Antiphellos is an ancient city in Lycia (southwestern Anatolia) whose ruins lie beneath the modern Turkish town of Kaş. Known originally as Habesos, this coastal settlement was settled by the Lycians by at least the 6th century BCE. It served as the port for the nearby hilltop city of Phellos, and over time it grew larger and more prosperous. By the Hellenistic period it had effectively become an independent city-state with its own coinage. In Roman times Antiphellos was one of the most important cities of eastern Lycia – it even received donations for rebuilding from wealthy patrons like Opramoas of Rhodiapolis after an earthquake in 141 CE. Evidence of its municipal life survives in Lycian-language inscriptions and ancient coins bearing the legend of “the Antiphelleans”.

Unlike a dusty museum, Antiphellos is an open-air tableau of history. Visitors walking the streets of Kaş can still see the ancient theatre’s stone tiers rising on the south-facing slope above the harbor. Off the main roads one encounters Lycian monuments almost at street level: a high-lined sarcophagus known as the “King’s Tomb” (a 4th-century BCE inscribed mausoleum) stands incongruously amid shops and cafes. Along the coast and in the hillsides above Kaş are dozens of rock-cut tombs: one cliff-top sepulchre (called the Doric Tomb) is famous for its 4th-century BCE frieze of dancing maidens. The harbour once was defended by an ancient sea wall, and fragments of columns and walls jut from the scrub and gardens of the old town. In short, Antiphellos is more than just ruins – it is a fragmentary but vivid microcosm of Lycian and Greek culture, seamlessly blended into modern Kaş.

An Introduction to Antiphellos: More Than Just Ruins

What is Antiphellos Ancient City? A First Glance

Today, Antiphellos is accessed as an archaeological park on the western outskirts of Kaş, a short walk from the town center. The main path leads first to the amphitheatre: a partly-restored Hellenistic/Roman theatre built of pale limestone, its cavea still rising in terraces under the sun. The backdrop is a panoramic sea view towards the island of Meis (Kastellorizo). From the theatre one can look up to find countless Lycian tombs carved into the white cliffs above. These include simple square “pitha” tombs and more elaborate houses or temple-shaped tombs, all cut into the rock and weathered with age.

A visitor then typically circles back toward town. On Uzunçarşı (Long Bazaar) Street, the towering Lycian Sarcophagus (King’s Tomb) draws the eye. This 4th-century BCE limestone tomb sits on a stepped base and still bears its ancient Lycian inscription. Across the street is a shady square with cafés, showing how the old and new coexist in Kaş. Near this plaza is an agora-area where bits of city wall and foundations have been found.

Other sights are sprinkled in and around Kaş proper. Around town one sees headless sphinxes, column drums, and blocky sarcophagus lids reused as benches or garden ornaments. The cliffs behind Kaş are dotted with hundreds of tombs. One of the most-visited is the House (Temple) Tomb with Dancing Girls, a rock-cut crypt whose chamber was sculpted with reliefs of over twenty maidens in a line. These tombs can be approached on foot via steps carved into the hillside.

Overall, Antiphellos feels like a city of the dead preserved in a city of the living. Its ancient theatre, tombs, and scattered monuments make it more than a roadside attraction; it is a place where history lingers in corners and underfoot.

The Meaning Behind the Name: Why “Antiphellos”?

The name Antiphellos itself tells a story. In Ancient Greek, Anti- means “opposite” or “across from”, and -Phellos refers to the nearby city of Phellos. Thus Antiphellos literally means “the town opposite Phellos”. The older Lycian name for this site, Habesos, similarly meant “land opposite the rocks”, underscoring the idea of being on the far side of a headland. The epithet is a reminder of geography: Antiphellos lies on a strip of coast facing a narrow valley and isthmus, with the high city of Phellos sitting just to the north on the Felen Plateau. In effect, Antiphellos was Phellos’s sea-port across the salt marsh.

Unpacking “Anti” and “Phellos”

To understand Antiphellos in context, one must picture the landscape. Phellos was an inland city, perched at altitude with commanding views over the Lycia region. It had its own Lycian name (Wehnti) and was a stronghold since the 7th century BCE. Antiphellos lay directly below on the coast – it was the practical harbor for Phellos. As 19th-century explorers noted, Antiphellos served as the port settlement for Phellos. By the Classical period Antiphellos was ferrying goods like timber and olive oil down to ships, so calling it “across from Phellos” made perfect sense.

Over time the relationship flipped: as Phellos declined (due to geography and security), Antiphellos grew. The Hellenistic civics board would eventually mint coins in its own name, and Pliny (1st c. CE) distinguishes Antiphellos by its mineral wealth, noting its soft sea sponges. In short, the name Antiphellos keeps alive that old Lycian view of two sister cities – one inland, one seaside – which shared both name and fate.

Is Kaş the Same as Antiphellos?

Yes. The modern town of Kaş (pronounced “Kash”) occupies the very site of ancient Antiphellos. The continuity is even evident in local memory: before the 1923 population exchange Kaş was known by the Greek name Andifili or Andiffelo, a derivative of Antiphellos. In the Turkish Republic era the name Kaş replaced it, but the ancient ruins lie entwined with the village. Kaş’s narrow streets run through layers of antiquity.

Over the 19th and 20th centuries the expanding village of Kaş overwhelmed much of the ancient city area. Early travelers noted hundreds of Lycian sarcophagi and tombs, but by modern times many had been dismantled. Charles Fellows, a 19th-century British archaeologist, recorded over 100 tombs in 1840; he later lamented that growth had “swallowed up” many ruins. Even now, building projects in Kaş occasionally uncover walls or artifacts of Antiphellos. Thus Kaş and Antiphellos are not separate; rather, Kaş is the modern town built atop and around the ancient ruin.

Why Antiphellos Is a Must-Visit for History Buffs and Travellers

For travellers seeking both scenic beauty and deep history, Antiphellos rarely disappoints. Its stars are the theatre and tombs, which are among the most impressive Lycian remains in situ. The Hellenistic theatre alone is a unique sight – a nearly complete amphitheatre built into a hillside right on the sea’s edge. It is, in fact, the only known ancient theatre in Anatolia designed to face the open ocean. Sitting among its limestone seats, visitors enjoy commanding sunset views over the Aegean (toward the Greek island Meis) that few other archaeological sites can match. This marriage of architecture and landscape makes Antiphellos special: history here is literally framed by sea and sky.

Yet the city’s appeal goes beyond the theatre. In Kaş’s center one can step from a modern café into an ancient burial ground: the King’s Tomb sarcophagus stands only meters from tourist shops, and rock-cut tombs cluster in the cliffs above town. Archaeologists still puzzle over its inscriptions (written in the extinct Lycian B language), so visitors see not just old stones but an unsolved historical riddle. A short hike up the hillside reveals the Doric Tomb with its frieze of dancing maidens – an exquisite 4th-century BCE relief that seems almost to move under sunlight. Seeing such sculptures carved in place into the living rock is a visceral reminder of Lycian culture.

Finally, Antiphellos is a must-see because it ties together Lycian history in one compact venue. In a few hours one can encounter evidence from multiple eras – from early Lycian tombs to Hellenistic columns to Byzantine basilicas (the remains of a Crusader church have been noted) – and appreciate how civilizations layer over each other. For history enthusiasts, the site answers many questions: “What was Lycia like?” and “How did Greeks and Romans adapt in Anatolia?” And for casual visitors, Antiphellos offers pleasant walking, seaside vistas, and the novelty of ancient monuments mingling with modern life.

Box: Key attractions: The amphitheatre (best at sunset), rock-cut tombs (especially the ‘dancing girls’ tomb), the King’s Tomb sarcophagus, and the rocky hill with city wall fragments.

The Deeply Rooted History of Antiphellos

Pre-Lycian Origins: Tracing the Earliest Settlements

Little direct evidence survives of any Neolithic or Bronze Age habitation at Antiphellos. The Lycians (an Iron Age people of Anatolia) were the first historically attested settlers. Excavations in Kaş and finds now displayed at the Antalya Museum show Lycian presence by the mid-1st millennium BCE. Inscriptions found on stone tombs in Kaş are written in Lycian, confirming an ancient Lycian town called Habesos was already established there by the 6th–4th centuries BCE. Thus, while we cannot point to a Mycenaean or Greek colony here, we know Antiphellos grew out of the Lycian milieu that dominated this coastline. It likely began as a fishing cove or minor harbor for local hilltop settlements.

The Rise of a Port City: Antiphellos in the Classical Lycian Period (4th Century BCE)

By the Classical period, Antiphellos had become much more than a hamlet. It rose as a vital port for the interior of eastern Lycia. Ancient sources and modern analysis confirm this: Antiphellos was founded as the port of the city of Phellos, and through trade it soon outgrew its mother-city. In practice, Antiphellos handled the sea commerce of the rocky Felen region. Olive oil, wine, timber, and other goods from the highlands would be brought down for shipment at the harbor. The sheltered inlet (though shallow and exposed to winds) sufficed for the small coastal vessels of the era. A fragment of an old sea wall still survives along the shoreline, indicating some effort to improve harbor facilities.

Even as a port, Antiphellos had political weight. It participated in the Lycian League, the federal arrangement of city-states in Lycia. Inscriptions and coins demonstrate that Antiphellos had “one vote” in the League like Phellos did. This implies that by the 4th–3rd centuries BCE it had the status of an independent polis. Indeed, archaeologists have found bronze coinage struck with the name Habesos (the older Lycian name) and later with Greek legends Antiphelliton (“of the Antiphelleans”), confirming its autonomy.

Antiphellos and the Lycian League: A Port for Phellos

In classical times, Phellos (on the upland ridge north of Kaş) was still a stronghold — its 7th–5th century BCE coins show it was powerful. But as Antiphellos grew, it gradually took on a larger share of the local trade. Lycian writers and Pliny the Elder note that when Phellos waned, Antiphellos “became the region’s largest city”. One 4th-century inscription (on a Kaş tomb) even calls a deceased man “from Antiphellos”, signaling the town’s identity abroad.

The “Anti-” in the name implies that the two cities were regarded as a pair: Phellos on the mountain, Antiphellos on the shore. Each belonged to the Lycian League and minted coins, but by the late Hellenistic era Antiphellos had clearly supplanted its parent. It continued to honor Lycian traditions even as it adopted Greek institutions. The agora (marketplace), some town houses and shrines would have reflected a mixed Lycian-Greek character.

The Hellenistic Transformation: Growth and Autonomy

The conquest of Lycia by Alexander’s successors in the 4th century BCE ushered in a new era of Hellenic culture and urbanism. Antiphellos benefited from this. It expanded its built environment and likely received Greek-speaking settlers or teachers. The most visible legacy of this period is the theatre. A large Greek-style theatre was constructed here before Roman times – archaeologists date it to the late Hellenistic age (perhaps 2nd–1st centuries BCE). This indicates that Antiphellos’s civic elites valued Hellenistic architecture and public entertainment.

Despite foreign influence, Antiphellos retained Lycian elements. Inscriptions on local tombs continued in the Lycian language (or in the closely related Milyan dialect) well into Hellenistic times. The city’s coinage, for instance, included imperial portraits but kept local symbols on the reverse. Over the Hellenistic centuries, Antiphellos made the transition from a dependency of Phellos into a fully self-governing city (still with votes in the League).

Architectural and Cultural Shifts Under Greek Influence

Under Hellenistic rule, Antiphellos would have begun to look more like a Greek town. Public buildings such as temples and bouleuteria (council houses) were likely erected. Evidence suggests a small temple once stood at the water’s edge, built in elegant ashlar masonry. This structure may have been dedicated to a Greek deity or perhaps to Zeus or Athena in Lycian garb; its foundations are still visible near the shore. The theatre itself, even though built on a Lycian site, follows the Greek pattern of a semicircular cavea carved into a hillside (though unusually it faced the sea). Stone benches (klinai) and scaena foundations were hallmarks of Greek drama performance.

In daily life, Greek language became common for administration and art. Yet traditional Lycian customs persisted: tomb inscriptions, for example, often show bilingual epitaphs, with Lycian on one side and Greek on the other, right through the 4th century BCE. This bilingualism reflects a fusion era. In short, during the Hellenistic period Antiphellos Hellenized its public works and elite culture while remaining unmistakably Lycian in identity.

Becoming an Independent City from Phellos

One result of these changes was political separation. By the 2nd century BCE, Antiphellos had effectively freed itself from Phellos’s control. The once-necessary tribute and oversight from Phellos faded. Antiphellos now minted coins saying Anti-phelliton. Its city council (the demos) presumably ran local affairs, paid for constructions like the theatre, and maintained the port. The presence of Lycian names and symbols on monuments from this era suggests local families still held sway. But the civic vehicle of government was Hellenistic in form, with magistrates, possibly a small council, and public festivals.

By late Hellenistic times it seems almost inevitable that Antiphellos was treated as a full Lycian polis in its own right. The island city of Rhodes had extended influence over south Lycia in this era, and Antiphellos may have briefly come under Rhodian purview, gaining further Greek-style economic ties. However, no “acropolis citadel” was built here; instead the population cluster remained near the bay, dedicated to commerce and religion. In a sense, Antiphellos grew up across the water from Phellos and then surpassed it, carving its own place in Lycian history.

Flourishing Under Rome: The Golden Age of Antiphellos

The Roman conquest of Lycia in 43 CE brought Antiphellos into the Roman provincial system, but by then it was already a bustling city. Under Rome, Antiphellos actually flourished further, thanks to imperial stability and regional trade. Aided by benefactions (most famously from Opramoas of nearby Rhodiapolis), the city repaired and expanded its infrastructure. Antiphellos continued to ship regional goods – notably the famous Lycian sea sponges, which Pliny the Elder praised as the softest ever found – to markets around the Mediterranean.

Major Construction Projects: The Theatre and Public Works

The theatre was the crowning jewel of Roman-era Antiphellos, even though its origins lie in the Hellenistic period. By 1st century BCE, it was fully built, accommodating some 4,000 spectators. In the following centuries the theatre was kept in use: after the great earthquake of 141 CE (which generated a tsunami along the Lycian coast), repairs were made to the amphitheatre’s collapsed wall, likely using funds from Opramoas’s benefaction. The Romans left the theatre architecturally largely intact: no permanent stone stage was ever added (allowing an uninterrupted sea view), and the original Hellenistic circular orchestra was preserved. Today, after a modern restoration (completed in 2008), we see the restored cavea and retaining walls, built of irregular ashlar blocks, curving around in nearly a full semicircle.

Beyond the theatre, Roman Antiphellos lacked grand defensive walls or a fortress (none was built). Instead, public investments were in civic and religious buildings. A small temple was erected near the harbour (its foundations survive near Hastane Caddesi). Houses with Roman-style mosaics have been found under the town, indicating a settled class of merchants or administrators. An ancient sea wall (still visible west of Kaş) protected the adjacent ship basin. However, rather than massive new construction, Rome’s rule brought prosperity and the upkeep of existing monuments.

Trade, Timber, and Sponges: The Economy of Roman-Era Antiphellos

Under Rome the economy of Antiphellos revolved around its port and the natural resources of Lycia’s hinterland. The city’s lagoon-like harbour (Bucak Limanı) was small but serviceable for coastal vessels. From there the Antiphelleans exported regional products. One standout export was sea sponges – Pliny notes the Lycian coast produced exceptionally fine sponges. These may have been harvested from reefs just offshore. Another export was timber: forests in the nearby mountains supplied wood for trade, as suggested by classic sources (Strabo mentions Lycia’s timber, although not naming Antiphellos specifically).

The urban population likely also practiced fishing, small-scale agriculture (olives, grapes), and crafts (pottery). Importantly, Roman coin finds show Antiphellos struck its own local issues in the Imperial era – some coins bear the legend ΑΝΤΙΦΕΛΛΕΙΤΩΝ (“of the Antiphelleans”). This implies an active city treasury collecting taxes and funding public life. In summary, Roman Antiphellos was a mid-sized Lycian town enjoying prosperity from trade, serving as a hub between the Mediterranean and the Taurus hinterland.

The Byzantine Era and its Role as a Bishopric

With the advent of Christianity, Antiphellos entered a new phase. It became the seat of a bishopric in the Byzantine province of Lycia. Church records show that a Bishop Theodorus of Antiphellos attended the Council of Chalcedon in 451 CE – a mark of its ecclesiastical status. The city had a Christian population and no doubt at least one basilica church (though none is extant, a Crusader-period chapel once stood on the heights). As a suffragan of the Metropolis of Myra, Antiphellos remained connected to the broader late antique church hierarchy.

Although a bishopric suggests some civic vitality, by this time Antiphellos was waning. In the 7th–8th centuries the region suffered raids by Arab fleets and general instability. The Lycian coast was repeatedly attacked, and smaller cities like Kaş fell into decline. Historical reconstructions suggest that Antiphellos’ population shrank and civic structures decayed after this period. The surviving episcopal line of Antiphellos essentially disappeared by the early Middle Ages (later it would be remembered only as a titular see of Myra, long after habitation ceased).

Decline and Abandonment: From Arab Raids to Obscurity

By the late Byzantine and medieval periods, Antiphellos was no longer a major centre. The seat of its bishop had long been vacated, and the town, renamed Andifili, was a modest village. Ottoman records from the 16th century mention small Greek and Turkish communities there. Travelers of the 19th century found Antiphellos largely abandoned: in 1828 the town was “all but deserted”, its ruins growing over. When British naval officer Francis Beaufort visited (c. 1820s), he noted sandy gullies where streets once ran, and Charles Fellows (1838–1840) described fields of broken sarcophagi strewn about.

The final death knell came with urban expansion: in the 20th century, the surviving village of Kas began to fill in the ruins. Grave markers were repurposed as construction stones, and only scattered monuments and tombs survived the development. Today’s visitor in some ways retraces the steps of those early explorers, stepping through a vanished city pieced together from theatre, tombs, and a few other ruins. In this way, Antiphellos’s long story – from Lycian port to ghost town to tourist site – is a poignant chapter in Lycia’s history.

A Complete Walking Tour of the Antiphellos Ruins

The Crown Jewel: The Hellenistic Theatre of Antiphellos

The Hellenistic theatre of Antiphellos is the site’s most dramatic monument. Nestled on the south slope of the Kas headland, its stone seats curve down toward the now-barren orchestra and the sea beyond. Constructed in the late Hellenistic period (around the 1st century BCE) and later maintained by the Romans, the theatre originally held some 4,000 spectators. Its design follows Greek models: the cavea (seating area) is carved into bedrock, creating 25–26 stepped rows divided by stairways (klimakes) into cunei. No permanent stage building (skene) was ever built, a conscious design to leave the view unobstructed.

Who Built the Theatre at Antiphellos? Architectural Analysis

The theatre’s exact patrons are unknown, but it would have been funded by the local polis during the Hellenistic age. It reflects a Lycian-Greek synthesis of architecture. The inscriptions on local tombs, and coins of the era, indicate that Antiphellos’s own council had its treasury; it likely paid for the theatre. The basic layout – semicircular seats, limestone seating blocks, arched vomitoria (entrances) – is Hellenistic in style. Roman-era modifications, if any, appear limited to repairs and perhaps a temporary wooden proscenium. Inscriptions elsewhere record benefactors (e.g. Opramoas) who funded repairs after the 2nd c. disasters, but the original builders remain anonymous citizens.

Archaeological surveys during conservation note that the theatre’s cavea spans about 50 m in diameter, split into seven wedges by stairways. The stone is a pale dolomite characteristic of Lycian sites, finely cut and leveled. The retaining wall behind the upper seats rises in coursed ashlar, with slots for wooden masts (for a velarium) on certain rows. Today the seating, access stairs, and the orchestra floor are largely intact, giving a vivid sense of ancient theatre design.

A Unique Design: The Only Lycian Theatre Facing the Sea

Antiphellos’s theatre is unique in Anatolia because of its setting. It is the only known ancient theatre built to take full advantage of a sea view. Facing southeast toward the Mediterranean, spectators would have seen sunrise light illuminating the stage area, and distant ships on calm days. This siting was likely chosen deliberately: it provided natural ventilation, light, and a spectacular backdrop. A local inscription fragment even mentions the view of Meis (Kastellorizo) in later mosaics.

The theatre lies just 500 m west of Kaş’s main square, hugging the coast. It is unusual in Lycia, where most theatres face inland or toward mountain vistas. Indeed, its construction (with no obstructive wall and an orchestra oriented toward the water) seems optimized for spectacle in a maritime landscape. Modern visitors often remark on the ethereal feeling of watching a sunset from the ancient seats – a design quality as intentional as the limestone benches themselves.

The 2008 Restoration: Preserving a Masterpiece

After centuries of neglect, the theatre underwent careful excavation and restoration in the 21st century. Between 2009 and 2011 the Turkish Ministry of Culture funded a conservation project. The team documented and stabilized the surviving masonry. Loose blocks in the upper cavea were re-set, and key structural elements (like the collapsed portion of the eastern retaining wall) were rebuilt. Special attention was paid to using original material: fallen stones were relocated to their presumed spots. Notably, the ancient orchestra paving slabs were re-laid to approximate their original positions.

The restoration project has revealed more of the theatre’s plan. It confirmed 26 rows of seats divided by aisles into three main blocks, and uncovered the basement foundations of a small scene building (a pulpitum) at the orchestra’s southern edge. Now the theatre is nearly complete in appearance (though no stage remains). This gives modern visitors a convincing sense of ancient drama space. Today the theatre is open to the public year-round. (It is sometimes used for cultural events in summer, though primarily it is visited as an archaeological monument.)

What to Expect Inside: Seating, Stage, and Breathtaking Views

Approaching the theatre, one climbs a gentle path from the modern road. The first clear sight is the curving rows of seats. You can walk freely between the tiers. The limestone seats are worn smooth but still well-defined, with some having carved grooves for wooden benches (now gone). The cavea is arranged in three tiers: a lower section separated by a wide transverse walkway (diazoma) from a steeper upper section. Inscriptions scratched by ancient visitors or by 19th-century explorers can sometimes be spotted on the stones.

From the top of the seating, look back down at the orchestra. It is sunk into the hill by about 1.6 m, as was typical for Lycian theatres (this lowered floor would have improved visibility and acoustics). A semicircular retaining wall bounds the orchestra; its blocks are irregular but tightly fitted. Notice that one side of the orchestra has no wall – this is because a stone stage building was never built, a deliberate decision so that no structure would block the sea view. Thus the eastern sky is open, and the blue-green Mediterranean stretches out to the horizon.

On either side of the cavea are corridors (paradoi) and vaulted passages (vomitoria) through which actors and audience would have entered. Today these entryways are accessible, and one can stand on the lowest step to imagine the scene view from a front-row seat. Many visitors linger in the morning light or at sunset, as the shifting sunlight casts the seats and the distant isles in warm color. One of the visual delights is the gap of sky visible above the orchestra – ancient theater-goers enjoyed this “proskenion” like a moving tableau.

Overall, the theatre is easy to explore on foot (it is not large) but involves walking on uneven stone. There are handrails on the main stairs now, but casual visitors often sit on the steps, climb a little for photos, or simply relish the quiet grandeur of this ancient venue.

The Necropolis: A City of the Dead

The cliffs and hills around Antiphellos form a vast necropolis – a city of tombs. Lycians believed strongly in the afterlife and buried their dead in these monumental stone chambers as part of that belief. Almost every hillside slope above the old town is cut with rectangular tomb entrances, pillar graves, and sarcophagus niches. Many of these tombs were built during the Lycian dynastic period (4th–3rd century BCE) and onwards, with classical and Hellenistic stylistic phases. The most accessible tombs are on the plateau directly north of Kas and on the western slopes of the promontory.

The Acropolis Rock Tombs: Carved into the Cliffs

Most famous among these is the Doric Tomb (locally called the Tomb of the Dancers). Situated at the northwestern tip of the acropolis hill, it resembles a small temple carved into the rock. Its facade is square, with a simple Doric entrance (a bedrock-cut gable above the doorway) and a Greek inscription stone above the door. Inside the chamber are three stone funeral beds (klinai) on three sides. However, the standout feature is on the walls above these beds: a 3.36 m-long frieze carved around three interior walls, depicting 26 female figures (maidens) holding hands and dancing in a circle. The figures are now weathered, but the composition survives. Archaeologists date this tomb to the mid-4th century BCE, possibly built for a notable family of that era.

Surrounding the Doric Tomb and extending along the slopes are dozens of less elaborate tombs. Many are house-shaped (with pitched gable carvings) or simple rectangular chambers with carved benches inside. Some have reliefs of processions or banquets (common Lycian motifs) while others are unadorned. Lower on the slope, groups of pillar tombs (free-standing monuments on bases) still stand. The Lycians placed these tombs above rather than beneath ground – the dead were believed to ascend to the rocks above.

From the modern trail, a visitor can ascend stone steps directly to the Doric Tomb, climbing past simpler tombs. It takes about 10–15 minutes of walking from the theatre area up a narrow, rocky path to reach the tomb. Along the way, keep an eye out for the lion-headed tomb (named for its carved protomes) and other chamber graves cut flush with the cliffface. The unusual square rock tomb mentioned by Fellows is precisely this Doric Tomb – it was already badly worn by the 19th century but remains the highlight of the necropolis.

Can You Go Inside the Lycian Tombs in Kaş? Access and Etiquette

Most of these cliff tombs can be approached from outside, but not fully entered. The Lycians often sealed their doors with stone blocks, so only a few tombs have accessible interiors. For example, the Doric Tomb’s entrance is open, so curious visitors can step into its chamber (with care) to see the benches and carvings. However, many tombs at Antiphellos are recessed and their stone doors are still in place.

In general, it is best to admire the tombs from the outside. Some have steep steps to reach the door; others form part of the cliff that people can get close to. Climbing on the tombs or touching the reliefs is discouraged for preservation reasons. No guard staff patrols the rock-cut cemetery, but common courtesy is advised: do not disturb the artifacts. The Lycians believed the dead could still hear offerings; today we hear them through their art, so a quiet respect feels appropriate.

Locals and guides advise that visitors should wear sturdy shoes and mind their footing among the tombs. The route can be steep and uneven. In Kaş, some tour operators will bring visitors in pickup trucks partway up the hill, but the last stretch is always on foot.

Understanding Lycian Funerary Beliefs and Practices

These tombs are more than graves; they were carefully designed to honor the dead. In Lycian belief, carved reliefs often symbolize an eternal banquet or ritual. For instance, the dancing girls on the Doric Tomb frieze may represent the deceased’s household or community celebrating immortality. The carved klinai (beds) inside indicate the tomb was seen as the deceased reclining eternally.

Lycian sarcophagi (stone coffins) were buried within or in front of tomb chambers. Typically a wooden coffin lay inside a carved stone shell. The King’s Tomb sarcophagus, for example, has a lowered floor beneath its stone lid, which would have held the wooden coffin. The Lion Tomb in Kas, another sarcophagus, has lion-head handles on its lid and funerary garland reliefs, blending Persian influences with Lycian style. Inscriptions in Lycian script often name the deceased and invite passersby to say a prayer or give a fee (some even list a fine for tomb violation).

In summary, the necropolis shows the Lycian philosophy that death was a passage, not an end. These rock-cut tombs were built as cities for the dead, meant to keep their memory alive. Walking among them, one can sense the persistence of ancient tradition as the cliffs hold silent festivity scenes and ancestral names carved in stone.

The Iconic Sarcophagi: Monuments Among the Modern Streets

Lycian sarcophagi (stone coffins) are also scattered in and around Kaş, often incongruously amid modern houses. Unlike the cliff tombs, these were free-standing monuments. The most famous is the King’s Tomb (Uzunçarşı Sarcophagus) in the town center. It is a massive polygonal sarcophagus on a high base, elaborately carved in the 4th century BCE. The upper chest is decorated with framed panels and acroteria, and the lower base bears a long Lycian inscription written in the Luwian-derived Milyan language. Fellows first noted in the 1840s that this inscription reads like a verse of poetry, unusual in Lycian graves. To this day the text remains untranslated. The sarcophagus’s lid is shaped in a gable roof style, and its handles are sculpted as lion heads – a typical Lycian touch (hence the tomb’s other nickname, the Lion Tomb). According to archaeological studies, the hyposorium (lower chamber) stands about 1.5 m high and was sunk into the ground, with the lid actually lying in a recess above. It is believed to have been the family tomb of a local nobleman named Pixre (as suggested by half-deciphered part of the inscription), intended for multiple interments.

The “King’s Tomb” (Uzunçarşı Sarcophagus): Inscriptions and Art

No list of Antiphellos sights is complete without the King’s Tomb. It is remarkable not just for its preservation but for its art and mystery. The Lycian inscription on the tomb’s base, one of the longest known in Lycia, has defied full interpretation. Specialists have identified the language as Lycian B (Milyan), a dialect once thought unintelligible. Scholars like Frank F. Gülşen and others have published analyses, but the text’s meaning remains elusive. This is the only major Lycian inscription of its kind outside of Xanthos (the regional capital) that survives in situ.

Visually, the King’s Tomb is stately. Its hyposorium (the rock-cut pit below the sarcophagus) and base are carved from the living rock. The long carved panels depict ritual scenes and possibly mythic figures. Some gazing tourists notice what look like processions of people or deities. On one side is a relief of a figure (maybe the named Pixre) presenting something to a seated woman – possibly a goddess or consort. The architecture of the tomb (with column-molding decorations and a stepped plinth) is typical of Lycian-Achaemenid fusion, akin to tombs seen at Xanthos and Amisos.

Today the King’s Tomb is on busy Uzunçarşı Street, under an open roof to protect it. Viewing it costs nothing. The inscription has been kept visible: plaques in Turkish and English on site summarize what little is known about the text. One can examine the raised letters and ponder the ancient message. It is a humbling sight: a 2,400-year-old poem still waiting to be fully understood.

What Was the Purpose of the Lycian Sarcophagi?

The sarcophagi at Antiphellos were not ordinary graves but public monuments. Each served as the final resting place for an elite Lycian family, meant to proclaim lineage and piety. They combined external architecture with a ritual chamber beneath. Typically a stone coffin (with a hollow interior) sheltered a wooden ossuary inside. The tall base (hyposorium) was often carved with scenes of mythology or daily life. Funerary inscriptions might invoke the gods or plead with passersby to remember the dead.

These sarcophagi have heavy lids (often gabled like a roof) and side handles. In Kaş, dozens once filled courtyard and hillside niches. Many have collapsed or been broken for building materials, but several survive intact in the town. They were made to last for eternity: Corners, rims, and decorative edges are all hewn from single limestone blocks. Their continued prominence attests to the Lycian belief in an enduring afterlife – the dead were to be honored in perpetuity through these grand tombs.

Other Notable Sarcophagi and Where to Find Them in Kaş

Besides the King’s Tomb, Kaş holds a small collection of other Lycian sarcophagi. A second lion-protome sarcophagus stands a short distance from the King’s Tomb on Uzunçarşı, known as the Lycian “Lady’s Tomb”. It has a relief of a woman and an inscription as well. On the western side of town (near Kale Caddesi) is the Zambelios Tomb, a large Hellenistic sarcophagus with inscription found in fragments. Fragments of carved tombs have been embedded in newer walls all over Kaş.

Beyond the town center, several sarcophagi lie in situ: one on a hillside path north of the theater (now broken but recognizable) and a few others near the old harbor channel. The Kaş Museum Garden also exhibits tomb fronts and inscriptions from Antiphellos (including the relief of the seated woman). But the essence of Antiphellos is that these grand tombs are largely part of the town itself. By strolling the streets and paths of Kaş, a visitor can encounter stone urns, lids, and stelae wherever a building needed heavy blocks. Each one is a silent relic of Antiphellos’s once-great necropolis.

The Monumental Tomb: A Doric Temple-Tomb

At the northwestern corner of the site’s acropolis lies a standout tomb often called the Monumental Tomb. It has the form of a small temple cut from solid rock. From the front it presents a Doric colonnade appearance (hence “Doric Tomb”), though actually the columns are carved in relief. An inscription is still visible over its entrance lintel. Inside the tomb chamber are three rock-cut benches. The entire interior is excavated out of the hillside, and on three of the chamber’s walls a high-relief frieze runs along the top edge, showing 26 dancing female figures in processional garb.

Architecturally, the Doric Tomb is unique. Its facade would once have been painted, and it may have had a pyramidal roof originally (now gone). The classical Greek-style details (Doric moldings, triglyphs) show Hellenic influence. Yet all of it is carved from the living rock, making it more tomb than temple. Fossil remains of color suggest it was brightly decorated: the high relief girls likely had red dresses and golden sashes. The effect inside the chamber today is of a sacred hall, where the departed reclined forever amidst images of companions from below.

Who was buried in this Doric Tomb? No name has survived beyond fragments. The inscription is fragmentary and has not yielded a clear name. Scholars date the tomb to around 360–380 BCE (the early Classical period of Lycia). It likely housed an important Lycian dignitary or family. Some think the scene of dancing maidens might represent an afterlife banquet or ritual dance for the buried couple. The very fact that this single tomb takes up an entire rock face suggests its occupant was among the elite.

In any case, the Monumental (Doric) Tomb stands as a poignant symbol of Antiphellos. It visually ties the Hellenistic world of theater and city to the Lycian traditions of the past. Inside, the carved maidens link Antiphellos to the broader Lycian tradition of rock-carved tomb reliefs (seen elsewhere in Xanthos, Myra, etc.). Visitors to Antiphellos often remark that this tomb alone is reason enough for a trip – it is a masterpiece of mortuary art.

Searching for the Unseen: The Acropolis and Temple Foundations

Much of Antiphellos’s acropolis has vanished under the town, but a few clues remain. The acropolis would have been on the small hill above the west side of Kas, but unlike other Lycian cities it never acquired a stone fortress. A French survey of Lycia in the 19th century commented that “neither a defensive wall nor an acropolis was ever built” at Antiphellos. Nevertheless, traces of fortification are visible on the lower slopes of that hill: short lengths of wall that may date to the Roman or Byzantine eras.

Modern archaeological surveys (including a 2012 rescue dig) have uncovered small remnants of public buildings on the crest of the acropolis. A structure once misidentified as a bouleuterion (council house) is now recognized as a Hellenistic temple platform. Its ashlar foundations and column drums suggest the city did have a sanctuary atop the hill, likely a temple of a Greek deity or a local hero. Other findings hint at paved streets and house platforms hidden under Kaş’s pavement.

To reach this plateau from the theatre area, one must follow a narrow old road that climbs above the Duble Yatak cemetery. Halfway up, one can see cuts in the rock that were city walls encircling the slopes. At the top, only low stone outlines remain. If you look carefully, you can make out a rectangular enclosure – possibly the temple base – and scattered column fragments. These suggest there was indeed an acropolis precinct, though no grand palace or fortress was built.

From a panoramic standpoint, the acropolis would have commanded the strait between the Lycian and Mediterranean seas. Ancient maps (Texier’s 1840 chart) mark it as “Acropolis”. It must have served as a lookout. But today, the high land above Kas mostly offers olive groves and the old Crusader chapel. Only diligent archaeology brings the hidden civic spaces to light.

The Archaeology of Antiphellos: Unearthing the Past

Key Archaeological Surveys and Excavations at the Site

Antiphellos has not seen extensive modern excavation, but it has a storied history of discovery by travelers and archaeologists. In the mid-19th century the site was “found” by explorers. Sir Francis Beaufort (British naval officer) briefly described the theatre and tombs in the 1820s. More thoroughly, Charles Fellows surveyed Antiphellos in 1838–40 on behalf of the British Museum. Fellows made detailed plans and drawings, famously sketching tomb pediments, sarcophagi, and the theatre. He also cast the long Lycian inscription of the King’s Tomb (making it legible for further study). Fellow’s countryman Thomas Abel Brimage Spratt published a plan of Antiphellos in 1847, solidifying knowledge of its layout. In short, by 1850 Antiphellos was well-known in scholarly circles thanks to these pioneers.

In 1952–53 a formal archaeological survey took place. Teams excavated trenches in the center of modern Kaş (over built-up areas), hoping to find earlier levels. The results were meager: they concluded that 4th-century BCE Antiphellos had only a handful of stone buildings near the harbour. Most structures were presumed to be subterranean (as other excavations elsewhere showed) or simply destroyed by later construction. In the 1970s–90s, only salvage works were done, such as when building foundations revealed tomb fragments. More recently, Turkish archaeologists (e.g. Nevzat Çevik and teams) have conducted targeted conservation digs: for example, in 2012 a rescue excavation in a park discovered the temple-like structure mentioned above.

Significant Finds from Antiphellos and Where They Are Today

Despite limited excavations, Antiphellos has yielded notable artifacts. Several Lycian inscriptions from the tombs are known (recorded in the early expeditions and some are now in the Antalya Museum). About two dozen funerary inscriptions from Antiphellos are catalogued in surveys of Lycian inscriptions. Fragments of painted plaster have come from the Temple House, hinting at wall art. Smaller finds (coins, pottery shards) have been scattered: some coins with the legend Weh[into] (the Lycian name) were in local collections.

One particular artifact stands out: the votive relief of a god mentioned in some older notes. It is a marble block showing a deified figure (perhaps Apollo or Zeus) in high relief. This was reportedly found in Antiphellos (possibly reused in a wall) and is now in the Antalya Museum collection. (Such a relief fits with the presence of a temple on the acropolis.) Other architectural fragments include column drums and inscribed blocks built into later walls of the town. There is also a pillar (obelisk) fragment with Lycian letters that was found near the theatre; it may have been a boundary marker or part of a monument.

Large finds like sarcophagi and tomb blocks have rarely moved from site. The King’s Tomb and Doric Tomb are still in place. A few large sarcophagus lids from Antiphellos now serve as benches in Kaş. One nice piece – a relief frieze – is in the local museum (originally from the Lion Tomb). Overall, most material culture remains buried under modern Kaş or integrated into it, making further discoveries possible only with permission and careful digging.

The Votive Relief of a God: A Unique Discovery

One of the more intriguing discoveries (though minor in appearance) is a fragmentary votive relief depicting a deity, found near Antiphellos. This marble panel shows a standing male god, draped, and was likely dedicated by a citizen. Its carving is in the Hellenistic style, with draped robes and a halo-like wreath. At present, scholars tentatively identify the figure as Apollo (given Lycia’s devotion to Apollo), or perhaps one of the syncretic Lycian deities. The key fact is that it was dedicated “to the god” according to its inscribed dedication, but the rest is missing.

What makes it unique is that few such reliquaries are securely tied to Antiphellos. If it indeed came from a temple on the acropolis, it indicates that Antiphellos had its own chapels for major gods, not only familial tomb cults. The relief is now housed in the Antalya Museum with label “KAS-ANTİPHELLOS”.

Current Conservation Efforts and Future Research Prospects

Today, the Ministry of Culture and its local Kaş branch manage the site of Antiphellos. The theatre has been preserved and interpreted with information panels. In 2020–2025, routine maintenance such as vegetation clearance and occasional repointing of stones has been carried out. The ancient tombs and sarcophagi, being scattered, receive less official protection; nonetheless, locals have taken some interest in cleaning and preserving the visible pieces in Kaş.

Plans for the future include more professional excavations in areas suspected to hold buried remains. For example, the old theatre orchestra was the subject of a geophysical survey to check for hidden chambers. There have been calls to properly excavate under the modern streets of Kaş (as was done at Laodicea or Ephesus), but given the town’s occupancy, this would be difficult. More feasible is detailed documentation: a recent project by a Turkish university used drone photogrammetry to record all visible tombs and reliefs in Kaş, creating a 3D map of the necropolis.

Local museums (Antalya and Kaş) have started to exhibit Antiphellos finds more prominently. The Department of Antiquities sponsors occasional tourist walks of the necropolis, led by experts, to prevent tourist damage. Conservationists are particularly concerned about erosion on the theatre seats and rock tombs (hence the earlier restorations).

Looking ahead, the biggest potential lies in remote sensing and non-intrusive methods: ground-penetrating radar might someday reveal buried streets beneath the town. Any new dig would have to balance archaeology with the needs of Kas. But with Kaş’s rising profile as a travel destination, Antiphellos is likely to get more scholarly attention. The long-term hope is that every old sarcophagus built into a wall or every cracked tomb is recorded and protected, so that this Lycian heritage can endure.

A Practical Guide to Visiting Antiphellos Ancient City

How to Get to Antiphellos (Kaş)

• By Air: The two nearest international airports to Kaş are Dalaman (DLM), about 155 km west, and Antalya (AYT), about 200 km northeast. Dalaman offers nearer access (approximately a 3½‑hour bus ride to Kaş), while Antalya Airport has more flights (a bus ride takes roughly 4 hours). From the airport, visitors can take an express coach or shuttle to Kaş. In summer many airlines, including charter flights, land at Dalaman, and tourism buses run daily between Dalaman Airport and Kaş (tickets ~200 TL one way). From Antalya, buses depart the main Antalya Otogar several times per day; the trip is scenic along the coast highway (D400).
• By Bus: Kaş is well-connected by intercity coaches. Buses run frequently from Antalya and Antalya’s surrounding cities. From Fethiye or Gocek in the west there are also minibuses (“dolmuş”) that go to Kaş several times a day (via Ovacık). The bus drops passengers at the Kaş bus station, which is a short dolmuş or taxi ride from the ancient sites. If coming from Dalaman airport, one can first take a bus to Fethiye or Gocek, then transfer to a Kaş bus, or take a direct Dalaman–Kaş coach in summer.
• By Car: Driving to Kaş is straightforward on the D400 coastal highway. From Antalya take D400 south-west through Kemer and Finike toward Kaş. From Dalaman, follow route D400 past Fethiye to Kaş. The highway has many scenic stretches along cliffs and bays, but be aware that the road becomes narrow and winding as one approaches Kaş. In Kaş town, parking is limited. There is a small municipal lot (ucretli otopark) just inland of Uzunçarşı Street. From Kaş center, Antiphellos ruins (theatre area) are only a few minutes’ walk west along the main road or via stepping lanes. Signposted paths lead up to the theatre.

Kaş is very walkable, and the ancient city sites are within a few hundred meters of each other. Local tour guides and taxis can also bring visitors directly to Antiphellos: Kaş has fixed fares to the amphitheatre and to various viewpoints, and many drivers know the site. In high season (June–September), Kaş is busy but never gridlocked like Antalya. Many visitors actually arrive by yacht or ferry from Meis – the Kaş harbor has daily boat tours that include a stop by the theatre from the water.

Navigating the Site: A Suggested Itinerary

Morning – Begin at the ancient theatre. It is 500 m west of Kaş’s town square. Arrive by 9 am to avoid crowds and get soft light. Spend 30–45 minutes circling the cavea, sitting on the benches, and enjoying the view. Walk behind the theatre (north side) to examine its retaining wall and sea wall extension.

Next, climb to the Necropolis. Return toward town and take the concrete steps ascending north. In 10–15 minutes you will reach the Doric Tomb complex. Spend time inside the Doric Tomb (3 drama beds, dancing frieze) and on the plateau above. Continue along the ridge to see other cliff tombs (the Lion Tomb, the Gorgon’s Eye tomb, etc.). This can take another 30 minutes to an hour.

Lunch – Descend back into Kaş and have lunch in the old quarter. In summer you can dine near the harbor or in Uzunçarşı Street; many restaurants also have terrace views toward the theatre.

Afternoon – Visit the King’s Tomb on Uzunçarşı (Long Bazaar Street). It is open to the street; stop and read the inscription. Then explore Kaş town: spot sarcophagus fragments in walls, and if interested, visit the small Kaş Museum (on the main street) to see Antiphellos artifacts. Finally, end with the Monumental (Doric) Tomb. From Uzunçarşı, walk north past the Law Court to the old Castle (now a garden/cafe) – the tomb is directly below, accessible via a short trail. This completes a circuit of all the major Antiphellos features.

Alternatively, if you only have time for one or two spots: the theatre and the Doric Tomb are must-sees.

• How to get from Kas Town Center: The amphitheatre is on the D400 highway just west of the shops. Follow signs for “Xantus Beach/Anti͏́phellos”. The town square is only a 5–10 min walk east. Taxis can drop you right at the stone seats.
• Walking routes: Tourist maps in Kaş mark Antiphellos routes. Directional signs appear near the bus station and on the waterfront.

Entrance Fees, Tickets, and Opening Hours

Antiphellos Ancient City is largely open-air and free to visit. The Turkish Ministry of Culture lists the entrance fee as Free and confirms it is open every day of the year. In practice, there is no ticket booth and no gate. Visitors may access the theatre and tomb areas during daylight hours (roughly sunrise to sunset). Even the renovated theatre is unfenced, so one can wander at will. Note that signage is minimal: there is no official pamphlet on site (though Kaş tourism offices provide guides), so a guidebook or app may be helpful.

The only parts of the site with actual admission controls are inside the Kaş Archaeological Museum (entry fee ~10 TL) and a few privately owned hill-view cafés (which may charge for entry). But all ancient ruins themselves are free. There is no separate fee for the theatre or any tomb. After dusk the area is dim; visitors should plan to finish before sundown.

For the theatre (Hellenistic theatre of Antiphellos) specifically: no separate ticket or time slot is required. It falls under the free-open definition above. Many travelers simply climb in at their leisure. Keep in mind that the theatre and tomb complex do not have visitor facilities (no restroom, no gift shop), so plan accordingly. Water and snacks should be bought in town before entering.

Best Time to Visit

• Season: The Lycian coast has Mediterranean climate. High season (June–August) is hot, sunny and popular; late spring (April–May) and early autumn (September–October) have milder weather and fewer crowds. Winter can be cold and rainy, and some tours do not run then. For photography and comfort, the shoulder seasons (May or October) are ideal.
• Time of Day: Morning (8–11 am) and late afternoon (4–7 pm) are best. The theatre faces southeast, so sunrise light fills it from front; sunset light illuminates the cavea. The dancing-girls tomb is on the north side of the hill, best seen in mid-morning light. Avoid the midday glare in summer.
• Crowds: Kaş can get very crowded on cruise-ship days (several per week in summer). If possible, visit on a weekday. The site itself is seldom packed, but expect walk-throughs by tour groups.

A special tip: if you have a chance, visit on a late afternoon and stay for dusk at the theatre. Locals say “Greek drama never looked better than at sunset in Antiphellos.”

What to Wear and Bring: Essential Tips

• Footwear: Sturdy shoes or hiking sandals are a must. Paths up the tomb slopes are uneven stone or rock. The theatre’s aisles are stepped stone. Avoid flip-flops.
• Sun Protection: Shade is scarce. Bring a hat, sunscreen, and sunglasses, even in spring and fall. Water is available in town but carry a bottle with you on the tour.
• Other Gear: A camera or sketchpad. The panorama from the theatre and the close-up reliefs in tombs are very photogenic. A notebook or guidebook (with diagrams of ruins) can enrich the visit. Also consider light layers: it can be windy at the theatre.
• Travel Aid: Many travelers find a local guidebook or map of Kaş with the ancient sites marked. Interpretive signs are minimal, so either prepare beforehand or use a tour app.

Accommodation Guide for Visitors

Kaş offers a range of lodging. On the practical side, many boutique hotels and pensions in town provide clean rooms at affordable rates. Because the city center is built up, not many rooms have direct ruins views. However, some accommodations on the hill above Kaş have terraces overlooking the harbour and the theatre site. For example, hotels on Meltem Apt. Street (Parlak Mevkii) or on Tepe Mevkii often advertise “ruins view”. Expect rates to range from budget (300–600 TL/night) to mid-range (800–1500 TL) in summer, and cheaper off-season.

For those wishing luxury, Kaş has a few high-end seaside resorts (mostly on the east side of town), though these are a 10–15 minute walk from Antiphellos. Bookings can be made via international travel sites. We do not recommend any specific chain; instead, look for smaller family-run places known for good service. The popular town-center inns (“butik otel”) will have English-speaking staff, and many include a hearty Turkish breakfast.

Always check if hotels speak English or German (many do, due to the tourist trade). Note that staying right in Kaş involves noise from evenings, whereas the hillsides are quieter. In any case, Kaş’s accommodation is generally safe and welcoming, with easy access to restaurants and shops for visitors to Antiphellos.

Is Antiphellos Worth Visiting? A Final Verdict

Without reservation: yes, especially for history enthusiasts. For history buffs, archaeology fans, and curious travelers, Antiphellos ranks among the top Lycian sites because of its completeness and setting. Families with older children can enjoy the open space and storybook ruins. Couples find it romantic (the sunset from the theatre is a favorite). Solo travelers often praise the meditative quality of the theatre mornings. School groups come to study Lycian civilization.

For a casual tourist, the verdict depends on interest. If your trip is primarily about beaches and nightlife, Antiphellos is a pleasant diversion for a half-day. If you have a passion for ancient cities, allocate a full day (or a sleepover in Kaş). It is definitely worth visiting if you’re in Kaş – it is the town’s signature attraction. Antiphellos will appeal most to people who enjoy ruins in context. If you visit expecting a well-manicured archaeological park, you might be surprised: much is in modest condition, and large parts of the site are “under the town”. But if you love the idea of touching stones trod by Greeks 2400 years ago, Antiphellos is truly rewarding.

In short: Antiphellos is a highlight of Lycian Turkey. Its theatre is iconic; its tombs are some of the best in Lycia; and the chance to wander them under a Turkish sky makes it a destination that few travelers regret.

Beyond Antiphellos: Exploring the Lycian Region

No trip to Antiphellos should end there. The Lycian countryside around Kaş offers many other ancient adventures.

• The Mountain City of Phellos: Just 15 km north of Kas is the site of Phellos (Yukarıcağız village). Phellos was the inland acropolis and original capital that once overshadowed Antiphellos. Today its ruins (massive polygonal walls, an acropolis, and about 130 tombs) crown a ridgeline at 850 m altitude. The Lycians called it Wehnti and it was a stronghold since the 7th century BCE. Hiking up its rough goat track (about 1 hour from the parking plateau) yields a spectacular 360° view over the Kas plain and distant Xanthos peak. While the site is under-researched (no tourist facilities), it’s a treat for archaeologically-minded trekkers. Best approached from the village of Yeşilköy, one should obtain local guidance or a map (the trail is not marked).
• Other Nearby Lycian Sites: In one day from Kaş you can reach legendary sites of Lycia. To the north-east lies Xanthos, the ancient Lycian capital (15 km away near Kınık). Its monumental ruins and the adjacent sacred Letoön sanctuary are UNESCO World Heritage. Xanthos is the Lycian Marathon – a massive tell with a theater, stadium, and tombs (better signage and facilities here). About 30 km east is Patara, famed for its long sandy beach and the enormous marble ruins of an ancient Lycian port city (also Lycian League’s federal capital). To the west, near Demre, is Myra – a site of rock-cut tombs and a Roman amphitheater, plus the church of St. Nicholas (Santa Claus!). Each of these carries a slice of Lycian lore. Day tours from Kaş to these sites are readily available; they typically include entry fees and guide commentary.
• Lycian Way Hiking: For trekkers, Antiphellos is on the route of the famed Lycian Way long-distance trail. Hikers coming from the west or continuing east must pass through Kaş. The Lycian Way official guide suggests that day 5 from Patara ends in Kaş, with Antiphellos as the evening’s destination. Some adventurous hikers start in Kaş, spend the afternoon on the theatre and tombs, then stay overnight before resuming the trail to the next stage (crossing the mountains south of Demre). Many trail itineraries mention Antiphellos as an off-trail detour of high interest, often in conjunction with a beach break at nearby Xanthos Bay.

For a traveler in Kaş, Antiphellos is thus a key anchor: it ties together inland Phellos, coastal ruins like Xanthos, and the seaside portions of the Lycian world. A proper Lycian circuit would include all of these, but Antiphellos provides a core insight without going far. It is easy to combine with other local activities: diving, sailing, or simply enjoying the Ottoman-era whitewash architecture of Kaş. In short, once you walk among its stones, you will likely want to venture further into Lycia – and Antiphellos is the perfect launch point.

Antiphellos Frequently Asked Questions (FAQ)

Q: What is the most famous landmark in Antiphellos?
A: Unquestionably, the ancient theatre is the most iconic landmark. It is one of the best-preserved features and is unique for facing the sea. The theatre’s scale and panoramic setting often top visitors’ lists. (Other contenders are the King’s Tomb and Doric Tomb, but neither is as visually dramatic as the tiered theatre.)

Q: How much of Antiphellos is left to see today?
A: Only a fraction of the original city survives – primarily the theatre, tombs, and sarcophagi. All public buildings apart from the theatre are gone; houses are buried under Kaş. Roughly 5–10% of Antiphellos’s structures remain standing. That said, the remaining elements (theatre, several monumental tombs, wall fragments) are substantial enough to convey the city’s scale. Much is still underground or repurposed – for example, the ancient harbour channel was filled. In practical terms, one can easily see “all that remains” in half a day, as the key sites are confined to one area.

Q: Can you swim near the ancient city?
A: Yes. The coastline around Kas has crystal-clear waters. To the east of town, near the old harbour, there are small pebble beaches (e.g. Xanthos Bay) where the Mediterranean invites swimming. Boats and gulets (traditional yachts) routinely anchor off Kas’s harbour and ferry visitors to swimming spots. However, the immediate theatre area is not a beach (it’s a rocky headland). The nearest beach to the theatre is a 10–15 minute walk east along the coast. In summary, you can combine a ruin visit with swimming: finish at the theatre or tombs and then stroll down to one of Kaş’s beaches or hop on a daily boat trip.

Q: Is Antiphellos accessible for people with mobility issues?
A: Partially. The theatre area (the bulk of the site) is flat and can be accessed by someone with limited mobility; however, there are steps between seating tiers. The theatre’s ground level (orchestra and first few rows) is reachable by ramps. Wheelchairs might manage the theatre area on the lower level, but it is not fully “disabled-accessible” by modern standards (no handicap lifts). The necropolis and Doric Tomb are on a steep path with many stone steps, so they are not accessible to those who cannot walk uneven terrain. Caveat: even the approach to the theatre involves navigating curbs and narrow sidewalks in Kaş. If full accessibility is required, expect to see only the lower theatre and the King’s Tomb (which is on level ground). Many tour operators offer short access tours for older visitors.

Q: Are there guided tours available for Antiphellos?
A: Yes. Several local guides in Kaş offer walking tours of Antiphellos, often including other sites (Phellos, Xanthos). A common package is a half-day private tour or small-group hike that covers the theatre, necropolis, and tombs with commentary. The daily boat excursions to Meis also often include a stop by Antiphellos from the water, though that is a quick photo opportunity. If you prefer exploration at your own pace, guidebooks and information panels (though sparse) can supplement your visit. Maps at the Kaş tourist office or hotel desks can point you to the main sites. In peak season, university students also sometimes volunteer as docents at the theatre.

Regardless, Antiphellos is very accessible on foot even without a guide. Entrance is free, and you can wander freely between monuments. Many visitors find an English-language guidebook or audio app sufficient. For a more in-depth experience, hiring a local historian or archaeologist (through the Antalya Museum or Kaş municipality) will provide rich details that casual signage does not.

Q: What was the purpose of the Lycian sarcophagi?
A: The stone sarcophagi served as monumental tombs for wealthy Lycian families. Each sarcophagus held a wooden coffin inside and often multiple bodies. They commemorated the dead with elaborate carvings. In the King’s Tomb, for example, the sarcophagus (upper stone) is placed over a sunken chamber with a carved floor. The inscriptions on the sarcophagus bases often vow that the tomb was built “for the whole family”. In essence, the sarcophagi were both tomb and memorial in one – meant to stand for eternity and honor the deceased’s memory.

Q: What does “Antiphellos” mean?
A: It means “opposite Phellos”. In ancient Greek anti- = opposite, and Phellos was the nearby city inland. The town’s Lycian name Habesos had a similar meaning (roughly “land opposite the rocks”), reflecting that Antiphellos was the port facing the rocks of Phellos across a narrow inlet.

Q: Who built the theatre at Antiphellos?
A: The theatre was built by the citizens of Antiphellos under Hellenistic influence. It dates to the 1st century BCE (late Hellenistic). We do not know individual patrons’ names – if any are inscribed, those inscriptions have been lost or eroded. It’s safe to say it was a civic project, funded by the community, perhaps with the help of Lycian nobles. The fact that it holds 4,000 people suggests the city authorities intended it to be a central public venue. Later, around 141 CE, Opramoas of Rhodiapolis (a benefactor of many Lycian cities) provided funds to repair earthquake damage, but the original builders were Antiphelleans themselves.

Q: What are the opening hours for the Antiphellos theatre?
A: The theatre is open whenever the site is (essentially sunrise to sunset). There is no separate gate or schedule apart from daylight hours. In summer that could be roughly 7 am to 8 pm (extended day), and in winter perhaps 8 am to 5 pm. The Kas municipality does not impose a strict closing time for the ruins, but for safety and courtesy, one should leave before dark.

Q: Is there an entrance fee for Antiphellos Ancient City?
A: No. It is free of charge to visit Antiphellos at the moment. Both the theatre and the tombs are open without tickets. (This may seem unusual for an archaeological site in Turkey, but it is currently treated like an open historical area rather than a fenced museum.) Donations are not requested. Spending money will instead be used on souvenirs or refreshments in Kaş.

Q: Can you combine a visit to Antiphellos with the Lycian Way hike?
A: Absolutely. Kaş (Antiphellos) is the endpoint of Lycian Way Stage 5 (from Patara) and start of Stage 6 (to Çukurbağ Peninsula and the next villages). Many hikers plan an overnight in Kaş. To integrate Antiphellos, allow an extra half-day before or after your hiking days. The theatre is just west of town, so you can drop your pack at a guesthouse and go explore. The Lycian Way trailheads are signposted in Kaş, and local signs guide you to both the theatre and the Lady Sun Hotel (end of Stage 6). The slate roof of the theatre appears on the official map as a point of interest. In practice, hikers often spend a morning in Antiphellos after finishing Stage 5, then resume walking in the late afternoon.