Rich and Enduring Information of a Vast and Infinite Magnitude
Afra Saraçoğlu ~ The Eternal Rose Of Turkey ~Volume Three ~
Awards and the beautiful events
Afra Saraçoğlu has won many beautiful awards for her hard work and successful dramatic work in the arts. She has also attended many special events and fashion events where her style and grace has been both classy, timeless and beautiful. For Turkey, she has become a pioneer in fashion and eloquence.
In 2024 9 may, she won three awards for her beautiful work in Yali Capkini. The first was for Best Actress the second was for best couple which she won with Mert Ramazan Demir.
When she won the GQ, Men of the Year, most dazzling achievement award, her speech was very meaningful. She spoke beautifully of her family and also dedicated the moment for women everywhere who work all year round despite the hardships of life. In the nation of Turkey it is good to see such speeches in the country. The GQ theme that year was about the stories we live, the stories we make and the stories others can make from this inspiration.
Yali Capkini is such a story. Ferit and Seyran drawing together to create jewellery designs is something that the story yali capkini is about. The name Yali capkini can be translated as Mansion flirt, but it also means Kingfisher. The kingfisher birds are symbols of the story of Ferit and seyran. Seyfer has indeed become a legacy of its own and a story worth seeing.
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Afra in Miami 2025
The Joy Awards in Saudi Arabia 2025
Ece’s Journey in Fazilet Hanım ve kizlari
The ethereal stage presence of Afra Saraçoğlu can be likened to the dawn of the sun ripening across the Italian valley, in this next scene she wakes from a dream, the dream of the log cabin, and the simplicity and happiness of love that requires no wealth. Ece has to now deal with the fact Yasin has effectively abandoned her without knowing she is going to have a baby, painting a picture of a girl's journey and her innermost song is what afra achieves to do in these episodes. Ece has a powerful bravery that can reach such depths and power. The magical placidity and the mixture of the fierce heart that rebels within her shines like stars in her silent gazes and her voiceless pleas towards Yasin, her mother and Yasin’s mother - who cruelly casts her away too, knowing she has a baby. her heart, from the moments where she is downtrodden by Yasin's mother, to the time when she has to choose whether or not keep her child, to the time when she sees Selin kissing the sleeping Yasin, to the moments where she constantly confronts her mother and also her sister, Afra unhesitatingly brings to fruition the sweet and dear heart of Ece; she enriches each moment with true life.
We reach the moment of the shows story when Ece marries Hazim. He is the only kind presence who sees her, at the deepest, darkest time of her suffering. out of love as well as care for her baby he extends his home and name. The whole family and her sister are vehemently against the union. Fazilet is of course unable to believe the mansion is hers but she is also very protective of Ece in the mansion and remains watchful and by her side. This marriage was not a power maneuver by Ece. It was her own decision driven by despair. She is heartbroken because Yasin refuses her and does not care to even find out about her child. Afra's deep and stoic silences, dramatic charisma provides the ample commentary underlying the storyline. Ece has become the Lady of the Mansion, and yet she still remains the former Ece even now when she has faced such a hostile company at the mansion.. Her eyes look proudly onwards despite the suffering within them and paint a picture of s virtue, a regalness devoid of conceit. Truly a masterpiece of a performance.
The conduct of Afra conveys a colder Ece Egeman and yet she still reflects sensitivity and care, showing that Ece Egeman is indeed the same Ece of before. The emotions within her eyes are also visible like fire reflecting upon the rippling sea in the wind, lamenting more than words can convey. Afra shows Ece's grace and solemnity, there are tears twinkling beneath the surface, but never threatening to spill after being trampled upon by the Egemens of the mansion. The deeply complex portrayal of Ece’s transformation into Ece Egeman, to be mastered with so much bravery and filled with so much sensitivity and courage by an actress so early on in her career shows a greatness that is hard to draw comparison too. . She was only eighteen years old at the time.
Ece the lady
Episode 16 marks a decisive turning point, as the newly married Mrs. Egemen begins to navigate her life as Hazım Efendi’s wife. Much like the early episodes in which Ece tentatively explored the mansion, we now witness a striking transformation: she grows increasingly authoritative, articulating her position with more confidence and determination as Ece Egemen. She reprimands the servants who once made fun of her and presently for speaking disparagingly of her and, with her mother’s guidance and pressure , begins to carve out a defined place for herself within the household hierarchy.
Yet Afra Saraçoğlu ensures that Ece’s Egemens authority never eclipses Ece camrikins gentleness. Beneath the firmness lies a fragile and compassionate heart. Afra shows that Ece continues to feel deeply for Fazilet, and even when her actions toward her mother appear severe, Afra infuses the character with unmistakable care and moral awareness. Ece’s true heart speaks through her eyes; a quiet tenderness still resides within her. This tension, between warmth and severity, sunlight and snow, is precisely what lends these episodes their emotional mastery. In Episode 16 and onwards, she commands each scene with conviction, tonal beauty, and an emotive intensity that conveys both tragic struggle and inherent grace. Her dialogue and soliloquies are charged with ardour, elevating even the simplest exchanges with a sense of quiet majesty.
At this stage of the narrative, Ece faces accusations from the Egeman family of having married their wealthy socialite father purely for his status and fortune. Ironically, she has now attained the wealth her mother long urged her to desire. Fazilet, who once instilled this ambition, now pressures her to consolidate power further. Raised to revere wealth, Ece nevertheless resists becoming fickle or opportunistic. Despite her youth, she treats her husband with fairness and kindness, having married him not for gain, but for the sake of her child. Unable to confide in those closest to her, she endures relentless belittlement from the Egemen family and profound misunderstanding from her sister. Surrounded by suspicion and manipulation, she finds herself increasingly isolated, friendless, despite the calculating presence of her mother.
Yasin rejects her without offering love or protection. Selin Egemen, once her tormentor, aligns herself with Yasin’s mother, effectively severing Ece from his life while she carries his child. Her husband, himself rejected and shamed by his family for marrying her, becomes her sole source of genuine protection, offering support free of greed or ambition. Nevertheless, Ece must still assume her role as the Lady of the mansion, standing at the centre of a household that scrutinizes and undermines her.
To convey such an accumulation of conflict, grief, and moral tension through dialogue alone is no small feat. Yet Afra Saraçoğlu accomplishes this with remarkable depth and restraint. In listening to her speak as Ece, one understands the entirety of her predicament in that very moment. This is the mark of a truly mesmerizing actress. As noted throughout, even her silences carry narrative weight and shape the emotional tide of the series. Her scenes become a driving force, like a sea gale guiding the current, often resulting in moments of devastatingly raw and haunting beauty in Fazilet Hanım ve Kızları.
There is a particularly poignant scene in which Ece breaks down in tears after being mocked by schoolchildren for her marriage to Hazım Efendi. Despite her altered social position, she chooses to continue attending school, a decision that underscores Ece’s vulnerability and quiet resilience. In this moment, Afra Saraçoğlu renders Ece’s sorrow with an almost transcendental, empyrean quality. Her tears seem to rise from the depths of a child’s wounded heart, unguarded and profoundly sincere. Afra commits herself fully to the performance, and in doing so, draws the audience into the gravity of Ece’s emotional world, allowing them to experience her pain with an intensity that is both astonishing and deeply moving.
At this stage in the narrative, Ece finds herself surrounded by hostility, as nearly every member of the family seeks, in one way or another, to undermine her position. She appears naïve, yet this perception conceals a deeper truth: she is, in fact, the moral opposite of what others assume. She neither desires wealth nor indulges in it like thee mother's wants to. Ece is being continually accused of material ambition. Her sole hope for survival within this oppressive environment lies in Hazım Efendi’s ability to recognize the sincerity and youthfulness of her intentions, and to trust her heart over the suspicions of his family. Even Fazilet, rather than offering protection, exacerbates Ece’s predicament by urging her to seek further material validation through a wedding, encouraging her to request more from her husband. And yet, in a telling display of the innate goodness of her character, Ece apologizes to Hazım Efendi despite having been wronged herself.
Afra Saraçoğlu’s presence forms the emotional core of these episodes . She emerges as an enduring symbol of tenderness and strength-an eternal rose within the narrative - captivating audiences with a performance that balances operatic emotional intensity with moments of profound, stoic silences and sensativity . Through this delicate equilibrium, she brings to life the shy yet gallant figure of Mrs. Egemen, rendering her not merely a character, but the beating heart of Fazilet Hanım ve Kızları.
Gure Village in Edremit
The village
The iallge in where afra was born in Gure in
OLIVE GROVES, KAZ MOUNTAINS AND THE SIMPLE VILLAGE LIFE
Like a rose that endures beyond its season, Afra Saraçoğlu’s operatic range deepens into something increasingly timeless, marked by a quiet dramaturgical opulence rather than overt display. Her performance unfolds through a series of golden scenes, moments suffused with a controlled enchantment, where emotional effervescence is tempered by gravity and restraint. Within these passages, Saraçoğlu resists excess, allowing stillness, cadence, and tonal precision to carry the weight of meaning.
Ece’s innate gentleness becomes a moral force: she seeks to soothe Hazim’s suffering and to reckon, with disarming sincerity, with her own perceived failings. Time and again, she summons a fragile but resolute courage, assuming responsibility for transgressions that are less her own than the result of calculated manipulation and her own trusting innocence. In this way, Ece’s confessions are not acts of weakness but of ethical clarity. These are gestures of self-possession forged in a world determined to misread her vulnerability.
Ece's White Rose
Ece’s grief at the death of Hazım Efendi unfolds with profound stillness. Her quiet composure and mournful, almost angelic expression of sorrow give shape and gravity to this pivotal moment in the narrative. Afra Saraçoğlu allows the weight of loss to reside in silence as much as in expression; her eyes shimmer with an almost Elysian wisdom and a gentle, maidenly heroism as she comforts Selin Egemen before calmly asking her to leave the room. In this scene, Saraçoğlu commands the emotional center with an august yet finely restrained strength, drawing those around her into the orbit of her performance.
Though Ece has long been perceived as timid, it is here that she emerges unmistakably as the emotional heart of the Egemen family. In a gesture that speaks to her integrity, she formally withdraws herself from Hazım’s inheritance, expressing only one wish: that her child be allowed to grow up within the walls of the mansion. Fazilet’s swift revelation of Ece’s pregnancy, coupled with the assumption that Hazım is the father, further intensifies the atmosphere of judgment and misunderstanding. Yet Afra’s portrayal remains resolute. During the reading of the will in Episode 19, Ece once again asserts her moral clarity, firmly and bitterly rejecting the family’s wealth. With a voice imbued with restrained fury and unwavering conviction, she silences the Egemen household entirely.
Such authority, achieved without relinquishing grace, is rare. It is through this unyielding moral presence that Saraçoğlu elevates the scene, demonstrating an extraordinary capacity to command attention through dignity alone. Her performance here is not merely dramatic, it is quietly monumental, owing to the power of restraint, principle, and inner strength.
The Egemen family waste no time in attempting to sever any remaining bond between Ece and their patriarch, initiating a secret paternity test in a calculated effort to deny her child legitimacy. When the results reveal that Hazım is not the biological father, a deeper injustice takes hold. Though Hazım had willingly embraced the role of fatherhood and sought to protect and raise the child as his own, his intentions are once again obstructed by a family determined to assert power over compassion.
In a moment of striking emotional rupture, Ece, so often defined by silence, finds her voice. With sudden, resolute force, she declares that Hazım is the father of her child, regardless of biology or blood. Afra Saraçoğlu’s performance in this scene crystallizes the long-contained anguish and humiliation that have shaped Ece’s journey. Her outburst gives form to the suffering that silence could no longer bear. This is not mere anger, but a righteous vehemence: the voice of a young woman whose integrity has been questioned, whose dignity has been repeatedly dismissed, and whose truth has been systematically ignored.
Ece stands before the Egemen family as a figure both defiant and morally unassailable. Having endured the trampling of her heart and honour, not only by the Egemen household but also by those closest to her, she now confronts them with a commanding authority that transcends her youth. In a bitter irony, she assumes a maternal authority over those who judge her, rebuking them with a purity and conviction befitting the role they refuse to acknowledge. Though they remain outwardly cold and unyielding, her moral victory is undeniable.
With raw intensity and dignified restraint, Afra Saraçoğlu reveals the enduring courage and inner sovereignty of Ece in this pivotal moment from Episode 20. The scene stands as a testament to her ability to embody strength born not of power, but of principle, an unflinching assertion of truth in the face of cruelty.
Ece’s presence gains renewed authority upon Hazım Efendi’s return to the mansion and his discovery that his family had instigated a cruel witch hunt against the young woman, ultimately driving her from the household. For the first time, the balance of power begins to shift. Ece now stands in a position of moral ascendancy over Selin Egemen and the sons who are reprimanded by Hazım for their actions. Her quiet endurance is retrospectively vindicated, and the injustice she suffered is brought fully into the light.
A particularly charged scene unfolds prior to Hazım’s return, when Yasin is summoned to the mansion and confronted with the truth surrounding the child’s legitimacy. The emotional climax arrives when the expectant Yasin turns to Ece and asks, with unsteady anticipation, whether it is true that he is the child’s father. In this moment, Afra Saraçoğlu conveys an instinctive maternal gravity that overtakes Ece entirely. Her response is not merely verbal; it is carried in her stillness, her gaze, and the depth of her emotional restraint. Afra captures with striking verisimilitude the simultaneous pride and vulnerability of a woman awakening to motherhood.
Ece’s reaction also signals a decisive transformation. She no longer tolerates Yasin’s disrespect or emotional inadequacy, and it becomes evident that she recognizes her own worth and that of her unborn child. Although the bond with the child’s biological father remains unspoken and unresolved, Ece’s moral clarity is unwavering. Her deepest wish is for Hazım to be recognized as the child’s father, not by blood, but by responsibility, compassion, and genuine care. In the emotional climate of the series at this juncture, love itself is redefined: it is no longer rooted in desire or obligation, but in protection, dignity, and ethical devotion.
Ece Egemen emerges, by this point in the narrative, as a figure emptied of personal aspiration, her interior life narrowed, almost erased, by the totalizing devotion to her child. Dreamlessness becomes her defining condition. In Episode 22, this quiet erasure is mirrored by a more literal act of violence against memory and legacy: the family portrait painted by Hazim’s late wife is stolen and desecrated by Yasemin, who carefully engineers Fazilet’s disgrace and subsequent expulsion from the mansion. Ece, as so often before, is drawn into a moral chaos not of her making. Innocent yet exposed, she absorbs the emotional shockwaves of others’ cruelty, becoming the unchosen vessel for collective anger and grief.
The scene in which Selin Egemen removes yet another painting from Ece’s bedroom, declaring that it will be relocated to a “place of love,” shared with Yasin, is particularly devastating. It is a moment that strips Ece not merely of an object, but of symbolic belonging. Afra’s performance in this exchange is electrifying. Her eyes, likened to sharpened lime-green gems, gleam with restrained resentment and an almost youthful ferocity; her smile flashes not with submission, but with resolve. There is a buoyancy to her defiance, sprightly, precise, and unyielding, as she stands her ground against Selin’s fury.
Afra’s soliloquies in this sequence rise to a near-operatic intensity. They reveal her unmistakably theatrical instincts, now fully unfurled, transforming Ece from passive sufferer into a figure of quiet rebellion. This is not melodrama for its own sake, but a controlled ascent: a performance that becomes increasingly wilful, self-possessed, and compelling. When Ece ultimately rejects her mother’s maudlin appeals and sends Fazilet away from the mansion, Afra inhabits an icy, queen-like detachment; yet beneath this frost lies the unmistakable vulnerability of a child forced too early into sovereignty.
What Afra ultimately offers is a portrait of a daughter in flight: a young woman straining toward autonomy, testing the fragile architecture of her own strength beyond maternal dominance. Ece’s deepest respect is reserved for Hazim, whom she regards with a tenderness that suggests a longing for moral steadiness, perhaps even sanctuary. In this portrayal, Ece is neither saint nor victim alone, but a fair-minded, quietly embattled woman attempting to locate a home, both literal and emotional, within a world that repeatedly displaces her.
Her expressive demeanour is unmatchable and presents a woman who is strikingly mysterious and complex. Both wisdom and innocence are displayed simultaneously. She is bold and gentle at the same time. Her audience cannot know what expect in any of her roles. The evergreen essence of her eyes and glittering tears represent a mosaic of stunning stage performances. She is captivating and in the episodes 23-24 there are scenes where Afra imbues her work with so much heart and preeminent atmosphere. Her sensitive and nonpareil depiction of Ece show a girl who is a true angel of the mansion, being undermined by the opinions of others and constantly becoming lost within a forest of manipulative situations that lead her to become the target of all the blame. She did nothing wrong, There is a Pierian Spring within her eyes, her tears are wise. and she carries a authentic air of feebleness and kindness. What makes the greatest actress of the era? All these descriptions fail to depict her presence vividly, and can therefore only remain brief and lacking. The ineffable qualities that comprise her rich beauty cannot be inscribed in prose alone. This biography aims to note down in history the facts about the greatest actress of the era. Generations to come, may learn of her and understand how significant she is .
Ece weeps in the small, weathered house to which her mother has been banished. This house in the suburbs is a place stripped of grandeur yet heavy with beautiful memory. Fazilet, framed by Yasemin’s calculated schemes, has been cast out of the mansion and returned to the outskirts, exiled not merely in space but in dignity. During this period of fracture, Yasemin tightens her grip on Ece, beguiling and, luring her into acts of unwitting betrayal. Under the guise of care, she convinces Ece that Hazim’s health is failing, that medicine is required. Ece, acting in good faith and out of anxious devotion, administers what she believes to be healing, unaware that the substance is in fact a poison, already introduced by Yasemin, and responsible for Hazim’s growing confusion, erratic behaviour, and memory lapses. Ece becomes, once again, the instrument of another’s cruelty, her innocence is weaponized against her.
Abandoned in the old house, Fazilet succumbs to exhaustion and gas fumes, collapsing into unconsciousness and later fleeing, broken and disoriented, to her hometown, pursued by Hazan. Ece, severed from this maternal presence, refuses even the language of kinship, rejecting the title of “mother” as she mourns the vanished simplicity of their former life. Her grief is not merely for Fazilet, but for a lost version of herself, one that belonged to that modest home, before ambition and coercion intervened.
The discovery of Selin’s pregnancy by Yasin compounds Ece’s isolation. Coldly received in her own home, mistrusted by her husband under the constant drip of slander directed at Fazilet, she finds herself almost entirely alone, save for her sister. Afra Saraçoğlu delivers one of her most restrained yet devastating performances here, weeping with inhibited intensity in the charred remains of her childhood bedroom. The emotion is not theatrical excess but compressed anguish, sorrow held tightly, trembling just beneath the surface. Ece’s resentment toward her mother resurfaces with painful clarity: Fazilet, she believes, stole her dreams, severed her from Yasin, and carried her unwillingly into the mansion’s gilded captivity. In a moment of raw confession, Ece declares that she can no longer be her mother’s daughter. This is a statement as desperate as it is self-protective.
At this juncture, Ece exists in a state of profound contradiction: torn between enduring love and the urgent need for separation. She is bitter, disoriented, and adrift, like low, grey clouds suspended over forgotten neighbourhoods. Fazilet’s earlier bargaining with Hazim, though later followed by Ece’s consent to marriage, casts a long moral shadow. Now wed to a man old enough to be her father, Ece navigates a marriage defined less by intimacy than by expectation and surveillance. Rather than care, she encounters instruction; rather than partnership, a constant pressure to remain worthy of Hazim Egemen’s approval. He treats her with formality and courtesy, always a gentleman, often kind but more as a daughter than a wife. Whether his severity is sharpened by Yasemin’s poisoning remains an open question, complicating the ethical contours of his behaviour.
To be young, pregnant, emotionally isolated, and thrust into the vortex of power, manipulation, and judgment that defines the Egemen household is Ece’s present ordeal. Saraçoğlu renders this predicament with remarkable clarity, preserving Ece’s essential purity while allowing the character to harden at the edges. Her care for Hazim retains the same gentle attentiveness with which she first approached him, sympathetic and sincere.
Yasin, by contrast, fails her entirely. His volatility and cruelty reduce him to noise rather than presence, shouting where he should listen, diminishing what he never truly understood.
Yet despite everything, Ece’s core remains unchanged. Her harsh words toward Fazilet mask a longing to repair the severed bond, to rediscover the fragile ribbons of love still threaded through her heart. Ece Egemen, now Lady of the Mansion, emerges as a figure of quiet nobility, great not through authority, but through moral endurance. Afra Saraçoğlu animates a character of extraordinary purity: a young woman whose heart remains childlike in trust, yet whose wisdom exceeds her years. She alone is capable of sustaining Hazim with genuine compassion. And despite all protestations, Ece remains, inevitably, irrevocably, her mother’s little girl. The bond between them, bruised but unbroken, endures with a sorrowful sweetness.
Like warm honey bella Afra portrays love, and such powerful tears when she cries for Hazim's sorry state, in the care home. This scene is in episode 27. There is evergreen and twinkling heart, glittering like the sun upon the turquoise green sea within her eyes. She is lambent with the stars of the paradisical sky and then she rushes like the wind of a arctic storm, seizing the attention of all and scolds with harsh passion those who have done wrong. Her suavity glistens boldly through her queenly anger. Her silence is bracing and shy like a buttercup,
Her scene with Hazim in the care home is ineffable and filled with warm emotion as she tells him to remember the past and his family. Afra expresses the sweet repentance and magnificence of care . Her tears are likened to pearls, cygnet-soft and amidst the darkling atmosphere around her, of Selin's wrath, her sisters anger and her mothers resentment. She becomes the moon aloft the melting twilight. She tells Hazim of his children and his wife and that he must remember them. The dew upon the winter flowers could not glisten as pure as the tears from sweet Ece. The one girl that they could not accept who married their father, who they blamed for seeking his money, is the one girl who's care sparkles with love like the summers ocean.
Ece is a character whose, naivety and purity are things others will take advantage of and manipulate her like a puppet. Afra portrays Ece's vanity and even though this may be only a quiet part within her, together with her childishness she can become bitter about her sisters fame. Of course this idea of being a fashion model is due to her mothers bringing up. She is not fickle however and this means that she can use her lack of her mothers money-hunger to navigate the material world. She rejects the wealth of the mansion and shares in the company despite it being in such close reach. A complex character to portray and Afra does so very well so that the audience is able to understand the deeper feelings of Ece quite easily
With moonlike transcendence and rosie warmth Afra graces these scenes with powerful emotion. heartful like the milken moon, glittering like sun she pervades the silver screen with her beauty. In the story Ece remembers the beauty contest when she arrives at Egemen cosmetic debut. She feels jealous and envious that her sister has lived her own dream of becoming s beauty Queen. Ece wished for her life to go the same way. But now she has a baby and is married and things have become unexpected for her. She has given up on the dream that her mother instilled her and she genuinely wished for herself . Because of all the suffering and misunderstandings she feels lonely when she sees her sister live the life she wished for. It is not Ece's fault however for feeling jealous. She is still only young and her life seems to be mapped out already and therefore she is forced to become more mature than her sister. Ece is still childish, and yet those around her do not seem to be able to allow her this. Herfazilet and her sister are the only ones who can understand her. Hazim on the other hand has less understanding of how Ece's youth effects her behaviour although his cold and aloofness is due to the medicine at this point.
Afra's portrayal of Ece's faithfulness is within her smile and also her depictions of loneliness, fill the scenes. Afra is no rigid actress and instead her nature upon the screen is as gentle and powerful as the ocean's whale like quilted dance. In times of sadness she becomes the misty grey and then in times of happiness she brightens the scene. She is dynamic in her portrayal of different emtions and these emotions are commanding over the tone of her scenes. Her depiction of Ece's kindness reach the audience. Dreams and bravery are visible in each of her expressions We discover the story of Ece Egemen, a woman, a girl who is finding her own self through the troubles and experience of being an Egemen and a mother.
Ece's Journey
Determination, the bleakest friend. Ece finds herself thrown into jail and blamed and charged with the crime of adding the medicine to Hazims food. Yasemin framed her and covers up the truth. In this part, Afra portrays Ece's determination. Ece is determined and cannot be defeated even when she is locked out of sight and forced by lawyers to sign the name Ece Egemen away. Her will power will shine between the bars of the prison cell in which she has been confined. The wild remoteness of the scene is another effect of Afra's determined gaze. She is a desert flower with everlasting courage.
This section will be continued in Volume Four
Flavours of Akcay and Scents of The Aegean
Ata Furun Cafe
The section from volume Two , describing and detailing the exploration of Akcay, will now be continued in this section.
This is one of the small boutique patisseries. They have a variety of desserts, and the boutique is known for its fresh fruit and fresh, light desserts. The profiter roles are very good and filled with fresh cream. Music plays in the background and the atmosphere is beautiful and sublime just like the dessert's they cook. The best and highest quality place around. It stands out with its product quality and very freshness. You can enjoy delicious desserts, pastries and cookies while sipping your filter coffee and homemade natural lemonade accompanied by jazz and soft rock music at any time of the day. If you're craving something sweet, don't look anywhere else, this place will make you very happy.
Another review read From the bread to the cake. It is a really nice bakery and also a cafe. There are books you can read, it is a very nice bakery and cafe concept that is successfully run, if you come to Akça, I definitely recommend you to stop by.
In the winter you can sit and have breakfast and chat with freinds. The decoration has been described as elaborate and tasteful and the little dog comes to keep guests company. The shop's mince meat pastries are especially good and forest fruit cake is a special favourite. The shop also sells eclairs, cheesecake and magnolia. The eclair cream is sweet and lovely. The fruits in the dessert were fresh , because the staff are friendly the atmosphere is colourful and warm, making any day feel pleasing. The shop is one of the rare bakeries with a library. One can read a book while drinking tea or coffee.
Naz Kebab sHOP
They also cook the lahmacun and pita that you take with you. It is a small place but despite this Here you can enjoy the best Lahmacun. A customer review said The dough was perfectly crispy and the toppings were wonderfully spiced. Every bite was a pleasure and took me back to the authentic flavors of Turkish cuisine. The friendly staff and fast service also made the experience even more enjoyable. I highly recommend this fast food restaurant!
and another said There is no place in Akçay that I haven't eaten chicken wrap, and this is my favorite place in Türkiye. They have grilled chicken and thick lavash. One person can easily be fed with one piece and the price is affordable. You can recommend it with closed eyes
In the neighborhood, quiet environment, smiling faces, great kebab
Nanna patisserie
This patisserie sells creamy bitter coffee and freshly prepared and luxuriously presented Turkish pudding. The desserts include profiterole cake, filter coffee (which the locals say is fresh and light). Lemon cheesecake is the most fragrant and beautiful dish they serve . The customers say The very intense, beautiful lemon flavor stays on the palate for a long time.
san sebastian with a little bit of Belgian chocolate, baklava, eclairs and chocolate with brownies in a cup are sold.
The manti served at fazilet hanim
Nanna pudding
Hz. Ömer Camii
This recently built mosque is situated in the Altinkum region in a well kept garden and consists of a single minaret and a Kubelli Building. Notably upon entering the woodwork of the pulpit is very beautiful and of a fine craftsmanship. Residents go to pray in the evenings too. After the Eid al-Adha, when the Akçay Altınkum Mosque was demolished to be rebuilt, one of the closest Mosques for Friday prayers was the Hz. Ömer Mosque, a very beautiful Mosque located in the neighborhood and with a garden. This Mosque's location is very important for those who do not live near the main town centre and therefore the Hz. Ömer Mosque serves a very important purpose for the locals who live near.
A local said, Interior decorations, carpets and chandeliers provide unity and provide interior spaciousness. There is a Quran course and facilities on the ground floor. Quran courses are opened during the summer periods, although not every semester. Using the empty areas around it as parking lots eliminates the parking problem for those coming to the mosque from outside.
HZ. ÖMER CAMII
The architectr is TRULY a marvel and spectacular and adds to the beauty of the town
Pictures of The town and north Aegean Coast
View of town
The shore are long and sparkling in the north aegean breeze.
VEGETABLES sold in an Akcay Market
Street in Akcay
AKÇAY PAZARYERI CAMI
The mosque, which was built in 2006, consists of a single minaret and a domed structure. It is located in the market area of Akçay. A local market is opposite, From the market one can buy figs and other such food from the harvests of the Akçay locals. Generally, field and garden products are sold. When you enter the section of the market where vegetables and fruits are sold, people are impressed when they hear those scents of the vegetables and harvest .
Sakalli Zeytincilik
Akçay is always living her golden aga, the town is deemed as a elegant treasure and this little shop selling fine and rich Olive Oil which the customers and local gretaly favour, is one the sweet treasures of the market. The shop Sakalli Zeytincilik is located in the same building as the Mosque. The centre of Akcay is vibrant and warm as well as cosy. https://www.sakallizeytincilik.com/ Please see their website for more details from the shop . They sell such a deep and beautiful variety of Olives and stuffed olives from the best harvest/
Olive Oil From the Freshness of Akcay and Edremit
They sell Black Olives, Black Olive Paste, Cold Pressed Olive Oil i n such elegant and even elaborate glass bottles. The sell Stone pressed Olive Oil. They collect all there olives from. the harvest and make the freshest olive oil. To really taste the texture of the North Aegean, then one must have the Olive Oil from this hidden beauty of a shop in the Akçay centre.
The sell Carrot Stuffed Green Olives, Orange Stuffed Green Olives , Lemon Stuffed Green Olives and they also sell pure Olive soap.
As quoted from the shops website
As it is known, Akçay is a place known as the paradise of olives and olive oil in the heart of the Northern Aegean. The mountains from Edremit Gulf are full of olive trees. Thus, some of the local people also earn their living from olive cultivation. With its magnificent taste and deliciousness, the dishes are mostly made with olive oil. Herb dishes belonging to the Northern Aegean and dishes with olive oil are the most preferred foods.
To the mountain
Akçay is situated near the beautiful Kaz Dagi National Park. It was this place that the world's first beauty contest was held and villages and ponds of the area holds many legends
Pinarbasi Picnic Area
A few minutes from Akçay . there is a picnic area that is home to the coolest of waters and the old ancient trees. This is the heart of the Kaz mountains and the secrets here only grows more magical and astounding. The locals from Akçay and Edremit may come here to eat breakfast and have tea. The restaurant food is very good, especially serving trout and cheese.
There is a tale about this spring associated with two tragic lovers. The following extract isa translation of the writing of sabahattin Ali about the mountain and the area. Translated into English by Aysel K. Basci ...
By Sabahattin Ali
I was going to Kazdağı (Mount Ida) to visit a Yörük (1) tribe on the sea side of the mountain facing the Sea of Islands, and intended to stay there four or five days. Previously, I had befriended a tall, white-bearded Yörük at a bazaar in Edremit, where he came regularly to sell firewood and honey. On a few occasions, I had helped him resolve minor matters involving the government. He invited me saying:
“If you can handle sleeping in a tent, you are welcome to visit. You will eat lots of fresh honey and drink lots of bitter black water!”
I suggested that the next time he was in town we could go together, but one hot and totally windless morning I decided to go alone and took off. I knew the approximate location of the tribe at Yüksekoba, and hoped to get directions on the way from villagers. I intended arriving there by noon.
I was walking slowly on an old, sunken road that passed through groves of olive trees that must have been hundreds—if not thousands—of years old. The sides of the road were blanketed with blackberries and chaste berries. As the sun headed higher behind me, it was stretching my shadow further and further on the curved cart tracks left on the road. A cool but mild spring breeze blew into my face off the sea, reminding me I was getting further away from the town. The smell of frosted soil and fresh grass was everywhere. Several skylarks and sparrows sang and hopped from tree to tree, and wavy vapors rose slowly from the areas receiving direct sunlight.
After a while I stopped at Zeytinli, a village on the outskirts of Kazdağı, and had some tea at a coffeehouse, which was shaded by weeping willows and had a pool. While there, I asked about the road to Yüksekoba. The owner of the coffeehouse said:
“I have never been there, but as far as I know, you will pass Beyobası, then walk along the Kızılkeçili Stream. After you arrive at the springs, you will start climbing the mountain from the left slope. When you finally reach an upland pasture, you will walk just a bullet-throw distance more.”
I knew nothing about Beyobası or the springs, and I must have looked confused, because he smiled and added:
“It is not a place a stranger can go alone, you will get lost in the forests or on the mountains!”
I said:
“No, no, I will surely find it by asking around.”
He insisted:
“Who are you going to ask? After you pass Beyobası, you will not see anyone.”
I did not respond. He collected the teacup and went inside. As I began asking myself whether I should go back to Edremit and wait for Koca İsmail Baba to return, the coffeehouse owner came out again and said:
“You are lucky Mister. There is someone going to Yüksekoba; why don’t you go together?”
I immediately got up. Standing in front of the coffeehouse was a Yörük woman, her face burned from the sun, her thin braids falling on her back. She was wearing a canary-yellow üçetek (2). The owner of the coffeehouse asked:
“Hacer, the Mister wants to visit Koca İsmail Baba in your tribe. Will you take him?”
She casually looked at me and said:
“Let’s go!”
As she turned her face, I was surprised to see how young she was – not older than 18 or 20. As we walked, she was always a few steps ahead of me, and I struggled to keep up with her. The owner of the coffeehouse watching from behind saw my efforts to keep up and smiled.
As soon as we got out of the village and arrived at an olive grove, Hacer tucked the skirts of her yellow dress into the waistband of her shalwar, then removed her low-heeled leather shoes and put them in her saddlebag. She then began walking barefoot, her feet leaving imprints on the soil. With each step, the fez on her head which looked like a small honey box, decorated with gold and covered with a thin scarf embroidered around the edges, shook slightly. Because of the weight of her saddlebag, her tall body was bent slightly forward as she walked.
Oil painting by Turgut Zaim (1906-1974) - A Yörük Camp
We walked for an hour without talking. We passed by Beyobası, which consisted of five-ten houses spread among fruit trees, and a little later we came upon an abandoned and derelict water mill under the shade of a huge chinar. The olive trees ended there and the pine forests took over. We ascended into a dim, shadowy strait which did not get much sunlight. A huge, steep mountain reared up before us, and we began to hear the roar of a fervently flowing stream from the direction of the mountain’s flanks.
A little later, Hacer turned her head and warned me:
“We are going to walk by the stream. It carries a lot of water, so be careful where you step!”
We descended from a steep narrow trail between large rocks and arrived at Kızılkeçili Stream, where two shoulders of the mountain merged. The noise of water bubbling and gushing from rock to rock filled our ears. We were walking at the edge of the water, often skipping on the rocks. At times, we descended to the edge of the stream; at other times, we climbed high on the shoulder of the mountain from where we could look down and see white foam generated by many waterfalls below. The path was narrowing further and pine trees grew sideways from the cracks of steep rocks on both sides, reaching out into emptiness. I was having difficulty keeping up with Hacer, who was skipping barefoot on rocks polished smooth by the constant washing of the waters. All along the stream, boulders—some as large as houses—had rolled down from the peaks and the water had gouged out hollows in the rocks to create many large, deep pools of water.
These pools (büvet, in Turkish), whose mirror-like surfaces reflected the nearby pines and chinars, were full of foamy water falling from large rocks often a few men high. When we reached these pools, Hacer, without turning, announced:
“This is called Deli Büvet!”
Or,
“This is called Kunduzlu Büvet!”
Eventually, we arrived at a wider part of the strait and I heard a thundering noise. Hacer shouted:
“We are at Sutüven Falls!”
I looked around in awe. The stream flowed exuberantly as if gushing out of a pipe two-and-a-half meters in diameter, and when it reached a white rock, it became airborne. For a second, it almost stopped and hesitated. Then, in the form of pure foam, it poured into a deep hole below with greater speed and vigor than when it had arrived. Once there, the waters percolated for a while, eventually proceeding to the right. Then, sloshing and skipping over some rocks, the stream continued on its way.
If one walked near the edge of the falls and looked down, one’s face would be completely covered by a cool mist. The constant roar of the water created a howling echo on the mountains on both sides. While there, the first few lines of a poem about this waterfall was on my lips:
From a rock it jumps
17 meters, as fume,
Water, carrying
Mountain’s perfume.
Where it drops
Like fine hair,
It floats three strokes
Blue water, white foamy water!
Hacer was squatting in a corner, her eyes darting from me to Sutüven and then back again. Then she got up and swung her saddlebag over her shoulder. We began climbing again along the stream between the two shoulders of the mountain, which were getting closer and closer. As we approached the stream’s source, it was no longer flowing, but instead leapt from rock to rock as a series of waterfalls. We reached a point where the rocks on both sides of the stream were only two feet apart. Water already running at high speed accelerated as it entered this narrow five to six meter-long channel, its color turning almost black. At the end of the channel, the water, suddenly liberated, cascaded down to a stream bed covered with sand and pebbles, where it formed white bubbles and percolated as if laughing loudly.
Soon afterwards, walking became so difficult we had to hold on to nearby rocks, shrubs, or pine saplings. Then we saw the stream cascade over some rocks into a huge pool of water about 15 feet long and about three men deep. A chinar, the trunk of which could barely be encircled by four men holding hands, was leaning over the pool, its thin and thick branches stretching out to touch the water’s surface. The sun was now at the same level as the bottom of the strait. The milk-white pebbles and sand at the bottom of the pool sparkled in the sunlight, which filtered through large leaves. Some of the water flowing down from the rock above was running counter to the current and spilling onto the edges of the pool, but when it reached the bottom, it too found its way and continued to flow after leaping over a large rock.
The Legends of the Mountain
Kaz Mountains Hasanboğuldu Pond
In the little Ottoman Zeytinli town on the Akçay Altınoluk road the Sütüven Waterfall rushes softly. As years went by the mount Kaz was known as Mount Ida in ancient times. The forests are filled with such air and such pine trees of kindness. The Kaz Mountains Hasanboğuldu Pond holds a story. The pond was formed the waterfall. The water fall is called Hasan Boğuldu Göleti.
2 km from Edremit Akçay highway, This pond is within the boundaries of the Zeytinli district. This mythical picnic area at the foot of kazdağı can be discovered through Beyoba village. You will notice that the famous belde and its environs with olive and olive oil create suitable places for nature lovers. Altitude (sea level elevation) 798 m.’dir. Cite Source https://ecearkali.wordpress.com/2018/12/24/hasanboguldu-sutuven-waterfall/
Kaz Mountains Hasanboğuldu Pond
Lisbon
We travel far within the world, to find freedom. What could freedom be? how does one define this wonder? To truly live wander the cobbled streets in Lisbon are one the moments of freedom that can be lived. The city is historical and also very beautiful. ribbons of sparkling dark azure rippling together with glittering sashes of the Portuguese sun, crimson, lavender and honey, the salted sea wind and happy smiles flavour the cherished memories of Lisbon. The fairy-tale city, woven with the undulating cobble-stones , milken white, following the fallen gradient towards the sea, the buildings are of Manueline, Baroque, Romanesque architecture.
‘Apartment lights come on in clusters,
And the taverns, the cafés, the tabacs, and stalls
Spread a sheet of white reflections against the walls
The moon reminds me of circus jugglers. ~ Cesário Verde’s ‘O sentimento dum ocidental’
The city is known to be decorated with art and the art museums and is home the best chocolate cake in the world