UNESCO World Heritage Sites In Turkey

Located dramatically on a hill (Kale Hill) above the modern town of Bergama, Pergamon is an ancient city that commands both panoramic views and deep historical significance. Recognized by UNESCO in 2014 under the title “Pergamon and its Multi-Layered Cultural Landscape,” the site encompasses not only the core of the Hellenistic city of Pergamon but also the surrounding landscape that features remains from the Roman, Byzantine, and Ottoman periods. In antiquity, Pergamon (also spelled Pergamum) was the royal seat of the Attalid dynasty in the 3rd–2nd centuries BCE – a powerhouse of the Hellenistic Greek world, renowned as a center of learning and the arts (hence the phrase in the blueprint calling it the “City of Firsts” and a major cultural/scientific hub). Later, it became the capital of the Roman province of Asia, and still later, an important Byzantine and Ottoman town. This layering of history gives Pergamon a unique character – it’s not frozen in one era but shows continuous urban life and adaptation across two millennia.

The ancient Acropolis of Pergamon is the star attraction. Reaching it today often involves a steep drive or a convenient cable car ride that lifts visitors from the town to the summit. On the acropolis, you’ll find the foundations of monumental structures that testify to Pergamon’s former grandeur. One of the most impressive is the Theatre of Pergamon, which is literally the steepest theater of the ancient world. Clinging to the hillside, its marble seating rows (sketched like a precarious waterfall of steps) could accommodate around 10,000 spectators. The view from the top row of the theater is dizzying – below lies the modern patchwork of Bergama and the distant Bakırçay plain, while behind you rises what’s left of the Temple of Dionysus on a terrace above the theatre. Adjacent to the theatre’s upper tiers are remnants of the famous Library of Pergamon, which in its heyday purportedly held around 200,000 scrolls – second only to the Library of Alexandria in Egypt. In fact, a bit of historical trivia: the word “parchment” (pergamenum in Latin) comes from Pergamon, which innovated the use of cured animal skins for writing when papyrus was scarce. The rivalry with Alexandria’s library was intense; a legend says Mark Antony gifted Pergamon’s entire library collection to Cleopatra as a wedding present, merging it with Alexandria’s.

At the very summit, one finds the foundations of the Great Altar of Pergamon – a colossal altar likely dedicated to Zeus and Athena. The altar itself, with its famous frieze of Gods battling Giants, was excavated in the 19th century and is now controversially on display in the Pergamon Museum in Berlin (the Turks often mention this fact with some regret; a replica or simply the grassy platform can be seen on site). Even so, standing on the altar’s base, you can imagine the fine sculptures that once wrapped it (over 100 meters of relief carving!). It was arguably one of the ancient wonders of art, demonstrating Pergamon’s claim as a successor to classical Athens in artistic achievement. A bit further along you encounter the Temple of Trajan (Trajaneum) from the Roman period – portions of its Corinthian columns have been re-erected, giving a sense of the lofty colonnade that once crowned the acropolis in the 2nd century CE. White marble standing against the sky, these columns are photogenic and a reminder that Pergamon continued to flourish under Roman rule.

Descending from the acropolis (or driving around it), visitors often next head to the foothills to see the Asclepion. This was Pergamon’s renowned sanctuary of Asklepios, the god of healing – essentially one of the most famous ancient medical centers. People from all over Anatolia and beyond came to Pergamon’s Asclepion for cures, making it a mix of spa, hospital, and religious site. It had sacred springs, treatment rooms, a small theater, even a tunneled walkway where patients were lulled by the sound of flowing water and sage advice of priests (and perhaps the first use of psychological therapy and dream interpretation as healing tools). The Roman writer Galen, one of antiquity’s most influential physicians, was born in Pergamon and practiced at the Asclepion, bridging Greek medicine and Roman practice. The Asclepion’s impressive circular domed structure (the Temple of Asclepios perhaps) and the remains of pools and incubation chambers tell a fascinating story of health and spirituality entwined. It’s located a couple of kilometers from the acropolis, in what is now a serene grove area.

Pergamon’s multi-layered landscape doesn’t stop at Greek and Roman remains. Within Bergama town, Ottoman period landmarks like the Ulu Cami (Great Mosque of Bergama, 14th century) and an early Ottoman bath are part of the inscribed zone. You can stroll through the old quarter and find that typical Ottoman charm: wooden houses with overhanging balconies, a bustling bazaar (the Bergama market is lively, especially on certain weekdays), and smell of roasting coffee and pide bread. One particularly interesting feature is the reuse of ancient structures: the Byzantine Church of St. John in Pergamon was actually built inside the ruins of a huge Roman structure called the Serapis Temple (or Red Basilica, due to its red brick) at the base of the acropolis. Part of that Roman temple was later also converted into a mosque, showing Pergamon’s palimpsest of sacred spaces – a pagan Egyptian deity’s temple (Serapis) turned into a Christian church (one of the Seven Churches of Asia from the Book of Revelation, no less) and part of it into an Islamic mosque. The “Red Basilica” still stands with its massive red-brick walls and rotund towers; it’s a striking sight as you approach the acropolis from town.

In summary, Pergamon is the story of a city that “incorporates Hellenistic, Roman, Byzantine and Ottoman structures, reflecting Paganism, Christianity, Judaism and Islam” all in one landscape. UNESCO’s citation praised this continuity and the way the city’s form reflects changes over time, yet retains a unique identity as a place of exceptional achievements (be it city planning, library science, medical advances, or religious significance).

Visitor Information & Tips: Plan a full day in Bergama (Pergamon). Many visitors come on tours from Izmir (about 100 km away) or as a stop between Troy and Ephesus. The new cable car saves your legs on the acropolis ascent. Wear good shoes anyway; the slopes are steep and can be slippery with gravel. On the acropolis, be cautious near edges – it’s a sheer drop near the theater. The site museum in Bergama (Bergama Museum) is small but has some local finds (it’s often missed, but if open, can be seen briefly to add context). If time permits, catch sunset from the acropolis or at least from a vantage point near the Red Basilica, as the evening light on the ruins is magical.

Pergamon is known for a local delicacy: çöp şiş (tiny skewers of grilled meat, usually lamb), reflecting the region’s culinary ties. And yes, you can buy parchment as a souvenir – some craft shops in town demonstrate traditional parchment-making, a nod to the city’s scholarly legacy.

One more tip: If you are a serious ancient history buff, don’t skip the Asklepion. It’s a short taxi ride or drive from the acropolis (too far to comfortably walk). The Asklepion’s entrance is via a Roman gate along an ancient colonnaded street that still has original pavement – walking there feels like you’re a pilgrim approaching the sanctuary 1,800 years ago. Speak softly in the treatment tunnel and you’ll notice an echo; guides often demonstrate the acoustics that ancient priests exploited to soothe patients (or perhaps pretend the gods were whispering to them). It’s an evocative experience.

For photographers, Pergamon offers everything from wide-angle vistas (try capturing the theater and valley below in one shot) to close-ups (carvings of Medusa or well-preserved column capitals near Trajan’s temple). And for novel perspective: look for the old Ottoman Selçuk Minaret perched on a part of the acropolis – seeing a mosque’s minaret amid Greek columns is a visual summary of Pergamon’s layering.

Tucked away in the inland hills of southwest Turkey, the ancient city of Aphrodisias is a gem that rewards those who venture off the beaten path. Added to the World Heritage list in 2017, Aphrodisias was famed in antiquity as the city of Aphrodite (the Greek goddess of love, identified with the Roman Venus) and for its virtuoso school of marble sculpture. Unlike coastal Ephesus or Pergamon, Aphrodisias thrived slightly later, especially in the Roman Imperial period (1st century BCE through 3rd century CE), and it continued into the Byzantine era before gradually declining. Its relative isolation and the abandonment of the site helped preserve a wealth of art and architecture, much of which was only uncovered in the last few decades.

Visiting Aphrodisias is often described as a tranquil, almost spiritual experience, in part because it is far less crowded than Ephesus. The approach leads you through an olive grove and suddenly you come upon the awe-inspiring Tetrapylon – a monumental gateway of four groups of four Corinthian columns, rich with ornate decoration. This Tetrapylon once marked the entrance to the Sanctuary of Aphrodite and seems almost miraculously intact (in fact it was re-erected by archaeologists). Many visitors are struck by its elegance: floral and shell motifs crown the columns, and one can imagine processions passing under it as pilgrims arrived to worship Aphrodite.

The heart of Aphrodisias is the Temple of Aphrodite. In its heyday, this temple housed the cult image of the goddess and attracted pilgrims from across the region. After Christianity spread, the temple was eventually converted into a basilica (the columns were rearranged and nave added), but you can still see a number of standing columns and get a sense of its original peristyle plan. Aphrodite’s cult here had unique local aspects – she was worshiped as Aphrodite Polyastes (Aphrodite “the supporter of the city”) and was syncretized with an ancient mother goddess. The city’s name itself literally means “City of Aphrodite.”

One of Aphrodisias’s most remarkable structures is its Stadium. This is one of the best-preserved ancient stadia in the world. It is enormous – about 270 meters long with 30 tiers of seating, capacity over 30,000. Standing at one end, the stadium arcs gracefully out of view. You can vividly imagine athletic games, perhaps even gladiatorial combats or public spectacles, taking place with a roaring crowd. What’s special is that you can climb and sit on the rows; you feel the ancient leisure and passion for sport almost palpably. Earthquakes damaged one end in late antiquity, but much is intact. In later Byzantine times, interestingly, the undamaged portions might have been repurposed for chariot races after the theatre was partly out of use.

Speaking of which, Aphrodisias also has a fine Theatre, cut into the hillside with a beautiful stage building (scaenae frons) whose decorative reliefs survive partially. Nearby, the Agora (public square) has remnants of porticoes and a “Bishop’s Palace” from later times. The Hadrianic Baths and a Bouleuterion/Odeon (council house that also served as a concert hall) are other highlights, giving a sense of the daily civic life and leisure of the inhabitants.

However, what truly sets Aphrodisias apart is its School of Sculpture. Thanks to a nearby marble quarry (the marble of Aphrodisias was bluish-white and of excellent quality) and a community of highly skilled sculptors, Aphrodisias became one of the most important sculpture production centers in the Roman world. Statues and reliefs from here were exported across the empire. Many of the sculptors even signed their works; their styles are recognizable. Archaeologists have found the Sculpture Workshop with unfinished pieces, tools, and practice slabs. The finds from Aphrodisias – now largely displayed in the on-site Aphrodisias Museum – are breathtaking: lifelike portrait busts of philosophers and emperors, mythological groups carved in high relief (such as the head of Polyphemus the Cyclops, or a stunning statue of Aphrodite herself from the temple). There are also the relief panels from the Sebasteion, a special temple complex dedicated to the Julio-Claudian emperors and Aphrodite. These panels depict Roman emperors and gods in a propagandistic yet artistic fashion (e.g., Claudius conquering Britannia, Nero with Armenia). The Sebasteion’s pieces are considered masterpieces of imperial art and provide insight into how a provincial city flattered Rome’s rulers through imagery.

The UNESCO designation for Aphrodisias underscores its “exceptionally well-preserved condition” and the outstanding value of its marble art which provides “a vivid picture of the interaction of Greek and Roman art”. Indeed, strolling through the museum, one might feel as if in a mini-Louvre or Vatican statuary gallery, but all excavated from one city. The museum also houses a unique set of life-size statues of boxers and wrestlers, with bodies so realistically rendered you can see their tensed muscles and exhaustion. These were found neatly buried, possibly hidden for protection in antiquity.

Visitor Information & Tips: Aphrodisias is located near the village of Geyre, in Aydın Province, about a 1.5-hour drive from Pamukkale/Hierapolis or 2.5 hours from Kuşadası/Ephesus area. Its relative remoteness means fewer tourists – you might share the site with only a handful of others at times, which is wonderful for photography and atmosphere. Spring and autumn are ideal; in summer it can be very hot (like most inland Anatolia).

Allow at least 3 hours to do justice to the site and museum. The site is somewhat spread out; the walk from the Tetrapylon through the Temple area and stadium loop and back could easily be a couple of kilometers. The museum has specific opening hours; plan to see it during open times because it will significantly enhance your appreciation (don’t skip it!). On Mondays the museum may be closed, so check ahead.

Facilities include a small café and gift shop near the entrance. The approach to the site from the parking goes through an avenue lined with fig and pomegranate trees (in late summer/early autumn, local women sell fresh figs and peaches – highly recommended to try as the region’s fruit is delicious). Hiring a local guide or going with a knowledgeable person is beneficial because Aphrodisias doesn’t have as many on-site info panels as some tourist-heavy sites (though it’s improving). If unguided, consider reading up in a guidebook or downloading info about the highlights to fully appreciate things like the Sebasteion reliefs or the significance of the inscriptions (Aphrodisias yielded a treasure trove of inscribed texts that speak to city life, one famous example being an inscription about a local slave’s manumission).

One can also sense living history: the village of Geyre actually sat atop part of Aphrodisias until the 20th century when it was relocated to allow excavations (some villagers still recall being children when foreigners came to dig up statues in their backyards). Thus, unlike Ephesus which was uninhabited for centuries, Aphrodisias had continuous albeit rural habitation which helped preserve it but also means part of it is still unexplored under fields.

Don’t leave without standing at the north end of the Stadium and clapping – the echo that comes back is phenomenal, demonstrating ancient acoustic savvy. And if you’re prone to daydreaming, Aphrodisias is the place: sit on a marble bench in the shade of an olive tree between the Tetrapylon and Temple, and conjure scenes of toga-clad worshippers, sculptors chiseling away in workshops, and athletes prepping for a contest. The sense of connection to antiquity is very strong here, likely because of the artistry that seems to imbue the very soil.