Spying on the Grand Vizier

Jerzy Franciszek Kulczycki (a.k.a. Georg Franz Kolschitzky) – a Polish nobleman, born in the town of Sambor in today’s Ukraine – led a rather eventful life as a soldier and spy. In an article, Jerzy S. Kulczycki, a Polish historian and also a relative of Jerzy Franciszek, writes:

He graduated from the Sambor parish school but doesn’t figure among those inheriting family estates, as he became a military man. It’s quite possible that he served under Jan Sobieski, the prospective king […]. He participated in Polish military interventions in Bukovina and Moldavia […]. At the time J. F. Kulczycki was already learning how to speak Vlach (Romanian), Turkish and also Hungarian.

Little is known for certain about the early stages of his life. Some claim that he was taken captive as a Polish soldier by Ottoman troops and was a prisoner of war for two years – which would explain how he came to know Turkish so well. Others object, arguing that Kulczycki was, in fact, a Serb, only posing as a Pole. This seems a rather far-fetched notion, given that Kulczycki’s Polish lineage has been personally traced back by his own historian relative.

There is no question, however, that in 1660, Kulczycki found himself in Vienna, where he arrived via Serbia. His command of Turkish and Hungarian secured him a job with the Oriental Company, an Austrian trade organisation doing business with the East, for which he worked as a translator in Belgrade. Three years later, he was already acting as an Austrian diplomatic courier and translator in Istanbul, where he also appeared in the same capacity in 1679. In the Ottoman Empire, Kulczycki was asked to spy on the Turkish military – he is even said to have had an audience with the Grand Vizier.

In 1680, Kulczycki returned to Vienna, where he presented the state authorities with a written report in which he informed them that Turkey was preparing for a war against Austria. Despite attempts being made by the Austrians to maintain peace, war broke out.

An endless sea of Turkish tents

On 13th August 1683, during the fifth week of the siege of Vienna by the great Turkish army, Kulczycki, along with his servant Jan Michałowicz, sneaked out of the city at night. They weren’t fleeing – on the contrary, Kulczycki was carrying out a secret mission for the commander of the city’s defence, Count Stahremberg, who wanted him to send out a plea for help. Dressed up as Turkish soldiers and using Kulczycki’s expert knowledge of the Turkish language and culture, the two managed to pass through the invaders’ camp unnoticed.

Here’s how the noted German writer Eberhard Happel described the passage in his 1688 book Thesaurus Exoticorum (Encyclopedia of Exotics):

When it began to dusk a little, an endless sea of Turkish tents unfolded before his eyes. The sight made him wonder which route to choose to pass through the camp. Nevertheless, he kept moving on together with his companion […] and to divert any suspicion from the minds of the Turks that were riding past them, every now and then he sang merry songs in their language.

The Poles eventually reached the chief commander of the Austrian forces, Duke of Lorraine Charles V, whom they presented with letters from Viennese officials and informed about the city’s desperate situation: the lack of ammunition and diseases spreading among the townsfolk. They also shared the intelligence about the Ottoman camp they had acquired during their journey. The two Polish messengers then returned to the besieged city, using the same ploy as before, to bring back word from the duke that rescue was on the way.

The good news boosted the morale of the fighters just enough for them to hold out until the famous Battle of Vienna on 12th September 1683, when a coalition of international forces led by Polish king Jan III Sobieski won a stunning victory against the Turks, saving the city. Kulczycki’s intel about the Turks’ positions most probably played an important part in that triumph.

Rewarded with food for camels

The Austrians rewarded Kulczycki for his courage. He received a house in Leopoldstadt and a nice sum of money. But what he wanted most, was something else entirely – after some effort on his part, he was allowed to run a coffee house. At the time, Kulczycki’s idea to open a café must’ve seemed rather odd as there were only a handful of such establishments scattered around of Europe – coffee wasn’t the popular drink it is today.

It was often even disliked for its popularity among ‘the infidels’, as shown by the following words written around 1670 by the Polish poet Jan Andrzej Morsztyn:

In Malta, I remember, we tried coffee
A drink […] for Turks, but so very nasty
A beverage like vile poison and toxins
That doesn’t let saliva pass through one’s teeth
A Christian mouth let it never sully

Since Kulczycki had been to Istanbul before the war, he must’ve discovered the local coffee culture, which was much older and far more developed than that of other European countries. The Pole had seen the potential of the steaming black beverage. There was also another key factor at play: he was in the possession of a huge amount of fresh coffee beans. The winners of the battle had seized, along with other loot from the enemy camp, numerous sacks of coffee beans the Turks had brought with them to keep themselves alert during battle. But the victors failed to recognise the beans for what they were, presuming they might be some kind of food for camels. Kulczycki, who was well aware of their worth, managed to take plenty of them for himself.

Apparently, after the victory, King Jan III Sobieski summoned him to reward him for his efforts, allowing him to take anything he pleased from the loot they had recovered. Much to the astonishment of those present, Kulczycki chose what appeared to be the near-worthless camel feed.

Opening the Blue Bottle

Equipped with the beans and the knowledge of what to do with them, Kulczycki opened the first café in Vienna. Or did he? In some sources, you’ll find that the first Viennese café was actually opened by an Armenian by the name Johannes Diodato, two years after the battle. This version of events was suggested by the Austrian historian Karl Teply at the turn of the 1980s.

Then again, the Austrian Piarist priest Gottfried Uhlich, in his 1783 book Geschichte der Zweyten Türkischen Belagerung Wiens (The History of The Second Turkish Siege of Vienna), claims that it was indeed the Pole who was first. Although this account was accused of being false by Karl Teply in 1980, it was later backed up by the findings of Jerzy S. Kulczycki, who used his family archive to research the topic and published a detailed article on it in 2007, entitled Prawdziwa Legenda Wiedeńskiej Wiktorii (The True Legend of the Viennese Victory).

What we can say for sure is that Kulczycki opened one of the very first cafés in Vienna. The fact that he opened a popular coffee house in the city is beyond any doubt. For a long time one of the houses on Singerstrasse Street was even embellished with a plaque saying ‘Here in 1683, Kulczycki opened the first coffee house in Vienna’.

His new coffee business changed addresses and it was only after some time had passed that it re-opened at 624 Schlossergasse Street under the famous name The Blue Bottle. The name was a tip of the hat to his second wife, Leopoldina Meyer. Supposedly before the two were married, she had nursed Kulczycki back to health after he had been wounded defending the city, using a medication stored in a blue bottle.

The place quickly became popular and was frequented by Viennese aristocrats such as Count Stahremberg himself. To amuse his guests, Kulczycki would greet them wearing a Turkish outfit. And to make the taste of the coffee to their liking, he would add milk and sugar – the unaltered flavour was a bit too tart for the Austrian palate. Kulczycki is considered to be the first to mix the black and white beverages and is apparently the one who invented the classic Viennese drink Wiener Melange, a coffee drink similar to the cappuccino. Some even claim that he convinced a local pastry chef to make The Blue Bottle guests special crescent-shaped rolls commemorating the victory over the Ottomans – which later evolved into the French croissant!

Despite the controversies regarding whose café was actually the first one to be established in Vienna, even the official website of the City of Vienna acknowledges Kulczycki’s contribution to the development of the city’s rich coffeehouse culture:

The history of Viennese coffee house culture is closely linked to the end of the Siege of Vienna in 1683. Legend has it that the Viennese citizen Georg Franz Kolschitzky (1640 – 1694) was the first to obtain a licence to serve coffee in the city following his heroic actions during the Siege of Vienna. The coffee beans left behind by the Turks were the basis of his success. A street in Vienna’s 4th district was named after him and a statue was put up at the corner of Favoritenstraße and Kolschitzkygasse.

Patron saint

Thanks to his wartime deeds, Kulczycki became quite famous. Understandably, this drew attention to his café, but Kulczycki was more than just a celebrity owner. He wanted his establishment to be a meeting place, rather than merely a place of consumption – a place with a pleasant atmosphere, where one could come to relax and talk, exchange thoughts and ideas.

This approach of his was why he is still considered a ‘patron saint’ of Viennese café culture. The Viennese Coffee-Makers Guild even used to have a painting showing Kulczycki receiving the privilege of running a coffee house from Emperor Leopold I as its emblem. In the Old Polish Encyclopaedia written in the years 1900-03, the renowned Polish ethnographer Zygmunt Gloger wrote about yet another form of commemorating Kulczycki’s legacy in Vienna:

Up to this day in all the coffee houses in Vienna, every October, a portrait of Kulczycki wearing a Turkish outfit is put on display, to remember him.

Over the years the format of the Viennese coffee house evolved and eventually, it became an establishment, where not only the black beverage but also warm meals were served and the patrons were provided with newspapers. Also, it became a place of intellectual and cultural discussion, where the likes of the artist Gustav Klimt or father of psychiatry Sigmund Freud would bump into each other and have a chat or listen to a concert given by a renowned classical musician. The Viennese-style café eventually became popular in the vast territories of the Austrian Empire and became a benchmark for the continental coffee house.

Today the Viennese coffee house culture figures on UNESCO’s list of intangible cultural heritage and it’s hard to find a ranking of the world’s top coffee cities which wouldn’t include the Austrian capital. And Kulczycki is an important part of this heritage. In September 2017, The Guardian published an article about an American coffee chain named after the Pole’s café in which Kulczycki is described as a ‘Viennese folk hero’. If Jerzy Franciszek Kulczycki were still around, maybe he’d comment on it with a merry Turkish song…

Source: Culture

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Bangladeshi sarees, from the intricate artistry of Jamdani to the luxurious Rajshahi silk, weave a rich narrative of tradition and craftsmanship, embodying the essence of Bangladesh’s cultural heritage

Bengali sarees are known for their exquisite craftsmanship, elegant designs and vibrant colors as well as representing the Bengali culture and identity, that are worn by women of all ages and social classes.

To introduce these symbols of tradition, identity, and femininity, Istanbl’s Consul General of Bangladesh Mohammed Nore-Alam’s wife Farzana Haque Boby hosted a saree event for the wives of other consul generals who conduct their missions in Istanbul at the Bangla House.

“Each saree tells a story, and through it, we connect with the generations that came before us. We find echoes of our ancestors’ creativity, their love for intricate designs, and their passion for colors that reflect the diversity of our land,” Boby stated in her speech.

She specifically gave a glimpse of well-known sarees that hail from different regions of Bangladesh such as Tangail, Rajshahi, Mirpur, Manipur and more.

“In Bangladesh, sarees are worn on various occasions including weddings, festivals, cultural events, and religious ceremonies. The choice of saree often reflects the significance of the event.”

During the event, the invitees are offered an “doodh cha,” often called chai tea or simply chai, a delightful and aromatic blend of tea, milk, and various spices along with traditional Bangla cuisine varying from samosa to desserts.

Ancient cloth

The history of saree fabrics can be traced back to the Indus Valley Civilization (around 2800-1800 B.C.) in present-day Pakistan and northwest India. Archaeological findings suggest that women draped themselves in garments resembling sarees made from cotton. Cotton cultivation and weaving techniques were well-developed during this period.

The Vedas – ancient Hindu texts – mention a garment similar to the saree called “Antariya” and “Vastra.” These were essentially unstitched pieces of cloth worn by both men and women. Fabrics like cotton, silk, and wool were woven and dyed using natural materials.

Silk fabric became prominent during the Mauryan and Gupta periods. The trade routes connecting India with Central Asia and China facilitated the exchange of silk, leading to the use of silk in sarees for the aristocracy.

The Mughal era introduced intricate embroidery and decorative techniques to sarees. Persian motifs and techniques like Zardozi (metal embroidery) were incorporated into saree designs, especially for the royal court and nobility.

Jamdani

The meticulous art of jamdani weaving – originating in Dhaka, Bangladesh – is renowned for its intricate designs and labor-intensive process.

Named Dhakai Jamdani after its place of origin, this technique involves a thread count ranging from 80 to 120. Depending on the complexity of the design, crafting a jamdani saree can take anywhere from one month to over three months to complete.

Unlike many other weaving methods, jamdani is eco-friendly and requires the collaboration of two weavers at the loom. The master weaver, positioned on the right side, imparts instructions, while the apprentice, stationed on the left, diligently follows these directions. The process begins with humble prayers, invoking divine guidance for the weavers.

In recognition of its cultural significance, UNESCO declared the art of jamdani weaving as an intangible heritage in 2017.

Muslin

Once, Dhakai Muslin was renowned globally for its unparalleled softness, lightweight nature, and exceptional breathability, earning it the poetic moniker “Woven Wind” due to its delicate and airy texture.

Legend has it that an entire saree crafted from muslin could effortlessly fit into a matchbox or gracefully pass through a finger ring. However, the cotton plant responsible for producing this unique muslin fabric, known as Phuti Karpas, became extinct over a century ago, halting its production around 1850.

In recent years, a dedicated group of researchers managed to successfully reproduce this extraordinary cotton fabric. The endeavor involved over two years of meticulous work by four skilled weavers, who painstakingly created 500 counts of yarn and expertly wove it using traditional handloom techniques.

Muslin sarees, once woven, were worn not just as garments but as symbols of grace and sophistication, representing the rich heritage of craftsmanship and elegance.

Mirpur Benaroshi

Mirpur Benaroshi Sarees hold a deep-rooted historical and cultural importance in Bangladesh. The Mughal royalty held a particular fondness for the exquisite katan silk, a fabric crafted by intertwining two threads, a process distinct from other forms of silk that require varying numbers of yarn.

These luxurious Benaroshi sarees are cherished for their intricate craftsmanship and unparalleled beauty. They are traditionally worn on significant events such as weddings and festivals, symbolizing grace and elegance during these special occasions. The rich heritage and artistry embedded in each Benaroshi saree contribute to its high value and cultural significance in Bangladesh.

Tangail handloom

Tangail sarees, a revered traditional style originating from the weaving hub of Tangail district in Bangladesh, are esteemed for their rich heritage and intricate craftsmanship. These sarees are meticulously woven from fine cotton threads and are characterized by the unique “twill weave” technique employed in their creation.

One of the distinctive features of Tangail sarees lies in their diverse designs, which often include geometric patterns, stripes adorned with elaborate borders, and motifs inspired by nature, such as flowers, leaves, and vines. These artistic elements add to the allure of Tangail sarees, making them a visual delight.

Tangail sarees are not only suitable for daily wear due to their comfort but are also chosen for festive occasions and celebrations. Their ability to seamlessly combine tradition, comfort, and beauty continues to captivate saree enthusiasts, both within Bangladesh and beyond. These sarees stand as a testament to the rich weaving heritage of Tangail, showcasing the skill and artistry of the craftsmen who create them.

Rajshahi silk

Originating from the city of Rajshahi in the northwestern part of Bangladesh, Rajshahi sarees are crafted from premium quality silk threads. The silk used in these sarees is renowned for its softness and luxurious texture, imparting a smooth and natural sheen to the fabric.

The weaving process of Rajshahi sarees is highly intricate and demands specialized equipment along with meticulous attention to detail. Skilled artisans employ traditional handloom techniques, showcasing their expertise to create these exquisite pieces of art.

Rajshahi sarees hold a special significance and are typically reserved for significant occasions such as weddings, festivals, and cultural events. They symbolize the rich tradition, artistry, and heritage of the region, becoming a source of pride for the people. Due to their cultural importance and craftsmanship, these sarees are often treasured as heirlooms, passed down through generations, reflecting the timeless beauty and craftsmanship of Rajshahi.

Manipuri handloom

The Bangladeshi Manipuri saree stands as a proud symbol of traditional craftsmanship, originating from the Sylhet region of Bangladesh. These sarees are meticulously hand-woven using fine cotton threads, showcasing the skill and dedication of the artisans involved in their creation.

One of the distinctive features of Manipuri sarees is their temple borders, adorned with intricate geometric and flower patterns, adding to their unique charm. In the Sylhet region, where these sarees are crafted, approximately 90% of women are engaged in the art of weaving, with a popular saying that Manipuri – a distinct Asian ethnic group found in northeastern India and Bangladesh – girls are natural weavers from birth.

What makes Manipuri sarees exceptional is their completely hand-woven nature, ensuring that there is no distinction between the front and the back. Both sides of the saree are equally usable, showcasing the meticulous craftsmanship that goes into every piece.

These versatile sarees find their place on various occasions, ranging from everyday wear to special events and festivals. The Manipuri saree, with its rich tradition and timeless appeal, continues to be cherished by individuals who appreciate the artistry and cultural significance embedded within its fibers.

Source: Daily Sabah

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The war between Napoleon Bonaparte and the British, renowned battles in the Ottoman period, blockbusters like the Lord of the Rings and Star Wars, and even the iconic cartoon series Smurfs and Asterix, to name a few of the sets on display in the Gokyay Foundation Chess Museum, which houses 727 chess sets collected from 110 countries.

Some sets from China are particularly interesting, such as the chessmen replica of the Terracotta Warriors.

Its curator and founder Akin Gokyay, 82, is a lawyer by profession. Although his passion for chess dates back years, he had never expected that his collection would be rich enough to fill a museum and set a Guinness World Record.

“In 1975 when I was traveling in Milan, Italy, I saw and bought a beautiful chess set. I wasn’t intent on starting a collection,” he told the Xinhua News Agency in an interview.

“It started with one set and grew to five, 10, and 20 sets over time. Then during every foreign visit, I started looking for different chess sets reflecting the culture, history, and values of the countries where my many travels took me,” said Gokyay.

Eventually, as the collection grew, his wife suggested he should share them with the public, and that became the first step toward the museum.

The museum straddles a 1,000-square-meter area within an old house in Hamamonu, a touristic area of the Turkish capital city. It received a Guinness World Record for the largest chess collection in the world in 2012, and was titled “the best museum of Ankara” in 2017.

Every year, new sets are meticulously chosen for their material and thematic novelty and added to the impressive collection.

One of the more recent ones is a set by a Turkish designer whose idea was to create a piece that might have been played between cavemen, so it is made simply of pebble stones.

Gokyay said that chess stimulates analytical thinking in children and has the unique symbolic meaning of peace.

“You can play chess with someone you don’t know and don’t share the language. You can still play chess for hours. It is a very civilized thing,” the curator stressed.

Source : GlobalTimes

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