{"id":205,"date":"2005-11-03T01:27:46","date_gmt":"2005-11-03T00:27:46","guid":{"rendered":"http:\/\/wp.mehmetcanyuece.com\/2005\/11\/03\/sanatin-islevi-ve-goerme-bicmleri-uezerine-2\/"},"modified":"2005-11-03T01:27:46","modified_gmt":"2005-11-03T00:27:46","slug":"sanatin-islevi-ve-goerme-bicmleri-uezerine-2","status":"publish","type":"post","link":"https:\/\/mcanyuce.net\/eski\/sanatin-islevi-ve-goerme-bicmleri-uezerine-2\/","title":{"rendered":"SANATIN \u0130\u015eLEV\u0130 VE G\u00d6RME B\u0130\u00c7MLER\u0130 \u00dcZER\u0130NE 2 (*)"},"content":{"rendered":"
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\n \t<\/i> Read Time:<\/span>5 Minute, 37 Second <\/div>\n\n <\/div>
Louvre m\u00fczesinin \u00f6n\u00fcnde biriken kalabal\u0131k ite kalka ilerliyor. Oysa tarihi kal\u0131nt\u0131lar olarak bilinen \u00e7e\u015fitli halk ve uluslar\u0131n tarihini, k\u00f6klerini ve k\u00fclt\u00fcr\u00fcn\u00fc yans\u0131tan heykeller, biblolar ve mermer yontular \u00f6yle sessiz sakin duruyorlar bu iti\u015fme kar\u015f\u0131s\u0131nda. Otantik bir sessizlik hakim mermer yontular aras\u0131nda ve y\u00fczleri birbirlerine do\u011fru ma\u011frurla\u015farak bak\u0131yorlar birbirlerine. G\u00f6r\u00fcnmeyen bir ba\u011f var aralar\u0131nda, kendi topraklar\u0131ndan kopar\u0131larak buraya getirilmeleri onlar\u0131n ortak bir yazg\u0131s\u0131!<\/div>\n

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Ve kimsede ayr\u0131m\u0131nda de\u011fil bu ta\u015f yontular\u0131n, \u00e7\u0131plak mermerlerin, k\u00fcfl\u00fc biblolar\u0131n nerden geldi\u011fi ve kime ait oldu\u011funun.. deh\u015fetli bir sayg\u0131, g\u00f6r\u00fcnmeyen garip \u015fa\u015fk\u0131nl\u0131k ve ge\u00e7mi\u015fe do\u011fru uzanan \u00f6zlemin verdi\u011fi \u00fcrperti.. Bu g\u00fcn\u00fcn teknolojisinin yaratt\u0131\u011f\u0131 bireycile\u015fmi\u015f insan tipinin yaln\u0131zl\u0131\u011f\u0131na mahkum olmu\u015f d\u00fcnyas\u0131ndaki sanat\u0131 ile bu heykeller, ta\u015f ve mermer yontular\u0131n d\u00f6nemine ait insan\u0131n canl\u0131 sanat d\u00fcnyas\u0131 ne kadar farkl\u0131, ne kadar gizemli.. <\/div>\n

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\u00d6n\u00fcnde durdu\u011fum Bronz bir Aslan taraf\u0131ndan korunan K\u00fcrd k\u00f6klerinin bir kolu olan Urki\u015f’in eski H\u00fcrri kral\u0131n\u0131n ta\u015f yaz\u0131t\u0131na bak\u0131yorum.(**) \u0130lgin\u00e7 bir bronz! Beynimin i\u00e7inde derin bir u\u011fultu peydah oluyor.. \u00f6rs ve \u00e7eki\u00e7 sesleri.. i\u015fgal ordular\u0131.. sava\u015f\u0131n yaratt\u0131\u011f\u0131 toplumsal y\u0131k\u0131nt\u0131lar ve bu y\u0131k\u0131nt\u0131lar i\u00e7inde kay\u0131p olan bir ulusun o kadim k\u00f6kleri.. Bronzun Milattan \u00f6nce bin iki y\u00fcz y\u0131llar\u0131na ait bir tarih notu var fakat bu g\u00fcnk\u00fc K\u00fcrdlerin atalar\u0131 oldu\u011funa dair tek bir belirti yok.. <\/div>\n

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Evet d\u00fcnyan\u0131n en \u00fcnl\u00fc ba\u015f kentlerinde yer alan ulusal m\u00fczelerinde K\u00fcrd’lerin atalar\u0131na ve g\u00fcn\u00fcm\u00fcz K\u00fcrdlerine ait olan sanat yap\u0131tlar\u0131n\u0131n K\u00fcrd’lere ait oldu\u011funa dair tek bir a\u00e7\u0131klama yok, niye yok? Nas\u0131l olurda bir halk, bir ulus olurda onun kendisine ait sanat eserleri, mimari yap\u0131lar\u0131 olmaz?<\/div>\n
-Korkun\u00e7 bir yan\u0131lsama! <\/div>\n

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Oysa, K\u00fcrdistan\u0131 i\u015fgal eden s\u00f6m\u00fcrgele\u015ftiren b\u00f6lge devletleriyle onlar\u0131n uluslar aras\u0131 ili\u015fkideki devletleri K\u00fcrdlere ve K\u00fcrdistan’a ait olan t\u00fcm yer alt\u0131 ve yer \u00fcst\u00fc do\u011fal kaynaklar\u0131n\u0131 kendi \u00fclkelerine ta\u015f\u0131makla yetinmemi\u015f birde K\u00fcrdlere ait olan sanat\u0131n\u0131, k\u00fclt\u00fcr\u00fcn\u00fcde kendilerine mal etmi\u015fler. K\u00fcrdlerin tek ba\u015f\u0131na kalan bir \u015feyi oral sanat dedi\u011fimiz ses sanat\u0131n\u0131 \u00e7alamam\u0131\u015flar ve onu bozamam\u0131\u015flard\u0131r.. Denegebejlerin s\u00fcrd\u00fcrd\u00fc\u011f\u00fc o inat\u00e7\u0131 tavr\u0131n\u0131 sayg\u0131yla ba\u011fr\u0131m\u0131za basmak gerekir. <\/div>\n
Fakat ayn\u0131 kar\u015f\u0131 koyu\u015f ve direnmeyi kendi ulusal kayna\u011f\u0131ndan beslenmesi yerine ona yabanc\u0131la\u015fmas\u0131n\u0131 g\u00f6rd\u00fc\u011f\u00fcm\u00fcz iki \u00f6rnek vard\u0131r, bunlardan biri K\u00fcrt Ya\u015far Kemal edebiyat alan\u0131nda, di\u011feri Ahmed Arif \u015fiir alan\u0131nda.! Bu iki \u00f6rne\u011fi sunmam\u0131n nedeni; bilinen ve g\u00f6klere \u00e7\u0131kar\u0131lan bu iki insan\u0131n yaz\u0131lar\u0131nda, \u015fiirlerinde K\u00fcrd lirizmini bulmak m\u00fcmk\u00fcn de\u011fil,aksine \u015fiir ve edebiyat\u0131n konu oldu\u011fu yerler K\u00fcrdistan olmas\u0131na ra\u011fmen dil a\u00e7\u0131s\u0131ndan bi\u00e7im a\u00e7\u0131s\u0131ndan beslendi\u011fi kaynak K\u00fcrd lirizmi de\u011fildir.<\/div>\n

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\u00c7ok bilinen ve herkescede ezbere okunan Ahmet Arif’in otuz \u00fc\u00e7 kur\u015fun \u015fiir’i otuz \u00fc\u00e7 K\u00fcrd k\u00f6yl\u00fcs\u00fcn\u00fcn T\u00fcrk askerleri taraf\u0131ndan kur\u015funa dizilmesi olay\u0131n\u0131n anlat\u0131m\u0131d\u0131r. Bu anlat\u0131m\u0131n dil a\u00e7\u0131s\u0131ndan iki d\u00f6nemi mevcuttur; birincisi : \u015fiir’in yaz\u0131ld\u0131\u011f\u0131 d\u00f6neme ait dil \u00fcslubu,ikincisi ise 12 Mart sonras\u0131 dil \u00fcslubu! Birinci d\u00f6neme ait dilde okunan bu \u015fiir K\u00fcrd\u00e7e den \u00e7evrilmi\u015f gibi bir tadla okunurken burada fark\u0131nda olmadan K\u00fcrd lirizmini buluruz, fakat ayn\u0131 lirizm 12 Mart sonras\u0131 sadele\u015ftirilmi\u015f halinde bulmak m\u00fcmk\u00fcn de\u011fil, tamamen bir yabanc\u0131la\u015fma g\u00f6r\u00fcl\u00fcr. \u015eimdi, bahsetti\u011fim bu iki d\u00f6neme \u00f6zg\u00fc olan \u015fiirden b\u00f6l\u00fcmler veremeye \u00e7al\u0131\u015fay\u0131m: <\/div>\n
\u015eiir’in yaz\u0131ld\u0131\u011f\u0131 d\u00f6nem:<\/div>\n

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“Kirveyiz, h\u0131s\u0131m\u0131z, kanla ba\u011fl\u0131y\u0131z\/ kar\u015f\u0131yaka k\u00f6yleri, obalar\u0131yla\/ k\u0131z al\u0131p vermi\u015f y\u00fczy\u0131llar boyu,\/ birbirine kar\u0131\u015f\u0131r tavuklar\u0131m\u0131z\/ bilmezlikten de\u011fil,\/ fukaral\u0131ktan “<\/div>\n
Burada bir ak\u0131\u015f bir lirizm bir k\u00f6k var ve bizi kendi ger\u00e7ekli\u011fimize g\u00f6t\u00fcr\u00fcr, bir b\u00fct\u00fcnl\u00fc\u011fe ula\u015f\u0131r\u0131z, fakat ikinci d\u00f6nem yaz\u0131lan da ise farkl\u0131 bir yerdeyiz:<\/div>\n

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“ Kirveyiz, karde\u015fiz, <\/u>kanla ba\u011fl\u0131y\u0131z\/ kar\u015f\u0131yaka k\u00f6yleri, obalar\u0131yla\/ k\u0131z al\u0131p vermi\u015fiz y\u00fczy\u0131llar boyu,\/ kom\u015fuyuz yaka yakaya\/<\/u> birbirine kar\u0131\u015f\u0131r tavuklar\u0131m\u0131z\/ bilmezlikten de\u011fil f\u0131karal\u0131ktan( fukaral\u0131k de\u011fil),”<\/div>\n
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Burada ise bir kopu\u015f, bir yabanc\u0131la\u015fma mevcut ve yukar\u0131da ki b\u00fct\u00fcnl\u00fck burada par\u00e7alara d\u00f6n\u00fc\u015f\u00fcyor, yani milli misak-i’nin kabulu ile Lozan 1923 antla\u015fmas\u0131n\u0131n gere\u011fi olan par\u00e7alanm\u0131\u015fl\u0131k esas\u0131yla farkl\u0131 \u00fclke farkl\u0131 uluslar\u0131n yan yana kom\u015fu oldu\u011fu teziyle hareket edilmektedir, K\u00fcrdistan\u0131n s\u00f6m\u00fcrgele\u015ftirilmesi sonucu olan par\u00e7alanm\u0131\u015fl\u0131k kom\u015fuluk d\u00fczeyine ve karde\u015flik \u00fclk\u00fcs\u00fcne \u00e7\u0131kar\u0131l\u0131yor. Dikkat edilirse T\u00fcrk halk\u0131nda \u015f\u00f6yle bir bak\u0131\u015f mevcuttur,” biz karde\u015fiz!” Ama nedense K\u00fcrd karde\u015fin hi\u00e7bir hakk\u0131 hukuku yok! “h\u0131s\u0131m\u0131z” yerini “karde\u015f”e b\u0131rak\u0131yor ve kom\u015fuluk ili\u015fkileri i\u00e7inde ise tavuklar birine kar\u0131\u015f\u0131yor!<\/div>\n

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Tabi, Ahmet Arif veya Ya\u015far Kemal ve benzerlerinin tart\u0131\u015fmas\u0131 ele\u015ftirilmesi edebiyat alan\u0131nda ve as\u0131l K\u00fcrd edebiyat ele\u015ftirmenlerinin i\u015fidir. Ben sadece sanat\u0131n i\u015flevi a\u00e7\u0131s\u0131ndan k\u0131sa bir \u00f6rnek vermem gerekiyordu.<\/div>\n

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1960 sonras\u0131 Kuzey K\u00fcrdistan b\u00f6lgesinde ayaklar\u0131n\u0131 sol d\u00fc\u015f\u00fcnce ile yere basan K\u00fcrd ulusal demokratik g\u00fc\u00e7leri sanata bi\u00e7imsel ve ideolojik olarak bakm\u0131\u015flard\u0131r. Oysa sanat\u0131n bilimsel bir g\u00fczelli\u011fi ta\u015f\u0131d\u0131\u011f\u0131n\u0131n fark\u0131nda olamam\u0131\u015flard\u0131r. \u00d6rne\u011fin, Galile o bilinen d\u00fcnya d\u00f6n\u00fcyor \u00e7al\u0131\u015fmas\u0131nda elde etti\u011fi bulgular\u0131 b\u00fcy\u00fck bir zarafet olarak adland\u0131r\u0131r, yan\u0131 ula\u015fm\u0131\u015f oldu\u011fu bulgular\u0131n ne kadar estetik g\u00fczelli\u011fi oldu\u011funu g\u00f6rd\u00fc\u011f\u00fcnde derin bir haz duyar, ayn\u0131 \u015fey Einstein’nin ve atom fizik\u00e7isi R. Oppenheimer kendi alanlar\u0131ndaki \u00e7al\u0131\u015fmalar\u0131nda sanat\u0131n donan\u0131ml\u0131 bir g\u00fczellik ve insan\u0131n yer y\u00fcz\u00fcndeki konumuna uygun oldu\u011fu ve s\u0131cak ili\u015fkileri yans\u0131tt\u0131\u011f\u0131n\u0131 s\u00f6ylerler. <\/div>\n

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K\u00fcrdistanda da bu b\u00f6yledir ve K\u00fcrdler tarihleri boyu do\u011fayla kendi aras\u0131nda bir diyalog olu\u015fturman\u0131n canl\u0131 renklerini ya\u015farlar ve bu renkler genellikle K\u00fcrd ressamlar\u0131nda \u00e7ok g\u00f6r\u00fcnen ve belirgin olan bir \u00f6zelliktir. \u00d6rne\u011fin K\u00fcrd Ressam Mansur Ahmed’in resimlerinde bunu g\u00f6r\u00fcr\u00fcz, Tekin F\u0131rat’\u0131n resimlerinde ayn\u0131 \u00f6zelli\u011fe sahip. Renklerin yo\u011funlu\u011fu i\u00e7inde y\u00fczer izleyici kendini \u00fclkesinde bulur. K\u00fcrd kad\u0131nlar\u0131n\u0131n giyimlerindeki renklerin yo\u011funlu\u011fu, el i\u015fi dokumalar\u0131nda da mevcuttur.. gen\u00e7 k\u0131zlar\u0131n giydi\u011fi g\u00fcl dall\u0131, simili kuma\u015ftan elbiseler bir bayram havas\u0131ndad\u0131r.. Hal\u0131larda, kilimlerde \u00e7ok i\u015flen motifler do\u011fal renklerden \u00f6te bir ulusun kendi renklerine d\u00f6n\u00fc\u015f\u00fcr. <\/div>\n

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Fakat, o bir yanda ise siyasal s\u00fcre\u00e7le birlikte Kawa ya\u015fad\u0131\u011f\u0131 d\u00f6nemi ve toplumsal i\u015fleviyle y\u00fcr\u00fctt\u00fc\u011f\u00fc sanat\u0131 ve bundan do\u011fan m\u00fccadele ba\u015fkald\u0131r\u0131s\u0131 yerine karikat\u00fcrle\u015ftirilerek asmbol haline getirilmi\u015ftir. Bu konuda yeterli bir kayna\u011fa ula\u015fm\u0131\u015f da de\u011filiz. Oysa, halk hikayelerinde, o uzun kasvetli k\u0131\u015f gecelerinde anlat\u0131lan masallardaki kahraman Kawa farkl\u0131d\u0131r. Kawa sanatkard\u0131r ve durmadan d\u00f6vd\u00fc\u011f\u00fc demire \u00f6rs\u00fcyle bi\u00e7im vermektedir, nak\u0131\u015flar i\u015flemektedir. Sedef sapl\u0131 han\u00e7erlere K\u00fcrd motifleri i\u015fler Demirci Kawa. Siyasal s\u00fcre\u00e7le Demirci Kawa sanat\u00e7\u0131 de\u011fildir, ba\u015fkald\u0131r\u0131nin, bir ihtilalin \u00f6nc\u00fcs\u00fc, zulm\u00fcn y\u0131k\u0131c\u0131s\u0131d\u0131r, fakat onun sanat\u00e7\u0131 kimli\u011fi elinden al\u0131narak yap\u0131lmaktad\u0131r. <\/div>\n
Bunu K\u00fcrd heykelt\u0131ra\u015f\u0131 olan Ferhat’ da g\u00f6rmek m\u00fcmk\u00fcn. Ferhat ta\u015f yontucusu, olarak an\u0131lmaz, aksine o \u015eirine a\u015f\u0131k oldu\u011fu i\u00e7in onun u\u011fruna k\u00fcl\u00fcng\u00fc ile da\u011flar\u0131 deliyor! Ve, K\u00fcrd heykelt\u0131ra\u015f\u0131 olan Ferhat efsane olur, rivayete d\u00f6n\u00fc\u015f\u00fcr, a\u015fk ya\u015fam\u0131n\u0131n mistikli\u011fi i\u00e7inde havaya u\u00e7uyor ve o bir K\u00fcrd Heykelt\u0131ra\u015f\u0131 olma kimli\u011finden yoksun b\u0131rak\u0131l\u0131yor. \u0130\u015fin ilgin\u00e7 yani birde T\u00fcrkle\u015ftiriliyor!<\/div>\n

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Newroz ayn\u0131 bi\u00e7imdedir, ezberlenmi\u015f bahar\u0131n m\u00fcjdecisi ve m\u00fccadelenin ate\u015fidir. Ama, Perslilerin Newrozu bir k\u00fclt\u00fcr, bir sanat bi\u00e7imindedir, bayramlar\u0131n\u0131 o e\u015fsiz Pers dans ve fig\u00fcrleriyle donat\u0131rlar.. bir nak\u0131\u015f bir d\u00fc\u011f\u00fcn i\u015flevi s\u00f6z konusu iken, Kuzey K\u00fcrdistanl\u0131 ulusal demokratik g\u00fc\u00e7lerince Newroz kutlamalar\u0131 kendilerinin bir reklam arac\u0131 ve ne kadar taraf toplad\u0131\u011f\u0131 al\u0131\u015f\u0131lm\u0131\u015f bir iki sanat\u00e7\u0131dan \u00f6teye gitmeyen \u00f6rg\u00fct ve parti bildirilerinin okunmas\u0131yla kutlan\u0131r ve oraya gelen kitle Newroz bayram\u0131n\u0131 ya\u015famak yerine ideolojik ve politik yapt\u0131r\u0131mlar alt\u0131nda disipline edilir . <\/div>\n

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M.M.Karata\u015f<\/div>\n
(**) D\u00fcnya ba\u015fkentlerinde ve \u00e7e\u015fitli \u00fclkeler de bulunan K\u00fcrdlere ait el sanatlar\u0131 olan seramik, ta\u015f ve mermer yontular\u0131 ve bronz \u00e7al\u0131\u015fmalar\u0131n\u0131n K\u00dcRTLERDE SANAT adl\u0131 kitab\u0131yla Nergiza TOR\u0130 ula\u015fabildi\u011fi kaynaklardan yararlanarak bize sunmas\u0131ndan dolay\u0131 ona te\u015fekk\u00fcr ediyorum. Ke\u015fke Nergiza TOR\u0130’lerimiz birka\u00e7 y\u00fcz tane olsayd\u0131. Koral yay\u0131nlar\u0131nda \u00e7\u0131kan bu kitab\u0131 t\u00fcm K\u00fcrdlerin okumas\u0131n\u0131 isterim kendi tarihi k\u00f6klerine bir yolculuk olacak <\/div>\n

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Tweet<\/a><\/div>\n","protected":false},"excerpt":{"rendered":"

Louvre m\u00fczesinin \u00f6n\u00fcnde biriken kalabal\u0131k ite kalka ilerliyor. Oysa tarihi kal\u0131nt\u0131lar olarak bilinen \u00e7e\u015fitli halk ve uluslar\u0131n tarihini, k\u00f6klerini ve k\u00fclt\u00fcr\u00fcn\u00fc yans\u0131tan heykeller, biblolar ve mermer yontular \u00f6yle sessiz sakin duruyorlar bu iti\u015fme kar\u015f\u0131s\u0131nda. Otantik bir sessizlik hakim mermer yontular aras\u0131nda ve y\u00fczleri birbirlerine do\u011fru ma\u011frurla\u015farak bak\u0131yorlar birbirlerine. G\u00f6r\u00fcnmeyen bir ba\u011f var aralar\u0131nda, kendi topraklar\u0131ndan […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_gspb_post_css":"","footnotes":""},"categories":[26],"tags":[],"class_list":["post-205","post","type-post","status-publish","format-standard","hentry","category-en-son"],"blocksy_meta":[],"brizy_media":[],"_links":{"self":[{"href":"https:\/\/mcanyuce.net\/eski\/wp-json\/wp\/v2\/posts\/205","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mcanyuce.net\/eski\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mcanyuce.net\/eski\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mcanyuce.net\/eski\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mcanyuce.net\/eski\/wp-json\/wp\/v2\/comments?post=205"}],"version-history":[{"count":0,"href":"https:\/\/mcanyuce.net\/eski\/wp-json\/wp\/v2\/posts\/205\/revisions"}],"wp:attachment":[{"href":"https:\/\/mcanyuce.net\/eski\/wp-json\/wp\/v2\/media?parent=205"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mcanyuce.net\/eski\/wp-json\/wp\/v2\/categories?post=205"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mcanyuce.net\/eski\/wp-json\/wp\/v2\/tags?post=205"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}