Istanbul’s Historic Baths Keep Hammam Tradition Alive

Built 500 years ago, Istanbul's Zeyrek Cinili Hammam recently reopened after a restoration process that took 13 years. (AFP)
Built 500 years ago, Istanbul's Zeyrek Cinili Hammam recently reopened after a restoration process that took 13 years. (AFP)
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Istanbul’s Historic Baths Keep Hammam Tradition Alive

Built 500 years ago, Istanbul's Zeyrek Cinili Hammam recently reopened after a restoration process that took 13 years. (AFP)
Built 500 years ago, Istanbul's Zeyrek Cinili Hammam recently reopened after a restoration process that took 13 years. (AFP)

For centuries, hammams were central to Ottoman society, and while they fell out of use in Türkiye with the advent of running water, many are being restored to revive an ancient ritual bathing tradition.

Often featured in older Turkish films, hammam scenes are highly entertaining, with women not only bathing but enjoying these historical bathhouses as a place to socialize, eat, and even dance.

Last year, the 500-year-old Zeyrek Cinili Hammam -- built during the reign of Suleiman the Magnificent by the celebrated Ottoman architect Sinan -- reopened to the public after a painstaking 13-year restoration.

Alongside a functioning hammam, it also houses a museum explaining its history and the Ottoman ritual of bathing.

"The restoration somehow turned into an archaeological dig" that gave insight into how the hammam once looked, museum manager Beril Gur Tanyeli told AFP.

"Around 3,000 pieces of missing tiles were found which helped solve the puzzle of why this hammam was called Cinili" -- Turkish for "covered with tiles".

The beautiful Iznik tiles that once lined its walls were exclusively produced for the hammam, with no other bathhouse having such a rich interior, museum officials say.

Although most were damaged by fires or earthquakes, or sold off to European antique dealers in the 19th century, some are still visible.

The restoration also exposed several Byzantine cisterns beneath the hammam.

"Sinan the Architect is believed to have built the hammam on top of these cisterns to use them as a foundation and as a source of water," Tanyeli said.

Istanbul's celebrated royal architect Sinan designed the Zeyrek Cinili Hammam and built it over several Byzantine cisterns as a water source. (AFP)

- From cleansing to celebration -

In ancient Rome, bathing culture was very important and it was "traditional for traders to wash before entering the city, especially in baths at the (city) entrance," archaeologist Gurol Tali told AFP.

During the Ottoman empire, bathing culture had its golden age, with the ritual symbolizing both bodily cleanliness and purity of soul.

In Islam, a Muslim must wash before praying, in an act known as ablution.

Hammams were also a place for celebrating births and weddings.

"Baths were used not only for cleansing the body but for socializing, relaxing, healing and even celebrating important life events," with special rites for brides, soldiers and those who had undergone circumcision, Tali said.

Since households at the time did not have running water, hammams were an essential part of life until the 19th century, with census figures from 1638 showing there were 14,536 public and private baths in Istanbul, the museum says.

And that tradition has survived until today.

"You come here to get clean and leave handsome," said Zafer Akgul, who was visiting one of the city's hammams in the city with his son, telling AFP he visited often, particularly during religious feasts or for a wedding.

"We don't want this tradition to die."

Alongside the bathhouse, the Zeyrek Cinili Hammam also houses a museum showcasing pieces like these intricately decorated wooden clogs. (AFP)

- 'Passing on cultural heritage' -

That is where Istanbul's ancient hammams can serve a bigger purpose, Tali said.

"Restoring historical baths in Istanbul and putting them to use may be the most effective way to transfer cultural heritage to future generations," he said.

Another nearby bath house from the same era, the Beyazid II Hammam, underwent years of restoration and reopened as a museum in 2015.

One of the largest hammams in the city at the time, some historians believe it was where a notorious male bathing attendant, or "tellak", called Halil plotted an uprising that in 1730 overthrew Sultan Ahmed III.

For Manolya Gokgoz, who does publicity for Cemberlitas Hammam, another 16th-century bathhouse built by the royal architect Sinan, the connection is more personal: her grandmother worked there as a "natir" -- a woman's bathing attendant.

"When I was two or three years old, I would go to the baths in the morning, wash and play by myself until the evening without getting bored," she told AFP.

The museum at the Zeyrek Cinili Hammam celebrates the ancient bathing ritual. (AFP)

For Gokgoz, the tradition lives on -- although mostly among tourists, which for her is a shame.

"In the past, we used to go to the hammam with our mothers and grandmothers. Now 70 percent of our customers are foreign tourists and 30 percent locals," she said.

These days, the hammam experience -- which lets bathers relax in hot, warm or cool pools alongside extras like massages or peeling -- is quite expensive, with the basic service costing around $100.

Celebrities, both Turkish and international, often visit Cemberlitas, with the last being Spanish actor Pedro Alonso -- the character Berlin in the Netflix hit "Money Heist" -- who visited in September.

"Hammam is not a luxury, but a need," Gokgoz said.

"Yes, it's not like in the past because we have hot water at our fingertips, but we need to keep this tradition alive."



Iran Says Museums and Historic Sites Damaged in War

FILED - 10 March 2026, Iran, Tehran: A member of the Iranian Red Crescent Society (IRCS) rescue teams works at the site of a building damaged in a US-Israeli airstrike in Resalat Square. Photo: -/ZUMA Press Wire/dpa
FILED - 10 March 2026, Iran, Tehran: A member of the Iranian Red Crescent Society (IRCS) rescue teams works at the site of a building damaged in a US-Israeli airstrike in Resalat Square. Photo: -/ZUMA Press Wire/dpa
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Iran Says Museums and Historic Sites Damaged in War

FILED - 10 March 2026, Iran, Tehran: A member of the Iranian Red Crescent Society (IRCS) rescue teams works at the site of a building damaged in a US-Israeli airstrike in Resalat Square. Photo: -/ZUMA Press Wire/dpa
FILED - 10 March 2026, Iran, Tehran: A member of the Iranian Red Crescent Society (IRCS) rescue teams works at the site of a building damaged in a US-Israeli airstrike in Resalat Square. Photo: -/ZUMA Press Wire/dpa

Iran's cultural heritage and tourism ministry said Saturday at least 56 museums and historic sites across the country have been damaged, as the Middle East war entered its 15th day.

In Tehran, US-Israeli strikes damaged the UNESCO-listed Golestan Palace in the early days of the conflict, local media reported.

The palace complex is one of the oldest sites in the Iranian capital and once served as the residence of the Qajar dynasty.

The ministry said Tehran has recorded the highest number of damaged monuments, with 19 suffering varying levels of harm.

The vast Naghsh-e Jahan Square, a 17th-century architectural jewel in the heart of the central Iranian city of Isfahan, has also been damaged.

In the port of Siraf, in Bushehr province, several houses were hit in the historic quarter, home to many century-old buildings.

UNESCO, the UN's culture agency, told AFP on Friday it was concerned about hundreds of historic sites in Iran, Israel and Lebanon that have been damaged or threatened by the war.


Ukraine's 'Origami Deer' Sculpture Rescued from Frontline Tours Europe

Ukrainian artist Zhanna Kadyrova (R) and Ukrainian curator of the 'Security Guarantees' project Leonid Marushchak pose in front of the 'Origami Deer' sculpture in Prague on March 12, 2026. (Photo by Michal Cizek / AFP)
Ukrainian artist Zhanna Kadyrova (R) and Ukrainian curator of the 'Security Guarantees' project Leonid Marushchak pose in front of the 'Origami Deer' sculpture in Prague on March 12, 2026. (Photo by Michal Cizek / AFP)
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Ukraine's 'Origami Deer' Sculpture Rescued from Frontline Tours Europe

Ukrainian artist Zhanna Kadyrova (R) and Ukrainian curator of the 'Security Guarantees' project Leonid Marushchak pose in front of the 'Origami Deer' sculpture in Prague on March 12, 2026. (Photo by Michal Cizek / AFP)
Ukrainian artist Zhanna Kadyrova (R) and Ukrainian curator of the 'Security Guarantees' project Leonid Marushchak pose in front of the 'Origami Deer' sculpture in Prague on March 12, 2026. (Photo by Michal Cizek / AFP)

An "Origami Deer" statue rescued from a Ukrainian city destroyed and occupied by Moscow's army is touring six European countries before featuring at the 61st Venice Biennale, which has sparked outrage over the inclusion of Russian artists.

Ukrainian artist Zhanna Kadyrova created the concrete work with her colleague Denys Ruban in 2019 for a park in the eastern city of Pokrovsk to replace a Soviet-era military plane displayed there.

In 2024, Kadyrova and historian Leonid Marushchak removed the deer, shaped like a paper origami, as Russian troops closed in and then occupied Pokrovsk.

The sculpture will be the main feature of the Ukrainian pavilion, named Security Guarantees, at the Venice Biennale.

It will feature alongside Russian exhibits at the event that started in 1895 and comprises festivals, art and architecture exhibitions running from May 9 to November 22.

The decision to invite Russian artists, banned from the 2022 and 2024 editions after Moscow's full-scale invasion of Ukraine, has sparked international uproar with the European Union threatening to cut funding for the Biennale.

"It's very important for us to see how the entire world reacts to the situation, supporting us and opposing Russia's participation," Marushchak told AFP.

"If the Russians want to show their culture, they might as well organize a biennale in Pokrovsk which they have destroyed," he added.

En route to Venice, the deer has been exhibited in Warsaw, Vienna and Prague and will continue on to Berlin, Brussels and Paris.

Displaced from its pedestal, the deer symbolizes "millions of Ukrainians who have lost their home" and moved abroad, Kadyrova told AFP during a stopover in Prague.

The resemblance to paper origami refers to the Budapest Memorandum of 1994 which saw Ukraine yielding its nuclear arsenal to Russia in exchange for security guarantees that did not materialize.

"So it's no more than paper," Kadyrova said.

Marushchak has been evacuating works of art from eastern Ukraine since the war started.

He has saved scores of objects, often taking huge risk with his team, to protect them from looting or theft.

One of the most dramatic rescue operations involved a 700-year-old stone lion statue evacuated from a museum in Bakhmut in 2023, just before the Russian army took the city, as Marushchak's car was hit by a shell on the way out.

"Other evacuations were difficult in that we didn't succeed as much as we wanted because the front line was too close and the danger was too big," Marushchak told AFP.

The Venice Biennale typically attracts more than 600,000 visitors to pavilions set up by participating countries.

Kadyrova said the Ukrainian team was not planning any protest over Russia's participation as "it's up to politicians".

"But I hope that some community will gather to pressure the Biennale, pressure Italy, and I hope that it will not happen."


'Talking Drum' Looted by France in 1916 Back in Ivory Coast

A crate containing the Djidji Ayokwe drum, at the airport in Abidjan, Ivory Coast. (Photo by Issouf SANOGO / AFP)
A crate containing the Djidji Ayokwe drum, at the airport in Abidjan, Ivory Coast. (Photo by Issouf SANOGO / AFP)
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'Talking Drum' Looted by France in 1916 Back in Ivory Coast

A crate containing the Djidji Ayokwe drum, at the airport in Abidjan, Ivory Coast. (Photo by Issouf SANOGO / AFP)
A crate containing the Djidji Ayokwe drum, at the airport in Abidjan, Ivory Coast. (Photo by Issouf SANOGO / AFP)

The Djidji Ayokwe "talking drum", which was looted by French colonial troops in 1916 and taken to France, arrived back in Ivory Coast Friday, in the latest repatriation of stolen artifacts.

The wooden drum, more than three meters (10 feet) long and weighing 430 kilos (950 pounds), was used by the Ebrie tribe to transmit messages.

It was officially handed over on February 20 after France's parliament approved removing the artifact from the national museum collections to enable its return.

Ivory Coast had asked in late 2018 for the return of the Djidji Ayokwe among 148 works of art taken during the colonial period.

It arrived aboard a specially chartered plane at Ivory Coast's main city Abidjan and remained inside a huge wooden crate stamped "fragile", AFP journalists saw.

"It's an historic day and I feel deep emotion," Culture Minister Francoise Remarck said, welcoming its arrival at the airport, where the Ebrie community also sang and played drums.

"We are living a moment of justice and remembrance," the minister added.

French President Emmanuel Macron promised in 2021 to send the drum and other artifacts back home to the west African country.

It is one of hundreds of objects France is preparing to send back to Africa, with the efforts set to be accelerated by the passing of a new law to authorize mass repatriations.

"We are happy and relieved to know that this sacred piece of our culture is back on its native land," Aboussou Guy Georges Mobio, an Ebrie village chief, told AFP.

The drum will initially be held in a "safe space" to allow it to acclimatize, the culture minister said.

It is due to go on display at the Museum of Civilizations in Abidjan which has been specially renovated.

The "talking drum" was used by the Ebrie community to warn of danger, mobilize for war or call villagers to ceremonies.

It was seized by colonial authorities in 1916 before being shipped to France in 1929 and exhibited in Paris.

Senegal and Benin have also asked for the repatriation of their treasures.

In late 2020, the French parliament adopted a law providing for the permanent return to Benin of 26 artifacts from the royal treasures of Dahomey.

The return of cultural artifacts taken from ex-colonies in Africa and elsewhere has become a sensitive issue, with museums, institutions and collectors in Europe and the United States facing pressure to give them back.