Hagia Sophia History. From Byzantine Glory to Modern Day

Today I want to introduce you to one of the most monumental buildings of Ancient Europe – the Hagia Sophia in Istanbul. I had always thought of stepping inside and seeing it with my own eyes. When I finally managed to do so last year, I can’t say I was either surprised or disappointed, as I was already well-acquainted with the history of this temple. Yet, with the splendour of other sacred buildings – Catholic, Orthodox, Anglican – that I have had the chance to admire in recent years, and with the Blue Mosque standing right next to the Hagia Sophia, I couldn’t help but feel a certain disappointment at the way its interior looks today.

Let us then look into its history. Let us try to answer the question of what made this temple – the most illustrious and most exquisitely decorated Christian building of its time – although still standing in an almost intact mass, no longer inspire awe with its interior décor as it once did. Let us trace the events that, over the centuries, have shaped its present appearance.

The Hagia Sophia, meaning Holy Wisdom, is actually the third temple to stand on this site. The first Basilica of Holy Wisdom in Constantinople was built by Emperor Constantius II in AD 360 – a church of the Eastern (Byzantine) rite, still within the single, undivided universal Church, though with liturgy in Greek and traditions distinct from those in the West. It was destroyed by fire in AD 404 during riots sparked by the exile of Patriarch John Chrysostom. The second church, larger and more magnificent, was built by Emperor Theodosius II in AD 415 – also in the Eastern rite, still formally united with the Western Church, yet with growing liturgical and theological differences. This one too was destroyed – in AD 532, during the Nika Revolt that shook the city. The third and most famous Hagia Sophia, whose essential form has survived to this day, was built by Emperor Justinian I. Completed in AD 537, it served as the cathedral of the Eastern rite and the principal church of the Patriarchate of Constantinople. It was a true masterpiece of Late Antique architecture – designed by Anthemius of Tralles and Isidore of Miletus, with a monumental dome, gilded mosaics, and marble cladding.

Very little written evidence has survived describing what the Hagia Sophia once looked like. Our modern vision is based on fragments of sources from the 6th to the 12th century, chiefly the works of Procopius of Caesarea, Paulus Silentiarius, and Bishop Anthony of Novgorod. Upon crossing the threshold of the Hagia Sophia, one would enter a space that seemed not of this world. The dome appeared to float in the air, suspended by an invisible chain of light, whose glow reflected off thousands of golden tesserae. Rays streaming through rows of windows spilled into the interior, mingling with the glow of lamps and candles. The walls and floors were clad in marbles of green, purple, white, and black, brought from the farthest provinces of the empire – from Thessaly, Egypt, and Phrygia. The great altar gleamed with gold, silver, and precious stones. Above it rose a ciborium, supported by columns of green stone adorned with gilded capitals. In the apse, high above the altar, shone a mosaic of the Mother of God with the Child, and below it rows of angels and saints. Along the naves and galleries stretched richly decorated balustrades, and everywhere the eye turned, the golden backgrounds of mosaics shimmered.

Though it has withstood the centuries, the Hagia Sophia suffered serious damage from earthquakes on several occasions – notably in AD 558, 989, and 1346, when parts of its dome collapsed and had to be rebuilt. Yet the greatest blow came not from nature but from human hands – during the Fourth Crusade in AD 1204, and, importantly, at the hands of Christians who were meant to defend the faith, yet ended up plundering the most illustrious Christian building of the age. It should be remembered, however, that since the Great Schism of AD 1054, the temple had represented the Eastern rite, and was thus an Orthodox cathedral, not a Latin (Western Church) one.

At that time, the Angelos dynasty ruled Byzantium. In AD 1195, Emperor Isaac II Angelos was deposed and blinded by his own brother, Alexios III, who seized the throne. Isaac’s son, Alexios IV, fled to the West in search of help. In AD 1202, he reached the Crusaders, who were preparing an expedition to Egypt but lacked the funds to pay for the Venetian fleet. Alexios IV offered them an extraordinary bargain: if they helped him reclaim the throne, he would pay them a vast sum, provide supplies, and promised to unite the Eastern Church with Rome.

The Crusaders, financially bound by their contract with the Venetians, agreed. In AD 1203, they captured Constantinople and placed Isaac II and Alexios IV on the throne. The promised funds, however, proved impossible to raise without plunder and drastic taxation. In January AD 1204, a revolt broke out in the city. Alexios IV was overthrown and killed, and power passed to Alexios V Mourtzouphlos. In April AD 1204, the Crusaders attacked and seized the city once again – this time for themselves.

During the three-day sack, palaces, monasteries, and churches – including the Hagia Sophia – were plundered. Altars of marble and gold were dismantled, mosaics were smashed or prised apart for their golden tiles, and the church’s interior became a scene of profanation – chroniclers speak of horses being led inside and of feasts held in the sanctuary.

Among the priceless relics and treasures looted in AD 1204 was the Crown of Thorns, formerly kept in the imperial chapel of St Mary of the Pharos within the Great Palace. It fell into the hands of the Venetians, probably as part of the Crusaders’ debt repayment to the Republic. It was later purchased by King Louis IX of France, who brought it to Paris. To house it, the Sainte-Chapelle – a masterpiece of Rayonnant Gothic – was built between AD 1242 and 1248. The relic later passed to Notre-Dame Cathedral.

After the capture of Constantinople in AD 1204, the participants of the Fourth Crusade established the Latin Empire on its ruins, which lasted until AD 1261. Count Baldwin IX of Flanders was placed on the imperial throne and crowned in the Hagia Sophia. The church, until then the cathedral of the Patriarchate of Constantinople in the Eastern rite, was turned into a Latin cathedral, with the liturgy conducted in Latin according to the Western rite. The Orthodox patriarch was exiled and replaced by a Latin patriarch. The Latin Empire controlled only part of the former Byzantine territory, its power relying largely on Venetian support. Economically and militarily, the state was weak.

In AD 1261, the Byzantines of the Palaiologos dynasty recaptured the city, restoring the Eastern rite. Yet the empire they recovered was far smaller than in its glory days, holding mainly Constantinople, the Sea of Marmara region, parts of Thrace, and fragments of Greece. Economically devastated after the Latin occupation, its trade largely taken over by Venetians and Genoese, the empire was too poor and too weak to fully restore the Hagia Sophia. The church was repaired only provisionally, and the lost decorations and relics were never returned.

Politically, Byzantium was forced to navigate between stronger neighbours – the Latin states, Serbia, Bulgaria, and later the rising power of the Ottoman Empire. A weak economy made it impossible to maintain a large army, so the state relied mainly on alliances and mercenary troops for its defence. From the late 14th century, the Ottomans gradually seized Byzantine lands, so that by 1450 the empire had been reduced to Constantinople and a handful of nearby settlements. The city was by then sparsely populated – around 50,000-60,000 inhabitants, compared with several hundred thousand at its height in the 11th century. The Ottomans, under Sultan Mehmed II, prepared a major campaign, employing modern siege artillery, including massive bombards. The siege lasted from April until 29 May 1453, when the Turks breached the walls and entered the city.

After the capture of Constantinople in May 1453, Sultan Mehmed II almost immediately converted the Hagia Sophia into a mosque. The process began within the very first days after the city’s fall. First, the interior was cleansed, all remnants of Christian liturgy were removed, and elements essential for Muslim prayer were introduced. In the apse, a mihrab – a niche indicating the direction of Mecca – was installed, a minbar (pulpit for sermons) was added, and carpets were spread across the floor. The altar, reliquaries, and other liturgical furnishings were taken away. As a result, within just a few days of Constantinople’s capture, the Hagia Sophia was already functioning as a mosque, although the full adaptation of its architecture and aesthetics to the Islamic tradition would continue for decades.

In the first stage, the Christian mosaics and decorations were covered with cloths or a thin layer of plaster wherever required for Islamic prayer. In the 15th century, the Ottomans did not typically engage in the systematic destruction of such imagery – on the contrary, in the case of a monument as valuable and monumental as the Hagia Sophia, they favoured reversible methods, avoiding permanent interference with the decorative structure. The thin plaster was applied without deep bonding to the mosaics, making later uncovering easier. As a result, a significant portion of the mosaics survived the first decades of Ottoman rule in relatively good condition. Their complete covering or partial removal occurred only in the following centuries, usually due to renovations, moisture damage, or alterations. However, elements of gold and silver with intrinsic material value were melted down and reused for other purposes.

After the conversion of the Hagia Sophia into a mosque in 1453, work began on adding minarets, which would become a defining feature of its silhouette. The first minaret was built on the orders of Mehmed II soon after the city’s conquest, probably in brick or stone, positioned at one of the building’s corners. Its form was relatively slender and simple, in keeping with the Ottoman architecture of the time. In the 16th century, under Sultan Selim II and his successor Murad III, the renowned architect Mimar Sinan rebuilt the earlier minaret and added others, constructing them from white stone and giving them a more massive, harmonious appearance. Ultimately, the Hagia Sophia acquired four minarets – each slightly different, as they were built in different periods: the two south-western ones are larger and more solid, while the north-eastern and south-eastern are more slender. The minarets not only served a religious function (the call to prayer) but also became a visual symbol of the Islamisation of the former cathedral.

After the First World War, the Ottoman Empire, allied with Germany, was defeated. It was divided among the victorious powers, and Istanbul was occupied by British, French, and Italian forces. In Anatolia, the Turkish War of Independence (1919–1923) broke out under the leadership of Mustafa Kemal Pasha, later known as Atatürk. It ended with the Treaty of Lausanne (1923), which recognised the sovereign Turkish state. In the same year, the sultanate was abolished, and the capital was moved from Constantinople (Istanbul) to Ankara.

The Hagia Sophia continued to function as a mosque until 1931, when it was closed to worshippers by decision of the Republican authorities. In 1935, as part of Atatürk’s secular reforms, it was converted into a museum. This opened the way for the first systematic conservation work, including the uncovering of mosaics that had been hidden since the Ottoman era.

In 2020, the Hagia Sophia was once again converted into a mosque, resulting in changes to both access and interior display. The ground floor – the main prayer space – is now reserved for Muslim worshippers (primarily men), while tourists may access only the upper galleries. The mosaics on the ground floor uncovered during conservation work have not been destroyed or plastered over, but are covered with cloths and curtains. Some of these coverings remain in place even outside prayer times. By contrast, the mosaics uncovered in the upper galleries – being outside the prayer area – remain accessible and visible to visitors.

Although I was equipped with a fairly good camera, I was nevertheless unable to fully capture what was happening on the lower level of the church. The angles from which photographs can be taken from the galleries did not allow for a precise view of that part, so from my own observation I cannot confirm exactly what the situation is in the lower section of the interior. My camera has good zoom, but in darker spaces exposure time has its limits if you don’t have a tripod.

As for the upper section in the galleries, as far as I can recall, only two or three uncovered mosaics were visible. One was in relatively good condition, the other was damaged by about half – just as shown in the photographs attached. There is also a mosaic in the entrance area, outside the prayer zone, which currently has no unrestricted access, so it is likely viewed only by tourists – and it is this very mosaic that depicts the scene in which Emperor Constantine the Great offers the city, and Emperor Justinian I offers the Hagia Sophia, to the Blessed Virgin Mary and Christ. A photograph of this mosaic is also included in this material.

In the upper section, almost everywhere one can see plastered surfaces that have not been renovated for years. Much of this plaster is cracked, with peeling paint, as is clearly visible in the photographs. Conservation work, however, can be seen being carried out on the exterior of the church.

The Hagia Sophia is a living testament to centuries of faith, power, and change. Its walls still echo with the grandeur of its past, even as time and transformation have altered its form. Whatever its role, it remains one of the world’s most remarkable monuments.

Hagia Sophia History. From Byzantine Glory to Modern Day

The Blue Mosque. A Living Monument of Faith and Empire

This is the first time I’m featuring a mosque on the blog – and, surprisingly, it was also my first time ever stepping inside one. Although I spent part of my childhood in a Muslim country, I somehow never crossed that threshold until now.

The mosque we visited is one of Istanbul’s most recognisable landmarks: the Blue Mosque, officially known as the Sultan Ahmed Mosque. Unlike many religious sites, it’s open to visitors, which means you can not only admire its famous silhouette from the outside, but also experience its richly decorated interior – and, if you happen to be there at the right time, quietly observe the rhythm of daily prayer as it unfolds around you.

Istanbul became a Muslim city in 1453, when it was conquered by the Ottoman Empire under Sultan Mehmed II. At the time, it was still known as Constantinople and served as the capital of the Byzantine Empire, which had been predominantly Christian for over a thousand years.

By the mid-15th century, however, the Byzantine Empire was a shadow of its former self. It had lost nearly all its territories and was reduced to little more than the city of Constantinople and a few scattered holdings. The city was poorly defended, under-resourced, and politically isolated, with little support from Western Europe despite calls for aid.

The Ottomans, by contrast, were rising in power and territory. Under Mehmed II, they launched a carefully planned siege of Constantinople in the spring of 1453, using advanced military tactics and artillery, including one of the largest cannons ever built at the time. After 53 days, the city walls were breached, and the Ottomans entered the city on 29 May 1453.

Following the conquest, the Ottomans began transforming the city into an Islamic imperial centre. Many existing churches were gradually converted into mosques, administrative buildings, or charitable institutions. The most prominent of these was the Hagia Sophia, the former imperial church of the Byzantines, which was converted into a mosque within just five days of the city’s fall. (I’ll talk more about that in a separate post.)

The Ottomans also initiated new construction projects to reflect the city’s new role. They built imperial mosques, religious schools (madrasas), public kitchens (imarets), and hammams, gradually reshaping the city into the political, religious, and cultural heart of the Ottoman Empire. Even so, the legacy of its Byzantine past remained visible in the urban fabric of what would eventually be called Istanbul.

The Blue Mosque was commissioned by Sultan Ahmed I and built between 1609 and 1616. At the time, Hagia Sophia was still regarded as the most impressive and historically significant building in Istanbul – even though it had been converted into a mosque decades earlier.

By placing the new mosque directly across from Hagia Sophia, on the grounds of the former Byzantine hippodrome, Sultan Ahmed I clearly intended it as a counterpart – a structure that would rival the Byzantine masterpiece in scale and splendour, while affirming the strength and legitimacy of the Ottoman Empire. The Blue Mosque’s monumental proportions, central location, and elaborate decoration were all designed to symbolise both imperial authority and religious devotion. But the project also had a deeper political meaning. In the early 17th century, the Ottomans were no longer expanding as they once had. During Ahmed I’s reign, the empire was entangled in a long and expensive war with Persia (1603–1618), which brought few meaningful victories.

Against this backdrop, the construction of such a grand and visible monument was more than just an act of piety or prestige. It was a symbolic response to a period of military stagnation – a statement of resilience, intended to restore confidence, prestige, and imperial identity both at home and abroad. However, unlike earlier grand mosques of the Ottoman Empire, which were typically financed through war booty and victory endowments, the Blue Mosque was paid for using state treasury funds. This was unusual and controversial, especially since Sultan Ahmed I had not achieved significant military victories. Critics – both religious scholars and members of the elite – argued that using public money for a monumental project during a time of military stagnation and economic pressure was inappropriate and self-serving.

Sultan Ahmed I reigned from 1603 to 1617, ascending the throne at just 14 years old following the death of his father, Mehmed III, making him one of the youngest sultans in Ottoman history. His reign marked a turning point in Ottoman politics and royal tradition in several important ways.

Unlike many of his predecessors, Ahmed I broke the longstanding practice of fratricide – a brutal custom where newly crowned sultans would have their brothers executed to eliminate rival claims to the throne. Instead, he allowed his younger brother Mustafa to live. This decision would later lead to a new model of succession based on seniority within the dynasty, rather than direct descent from the previous ruler.

Politically, Ahmed’s reign was characterised by instability and military challenges, especially the prolonged and costly war with the Safavid Empire of Persia. These conflicts strained the empire’s finances and failed to produce decisive victories. At home, the empire faced economic difficulties and growing unrest among both the Janissaries and provincial governors. The Janissaries, who were originally elite soldiers, had by this time become a powerful political force. Their support or opposition could determine whether a sultan remained on the throne, and they increasingly influenced matters of succession and internal politics. Despite ascending the throne as a teenager and ruling during a challenging period, Ahmed I managed to maintain a degree of internal stability. His reign did not witness any major rebellions or coups, which, given the turbulent nature of 17th-century Ottoman politics, was a notable achievement.

He died relatively young, at the age of 27, possibly from typhus or another illness. His legacy was mixed: he left behind no great military conquests, but he did commission the Bluse Mosque – one of the most enduring architectural symbols of imperial power and religious devotion

The architect of the mosque was Sedefkâr Mehmed Ağa, a student of the renowned Mimar Sinan, the chief imperial architect of the Ottoman Empire during its architectural golden age. Ağa inherited Sinan’s approach and technical mastery. He began his career as a craftsman specialising in ornamental decoration and gradually rose through the ranks to become the empire’s chief architect. In the design of the Blue Mosque, he combined elements of traditional Islamic architecture with Byzantine Christian influences. As a result, the mosque reflects a blend of Ottoman and Byzantine styles, characteristic of the classical period of Ottoman architecture.

The most prominent Byzantine feature is the large central dome, supported by a system of pendentives and massive piers – a structural solution first perfected in Hagia Sophia. In the Blue Mosque, the central dome measures 23.5 metres in diameter and rises 43 metres above the floor. Like in Hagia Sophia, it is surrounded by a cascading system of semi-domes, which help distribute the weight outward and downward. This creates a sense of balance and monumental spaciousness characteristic of major Byzantine churches. The dome is supported by four massive piers, often referred to as elephant feet, due to their size and solidity. Another element influenced by Byzantine design is the emphasis on a vast, open interior space beneath the dome, which enhances both the visual and spiritual impact of the architecture.

At the same time, many features of the Blue Mosque are distinctly Ottoman and Islamic. The six slender minarets are unprecedented in Byzantine architecture and were considered unusual even by Ottoman standards at the time. Most mosques had only one, two, or occasionally four. According to historical accounts, this feature caused some controversy, as the mosque in Mecca also had six minarets. Matching its number of minarets could be interpreted as arrogance or even religious insensitivity. To resolve the issue, it is said that the Ottomans funded the construction of a seventh minaret for the mosque in Mecca.

One of the most striking elements of the Blue Mosque’s interior is its decoration with over 20,000 hand-painted İznik tiles, mostly in varying shades of blue – hence the building’s popular name. These ceramic tiles were produced in the town of İznik (formerly Nicaea) in western Anatolia, which was the main centre of Ottoman ceramic production from the 15th to the 17th century. The tiles feature traditional Ottoman motifs, including stylised tulips, carnations, and abstract floral patterns, rendered in vibrant blue, turquoise, red, and green.

The mosque is also illuminated by more than 200 stained glass windows, which, together with numerous chandeliers, create a soft, diffused light throughout the interior. One of the most notable lighting features is the large circular chandelier suspended over the main prayer area. It hangs low on long, delicate chains and holds dozens of small glass lamps. This type of low-hanging, circular chandelier has its roots in early Islamic (particularly Arab) architectural traditions. The Ottomans adopted the form and enhanced it, often incorporating Venetian glass for added brilliance. These chandeliers not only served a practical purpose but also contributed to the mosque’s intimate, contemplative atmosphere, encouraging focus and spiritual reflection.

Also the richly decorated mihrab and minbar, follow Ottoman artistic traditions. The mihrab is a decorative niche set into the wall of the mosque that indicates the direction of Mecca (qibla), which Muslims face during prayer. It is always positioned in the centre of the qibla wall and serves as a spiritual focal point within the prayer hall. In the Blue Mosque, the mihrab is made of finely carved white marble and framed by blue İznik tiles, making it easily visible from all areas of the space. Next to the mihrab stands the minbar, a raised pulpit from which the imam delivers the Friday sermon (khutbah) and other religious addresses. It typically has a staircase with a small platform at the top and is often elaborately decorated. In the Blue Mosque, the minbar is constructed from marble and features intricate detailing.

Although still an active place of worship, the Blue Mosque is open to visitors outside of prayer times – that is, during periods when large, organised prayers are not taking place. During visiting hours, the interior is divided into two sections: a smaller area for visitors, which covers about one-third of the space, and a larger section reserved for Muslims in prayer. The two areas are separated by a low wooden balustrade. The entire floor of the mosque is covered with carpet, so visitors must enter barefoot. There are plenty of shelves along the walls where you can leave your shoes. Women are expected to cover their heads and hair; a hood is usually sufficient, but scarves are also provided at the entrance if needed.

While inside, we were able to observe Muslim men praying individually in the main prayer area. There is a separate space for women, which is not accessible to non-Muslim visitors. Private prayer, unlike the communal Friday prayer or the five daily group prayers, can take place at any time of day. Each worshipper prays at their own pace, always facing the mihrab, the prayer niche indicating the direction of Mecca. Before entering the prayer area, worshippers perform a brief purification ritual called wudu, which involves washing the hands, face, and feet. In fact, just outside the mosque, along one of its exterior walls, we noticed rows of taps with small stone seats, where people can sit and carry out this ritual cleansing. Once on the carpeted floor, worshippers go through a sequence of movements and recitations – beginning in a standing position, then bowing, kneeling, and finally touching the forehead to the ground in a posture of submission.

At certain times of the day – starting around dawn, usually close to 6 a.m. – you can hear the call to prayer, or adhan, broadcast from the mosque’s minarets. Traditionally recited by a muezzin, it is now most often played through loudspeakers. The adhan is an auditory signal for one of the five daily prayers and can be heard throughout the city. Interestingly, while standing outside, we noticed that the sound of the call to prayer didn’t always come from the same direction. Sometimes it seemed to be coming from the Blue Mosque; at other times, it echoed from Hagia Sophia, which stands just across the square. The two mosques often broadcast the adhan slightly offset from each other, creating a kind of call-and-response effect. The overlapping sound carries across the plaza, producing a layered, almost musical atmosphere that defines this part of Istanbul.

Visiting the Blue Mosque was not only a chance to admire one of Istanbul’s most iconic buildings, but also an opportunity to better understand how architecture, religion, and history intersect in this city. It’s a place that continues to function as both a house of worship and a symbol of imperial legacy – where past and present quietly coexist under one vast, tiled dome.

The Blue Mosque. A Living Monument of Faith and Empire

Busy Travelling to Istanbul

Istanbul had been on my list for a very long time. So, in late September and early October, I found myself in… Bulgaria’s Golden Sands. What interested me most was nearby Nesebar and a short two-day trip to Istanbul. Technically, I could have organised everything independently and flown directly to Turkey, but in practice that is not always the best solution. In places like this, group entry systems often work far more smoothly, queues can be shorter, and the overall logistics become much easier to manage. At the time, I was also unsure how well the various skip-the-line systems in Istanbul actually functioned, so I decided not to experiment this time. Instead, I accepted an invitation from a friend who runs a small boutique travel company and organises trips with a completely different atmosphere from the typical large-scale tour operators.

We flew to Bulgaria from Gdańsk on the final seasonal flight to Burgas. The travel day itself turned out to be rather exhausting. Polish airports are generally quite decent in terms of service quality, but the organisation and management of passenger flow can still be surprisingly chaotic at times. After the standard check-in and security procedures, we ended up stuck for quite a while inside the jet bridge leading to the aircraft, unable either to turn back or move forward. Later, we spent another long stretch of time sitting inside a parked plane before departure. The flight itself lasted around two and a half hours. Baggage collection in Burgas was smooth, and the transfer to Golden Sands took roughly half an hour. Even so, the entire day disappeared into the mechanics of travel, despite the fact that I had already arrived in Gdańsk the day before and spent the night in a hotel directly beside the airport. Around two thousand kilometres, an almost direct flight, and what looked on paper like a very straightforward route — yet we only reached the hotel later in the evening.

The following day, it rained. The hotel pool looked inviting enough, but the chilly morning air was more than enough to discourage any thoughts of swimming. In the afternoon, we drove to nearby Nesebar. At first, there was only a light drizzle, but later the weather improved noticeably. Conditions for walking through the historic old town turned out to be surprisingly pleasant. Thanks to our Bulgarian guide, I was also able to organise and expand what had previously been only a fairly basic understanding of Bulgarian history. As usual, I took an absurd number of photographs — the kind I already knew I would eventually return to in separate posts of their own.

The next day brought even worse weather. The sea had turned grey, the sky felt heavy, and the hotel pool remained more of a decorative feature than a realistic place to relax. Looking back, though, it was probably the perfect moment to recover a little before leaving for Istanbul. The hotel itself functioned according to its own rhythm. Most guests were British, there were plenty of Poles as well, along with Scandinavians, Bulgarians, and the occasional Russian tourist. In the evenings, the atmosphere became extremely loud. The British partied enthusiastically, alcohol flowed constantly, yet after eleven everything quietened down in accordance with the hotel rules. The entire place felt like a temporary microcosm of people gathered from different parts of Europe, existing together for just a few days beside the Black Sea. The one thing that proved genuinely disappointing was the food. The kitchen staff and waiters were from India and seemed to have very little familiarity with Bulgarian cuisine. The meals were perfectly edible, but they lacked any real depth of flavour or distinctive character.

We left for Istanbul at five in the morning. The hour was dreadful, but it allowed us to avoid at least part of the traffic on the approach to the city. According to Google Maps, the journey was supposed to take around five hours. In reality, the coach ride lasted closer to seven. Yet somewhere along that road it became clear that choosing the overland route had been one of the best decisions of the entire trip.

The Bulgarian–Turkish border left me with a rather peculiar impression. For one of the gateways into the European Union, the infrastructure felt surprisingly archaic and not especially welcoming. We had to leave the coach twice – once when exiting Bulgaria and again when entering Turkey. Everything had already been digitised, yet the procedures still required physical passenger checks. For someone who still remembers travelling across Europe before Schengen – and even during the years when Poland was still part of the Eastern Bloc – it was not particularly shocking. Only later, after noticing the sheer number of police controls on both sides of the border, did I fully understand why this section is monitored so closely. The area around the crossing remains one of the main routes for illegal migration and smuggling into the European Union.

The journey to Istanbul itself turned out to be fascinating. The reason was simple: we had to cross the entire city by road. Had we flown directly into the airport, we would have seen only a fragment of it. Instead, the coach carried us through district after district stretching between the Black Sea, the Sea of Marmara, and the Bosphorus. Only then do you truly realise the sheer scale of Istanbul. The city seems almost endless. Buildings spill across hills, valleys, and coastlines, forming a vast urban organism where older neighbourhoods, modern apartment blocks, skyscrapers, and historic mosques exist side by side with barely any visible boundaries between them.

What caught my attention most were the long boulevards running alongside Kennedy Avenue. Parallel to the main road tracing the shores of the Sea of Marmara stretched a vast waterfront park filled with trees, lawns, and countless places to stop and rest. The entire area looked remarkably well maintained and carefully designed. There was a visible irrigation system, walking paths, parking areas, and plenty of space where people could simply sit beside the water. What was especially striking was how much more user-friendly it felt compared with many contemporary European cities, where riversides and seafronts are increasingly separated from everyday urban life and cut off from car access altogether. Here, people could simply drive down, park, and walk to the waterfront.

At the same time, the shoreline itself does not resemble a typical seaside resort. There are no broad urban beaches here. Much of the coast is rocky, steep, or heavily built up, and the city seems to exist beside the sea rather than directly on it. Yet the sea is what gives Istanbul room to breathe. In the densely built neighbourhoods especially, it must bring a sense of relief during the hottest days of summer.

As we approached the historic heart of the city, we arrived at a vast coach parking area beside the Sea of Marmara. There, we encountered a rather unusual procedure which, as it later turned out, is completely standard in Istanbul. Our Bulgarian coach ended its route at that exact point. From there, we were to continue with a Turkish coach, a local driver, and a Turkish guide. As we were later told, this is part of the city’s approach to managing tourist traffic. Foreign coaches very often do not continue deeper into the centre, particularly into the most congested parts of the metropolis.

Only while standing in that enormous parking area, surrounded by buses from countless different countries, did I begin to understand the sheer scale of tourism Istanbul handles every single day. The air already carried the dampness drifting in from the Sea of Marmara, and at the same time there was a growing sense that, despite the many hours spent travelling, the real encounter with the city was only just beginning. From that moment onward, the pace of the journey, the style of driving, and the atmosphere itself changed noticeably. Our Turkish driver moved through the increasingly dense traffic with remarkable ease. The chaos of Istanbul’s streets seemed completely natural to him.

After driving along the entire European side of the city, we crossed the Bosphorus Bridge into the Asian part of Istanbul, where we stopped briefly at a restaurant with a panoramic viewpoint. From the terrace, there was a sweeping view across European Istanbul, although a light haze hanging above the water made photography difficult. It was something I would notice many more times later on, and it gave the city a certain softness that is surprisingly difficult to capture in photographs. It was also the first moment when I truly realised that Istanbul is not a city built around a single skyline or one clear urban axis. It changes constantly – with every hill, every bend in the road, and every stretch of coastline.

Along the way, we made another stop in one of the commercial districts connected with Turkey’s clothing industry. The shop itself was very elegant, located in an exceptionally well-maintained part of the city, but what interested me more than the shopping was the surrounding area. Yet another park, more carefully designed public spaces, and more glimpses of the sea appearing between the buildings. In many places, Istanbul felt far greener than one might expect from photographs of the historic centre alone.

Later, we drove alongside the ancient walls of Constantinople. These monumental fortifications, dating from the fourth and fifth centuries, protected the city from invasions for hundreds of years and remain one of the most extraordinary elements of Istanbul’s landscape even today. What is especially striking is that small vegetable gardens cultivated by local residents still exist directly beside the walls. It is one of those rare places where history has never been completely separated from the everyday life of the city.

We reached Hagia Sophia in the late afternoon, just as the light over SultanahmetIstanbul’s historic district, located on the site of ancient Constantinople – was beginning to soften. And that was when something happened that later seemed almost unbelievable. There was practically no queue at the entrance. The following day, when we passed through the same square at around two in the afternoon, the line of people waiting stretched across a large part of the plaza and probably meant several hours of standing. Perhaps it had something to do with the approaching Friday, which holds particular religious significance in the Muslim world.

Hagia Sophia itself left me with deeply mixed emotions. On one hand, it is impossible not to feel the weight of the history carried by a place that for nearly fifteen centuries remained one of the defining symbols of Constantinople, later Istanbul, Byzantium, and the Ottoman Empire. On the other hand, the building’s current role as an active mosque completely changes the way it is experienced today. Visitors are now restricted to the upper gallery, while the lower level remains reserved for worshippers. In practice, this means that you observe the interior from a certain distance, almost like watching it from a theatrical balcony suspended above the immense space of the former basilica.

Attention was drawn to appropriate clothing. Women are expected to keep their hair covered, although in practice the rules are not nearly as strict as many European tourists tend to imagine. A simple scarf or shawl is perfectly sufficient, but equally it can just be the hood of a sweatshirt or jacket. At one point, my hood slipped back while I was taking photographs, and one of the staff members politely reminded me to cover my head again. There was nothing unpleasant or severe about it – more a calm, almost friendly reminder of the rules that applied inside the mosque.

We happened to arrive during a time of prayer, and that turned out to be one of the most interesting parts of the entire visit for me. As a child, I lived for some time in a Muslim country, but I had never before observed prayer inside a mosque from such close proximity. From the gallery above, it was possible to watch both the interior of the building and the ritual unfolding below among the worshippers. And perhaps it was precisely then that I truly understood that Hagia Sophia is no longer simply a monument or a museum, but first and foremost a living religious space into which tourists are merely being allowed entry.

The interior itself, however, left me with rather ambivalent feelings. The monumental scale of the building is undeniably impressive, yet at the same time many parts of it now feel austere, partially empty, and stripped of their former decorative richness. In some ways, this is connected to the traditions of Islam itself, which do not permit figurative religious imagery within the space of a mosque. Many of the earlier mosaics and representations were either covered or removed, and parts of the interior today feel far more ascetic than one might expect from one of the world’s most famous buildings. Paradoxically, though, it is precisely this combination of immense space, semi-darkness, and historical weight that creates Hagia Sophia’s extraordinary atmosphere. At the same time, it is difficult to know how much of the original Byzantine heritage was destroyed during the Fourth Crusade, and how much disappeared later following the conversion of the building into a mosque.

After leaving Hagia Sophia, we crossed the square towards the Blue Mosque. Despite the very short distance between them, the experience of the two buildings felt completely different. Hagia Sophia carries a sense of weight, layered history, and ambiguity, whereas the Blue Mosque immediately feels more harmonious, balanced, and ordered.

The same rules regarding appropriate clothing applied here as well. Women were expected to cover their hair – once again, a simple scarf, shawl, or even a hood was sufficient – although a dedicated station had also been prepared at the entrance where visitors could easily borrow head coverings if needed. Unlike Hagia Sophia, the entire floor here was covered with soft carpets, so shoes had to be removed before entering. Special shelves and storage areas had even been prepared specifically for tourists. After my experiences in Japan, however, I already had my own shoe bag with me.

Inside, the mosque had been divided by a wooden balustrade into two sections. The larger area remained reserved for worshippers, while the smaller section was open to visitors. There was no formal collective prayer taking place at that moment, but some people were praying individually, which gave the entire space a very calm atmosphere. Unlike Hagia Sophia, the interior here felt far more unified – less suspended between its role as a historic monument and its function as a living religious space.

Later, as we sat for a while in the square between the two buildings, I began to feel the unique character of Sultanahmet more and more strongly. This is not simply a collection of monuments. It is a space where nearly two thousand years of the city’s history overlap – from the Constantinople of the Byzantine emperors, through Ottoman Istanbul, to the modern metropolis filled with visitors from all over the world. And in the end, it was precisely this coexistence of different eras, religions, and layers of urban life that became the most fascinating part of the entire experience for me.

Evening was slowly beginning to fall, and the light over Sultanahmet was turning softer and more golden. We wandered for a while among the ancient obelisks standing on the grounds of the former Hippodrome. The Obelisk of Theodosius, the Serpent Column, and the Obelisk of Constantine seemed almost strangely lost amid the crowds of tourists and the modern city surrounding them. And yet, for centuries, this had been the political and ceremonial centre of Constantinople itself.

We were completely exhausted by then. Even so, the day was still not over. Another drive across Istanbul awaited us — this time towards a hotel located in the newer part of the European side of the city. The historic centre, with its monumental mosques, gradually gave way to more ordinary residential districts, dense apartment blocks, countless small shops, and seemingly endless traffic.

Our Turkish driver navigated these streets with remarkable ease. We moved into increasingly narrow roads, passing tightly parked cars, tiny local shops, and more restaurants still full of people sitting outside despite the late hour. For someone unaccustomed to this kind of traffic, the whole thing felt almost chaotic, yet at the same time everything functioned with a strangely fluid rhythm. What especially caught my attention were the textile and clothing shops. Many of the displays featured clothes completely different from what one normally sees in Western Europe. There were intense colours, richly patterned fabrics, embroidery, and far more decorative styles. Some streets felt almost like enormous open-air shopping galleries stretching across entire neighbourhoods.

The hotel itself was located in a district filled with steep streets and tightly packed buildings. When our driver began manoeuvring the large coach between rows of parked cars, some people watched with obvious disbelief. He, however, appeared completely calm. In a way, it was precisely then that I realised moving through Istanbul requires an entirely different sense of space, movement, and traffic than in most European cities.

In the evening, a traditional Turkish dinner was still waiting for us. After such an intense day of sightseeing, it was difficult to absorb much more information, but the atmosphere of the restaurant – and of the city itself – remained unforgettable. The air was filled with the smell of grilled meat, spices, and tea. Conversations blended with the sounds of the street drifting in from outside. There was a constant feeling that Istanbul never truly falls silent.

The night passed surprisingly quickly. The following morning, we went downstairs for breakfast, and it was then that I was reminded once again how much food can become part of the experience of travelling itself. The hotel buffet turned out to be surprisingly good for a place catering mainly to organised tour groups. I actually have quite a broad comparison here, since I also travel frequently for work and stay in many business hotels, where breakfasts are often far more elaborate than in tourist-oriented ones. Here, however, the selection was genuinely impressive and thoughtfully prepared. Alongside the standard European breakfast options, there was a huge variety of local Turkish dishes, side plates, and small snacks. There were different cheeses, olives, fresh vegetables, bread, hot dishes, but also an enormous range of sweets characteristic of Turkish cuisine. Not to mention the excellent coffee – though, after all, we were in Turkey, so anything less would have been disappointing.

What I remember most vividly, however, were the Turkish desserts and the many different varieties of halva. In everyday life, I barely eat sweets at all, so during hotel breakfasts I usually do not even pay much attention to that part of the buffet. Here, though, I simply could not resist. Everything looked incredibly fresh and inviting, and the halva itself had a completely different texture and flavour from the versions most commonly found in Europe. After the intensity of the previous day, that quieter breakfast became one of those small moments of rest that later stay in your memory just as clearly as the monuments and panoramas of the city itself.

After breakfast, we headed towards the Bosphorus. The plan was to take a one-hour cruise along the strait. Even the drive to the pier became another opportunity to observe the city slowly waking up. What especially caught my attention was the way pavements and shop floors were cleaned – people simply poured streams of water over them. Traffic on the streets was growing steadily heavier, and the pavements were gradually filling with people. Between the buildings, fragments of aquamarine water kept appearing, shimmering in the morning light. It was only then that I truly began to understand how deeply Istanbul exists in relationship with the Bosphorus and the Sea of Marmara. Here, water is not merely an addition to the city – it actively shapes the structure and rhythm of urban life itself.

The cruise along the Bosphorus lasted around an hour and a half and turned out to be one of the most memorable parts of the entire stay. Istanbul seen from the water looks completely different from Istanbul experienced at street level. From land, you see individual districts, buildings, and squares, but from the Bosphorus you begin to grasp the immense scale of the metropolis spreading across the hills on both sides of the strait. It is only from there that one truly understands why Istanbul remained one of the world’s most important cities for so many centuries.

The morning was fairly bright, yet a light haze hovered above the water, softening the outlines of the city from time to time. The domes of the mosques and the silhouettes of the minarets occasionally seemed almost to dissolve into the air. It was precisely this combination of moisture, pale light, and blurred distance that created the atmosphere I had previously struggled to capture in photographs from the city’s viewpoints.

The boat sailed relatively close to the shoreline, which made it possible to observe the waterfront architecture in remarkable detail. Particularly striking were the Ottoman palaces built almost directly at the water’s edge. Their façades reflected in the Bosphorus, while behind them further layers of the city rose across the hillsides. In many places, the buildings looked as though they were growing directly out of the steep slopes descending towards the strait. Between the historic structures appeared modern apartment blocks, villas hidden among greenery, and yet more mosques. The entire city seemed to unfold in layers – water, palaces, hills, towers, and dense urban neighbourhoods blending into one enormous landscape.

What fascinated me most was the Asian side of the city. We had already seen it from a distance the previous day, but only from the water could one notice the finer details – modern residences standing directly above the Bosphorus, small private piers, terraces, and gardens descending almost to the shoreline itself. Some of the houses even had small swimming pools hidden among trees and stone walls. At times, the entire scene felt more like a Mediterranean coastline than a vast metropolis of more than fifteen million inhabitants.

Interestingly, we did not see any commercial ships actually moving through the Bosphorus itself. Earlier that morning, however, we had noticed vessels waiting on the Sea of Marmara for permission to enter the strait. Our guide explained that commercial traffic through the Bosphorus operates on a one-way system. During certain hours, ships travel in one direction only, and later the flow reverses for traffic moving the other way. Only then did I fully realise how strategically and logistically complex this narrow stretch of water really is.

It was also fascinating to observe everyday life along the Bosphorus. In the parks and along the promenades, there were joggers, people out for walks, and others drinking morning tea in small cafés. In many places, residents were simply sitting beside the water. Unlike many European seaside cities, Istanbul does not feel entirely shaped around tourism. Even in the most representative waterfront districts, there is still a strong sense that this is, above all, a normally functioning city where everyday life continues alongside everything else.

There was a fairly typical tourist atmosphere on board. Some people were taking photographs almost constantly, while others simply sat on deck watching the views drift by. The only thing one had to be careful about were the prices at the onboard bar, which turned out to be surprisingly high even by European standards. A small glass of juice or a beer cost around ten euros, which felt rather peculiar when compared with local prices elsewhere in the city. It was one of those small reminders that tourist spaces in global cities often function according to completely different economic rules.

After leaving the boat, we walked to the nearby Egyptian Bazaar, also known as the Spice Bazaar. Even from a distance, the area felt far more chaotic than the orderly spaces along the Bosphorus. Traffic was becoming denser, the pavements increasingly crowded, and between the rows of shops and market stalls moved streams of people heading in every possible direction. The bazaar itself occupies a historic building with a distinctive L-shaped layout, but in reality it long ago expanded far beyond its original boundaries. Trade spilled out into the surrounding streets, creating an enormous network of shops, stalls, and tiny points of sale. In many places, it became almost impossible to distinguish the actual bazaar from the surrounding commercial fabric of the city itself.

We had a tasting session planned there, but I rather quickly drifted away from the group so I could photograph the surroundings properly and simply observe the atmosphere on my own. Visually, the place was undeniably impressive. The piles of spices were arranged almost like theatrical decorations – perfectly shaped mounds of reds, greens, yellows, and browns looked more like art installations than ordinary food products. The same was true of the Turkish sweets, dried fruits, and teas displayed in enormous quantities.

At the same time, I found myself feeling rather ambivalent about the bazaar itself. The historic atmosphere was certainly still present, but in many places the entire experience felt heavily oriented towards tourists. Even after negotiation, the prices did not turn out to be especially attractive, and the trading itself sometimes felt more staged than spontaneous. Perhaps subconsciously I had expected something rougher and more authentic – a place filled with dense spice aromas, noise, and the genuine chaos of an old marketplace.

Interestingly, what I missed there most were the smells. Paradoxically, despite the enormous quantities of spices, the aromas were nowhere near as intense as I had expected them to be. What stayed with me far more strongly was the visual side of the bazaar itself. At one point, I watched one of the vendors carefully shifting spices with a small scoop, smoothing their surface so the display would look absolutely perfect. That tiny gesture probably told me more about the modern Spice Bazaar than any guidebook could have done. To a large extent, it has become a place devoted to creating atmosphere and imagery – a space that is almost as much observed as it is genuinely experienced.

After about an hour, we returned once again to the area around Sultanahmet. Our next destination was Topkapi Palace, the former main residence of the Ottoman sultans. Even the approach to the palace complex itself was impressive. Near Hagia Sophia, the tourist crowds were even larger than on the previous day, and the queue to enter the mosque stretched across a significant part of the square. At some moments, it was genuinely difficult to believe that only a day earlier we had walked inside almost without waiting at all.

Topkapi Palace had been on my list of places to see for a very long time, so at first I listened with genuine interest as our guide spoke about the functioning of the Ottoman court, the lives of the sultans, and the organisation of the empire itself. The problem was that for quite a long time we remained standing in one of the courtyards before the actual entrance to the palace complex. The surroundings were certainly well maintained and full of greenery, but after two already very intense days, the fatigue was becoming increasingly noticeable. I could see the walls and gates leading into one of the world’s most famous palaces, I was listening to stories about harems, ceremony, and imperial administration, and yet at the same time I had the strange feeling that the real visit had still not properly begun. For a moment, I was even slightly disappointed and found myself wondering why we were standing there for so long instead of actually entering the palace.

Only later did it become clear that this apparent delay had a very practical reason. Our entry to the next site had been booked for a specific time slot. Topkapi itself was not included in the programme at all, because properly exploring the palace requires several hours on its own.

We walked down the street running alongside Hagia Sophia towards the Basilica Cistern. And it was here that the advantages of local organisation and having a Turkish guide became obvious once again. Queues had already begun forming outside the entrance, yet we were able to walk in almost immediately, exactly at our allocated time slot. At that moment, I realised just how difficult visiting Istanbul’s major landmarks independently can become during the busiest hours of the day. Basilica Cistern has long existed in popular culture mainly because of Inferno, the film adaptation of Dan Brown’s novel. Many people therefore imagine it as a mysterious underground chamber hidden directly beneath Hagia Sophia. In reality, however, the cistern is not located underneath the mosque at all, but beside it, just a few minutes’ walk from Sultanahmet Square. Even so, the film captured the atmosphere of the place remarkably well – damp, dark, and almost unreal. It feels less like part of a modern city and more like entering a submerged fragment of another world hidden beneath Istanbul.

As soon as we descended the stairs, the temperature and the sounds of the city changed completely. The noise of Istanbul almost vanished, replaced by the echo of footsteps, the quiet sound of water, and muffled conversations bouncing between the columns. The interior was far larger than I had expected. Hundreds of marble columns stretched through the semi-darkness seemingly without end, while the lights reflecting in the water created an almost theatrical atmosphere. At one moment the space appeared greenish, a moment later reddish or blue, depending on the shifting illumination. The entire cistern felt suspended somewhere between archaeology, cinema, and a dreamlike underground landscape.

Unlike many of Istanbul’s other monuments, this place was not impressive solely because of its history or the decorative qualities of the interior. What made the strongest impression was the awareness of its original function. Built in the sixth century during the reign of Emperor Justinian, the cistern formed part of the vast system supplying Constantinople with water. Despite lying between two seas, the city had limited access to fresh water for centuries and depended on an enormous network of aqueducts and underground reservoirs. And perhaps it was precisely that awareness which stimulated the imagination most strongly. I was standing underground inside a gigantic structure created fifteen hundred years ago for the sole purpose of sustaining the functioning of an imperial metropolis of millions.

In many ways, it felt like one of the most quintessentially Istanbul-like spaces of the entire trip – a place where infrastructure, history, and the sheer scale of the old city meet in an unusually tangible form. Despite the exhaustion, I took a huge number of photographs there, although it quickly became clear that the conditions were far more difficult than they had initially seemed. The semi-darkness and the reflections of light on the water forced me to switch cameras.

By the time we emerged from the Basilica Cistern, I had reached the point of complete exhaustion with the city. After two days of almost constant movement, photography, listening to stories, and travelling between different parts of Istanbul, I felt as though my mind had simply stopped absorbing any new information. I was physically exhausted as well. At a certain point, even the most extraordinary monuments begin to blur together if you do not allow yourself at least a brief moment to stop and breathe.

Fortunately, the guides gave us some free time. Earlier, I had already noticed several restaurants located on the rooftops of the surrounding buildings. In many parts of Istanbul, these rooftop terraces have now become an almost obligatory element of the tourist landscape. I separated from the group and took the lift to the top of one of the restaurants. I ordered a late lunch and Turkish tea. Naturally, everything came at a price. Places like this are not cheap, and what you are really paying for is the location and the view. Under normal circumstances, I probably would have considered the prices clearly inflated. After sitting there for a few minutes, however, it completely stopped mattering. For the first time during the entire stay, I was no longer moving through Istanbul – I was simply sitting above it and watching the city breathe.

For almost two hours, I sat at that table with Hagia Sophia literally only a few dozen metres away, the Blue Mosque visible in the distance, and the former Hippodrome stretching out below. From the other side of the terrace, there was a view towards the Bosphorus. Domes and minarets dominated the entire skyline, while the late afternoon light slowly began to alter the colours of the city. The crowds moving through the square below felt distant and muted, whereas from above everything seemed to fall into a much calmer rhythm. It was one of those rare moments when Istanbul stopped feeling overwhelming and instead became almost contemplative.

And it was precisely then that I truly began to feel the weight of this place’s history. Not while walking through the monuments, not while listening to guides or taking photographs, but while quietly sitting over tea with a view of ancient Constantinople spread out before me. It was impossible not to think about the fact that, for centuries, this exact place had stood at the meeting point of Byzantium and the Ottoman Empire, Christianity and Islam, Europe and Asia.

I also remember the characteristic sounds drifting across the square and from the surrounding mosques. From time to time, the call of the muezzins spread over the city, echoing between the domes and the narrow streets of Sultanahmet. The afternoon light was becoming softer and softer, and Istanbul – which only a few hours earlier had seemed like an overwhelming megacity – from above appeared almost calm. It was one of those very rare moments in travel when you stop sightseeing and simply begin to exist within a place. Without rushing, without the next item on the itinerary, and without the need to take another photograph every few minutes. And that is precisely why that late lunch and tea overlooking Hagia Sophia remained one of the strongest memories of the entire journey for me.

At around five in the afternoon, we returned to the coach and began the journey back to Bulgaria. Interestingly, we left Istanbul along a slightly different route from the one we had taken the previous day, which meant that for quite some time we were still able to observe new fragments of the city. Even after two very intense days, I had the strong feeling that I had seen only a tiny fraction of this immense metropolis. Istanbul gives the impression of being practically endless – whenever it seems that the urban landscape is finally beginning to fade away, another hill reveals yet more districts, new residential areas, further mosques, and additional lanes of traffic filled with cars.

The evening light was slowly beginning to fade. The further we moved away from the historic centre, the more questions of logistics and security began to dominate the journey. In Turkey, we were stopped by the police multiple times. Controls were taking place on practically all the main routes leading towards the border. Officers checked vehicles, looked inside car boots, and monitored traffic along the roads. The situation on the Bulgarian side looked very similar. There, the police were especially interested in the luggage compartments of coaches and the potential smuggling of illegal migrants. Only during the return journey did it become fully clear how strategically sensitive this entire corridor between Turkey and the European Union really is.

Only then did I understand even more clearly the significance of this border crossing. From the perspective of a tourist, the earlier procedures could easily have seemed like nothing more than an inconvenient formality, but the evening inspections made it very obvious that this is one of the key external borders of the European Union. What stayed in my memory most strongly was a moment at the border crossing itself, where two coaches carrying Romanian tourists were standing beside ours. While we were allowed to continue after a standard passport check, both Romanian vehicles were directed into a special inspection hangar for a detailed search. Everything suggested that the authorities were looking for smuggled cigarettes or other goods being transported beyond the permitted limits. It was a very clear reminder that this route functions simultaneously as a tourist corridor, a trade corridor, and one of the EU’s most sensitive border zones.

We returned to the hotel in Bulgaria late in the evening, completely exhausted. In the span of just two days, we had spent nearly eighteen hours on a coach travelling between Bulgaria and Istanbul, while at the same time visiting some of the most famous places of the old world. By that point, the journey itself had become almost as significant an experience as the city we had come to see.

The following two days in Bulgaria finally brought beautiful weather. The sea regained its colour, the sky turned almost cloudless, and the hotel pool – which earlier had felt more like decoration than an actual place to relax – finally came to life. The water was still warm enough for comfortable swimming, which after such an intense trip felt like genuine relief for tired muscles. A few days later, we returned to Poland – this time flying to Kraków, much closer to Bulgaria than Gdańsk, where our journey had begun. The flight itself lasted around an hour and a half, although afterwards I still had a train journey back to Warsaw ahead of me. Fortunately, I had very good company, so the time passed surprisingly quickly.

Only later, back at home while going through the photographs, did I really begin to organise the entire trip in my mind. And perhaps it was then that I fully realised that Istanbul – like so many other cities – cannot truly be explored in just two days. At most, you can enter into a brief relationship with it, catch fragments of the city, and allow certain images to remain in your memory. For me, those images became above all the Bosphorus seen from the water, the ships waiting outside the strait, the damp air hanging over the city, the evening light above Sultanahmet, the semi-darkness of the Basilica Cistern, and the view of Hagia Sophia seen from a rooftop terrace over Turkish tea.

Busy Travelling to Istanbul