AZITAWATAYA (KARATEPE-ASLANTA?) A Unique Example of On-Site Conservation and Area Management

In a secluded, remote peninsula you reach a fantastic discovery. Named Karatepe, a Late (Neo)-Hittite citadel (also known as Aslanta?). The site is situated 130 km southeast of Adana, not far from Kad?rl?, a district of Osmaniye province. It has been turned into an exceptionally fine open-air museum by Professor Halet ?ambel. Excavations undertaken in this district have led to the discovery of the Longest Hittite hieroglyphic inscription known in the history of the world.

It was discovered by archaeologists Helmut Theodor Bossert (Germany) and Halet ?ambel (1916 - 2014 / Turkey) in 1946. But the actual trigger was ignited in line with the information received from Erol Ku?cu, a primary school teacher in Saimbeyli.

Where the site is located still preserves the original bend of the Ceyhan/Pyramos River flowing through the once fortified hilltops. The archaeological site comprises the Iron Age remains of the Karatepe-Aslanta? citadel (ancient name Azitawataya) and the earlier bronze to Neolithic period site sequence on the east bank referred to as Domuztepe. Both areas combined make up the cultural landscape of the site.

The excavations were carried out between 1947 and 1951 under the chairmanship of Helmut Bossert and continued intermittently from 1952 until the 1990s under the chairmanship of Halet ?ambel.?The location of the site is today enveloped by a dense stretch of forest, which was declared in 1958 as a Historic National Park. The main aim of this mission was to preserve the authenticity and integrity of the archaeological site. To embrace its history and integrate it with the natural habitat. After the construction of the Aslanta? dam, the hill remained on a peninsula inside the dam.

Today it’s an open-air museum but in the meantime also crowned with a small modern museum that has been built next to the main citadel houses for the small finds from the excavations and is open to the public. This provided a general introduction to the site supported by artefacts and inscriptions excavated from the site. Visitors have access to the main citadel via a street and pathway built for the site.

The archaeological remains displaced are all breathtaking and leave one in amazement. It is a solitary instalment, a manifestation of regional power marked by monumental fortifications, a prominent feature in a rural landscape. The fortification walls of the fortress are pierced by two major gates, known as the North and the South Gate, on a northeast-southwest axis arranged in line with the flow of the river. It is one of those sites that integrate with the natural habitat and has no irritation. The layout of the site and the visiting route are very accessible and give one the joy of walking in a dense forest with history poking out at every step.

The finely placed citadel of Karatepe, the "Black Mountain", overlooking the Ceyhan valley, was the summer residence of King Azitawada, whose name is mentioned in the bilingual inscriptions on the orthostats (an upright stone or slab forming part of a structure or set in the ground). It is understood from the inscription that Azitawada gave the name Azitawataya to the citadel. It is a unique site where we observe an inscription in the Phoenician alphabet and Hieroglyphic Luwian with the same text, this bilingual text is carved on the four-sided statue. This text is supposed to be dated back to 700 BC.

The citadel has two monumental gates planned in the shape of a 'T' surrounded by high towers. But the construction of the two main gates is idiosyncratic. Both gates were placed on sloping terrain. The walls of the gate structure do not all sit on the same floor level but are adjusted to the rising terrain. The citadel is entered by passing two rooms on the right and left. In the sanctuary inside the south gate, stands the colossal statue of the Storm God (aka Tarhunzas-Baal) on a double bull base. After the statue was restored from pieces, it was erected in its original place.

The inner walls of both castle gates are decorated with basalt stones, orthostats, lion statues and sphinxes, covered with reliefs and inscriptions depicting scenes from cultural, mythological and daily life. There is an inscription written in both Phoenician and Luwian on the statues and orthostats on both doors. The same text is repeated in Phoenician on the statue of the Storm God. The inscription is the longest known bilingual text in these languages and played an important role in deciphering Luwian hieroglyphs.

One is mind blown by the almost comical expressionistic scenes of the animated reliefs. There are so many scenes to mention that will take one whole day to describe but to mention some are crucial. I personally favoured two. First, is the relief (North Gate West Wall) of a woman (mother/goddess) nursing her child (supposedly the future king) under a date palm tree. I have not seen anything similar to this and it is a masterpiece of its kind, not because of its beauty of execution or the naturalism of its volumes, but because of the unique expressiveness of the naive method of narration masterly achieved. Secondly, the musicians whom I imagined are playing monotonous though perhaps highly rhythmic melodies. The shape of the ancient lyre closely resembles that of the earliest lyres known in Greek art.

God Bes with two monkeys on his shoulder is another masterpiece. Bes was a so-called apotropaic god, which means that he fended off evil. He protected pregnant women, but also fought wild animals, and it is of course no coincidence that he is guarding the gate of Aslanta?. His duty was to keep out hostile forces. Other parodic scenes are the king having his daily meal; cooks and servants bringing more dishes for their lord: roast hare, meat, fruit and drink; servants leading an ox and a lamb for the feast; birds of prey pecking at a hare; the dancing bears; the ships; the warriors displaying their weapons. There is a sincere merry feeling in these scenes that fills one with gaiety. They reveal the strength and special charm of these provincial but attractive sculptures.

It's an off the beaten path site that attracts travellers from all over the world. It’s easily reachable and has been included in the UNESCO World Heritage Tentative List as of 14th April 2020. It’s one of the 84 sites in Turkey waiting to be granted into the UNESCO World Heritage List. If in any way your route clashes with Adana or Osmaniye it's a must to create a half-day free time to visit this unique site called Karatepe, the "Black Mountain".