpose. First down the length of the pan, then back and forth laterally in a fluid motion that creates small waves that swell in a curvilinear pattern that perpetuates in this motion even after she has ceased her tender strokes. After cleaning off the same small metal tip, she dips it into a new pigment of green. With it she touches the surface of the water ever so slightly as if it were made of the most fragile of glass. A circle of green quickly widens followed by a slow contraction as if live has just been breathed into it. A swift sweeping up, across twice, and then cutting down through the drop of green settles and we all inch forward, craning our necks to see what was created. A stem with three leaves floats delicately on the surface of the water. As we still stare in awe at how she is able to works so deftly with such a strange medium, she continues on to created a flower of three pigments and six petals that swirls clockwise like a pinwheel being blown in the wind. More finishing touches--a touch of color here, a swirl to the left, more lines being pulled from every which direction. Once she proclaimed her piece finished, we were still so stunned as to what had happened before our very eyes that we did not snap out of the trance until she laid a crisp sheet of off-white paper into the pan of water and dragged it out against the edge of the pan. Once the paper was removed, all traces of the menagerie of color were gone. Its presence had been so beautiful, yet fleeting, that we almost felt robbed of the moment. But we heard Baytul calling to us saying to "bakmak." Turning towards her we finally came to the realization of what had just occurred. Hanging by the corners in Beytul's hands was the ethereal pattern that had only moments before been floating on the surface of the water. It was, for lack of a better word, breathtaking.
The beauty of ebru is that no matter what colors you put on the water palette, no matter which direction or how many ways you stroke the pigments, there is no such thing as a mistake. You can throw the paint across the water or gently drip it back and forth like rain drops on a placid lake. No matter how many colors, how many layers, how many patterns you choose to put down on the water, the result is always an amalgamation of everything that you are feeling and thinking. There is no such thing as a mistake in ebru. And this is the beauty of it all.
Although it has officially been one week since our arrival to Istanbul, it seems as if it has already been a month. In no time at all, we have learned to buy groceries, haggle for prices, ride the public transportations, and politely decline marriage proposals from Turkish men. Today, classes resumed as usual in the terrace of our apartments. We have been studying and discussing the history and complexity of the Islamic faith and its origins. Three groups have been created to rotate through different activities for the next couple of days: Marbling art classes, Aya Sophia, and the Grand Bazaar. My group today was assigned to go to marbling art class. After a quick lunch and stop at the Mado, the popular ice cream parlor, off to Turkish marbling class we went. For those of you that have not the slightest idea what marbling is, I would highly recommend looking up some pictures on Google so that you can get an idea of the beautiful designs that can be created. Simply put, marbling is a method of aqueous surface design where patterns are the result of color floated on some liquid and then carefully transferred to an absorbent paper. Our instructor gave us a quick example of the types of designs we could experiment with and then gave us free reign. Pretty much, marbling is awesome. Absolutely no skill is required to create a masterpiece. You can be born without a single artistic bone in your body, splash some colors in the water, swivel the brush back and forth, and viola…you have just created a design worthy of the LACMA. I absolutely loved marbling. I loved it so much in fact, that I plan on going back to buy a beginners kit to bring with me to the states. I have realized though, that it was not just marbling that I came to love, but the atmosphere itself. Our instructors were a husband and wife couple. Bright, energetic, and full of energy, they taught us simple techniques in marbling while conversing with us about everything and anything. After the class, they invited us to their terrace to drink tea and see a breathtaking view that is living proof as to why I have declared Istanbul as one of the prettiest cities I have ever visited. I remember the husband telling me that as much as he loves the United States, Istanbul is where he belongs. This is the city that practices genuine friendliness and hospitality, values personal relationship over time and money. It is here where one can be expected to meet 10 new individuals in a single day that you then invite to your home to drink tea. Schedules and itineraries are long forgotten and replaced with instead with organized spontaneity. If I have learned one thing today, I have learned that here in Istanbul, life is about community.
Xander mentioned that several of the students are fasting during Ramadan. We originally started with two students fasting and now about half of them have chosen to fast. Some of the Muslims I’ve talked with have been confused by this, asking immediately if the students are Muslims and then why, if they are not Muslims, they would be fasting. I have told them that fasting is also a tradition in Christianity as a way to help us concentrate on God, and that although some of the details are different the intent is very similar to the intent of fasting for Muslims. Many of our students know that fasting is a tradition within Christianity but they have never tried it themselves, and they see this as a way to practice a Christian spiritual discipline as well as to understand their Muslim neighbors better. I want to assure anyone who is concerned though, that all of the students are drinking water and additional electrolytes as needed, and they they, like their Muslim neighbors here, break the fast at sundown every day and just refrain from eating during the daylight hours. Also, all of us are keeping an eye on each other to ensure that no one becomes ill.
We have been invited to break the fast with our Muslim neighbors and acquaintances on two separate occasions. The first will be tonight, when we will all go to the gallery of a friend for a simple iftar (meal to break the fast).
Yesterday after a Sabbath morning service, most of us took a ferry across the Bosphorus to the Asian side of Istanbul and went to an Anatolian restaurant there for lunch. The ferry ride was pleasant and gave everyone a chance to get their bearings in the city to a greater extent. Sitting on an outside bench on the ferry while crossing the Bosphorus has always been one of my favorite things to do in Istanbul, and I’m glad so many of the students had the opportunity to experience that.
Friday in the early afternoon I sent the students out to observe people. They were to choose two groups that differed on one demographic variable (e.g. women with and without covered heads, people in different social classes, etc) and observe them to learn as much as possible about the differences and similarities in their behavior. One group decided that because they had already spent a fair amount of time in the city center they would take the tramway to the end of the line in an Istanbul suburb. They had a number of observations of how the people in this particular suburb (Bagcilar) different from people in the city center, including that almost no one spoke English, a much larger proportion of the women had their heads covered, people stared but were much less likely to engage them in conversation, and that people were lined up praying in the street (something I haven’t seen in Turkey before). Another group contrasted the behaviors and attitudes of secularists with the behaviors and attitudes of some of the more religious people they have met.
Overall I have been very pleased by how quickly they have found ways to connect with people here and have meaningful conversations. Several of the students have learned a fair amount of Turkish and are able to engage in rudimentary conversations (“survival Turkish”). Almost all have demonstrated an interest in learning and have made attempts to practice and learn what they can.