The Aesthetics of Rakı
The 19th-century Ottoman modernization efforts, commonly known as the Tanzimat Reforms, constitute a turning point in the history of rakı accouterments. The transition to Western style of wining and dining meant the emergence of tables, chairs, silverware, porcelain plates, starched tablecloths, and last but not least the glassware, which in the words of cultural historian Erdir Zat, “would become inseparably identified with rakı.”
Karafaki
Karafaki is a small pitcher made of glass or crystal, usually with a capacity of 20 cl. And this pygmy jug embodies a hybridity that befits the cosmopolitan complexion of the city that birthed it. Karaf comes from the French word carafe and -aki is the Greek diminutive suffix used on nouns.
Karafakis between 1910’s to 1960’s, source: Rakı: The Spirit of Turkey by Erdir Zat, The Mey Collection & The Vefa Zat Collection photos by Halil Kayır. Special thanks to Anason İşleri
Photo by Didier Veillon
During the early days of industrial rakı production in the late 19th century, only two brands (Umurca and Mihyoti) were sold in bottles. Bottles were expensive everywhere in the world and bottling rakı, already expensive due to high taxes, would make it unaffordable for many. So, rakı was distributed in either binlik (with a capacity of one gallon) or damacana (with a capacity of five gallons) containers. And in meyhanes or homes, it would make its way to the table in karafakis.
Some meyhanes and households, especially in the peripheries, used handmade gourd jugs, karafakis, and cups because glass was expensive.
Ottoman Antique Karafaki, source: Bayrak Müzayede
According to Zat, karafaki catalyzed immense competition among glassworkers who wanted to showcase their skills and aesthetic stance with their designs.
Contemporary Karafaki, Paşabahçe Mağazaları
Despite the mesmerizing beauty of some, with the decline in bottling costs karafakis began to disappear as rakı could now be served or brought to the table in a chilled bottle. However, in recent years, with the revival of rakı and revitalization of rakı culture, audaciously designed karafakis started to re-appear in meyhanes and homes.
Karafaki use is not limited to contemporary Turkey. In Greece, especially in the Aegean Islands, taverns serve house tsipoura in karafakis.
Kadeh v Bardak
Before we delve into the world of drinking accouterments, we need to distinguish between kadeh and bardak: kadeh comes from the Arabic “kadah” (alcoholic drinking glass) and means stemware; bardak, on the other hand, refers to all stemless glassware. And while kadeh is exclusively used for alcoholic beverages, bardak is used for alcoholic and non-alcoholic drinks alike.
The history of the evolution of rakı glass, like any other cultural phenomenon, reflects the shifting cultural and social norms, expectations, desires, etc.
Bülbül Ağzı, source: Rakı: The Spirit of Turkey by Erdir Zat, The Mey Collection & The Vefa Zat Collection photos by Halil Kayır. Special thanks to Anason İşleri
Although it is impossible to know for sure, historians believe the first type of glass rakı drinkers used was bülbüli (that which resembles a nightingale). Nightingale was the symbol of love in Ottoman poetry and bülbüli, originally used for wine, quickly became a favorite with rakı enthusiasts. The glass served as an inspiration for a few variants including the famous bülbül ağzı (nightingale mouth) which can be seen on the label of Kulüp Rakı, one of the oldest brands still in the market today.
Kulüp Rakı, source: Anason İşleri
Rakı enthusiasts did not always need a glass to enjoy their favorite drink. Mediterranean nomads traditionally used fruits, especially apples as glass; they’d core the fruit, pour the rakı inside, and even enjoy the apple as a meze after finishing their drink!
Leylek Boynu, source: Rakı: The Spirit of Turkey by Erdir Zat, The Mey Collection & The Vefa Zat Collection photos by Halil Kayır. Special thanks to Anason İşleri
The true legend of rakı folklore, however, is the leylek boynu (stork’s neck). Defined as “simply magnificent” by Zat, the leylek boynu had a 9 to 10 cl capacity and was narrower at the bottom. This “shaved-at-the-top” conic shape allowed drinkers to cool their rakı in small snow bowls – more on that later.
From left to right Bade kadehi, Bade kadehi 2, Yüksük kadehi, Cur’adan Tek kadehi, source: Rakı: The Spirit of Turkey by Erdir Zat, The Mey Collection & The Vefa Zat Collection photos by Halil Kayır. Special thanks to Anason İşleri
Some of the other well-known rakı glasses used prior to the introduction of ice include: at kulağı (horse’s ear), a tallish stemmed glass; bülbül çanağı (nightingale bowl), a 4cl non-stemmed glass; cur’adan, a 3cl shot-glass often made of metal; and, Çerkes kadehi (Circassian stemware), the slim-waisted tea glass that took the name kadeh when it was used for rakı.
The arrival of ice paved the way for the bardak to dethrone the kadeh.
Pop-up Meyhane in Enfield, London, photo by Ferhat Elik
With the advancement in refrigeration technology in the early 20th century, ice finally made a presence at rakı tables, and according to cultural historians, it quickly became a hit, so much so that even modest establishments ensured they could supply their clientele with it. This was bad news for loyal admirers of the leylek boynu though as the legendary glass was too small to fit ice into. So came the 18cl, cylindrical highball glass, originally used for lemonade; kadeh was dethroned by the bardak.
Traditionalists, unhappy with the replacement of kadeh by the bardak protested the change with what they called “turning their mouth into a pool.” First, they’d drink a mouthful of cold water to cleanse their palate. Then a sip of water, which they’d not swallow, but keep in their mouth. Finally, they’d take a sip of cold water and use their tongue to mix rakı and water in their mouth. According to historians, the protest movement lasted until 1960s, when traditionalists eventually came to terms with the defeat of kadeh.
Although the iconic highball glass has reigned supreme for almost a century, in recent years, with the revitalization of rakı culture, we have seen different, more audacious, more striking designs appear on rakı tables. These varieties allow rakı enthusiasts to express their singularity as they enjoy their favorite drink.
Karlık and Ehlikeyf
Karlıks, source: Rakı: The Spirit of Turkey by Erdir Zat, The Mey Collection & The Vefa Zat Collection photos by Halil Kayır. Special thanks to Anason İşleri
The snow bowls, a prominent fixture in the classical age of meyhanes, were often made of glass or crystal, although some preferred porcelain or metal ones. In those days, enthusiasts preferred to drink rakı cooled in karlık either straight or with just enough water to make rakı take its distinct cloudy color. Leylek boynu’s narrow bottom meant it could easily fit into the karlık and that is why it was the traditionalists’ favorite. According to Zat, some believed that using even smaller glasses meant losing less of the aroma and therefore used the cur’adan which could also easily be buried in snow.
A very rare pitcher with a built in karlık: The karlık also has a room for a small rakı glass, source: Rakı: The Spirit of Turkey by Erdir Zat, The Mey Collection photos by Halil Kayır. Special thanks to Anason İşleri
One of the rarer rakı accouterments is a sleeve designed by the aficionado Ümit Deniz. The crochet sleeve prevents rakı from warming when held in hand.
Ehlikeyf, source: Bakır İstanbul
Ehlikeyf, originally a word used to describe those who are filled with joie de vivre, is a modern take on the karlık. This metal nest, into which the highball glasses easily fit, appeared with the revivalist trend. It cools rakı with the crushed ice buried in it, allowing enthusiasts to enjoy their beverage without adding ice.
Further Reading
Erdir Zat. Rakı: The Spirit of Turkey. Istanbul: Overteam Publishing. 2012
Rakı Ansiklopedisi: 500 Yıldır Süren Muhabbetin Mirası. Istanbul: Overteam Yayınları.