{"id":389,"date":"2013-11-02T06:32:29","date_gmt":"2013-11-02T06:32:29","guid":{"rendered":"https:\/\/www.aylikdergisi.com\/?p=389"},"modified":"2023-08-22T06:34:42","modified_gmt":"2023-08-22T06:34:42","slug":"esatir-ve-mitoloji-vesilesiyle","status":"publish","type":"post","link":"https:\/\/www.aylikdergisi.com\/index.php\/2013\/11\/02\/esatir-ve-mitoloji-vesilesiyle\/","title":{"rendered":"\u201cEsatir ve Mitoloji\u201d (*) vesilesiyle\u2026"},"content":{"rendered":"

Mitoloji \u00fczerinden Bat\u0131\u2019n\u0131n ele\u015ftirisi yap\u0131l\u0131r ve Bat\u0131\u2019n\u0131n imgeleri bile metala\u015ft\u0131rmas\u0131 anlat\u0131l\u0131rken, teknoloji ile birlikte Bat\u0131\u2019n\u0131n ideolojik kal\u0131plar\u0131na girerek Do\u011fu\u2019nun tahayy\u00fcl\u00fcn\u00fcn de Bat\u0131 taraf\u0131ndan esir ald\u0131\u011f\u0131 belirtilmekte ve \u0130BDA\u2019n\u0131n mitoloji ve di\u011fer mevzularda \u0130sl\u00e2m\u00ee bir bilin\u00e7 ve direni\u015f ruhu olu\u015fturarak \u00e7a\u011f\u0131m\u0131z\u0131n-insan\u0131m\u0131z\u0131n kurtulu\u015f re\u00e7etesi oldu\u011fu, kuru tebli\u011fcilik \u015feklinde de\u011fil de, bir \u0131st\u0131rab\u0131n ifadesi olan telkincilik \u015feklindeki ifadesini bulan bu yaz\u0131n\u0131n dikkatle okunmas\u0131n\u0131 ve \u015fahsiyet-duru\u015f-estetik-form kazanmay\u0131 \u00f6neririz.<\/em><\/p>\n

\u00a0<\/strong>Sanat-\u015fahsiyet al\u00e2kas\u0131 <\/em><\/strong><\/p>\n

Film yap\u0131mc\u0131s\u0131 Jack Bond, 1965 y\u0131l\u0131nda \u00e7ekti\u011fi, Salvador Dali ile yap\u0131lm\u0131\u015f tek film olan, \u201cDali New York\u2019ta\u201d isimli filmde, efs\u00e2nev\u00ee sanat\u00e7\u0131, sanat ve sanat\u0131 \u00fczerine konu\u015furken: \u201cKi\u015fili\u011fim resimlerimden binlerce kat daha \u00f6nemlidir\u201d me\u00e2linde \u00f6nemli bir tesbitte bulunur. \u00d6nemi \u015furada: \u0130ster g\u00fczelin fethinde, ister g\u00fczeli de\u011ferlendirme ve tenkid safhas\u0131nda olsun, en \u00f6nemli unsur \u015fahsiyetimiz ve m\u00eezac\u0131m\u0131zd\u0131r. \u00c7\u00fcnk\u00fc \u015fahsiyeti olmayan\u0131n hi\u00e7bir \u015feyi yoktur, sanat sanatk\u00e2r\u0131n \u015fahsiyetini dile getirir; \u201cm\u00eezac\u0131 sapm\u0131\u015f kimseden ise, \u00e7irkin huylar ve baya\u011f\u0131 ahl\u00e2k ortaya \u00e7\u0131kar.\u201d (Muhiddin-i Arab\u00ee \u2013F\u00fct\u00fbh\u00e2t\u0131 Mekkiyye) Dolay\u0131s\u0131yla, sanat ak\u0131mlar\u0131 filizlendikleri ya da \u00e7i\u00e7ek a\u00e7t\u0131klar\u0131 d\u00f6neme g\u00f6re de\u011fil, hitap ettikleri farkl\u0131 yarat\u0131l\u0131\u015flara g\u00f6re tasnif edilmeli. Zira insan\u0131n de\u011feri, ilgi duydu\u011fu \u015feylerin de\u011feriyle \u00f6l\u00e7\u00fcl\u00fcr. Y\u00fcce duygular ancak y\u00fcce ruhlarda tecelli eder, basit ve dev\u015firme ruhlarda en muhte\u015fem sanat eseri bile, hi\u00e7bir ar\u0131nma ve yenilenmeye vesile olmaz! \u201cEser, keyfiyetini anlayan\u0131na verir.\u201d<\/p>\n

Muhiddin-i Arab\u00ee Hazretleri: \u201cEserlerin en b\u00fcy\u00fc\u011f\u00fc, \u00f6l\u00fcleri diriltmektir; \u00eemanla diriltmek, bilgiyle diriltmek ve duyusal olarak diriltmek\u201d buyuruyor. Zarafet ve asaletin birlikteli\u011fi muhte\u015femdir, insan\u0131 cezb eder, S. Mirzabeyo\u011flu b\u00f6yle bir insan; tam bir \u201ciman \u015f\u00f6valyesi\u201d. Eserleri de Muhiddin-i Arab\u00ee Hz.lerinin buyurdu\u011fu gibi, hem m\u00fckemmel karakter ve zarif m\u00eezac\u0131n\u0131 yans\u0131t\u0131r hem de \u00f6l\u00fc ruhlar\u0131 diriltir nitelikte. Varolu\u015f mertebelerinde y\u00fckseldik\u00e7e mesafelerin ne kadar k\u0131sald\u0131\u011f\u0131na mis\u00e2l, Shakespeare\u2019in: \u201cG\u00fczel bin kat daha g\u00fczeldir \/ E\u015fsiz hakikati ku\u015fan\u0131nca beline.\u201d Ve S.Mirzabeyo\u011flu\u2019nun: \u201cSadece g\u00fczellik yan\u0131lt\u0131c\u0131 olabilir\/ Do\u011frunun olmad\u0131\u011f\u0131 yerde g\u00fczelde yoktur\u201d m\u0131sralar\u0131nda dile getirildi\u011fi gibi, g\u00fczel hakikatten ayr\u0131lamaz; zamanla kay\u0131tl\u0131 olan, ge\u00e7ici olan, ger\u00e7ek bir sanatk\u00e2r\u0131n eserinde ifade imk\u00e2n\u0131 bulunca kal\u0131c\u0131 ve \u00f6lmez bir nitelik kazan\u0131r. \u201cEsatir ve Mitoloji\u201d de b\u00f6yle bir eser.<\/p>\n

\u0130man nuruyla meselelere bakan m\u00fcellifin yap\u0131c\u0131 dehas\u0131, mevzular\u0131n kriti\u011fi i\u00e7inde neredeyse kaybolma raddesine var\u0131rken, stil ve malzemenin i\u015flenme tarz\u0131 esere harika bir form kazand\u0131r\u0131yor. Ger\u00e7ek sanatk\u00e2r\u0131n zihninde beliren fikirler, t\u00fcm \u00e2hengi ve mevzun g\u00fczelli\u011fiyle levhalar halinde ( h\u00e2lden h\u00e2le ge\u00e7i\u015fler ) d\u00fc\u015f\u00fcnce ve tutkuya yans\u0131rken, insan yepyeni fikirlere de \u00fcnsiyet kesb ediyor. Esatir ve mitolojiye dair mevzular\u0131n kendi formlar\u0131ndan farkl\u0131 bir forma aktar\u0131l\u0131\u015f\u0131ndaki tenkid g\u00fcc\u00fc, z\u0131dd\u0131n\u0131 tasarrufuna al\u0131\u015ftaki fikr\u00ee konsept (kalite \u2013 kapasite- derinlik), k\u00fclt\u00fcr tarihinde \u00f6nemli bir yer tutaca\u011f\u0131n\u0131n da g\u00f6stergesi. Ger\u00e7ek bir entelekt\u00fceldeki ele\u015ftirel ruh, sanat ve tabiattaki hatalar\u0131 berrak bir bak\u0131\u015fla s\u00fcz\u00fc\u015fteki feraset, zihindeki ritim ve \u00e2henk g\u00fcc\u00fc, iyi \u2013 do\u011fru ve g\u00fczeli tan\u0131y\u0131p ruhuna kat\u0131\u015f\u0131ndaki asalet, ger\u00e7ekten muhte\u015fem. \u0130nsan, t\u00fcm sanatlar\u0131n prensiplerini bilen b\u00fcy\u00fck bir sanatk\u00e2rla kar\u015f\u0131 kar\u015f\u0131ya oldu\u011funun idrakine var\u0131yor.<\/p>\n

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Sanat- kaos- form tutkusu<\/em><\/strong><\/p>\n

Rahmetli \u201c\u00dcstad\u201d\u0131n, ruhunda nizam \u015fuuru olmak \u2013 S. Mirzabeyo\u011flu\u2019nun ise, \u201cbu d\u00fcnyada i\u015f ve eser ad\u0131na ne varsa, insano\u011flunun bilerek veya bilmeyerek pe\u015finde ko\u015ftu\u011fu \u0130\u00c7 \u00c2LEM d\u00fczeninin vas\u0131fland\u0131r\u0131l\u0131\u015f\u0131n\u0131 g\u00f6steriyor\u2026\u201d Tesbitlerinde ifadesini bulan, hayat\u0131n her alan\u0131nda ihtiya\u00e7 duydu\u011fumuz form tutkusu, insano\u011flunun d\u00fczene kar\u015f\u0131 duydu\u011fu istek ve kurallara olan a\u00e7l\u0131\u011f\u0131 hi\u00e7 bitmez. Meseleleri anlayabilmek i\u00e7in ebatlar\u0131n\u0131 k\u00fc\u00e7\u00fcltme ihtiyac\u0131 duyar\u0131z. \u00c2miyane tabirle, kafam\u0131z onlar\u0131 ancak bu \u015fekilde al\u0131r. Edindi\u011fimiz bilginin soyutlu\u011fu nisbetinde karma\u015f\u0131kl\u0131\u011f\u0131 da artar. Dolay\u0131s\u0131yla, muhtasar\u0131 da o denli zordur. Ne kadar \u00f6zetleyebilirsek o kadar d\u00fczene girer, karma\u015f\u0131kl\u0131\u011f\u0131 da o nisbette azal\u0131r. Hayat\u0131 kendi \u015fuur seviyemize indirgeyerek alg\u0131lama ihtiyac\u0131; d\u00fcnyay\u0131, ger\u00e7ekte oldu\u011fundan daha az karma\u015f\u0131km\u0131\u015f gibi alg\u0131lamam\u0131za sebep olur.<\/p>\n

Sinemada, Tarkovski gelene\u011finden gelen ve en iyi Tarkovski yorumcular\u0131ndan biri olarak kabul edilen Rus y\u00f6netmen Alexandr Nikolayevi\u00e7 Sokurov, Goethe\u2019nin \u00f6l\u00fcms\u00fcz eseri \u201cFaust\u201d un serbest adaptasyonunda ruhunu \u015feytana satan insan\u0131 bir kere daha sinemaya ta\u015f\u0131d\u0131. Filmin g\u00f6r\u00fcnt\u00fclerle ilerleyen sahnelerinden birinde y\u00f6netmen, kameray\u0131 f\u0131rt\u0131na ya da sava\u015f sonras\u0131 manzaralarla bezeli bir kasaban\u0131n \u00fczerinde gezdirir. \u00dcnl\u00fc y\u00f6netmen, bu kasaba metaforuyla; ruhunu \u015feytana satan g\u00fcn\u00fcm\u00fcz insan\u0131n\u0131, i\u00e7 d\u00fcnyas\u0131n\u0131n peri\u015fanl\u0131\u011f\u0131n\u0131, akl\u00ee ve ahl\u00e2k\u00ee pejm\u00fcrdeli\u011fini sinema diliyle bir kez daha g\u00f6zler \u00f6n\u00fcne sererken, seyirciye, \u201cgeli\u015fmi\u015fli\u011fin a\u011f\u0131r bedel \u201cini\u201d hissettirmeyi \u00f6zellikle ister gibidir.<\/p>\n

Sanat insano\u011flunun d\u00fczenlenmemi\u015f kaosunu d\u00fczene sokabildi\u011fi, i\u00e7 d\u00fcnyas\u0131na d\u00fczen getirebildi\u011fi nisbette e\u015fyan\u0131n hakikatine yakla\u015fm\u0131\u015f ve o nisbette estetik bir de\u011fer kazanm\u0131\u015f olur. Hem sanat hem de bilimle ilgili t\u00fcm faaliyetlerimiz ebatlar\u0131 k\u00fc\u00e7\u00fcltme, e\u015fyay\u0131 d\u00fczene sokma ve son tahlilde, i\u00e7 \u00e2lem d\u00fczenini tertip pe\u015findeki bir ihtiya\u00e7tan kaynaklan\u0131r. \u00c7evrenizi \u015f\u00f6yle etrafl\u0131ca bir taray\u0131n, milyarlarca detayla doludur. \u0130zah etmeye kalk\u0131n, hemen s\u00f6yledikleriniz aras\u0131nda ba\u011f kurma, bir \u015feyi bir ba\u015fka \u015feye izafe ederek anlama ihtiyac\u0131 duyacaks\u0131n\u0131z. Edebiyat, sanat, ilim, efs\u00e2ne\u2026 Hepsinin fonksiyonu ayn\u0131d\u0131r. Bunlar bizi d\u00fcnyan\u0131n karma\u015f\u0131kl\u0131\u011f\u0131ndan uzakla\u015ft\u0131r\u0131r, bilinmezli\u011finden korur. Hayat\u0131n her alan\u0131nda ihtiya\u00e7 duydu\u011fumuz formlar, kesintisiz hayat\u0131n ak\u0131\u015f\u0131n\u0131 i\u00e7lerine al\u0131p ona bi\u00e7im ve intizam kazand\u0131r\u0131r. Ancak, muhteva kendini ideal bir zenginlikte, tek ve belli bir form i\u00e7inde g\u00f6sterir. Bunun idrakinde olanlar nezdinde, 21. As\u0131rda \u0130sl\u00e2m\u2019a muhatap anlay\u0131\u015f\u0131n e\u015fsiz, misilsiz, benzersiz bir zenginlikte kendini g\u00f6sterebilece\u011fi ideal tecelli zemini, BD- \u0130BDA d\u00fcnya g\u00f6r\u00fc\u015f\u00fcd\u00fcr.<\/p>\n

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Bat\u0131\u2019n\u0131n nesneye bak\u0131\u015f\u0131<\/em><\/strong><\/p>\n

Antik \u00e7a\u011f\u0131n sanat\u0131, \u00e7ok tanr\u0131c\u0131l\u0131\u011f\u0131n temeli olan mitolojiye dayal\u0131yd\u0131. Avrupa, End\u00fcl\u00fcs Emevileri sayesinde Aristotoles\u2019le tan\u0131\u015f\u0131ncaya kadar, Orta \u00c7a\u011f Bat\u0131 toplumunda her t\u00fcrl\u00fc de\u011fi\u015fikli\u011fe kar\u015f\u0131 \u00e7\u0131kan, dura\u011fan bir k\u00e2inat anlay\u0131\u015f\u0131 h\u00e2kimdi. Yaratandan yarat\u0131lan\u0131n en k\u00fc\u00e7\u00fck zerresine kadar, zincirleme seyreden hiyerar\u015fik bir iktidar anlay\u0131\u015f\u0131, bu ictima\u00ee yap\u0131y\u0131 me\u015fru k\u0131l\u0131yordu.<\/p>\n

Bu idrak ve me\u015fruiyet zemininde e\u015fya mutlakt\u0131r, inceleme ve \u00e7\u00f6z\u00fcmleme konusu yap\u0131lamaz. Kendi ger\u00e7ekli\u011finden tecrid edilerek, Platon\u2019un ger\u00e7ek varl\u0131klar kabul etti\u011fi idealar \u00e2leminin bir par\u00e7as\u0131 olarak ele al\u0131n\u0131r. E\u015fya insana ba\u011fl\u0131 bir ger\u00e7ekliktir; de\u011fi\u015fimi \u2013 d\u00f6n\u00fc\u015f\u00fcm\u00fc \u2013 \u00e7\u00f6z\u00fcmlenmesi ferdin ge\u00e7irdi\u011fi de\u011fi\u015fimler paralelinde ger\u00e7ekle\u015fir. Sanat\u0131 t\u00fcm\u00fcyle kiliseye ba\u011fl\u0131d\u0131r, \u00fcsl\u00fbbuna sembolizm h\u00e2kimdir. Resminde perspektif yoktur, \u00fc\u00e7 boyutlu ger\u00e7ekli\u011fi iki boyutlu bir zeminde temsil etmeye kalk\u0131\u015fmaz. E\u015fyan\u0131n kendisi \u201cg\u00f6lge varl\u0131k\u201dt\u0131r, dolay\u0131s\u0131yla imgesinden de s\u00f6z edilemez.<\/p>\n

Fakat R\u00f6nesans\u2019la birlikte her \u015fey de\u011fi\u015fir. \u201cYeniden Do\u011fu\u015f\u201d d\u00fcnyada yepyeni bir sosyal ve zihni yap\u0131lanman\u0131n ba\u015flad\u0131\u011f\u0131 tarihtir. Arnold Toynbee\u2019nin tabiriyle, \u201cd\u00fcnyan\u0131n sald\u0131r\u0131ya u\u011frad\u0131\u011f\u0131, Bat\u0131\u2019n\u0131n hoyrat sald\u0131r\u0131s\u0131na u\u011frad\u0131\u011f\u0131 bir d\u00f6nemin ba\u015flang\u0131c\u0131\u2026 \u201cBen insan\u0131m, insani olan hi\u00e7bir \u015fey bana yabanc\u0131 de\u011fildir\u201d d\u00fcsturu (insandan murad, kutsal\u0131n \u00e7ekim g\u00fcc\u00fcnden kurtulan ferttir), R\u00f6nesans\u2019\u0131n estetik idealini dile getirir. Bundan sonra Bat\u0131 k\u00fclt\u00fcr\u00fc, me\u015fruiyetini Tanr\u0131\u2019da bulan iktidar d\u00fc\u015f\u00fcncesinden kesin bir bi\u00e7imde koparak, giderek duyumcul bir kafa yap\u0131s\u0131yla materyalist, ku\u015fkucu, hedonist bir niteli\u011fe b\u00fcr\u00fcn\u00fcrken; ak\u0131l inanca a\u011f\u0131r basacak, bilimsel tav\u0131r \u00f6n pl\u00e2na \u00e7\u0131kacak, nihayetinde zihn\u00ee \u00e7\u00f6z\u00fclme ve ruhsal \u00e7\u00f6k\u00fc\u015f s\u00fcreci ba\u015flayacakt\u0131r. Yap\u0131lan ke\u015fifler neticesinde, insanl\u0131\u011f\u0131 hangi fel\u00e2ketlerin ya da hangi faydalar\u0131n bekledi\u011fini \u00f6n g\u00f6remeyen modern d\u00fcnyan\u0131n mimarlar\u0131, her t\u00fcrl\u00fc entelekt\u00fcel sahtek\u00e2rl\u0131\u011f\u0131 bilim k\u0131l\u0131f\u0131na sokup yuttururken, \u00f6l\u00e7\u00fcp bi\u00e7me \u00e7\u0131lg\u0131nl\u0131\u011f\u0131 e\u015fyaya da sirayet edecek; e\u015fya da m\u00fcdahale edilebilir bir konuma yerle\u015fecektir. Akl\u0131n devam\u0131 halinde \u00f6l\u00e7\u00fcl\u00fcp bi\u00e7ilecek; par\u00e7alara b\u00f6l\u00fcnecek, elde edilen \u00f6l\u00fc par\u00e7ac\u0131klar\u0131n her biri bir de\u011fi\u015fken kabul edilerek b\u00fct\u00fcnle ili\u015fkilendirilecek; bilimde bu b\u00fct\u00fcn i\u00e7inden \u00fcretilecektir. Hatta akl\u0131n yap\u0131s\u0131 e\u015fyan\u0131n yeni konumu gere\u011fi, onun devam\u0131 ve neticesi halinde yeniden in\u015fa edilecektir. Bu s\u00fcre\u00e7te tan\u0131yan \u00f6zne \u2013 tan\u0131nan nesne m\u00fctekabiliyeti aranmayacak, fert kendisini objektifle\u015ftirme etkinli\u011finin bir par\u00e7as\u0131 olarak g\u00f6recektir. B\u00f6ylelikle, \u201cinsan ve murad\u0131 olmadan e\u015fyan\u0131n hakikati anla\u015f\u0131lamaz\u201d ( S. Mirzabeyo\u011flu \u2013Esatir ve Mitoloji) do\u011frusu hil\u00e2f\u0131na, merkez \u2013 \u00e7evre alg\u0131s\u0131 de\u011fi\u015firken, e\u015fyaya \u00f6ncelik atfedilecek, e\u015fya merkezi bir konuma yerle\u015fecektir. \u0130nsan karakterindeki al\u00e7alman\u0131n m\u00fcessesele\u015fmi\u015f hali; baya\u011f\u0131 ve s\u0131radan olana \u00f6ncelikle hayat hakk\u0131 tan\u0131yan Darwinci prensip ve ger\u00e7ekli\u011fi bir zan \u2013 hay\u00e2l olarak g\u00f6ren g\u00f6recelilik, bu istikametteki geli\u015fmelerin kendini ifade imk\u00e2n\u0131 bulaca\u011f\u0131 son zemin olacakt\u0131r.<\/p>\n

Bu idrak silsilesi i\u00e7inde Allah\u2019\u0131 d\u00fcnyadan tahliye eden zihniyet, \u201cTanr\u0131 yoksa her \u015fey m\u00fcmk\u00fcnd\u00fcr\u201d anlay\u0131\u015f\u0131yla, modern kavramlar\u0131n ( \u00f6zg\u00fcr irade-bireysel tercih-se\u00e7me \u00f6zg\u00fcrl\u00fc\u011f\u00fc) yapayl\u0131\u011f\u0131 i\u00e7inde istedi\u011fi gibi e\u015fyaya m\u00fcdahale edecek, Yahudi \u2013 H\u0131ristiyan bilin\u00e7alt\u0131 hep yeniden antik \u00e7a\u011fa ba\u011flanarak onun imgelerine d\u00f6necektir.<\/p>\n

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\u00a0<\/em><\/strong><\/p>\n

Sanat- imge- mitos\u2026<\/em><\/strong><\/p>\n

\u0130mge, Fr. \u201cimage\u201d \u2013 Lat. \u201cimago\u201ddan m\u00fclhem, dilimize hay\u00e2l \u2013 tahayy\u00fcl \u2013 tasavvur kelimelerinin kar\u015f\u0131l\u0131\u011f\u0131 olarak ge\u00e7mi\u015f, uyduruk\u00e7a bir s\u00f6zc\u00fck. Modern terminoloji a\u00e7\u0131s\u0131ndan imge; etkin bir m\u00fc\u015fahede ve m\u00fccerred d\u00fc\u015f\u00fcnce birlikteli\u011finin \u00fcr\u00fcn\u00fcd\u00fcr, sanat\u00e7\u0131n\u0131n bilincinde olu\u015fan haliyle, \u00e2lemde tahayy\u00fcl ettiklerimizin ideal bir tablosudur. Sanat\u00e7\u0131 bunu, eseri vas\u0131tas\u0131yla okuyucuya, seyirciye ya da izleyiciye ula\u015ft\u0131r\u0131r. \u0130mam-\u0131 Rabbani Hz.lerinin \u00f6l\u00e7\u00fclendirmesiyle s\u00f6ylersek: \u201cMecaz hakikate k\u00f6pr\u00fcd\u00fcr.\u201d Ancak, imgenin hakikati her halde ba\u015fkala\u015f\u0131m ve her surette zuhurdur. Dolay\u0131s\u0131yla, imgeler vas\u0131tas\u0131yla ger\u00e7ekli\u011fin yeniden \u00fcretilmesinde g\u00f6z ard\u0131 edilmemesi gereken husus; zuhurun hakikate de\u011fil, surete ait oldu\u011fu ger\u00e7e\u011fidir. Zira hakikat her zaman nih\u00e2nd\u0131r. Ba\u011fl\u0131 oldu\u011fumuz d\u00fcnya g\u00f6r\u00fc\u015f\u00fcne nisbetle s\u00f6ylersek; ibda\u00ee fikirler ihtiva eden imge, ancak ger\u00e7ek bir sanatk\u00e2r\u0131n eserinde dile geldi\u011finde inand\u0131r\u0131c\u0131 olabilir. \u0130bn Arab\u00ee Hz.leri \u201cHay\u00e2l \u0130lmi\u201dnden bahisle; \u201cr\u00fcyan\u0131n ilmidir \u201d – \u201cberzah\u0131n bilinmesidir\u201d \u2013\u201csuretlerin bilinmesidir\u201d buyuruyor. Bu m\u00e2n\u00e2da, S. Mirzabeyo\u011flu\u2019nun alt\u0131 ciltlik \u201cTilki G\u00fcnl\u00fc\u011f\u00fc \/ Ruh\u00ee Roman\u201d ve \u201c\u00d6l\u00fcm Odas\u0131- B Yedi\u201d isimli eserleri, ke\u015ff edilmeyi bekleyen m\u00fcmbit bir imge orman\u0131d\u0131r. Sanat\u00e7\u0131lara \u2013 sanat tarih\u00e7ilerine duyurulur!<\/p>\n

Esteti\u011fin temel bir kategorisi olarak sanatta imge, hay\u00e2l melekesiyle idrak ettiklerimizin bedenlenerek v\u00fccud bulmas\u0131d\u0131r. \u201c\u0130mge, temsil etti\u011fi \u015feyi ne kadar derinden hissettiriyorsa, e\u015fyan\u0131n hakikatiyle kurulan temas da o denli derin olacakt\u0131r. \u0130mgeye sahip olmak: Sezgiyle bilmek, ifade etmektir; intiba ve hislerimizin d\u0131\u015fa vurumudur. Zira \u201csuretler olmadan m\u00e2n\u00e2lar ebediyyen tecelliye gelmez.\u201d Dolay\u0131s\u0131yla bu izhar s\u00fcrecinde, \u201c hay\u00e2l m\u00e2n\u00e2lara suretler giydirecek ve onlar\u0131 bu suretler i\u00e7inde izhar edecektir.\u201d Ancak, \u201czahir mazhar\u0131n istidad\u0131n\u0131n h\u00fckm\u00fcyle s\u0131n\u0131rlanm\u0131\u015ft\u0131r.\u201d( \u0130bn Arab\u00ee Hz.leri). Bu sebeple; imgeler vas\u0131tas\u0131yla ger\u00e7ekli\u011fin yeniden \u00fcretilmesinde m\u00fcmk\u00fcn\u00fcn hakikati, imgenin ta\u015f\u0131nd\u0131\u011f\u0131 zeminde- bulundu\u011fu h\u00e2l \u00fczere tezah\u00fcr edecek; sanat\u00e7\u0131 h\u00e2li nisbetinde bir imgelem g\u00fcc\u00fcne ( ibda\u00ee istidad) sahip olacak, ortaya \u00e7\u0131kan sanat eseri de e\u015fyay\u0131 de\u011fil, ondan t\u00fcten m\u00e2n\u00e2y\u0131 ihsasen dile getirebildi\u011fi nisbette letafet ve estetik bir de\u011fer kesb edecektir. Ancak bu s\u00fcre\u00e7te ne e\u015fya ne de imgesi her bakan g\u00f6ze hakikatini vermez. Zira \u201ci\u015fler\/ ger\u00e7ekler- senin in\u015fan ve var etmenle de\u011fil de- kendilikleriyle gelirlerse, sana hakikatlerini verirler ve sen de olduklar\u0131 h\u00e2l \u00fczere onlar\u0131 bilirsin!\u201d<\/p>\n

( Muhiddin-i Arab\u00ee Hz.leri \u2013F\u00fct\u00fbh\u00e2t\u0131 \u00a0Mekkiyye)<\/p>\n

Ne var ki, \u201cM\u00fc\u2019min g\u00f6zlerin nuru \u2013 k\u00e2firde olmayan bu\u201d (S. Mirzabeyo\u011flu -Esatir ve Mitoloji) do\u011frusuna mis\u00e2l, Bat\u0131\u2019n\u0131n e\u015fyay\u0131 anlay\u0131\u015f\u0131, alg\u0131lay\u0131\u015f\u0131, yorumlay\u0131\u015f\u0131 bu \u015fuurdan tamamen uzak. Bat\u0131l\u0131 \u015fuurda e\u015fya, bir imgeler y\u0131\u011f\u0131n\u0131d\u0131r. Kitle \u00fcretiminin mant\u0131\u011f\u0131 ise, imgelerin yine imgeler vas\u0131tas\u0131yla yeniden \u00fcretimidir. Art\u0131k yasaks\u0131z, yapt\u0131r\u0131ms\u0131z, uyu\u015fturulmu\u015f g\u00fcn\u00fcm\u00fcz toplumlar\u0131nda imge, e\u015fyaya tap\u0131nman\u0131n niha\u00ee bir bi\u00e7imi ve g\u00fcn\u00fcm\u00fcz\u00fcn de meta\u0131d\u0131r. Ondan meta \u00fcretiminin mant\u0131\u011f\u0131 d\u0131\u015f\u0131nda bir \u015fey beklemek, beyhude bir \u00e7aba olur. Anlams\u0131zl\u0131\u011f\u0131, hi\u00e7li\u011fi imgenin i\u00e7ine yerle\u015ftiren modern d\u00fcnyan\u0131n imge uzmanlar\u0131, medyalar arac\u0131l\u0131\u011f\u0131yla insan bilincini istedikleri gibi y\u0131kamakta, zihinleri kontrol etmekte ve beyinleri d\u00fczenlemektedirler. Bat\u0131l\u0131 insan, bir yandan ger\u00e7ekli\u011fi yalan\u0131n i\u00e7inden yans\u0131t\u0131ld\u0131\u011f\u0131 bi\u00e7imiyle alg\u0131larken, di\u011fer yandan kendi iradesi d\u0131\u015f\u0131nda \u00fczerine boca edilen imgeler y\u0131\u011f\u0131n\u0131n\u0131n \u00e7eli\u015fkisi i\u00e7inde kalmakta, nihayetinde kendisine yabanc\u0131la\u015fmaktad\u0131r. Her objenin bir imgeyle izhar\u0131na y\u00f6nelik sakat mant\u0131k, Bat\u0131 insan\u0131n\u0131 esir ald\u0131. \u0130nsan art\u0131k i\u00e7ine do\u011fdu\u011fu d\u00fcnyada ya\u015fayabilmek i\u00e7in, do\u011fu\u015ftan sahip oldu\u011fu donan\u0131mdan \u00e7ok daha fazlas\u0131na muhta\u00e7.<\/p>\n

\u0130nsan\u0131n talihsizli\u011fi f\u0131trat\u0131 hil\u00e2f\u0131na davranmas\u0131nda yatar. Dolay\u0131s\u0131yla, \u201cHakk\u2019\u0131n dili halk\u0131n dili\u201d \u00f6l\u00e7\u00fcs\u00fc ba\u011flam\u0131nda, \u201c\u0130nsan\u00ee olan il\u00e2h\u00ee olana, \u0130l\u00e2h\u00ee olan da insan\u00ee olana ba\u011flanmal\u0131.\u201d L\u00e2kin hayvanlarla payla\u015ft\u0131\u011f\u0131m\u0131z (semirmeyi tek\u00e2m\u00fcl addetmek \u2013 S.M.) bir hayat ideali, kitle \u00fcretiminin mant\u0131\u011f\u0131, modernli\u011fin yol a\u00e7t\u0131\u011f\u0131 s\u0131k\u0131c\u0131 yeknes\u00e2kl\u0131k insanlar\u0131 s\u0131radanla\u015ft\u0131rd\u0131; s\u00fcr\u00fcden olmamak, farkl\u0131 olmak, aran\u0131lan bir \u015fey. \u0130nsandan hayvana, nebattan cemada her \u015fey kendini a\u015fmak, \u201cbir \u015fey\u201d olmak ister. Ne var ki, pop\u00fcler k\u00fclt\u00fcr\u00fcn end\u00fcstrile\u015fmesiyle birlikte, mutasyona u\u011fram\u0131\u015f varl\u0131\u011f\u0131yla fert, \u015fahsiyet olmaktan \u00e7\u0131kt\u0131, toplum i\u00e7inde bariz vasf\u0131yla tebar\u00fcz edemedi\u011finden (fil\u00e2nca olamad\u0131\u011f\u0131ndan), ba\u015fkas\u0131n\u0131 \u00f6teki olarak \u00fcretmek zorunda kalan bir g\u00f6r\u00fcnt\u00fc konumunda. Art\u0131k kimsenin ne anlataca\u011f\u0131 kendine has bir d\u00fcnyas\u0131, ne de kendine \u00f6zg\u00fc bir \u00fcsl\u00fbbu var. Eskinin d\u00fc\u015f\u00fcn\u00fcrleri, sanat\u0131, sinemas\u0131, efs\u00e2nesi\u2026 Postmodern sanat\u00e7\u0131lar taraf\u0131ndan pervas\u0131zca yeniden \u00fcretilerek, \u201c\u00f6l\u00fc bir dil\u201d in i\u00e7inden konu\u015fuluyor. Medyatik teknoloji bir yandan t\u00fcketimi sanat k\u0131l\u0131f\u0131na sokup pazarlarken, di\u011fer yandan e\u015fyan\u0131n g\u00f6r\u00fcnt\u00fcleri durmadan de\u011fi\u015fiyor, anl\u0131k bir g\u00f6r\u00fcnt\u00fcn\u00fcn yerine hemen bir ba\u015fkas\u0131 ikame ediliyor. Hay\u00e2l g\u00fcc\u00fcn\u00fc harekete ge\u00e7iren \u015feyler, pornografiyle b\u00fct\u00fcnle\u015fen cinsellik ve formatlanm\u0131\u015f beyinler aras\u0131ndaki ileti\u015fim. \u0130nsanl\u0131k, kurgulanm\u0131\u015f bir kaderi ya\u015famak zorunda. \u201cYerinde do\u011fru, yerli yerinin d\u0131\u015f\u0131nda kullan\u0131ld\u0131\u011f\u0131 zaman, fikir g\u00fcc\u00fcn\u00fcn insana verece\u011fi bilgi ve h\u00fck\u00fcm budur!\u201d ( Muhiddin-i Arab\u00ee Hz.leri \u2013F\u00fct\u00fbh\u00e2t\u0131 Mekkiyye)<\/p>\n

Ger\u00e7ekli\u011fi alg\u0131lay\u0131\u015f\u0131n dumura u\u011frad\u0131\u011f\u0131 b\u00f6yle bir idrak zemininde, i\u015fin form ve suretinin g\u00f6r\u00fcnece\u011fi yer olan \u201cmevcud\u201dun ba\u015fka bir boyutunu olu\u015fturan mitoslar da \u00fczerinde d\u00fc\u015f\u00fcn\u00fclmesi gereken bir mesele olarak ortaya \u00e7\u0131kar. Mitoslar, insan\u00ee tek\u00e2m\u00fcl\u00fcn ilk a\u015famas\u0131n\u0131 ya\u015fayan topluluklarda, maddenin ideaya galip geldi\u011fi bir d\u00fcnyada, akl\u0131n e\u015fya ve hadiseleri ku\u015fatmakta yetersiz kalmas\u0131 sonucu \u00fcretilmi\u015f bir nevi savunma mekanizmalar\u0131d\u0131r. \u0130nsan\u0131n tabiat kar\u015f\u0131s\u0131ndaki g\u00fc\u00e7s\u00fczl\u00fc\u011f\u00fcn\u00fcn ifadesi halinde, imgelem yard\u0131m\u0131yla hayat\u0131 yorumlama yolunda at\u0131lm\u0131\u015f ilk ad\u0131mlard\u0131r. Fert kavrayamad\u0131\u011f\u0131, anlayamad\u0131\u011f\u0131, bilemedi\u011fi objeleri mitoslar vas\u0131tas\u0131yla hayata ta\u015f\u0131makta, onlara yeni m\u00e2n\u00e2lar atfetmekte, kendisiyle b\u00fct\u00fcnle\u015ftirme imk\u00e2n\u0131 bulmaktad\u0131r. Bu vechesiyle mitoslar, ferdi \u015fuurla e\u015fyan\u0131n hakikati aras\u0131nda bir ara zemindir ve imgeyle de ili\u015fki i\u00e7indedirler. Bu m\u00e2n\u00e2da imgelere: \u201c\u00c2lem Allah\u2019\u0131n lis\u00e2nlar\u0131ndan bir lis\u00e2nd\u0131r\u201d \u00f6l\u00e7\u00fcs\u00fc ba\u011flam\u0131nda, \u201c taayy\u00fcn ve beliri\u015f\u201d m\u00e2n\u00e2s\u0131na, mitoslar\u0131n kendilerini ifade imk\u00e2n\u0131 bulduklar\u0131 \u201cdil \u2013 lis\u00e2n\u201d demek de m\u00fcmk\u00fcn. Ancak, pop\u00fcler k\u00fclt\u00fcrle birlikte, g\u00fcn\u00fcm\u00fcz toplumlar\u0131nda bu \u201cdil\u201d; farkl\u0131l\u0131klar\u0131 yok sayan, s\u00fcrekli kendini tekrarlayan, benzerini \u00fcreten, simgesizle\u015ftirilmi\u015f mekanik bir dildir.<\/p>\n

Peki, bu \u015fartlar alt\u0131nda; radikalizm ve a\u015f\u0131r\u0131 modernizmlerin birbirine kar\u0131\u015ft\u0131\u011f\u0131 bir ortamda, yani g\u00fcn\u00fcm\u00fcz toplumlar\u0131nda \u201cmit\u201dten yararlan\u0131labilir, bir mitos d\u00fczeni kurulabilir mi? Bu soruya kurulabilir ya da kurulamaz diye cevap vermezden \u00f6nce, mitolojinin; \u201cDO\u011eRU YOL\u2019un g\u00f6sterilmesinde toprak seviyeli bir vesile rol\u00fc oynad\u0131\u011f\u0131n\u0131n ve Peygamberler tarihinin salk\u0131m sa\u00e7ak g\u00f6r\u00fcn\u00fcml\u00fc usaresi oldu\u011funun\u201d ( S.Mirzabeyo\u011flu \u2013 Esatir ve Mitoloji) pe\u015finen kabul\u00fc gerekir. Zira ba\u015flang\u0131c\u0131ndan g\u00fcn\u00fcm\u00fcze mitoloji, bu usarenin i\u00e7inden \u00fcretilmekte olup, farkl\u0131l\u0131k sadece \u00fcretili\u015f ve t\u00fcketili\u015f bi\u00e7imindedir. \u0130ptidai toplumlarda mitos bir s\u0131ra istih\u00e2leden ge\u00e7tikten sonra, nihayetinde imgede karar k\u0131larken; g\u00fcn\u00fcm\u00fcz toplumlar\u0131nda ise imgeden hareketle \u00fcretilmekte ve t\u00fcketim i\u00e7in kullan\u0131lmaktad\u0131r. Bu ba\u011flamda hem imge hem de onun mitikle\u015fmi\u015f hali, art\u0131k g\u00fcn\u00fcm\u00fcz\u00fcn meta\u0131d\u0131r.<\/p>\n

Mitoloji neticesi ve sahici bir muhtevas\u0131 olmayan \u201czengin bir \u00e7\u00f6pl\u00fck\u201d, \u201ctezkiyesi gerek\u201d. Modern \u00e7a\u011f\u0131n \u201cimge cambazlar\u0131\u201d, sistem kavram\u0131yla b\u00fct\u00fcnle\u015ftirdikleri ifade tarzlar\u0131yla, medyalar arac\u0131l\u0131\u011f\u0131yla insan bilincini istedikleri gibi y\u0131kamakta, sapk\u0131nl\u0131k ve azg\u0131nl\u0131\u011fa sebep olmaktad\u0131rlar. Modernizmin dev\u015firme ve tutars\u0131z bir ge\u00e7i\u015f a\u015famas\u0131nda olan sanat ak\u0131mlar\u0131yla ve e\u015fyayla b\u00fct\u00fcnle\u015ferek geldi\u011fi yer buras\u0131d\u0131r.\u00a0 Post moderniteyle birlikte g\u00fcn\u00fcm\u00fcz toplumlar\u0131nda, art\u0131k e\u015fyaya dair bir ger\u00e7eklik zemininden s\u00f6z etmenin m\u00fcmk\u00fcn olmad\u0131\u011f\u0131n\u0131; imgeyle ger\u00e7e\u011fin ayn\u0131la\u015ft\u0131r\u0131ld\u0131\u011f\u0131 yerde imgele\u015fmi\u015f \u015feyin mitikle\u015fti\u011fini de s\u00f6yleyebiliriz. Esrar\u0131na ve teshirine memur oldu\u011fumuz e\u015fyan\u0131n yerini, teknolojik nesne ald\u0131. Her \u015fey insan f\u0131trat\u0131 hil\u00e2f\u0131na h\u0131zla de\u011fi\u015firken, efs\u00e2neye d\u00f6n\u00fc\u015fmekte, \u00e7ok ge\u00e7meden de unutulup gitmektedir. Fert e\u015fyayla ili\u015fkiye ancak onun g\u00fcncellik kal\u0131b\u0131na d\u00f6k\u00fclm\u00fc\u015f imgesiyle girebilmekte, mitoslar\u0131n daha \u00f6nceki olu\u015fumunda \u201c dil \u201c fonksiyonu g\u00f6ren imge ferdin hakikati halini almakta; mitoslar da \u00f6nceki konumlar\u0131na nisbetle bir efs\u00e2ne olmaktan \u00e7\u0131k\u0131p, birer imgeye d\u00f6n\u00fc\u015fmektedirler. \u0130mgelenen objenin bulundu\u011fumuz ortamdan imgeye intik\u00e2linde, imge \u201c dil \u201d olma \u00f6zelli\u011fini yitirmi\u015f, ger\u00e7e\u011fin kendisi olmu\u015f, mitoslar da imgeye ait bir efsane olmaktan \u00e7\u0131karak, onun yerini alm\u0131\u015ft\u0131r. \u0130lk \u00e7a\u011flardan g\u00fcn\u00fcm\u00fcze, e\u015fyan\u0131n ge\u00e7irdi\u011fi istihaleler neticesi geldi\u011fi yer buras\u0131d\u0131r. \u0130lk zihin halinde; pagan d\u00f6nemin insan\u0131 tabiat unsurlar\u0131n\u0131 tanr\u0131la\u015ft\u0131r\u0131p onlara taparken, modern \u00e7a\u011f\u0131n insan\u0131 da, bilin\u00e7 d\u00fczeyine y\u00fckseltti\u011fi e\u015fya feti\u015fizmiyle teknolojik hayranl\u0131k aras\u0131nda gidip gelmektedir. Her iki halde de insan; \u201cAllah\u2019tan mahrum olan neye m\u00e2liktir?\u201d Ve b\u00f6yle bir d\u00fcnyada ya\u015faman\u0131n insan i\u00e7in ne \u00f6nemi olabilir ki? Sorular\u0131yla ba\u015f ba\u015fa kalmaktad\u0131r.<\/p>\n

 <\/p>\n

Do\u011fu\u2019nun-\u0130sl\u00e2m\u2019\u0131n e\u015fya ile \u00fcnsiyeti <\/em><\/strong><\/p>\n

\u0130nsan\u00ee var olu\u015fun m\u00e2nev\u00ee \u015fartlar\u0131ndan mahrum Bat\u0131, k\u00fclt\u00fcrel bazda kendi hakikatinin \u00fcretti\u011fi bir s\u00fcr\u00fc olguyu kitle ileti\u015fim ara\u00e7lar\u0131n\u0131 da kullanarak \u00fczerimize boca ediyor. Ger\u00e7ekli\u011fin estetik \u00f6z\u00fcmsenme alan\u0131 geni\u015fleyip yay\u0131ld\u0131k\u00e7a da sanat\u0131n bir fikir, his ve k\u0131ymet al\u0131\u015fveri\u015fi oldu\u011funu, k\u00f6t\u00fcy\u00fc y\u00fczlerce kez teksir ederek, hem kendi toplumuna hem de bizim gibi; e\u015fyayla \u00fcnsiyeti farkl\u0131 olan Do\u011fu\u2019lu toplumlara unutturdu. Bu y\u00fczden e\u015fyayla kurdu\u011fu ili\u015fki de hep problemli oldu. Bat\u0131l\u0131 toplumlarda hakikat zemininin yitimiyle birlikte, toplum yeniden \u201cvaftiz edilerek\u201d belirleyici olmaktan \u00e7\u0131kar\u0131l\u0131p, belirlenen konumuna yerle\u015ftirildi. Devlet ve ideolojik devlet mekanizmalar\u0131, art\u0131k kamuoyu ad\u0131 alt\u0131nda cehaleti d\u00fczenleme gibi bir fonksiyon g\u00f6r\u00fcyor. Gelinen noktada, \u201cfarkl\u0131l\u0131klar demagojisi\u201dyle problemler \u00e7\u00f6z\u00fcme ye\u011f tutulurken, kriz bir ili\u015fkiler b\u00fct\u00fcn\u00fcnden ba\u015fka bir ili\u015fkiler b\u00fct\u00fcn\u00fcne ge\u00e7erek devam etmekte, par\u00e7a par\u00e7a hakikatlerle b\u00fct\u00fcn ku\u015fat\u0131lamad\u0131\u011f\u0131 i\u00e7inde, b\u00fct\u00fcn\u00fcn idaresi elden ka\u00e7maktad\u0131r.<\/p>\n

Do\u011fu\u2019nun, \u00f6zellikle \u0130sl\u00e2m\u2019\u0131n d\u00fcnyay\u0131, hayat\u0131 alg\u0131lay\u0131\u015f\u0131, e\u015fya ve hadiseye yana\u015fan \u015fuuru Bat\u0131\u2019n\u0131nkinden t\u00fcm\u00fcyle farkl\u0131. E\u015fya, Allah\u2019\u0131n lis\u00e2nlar\u0131ndan bir lis\u00e2n olan \u00e2lemin, esrar\u0131na ve teshirine memur oldu\u011fumuz bir par\u00e7as\u0131 ve b\u00fct\u00fcn\u00fcn habercisidir. Her par\u00e7a b\u00fct\u00fcn\u00fcn bir unsurunu kendinde ta\u015f\u0131r. Zira \u00e2lemde, \u201cher bir \u015fey Hakk\u2019\u0131n kendisine mahsus tecellilerinin mazhar\u0131d\u0131r.\u201d Dolay\u0131s\u0131yla ger\u00e7ekli\u011fi imgelerle izhardaki becerimiz, par\u00e7adan hareketle b\u00fct\u00fcnc\u00fcl de\u011ferlendirme yapabilme, tikel olandan genele varma, m\u00fc\u015fahhas hadiselerde geneli ke\u015ffetme becerimizden ayr\u0131lamaz. \u0130nsan bu istidad\u0131 ve idraki nisbetinde kendini, dolay\u0131s\u0131yla Rabb\u2019ini bilecek, Hakk\u2019\u0131 halkta, \u00e2lemde tan\u0131yacakt\u0131r. \u0130ki z\u0131dd\u0131 birle\u015ftirmesiyle de, umut ve tutkular\u0131m\u0131z\u0131n temelinde yatan sessiz \u00e7\u0131\u011fl\u0131\u011f\u0131; \u201cBen Kimim- \u00d6l\u00fcm Nedir?\u201din \u201cB\u0130R\u201d oldu\u011funu hayk\u0131ran \u00e7\u0131\u011fl\u0131\u011f\u0131 duyacakt\u0131r.<\/p>\n

\u0130sl\u00e2m\u2019da d\u00fcnya, ahretin ekim yeri\u2026 D\u00fcnyada ne ekilirse \u00f6b\u00fcr tarafta o bi\u00e7ilecek. Hz.Peygamber, \u201cD\u00fcnya m\u00fc\u2019minin ne g\u00fczel bine\u011fidir! Onun \u00fczerinde iyili\u011fe ula\u015f\u0131r, k\u00f6t\u00fcl\u00fckten onun vas\u0131tas\u0131yla kurtulur\u201d buyuruyor. Dolay\u0131s\u0131yla akl\u0131n g\u00f6revi, mihraks\u0131z t\u00fcmevar\u0131m\u0131n zafiyetiyle m\u00e2l\u00fcl bir aray\u0131\u015f i\u00e7inde e\u015fyay\u0131 de\u011fi\u015ftirmek \u2013 d\u00f6n\u00fc\u015ft\u00fcrmek \u2013 sorgulamak de\u011fil, e\u015fyaya dair bilginin zorunlu olarak Hakk\u2019a dair bilgiyi \u00f6nceledi\u011fini bilmenin \u015fuuruyla, e\u015fyan\u0131n hakikatine yak\u0131n d\u00fc\u015febilmektir. Allah insan\u0131 kendine halife olarak yaratt\u0131\u2026 E\u015fya ve hadiseleri teshire memur etti. Bu sebeple, Yaradan \u2013 yarat\u0131lan ili\u015fkisinde insan\u0131n vazifesi tabiat\u0131 teslim almak de\u011fil, hakikatin g\u00fczelli\u011fini bulup ortaya \u00e7\u0131karmak, bu g\u00fczellikten pay almak ve onu hayat\u0131na katmakt\u0131r. Ancak, g\u00fczelin fethinde sadece teorik ve akl\u00ee tahliller g\u00fc\u00e7s\u00fczl\u00fck ifadesidir. Zira kaba maddeci esteti\u011fin aksine \u0130sl\u00e2m\u00ee estetikte sanat, Hakk\u2019\u0131 \u00e2lemin Rabb\u2019i olarak bilmeyi gerektirir ve t\u00fcm sanat faaliyetlerinin sistemati\u011fi bunun \u00fczerine kuruludur.<\/p>\n

Do\u011fu y\u00fczlerce y\u0131ld\u0131r, kendi ge\u00e7mi\u015finden tevar\u00fcs etti\u011fi en k\u00fc\u00e7\u00fc\u011f\u00fcnden en b\u00fcy\u00fc\u011f\u00fcne, her biri e\u015fsiz bir zevkin numunelerini yok ederek, Bat\u0131\u2019yla b\u00fct\u00fcnle\u015fme derdinde. Ne yaz\u0131k ki Do\u011fu\u2019yla birlikte, \u0130sl\u00e2m\u00ee toplumlar da art\u0131k kendilerine has bir \u015fuura sahip de\u011filler. Dolay\u0131s\u0131yla, Bat\u0131\u2019n\u0131n \u00fcretti\u011fi objektifle\u015ftirme etkinli\u011fine kar\u015f\u0131 koyma imk\u00e2n\u0131n\u0131 da yitirdiler. Bat\u0131\u2019n\u0131n bir ili\u015fkiler b\u00fct\u00fcn\u00fc i\u00e7inde seyreden k\u00fclt\u00fcr\u00fcnden, teknolojilerini ithal ederken, beraberinde ideolojilerini de ithal etmektedirler. Kitle ileti\u015fim ara\u00e7lar\u0131n\u0131n h\u0131z\u0131, \u201cbilgi i\u015fi\u201dni sadece kendi tekelinde g\u00f6renlerin toplumu inanmaya haz\u0131r h\u00e2le getirildi\u011fimiz \u201ccazibe merkezleri \u201dne y\u00f6nlendirmedeki ba\u015far\u0131s\u0131, \u0130sl\u00e2m\u00ee toplumlar\u0131 da Bat\u0131\u2019n\u0131n imge sistemine ve g\u00f6r\u00fcnt\u00fc \u00fcretme etkinli\u011fine ister istemez tabi k\u0131ld\u0131. Ya\u015fanan k\u00fclt\u00fcrel sindirimsizlik ve erozyonla birlikte h\u0131zla bir yok olu\u015fa s\u00fcr\u00fcklenmektedirler. Bir toplum kendi hatas\u0131n\u0131 idrak istidad\u0131n\u0131 yitirmi\u015fse, o toplum i\u00e7in var olman\u0131n ne anlam\u0131 kal\u0131r ki!<\/p>\n

\u201cHer as\u0131rda, asr\u0131n bir yenileyicisi var\u201d\u00a0 (Muhiddin-i Arab\u00ee Hz.leri). Bu mertebedeki b\u00fcy\u00fck \u015fahsiyetler, toplumun ge\u00e7irdi\u011fi ciddi bunal\u0131m d\u00f6nemlerinde ortaya \u00e7\u0131kar ve tarihe damga vururlar. Ortaya koyduklar\u0131 eserler de, ya\u015fad\u0131klar\u0131 fikir \u00e7ilesinin \u00fcr\u00fcn\u00fcd\u00fcr. Sa\u00e7ma sapan fikirleri elbirli\u011fiyle onaylayan, tabi\u00ee bir meraktan yoksun ayd\u0131n\u0131m\u0131z, i\u015f S. Mirzabeyo\u011flu\u2019na gelince e\u015fi bulunmaz bir \u00f6dleklikle \u201cs\u00fck\u00fbt senfonisi\u201dne \u201cyaz\u0131lsa da\u201d, asr\u0131n yenileyicisi \u0130BDA M\u0130MARI, asr\u0131n \u201cy\u00f6nlendirici ilke\u201dsi de BD \u2013\u0130BDA d\u00fcnya g\u00f6r\u00fc\u015f\u00fcd\u00fcr. Hay\u00e2lini kurdu\u011fumuz \u0130sl\u00e2m Medeniyeti\u2019nin murad\u0131na denk bir k\u00fclt\u00fcr, toplumun genel fikir \u00e7er\u00e7evesine, ancak\u201d bu d\u00fcnya g\u00f6r\u00fc\u015f\u00fc\u201d n\u00fc yerle\u015ftirebildi\u011finiz zaman \u00fcretilebilir. Zira \u00e7a\u011f\u0131m\u0131zda, \u0130sl\u00e2m\u2019a muhatap anlay\u0131\u015f\u0131n ideal bir zenginlikte kendini g\u00f6sterebildi\u011fi tek tecelli zemini BD-\u0130BDA D\u00fcnya g\u00f6r\u00fc\u015f\u00fcd\u00fcr. \u201cM\u00fcsl\u00fcman olarak ya bunu g\u00f6receksin ya da daha iyisini ortaya koyacaks\u0131n\u2026\u201d<\/p>\n

(*) Esatir ve Mitoloji \/ G\u00fcne\u015f ve Ay, Salih M\u0130RZABEYO\u011eLU, \u0130BDA Yay\u0131nlar\u0131, Ekim 2010, \u0130stanbul.<\/p>\n

Ayl\u0131k Dergisi 110. Say\u0131 Kas\u0131m 2013<\/p>\n","protected":false},"excerpt":{"rendered":"

Mitoloji \u00fczerinden Bat\u0131\u2019n\u0131n ele\u015ftirisi yap\u0131l\u0131r ve Bat\u0131\u2019n\u0131n imgeleri bile metala\u015ft\u0131rmas\u0131 anlat\u0131l\u0131rken, teknoloji ile birlikte Bat\u0131\u2019n\u0131n ideolojik kal\u0131plar\u0131na girerek Do\u011fu\u2019nun tahayy\u00fcl\u00fcn\u00fcn de Bat\u0131 taraf\u0131ndan esir ald\u0131\u011f\u0131 belirtilmekte ve \u0130BDA\u2019n\u0131n mitoloji ve…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[20],"tags":[],"ppma_author":[16],"class_list":["post-389","post","type-post","status-publish","format-standard","hentry","category-yazarlar","author-mevlut-koc","no-post-thumbnail"],"yoast_head":"\n\u201cEsatir ve Mitoloji\u201d (*) vesilesiyle\u2026 - Ayl\u0131k Dergisi<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.aylikdergisi.com\/index.php\/2013\/11\/02\/esatir-ve-mitoloji-vesilesiyle\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cEsatir ve Mitoloji\u201d (*) vesilesiyle\u2026 - Ayl\u0131k Dergisi\" \/>\n<meta property=\"og:description\" content=\"Mitoloji \u00fczerinden Bat\u0131\u2019n\u0131n ele\u015ftirisi yap\u0131l\u0131r ve Bat\u0131\u2019n\u0131n imgeleri bile metala\u015ft\u0131rmas\u0131 anlat\u0131l\u0131rken, teknoloji ile birlikte Bat\u0131\u2019n\u0131n ideolojik kal\u0131plar\u0131na girerek Do\u011fu\u2019nun tahayy\u00fcl\u00fcn\u00fcn de Bat\u0131 taraf\u0131ndan esir ald\u0131\u011f\u0131 belirtilmekte ve \u0130BDA\u2019n\u0131n mitoloji ve…\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.aylikdergisi.com\/index.php\/2013\/11\/02\/esatir-ve-mitoloji-vesilesiyle\/\" \/>\n<meta property=\"og:site_name\" content=\"Ayl\u0131k Dergisi\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/AylikBaranDergisi\" \/>\n<meta property=\"article:published_time\" content=\"2013-11-02T06:32:29+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-08-22T06:34:42+00:00\" \/>\n<meta name=\"author\" content=\"Mevl\u00fct Ko\u00e7\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@Aylik_Dergisi\" \/>\n<meta name=\"twitter:site\" content=\"@Aylik_Dergisi\" \/>\n<meta name=\"twitter:label1\" content=\"Yazan:\" \/>\n\t<meta name=\"twitter:data1\" content=\"aylikdergisi\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tahmini okuma s\u00fcresi\" \/>\n\t<meta name=\"twitter:data2\" content=\"18 dakika\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.aylikdergisi.com\/index.php\/2013\/11\/02\/esatir-ve-mitoloji-vesilesiyle\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.aylikdergisi.com\/index.php\/2013\/11\/02\/esatir-ve-mitoloji-vesilesiyle\/\"},\"author\":{\"name\":\"aylikdergisi\",\"@id\":\"https:\/\/www.aylikdergisi.com\/#\/schema\/person\/f6f24c4fc82f2469847571852b8c65fd\"},\"headline\":\"\u201cEsatir ve Mitoloji\u201d (*) vesilesiyle\u2026\",\"datePublished\":\"2013-11-02T06:32:29+00:00\",\"dateModified\":\"2023-08-22T06:34:42+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.aylikdergisi.com\/index.php\/2013\/11\/02\/esatir-ve-mitoloji-vesilesiyle\/\"},\"wordCount\":4405,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/www.aylikdergisi.com\/#organization\"},\"articleSection\":[\"Yazarlar\"],\"inLanguage\":\"tr\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/www.aylikdergisi.com\/index.php\/2013\/11\/02\/esatir-ve-mitoloji-vesilesiyle\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.aylikdergisi.com\/index.php\/2013\/11\/02\/esatir-ve-mitoloji-vesilesiyle\/\",\"url\":\"https:\/\/www.aylikdergisi.com\/index.php\/2013\/11\/02\/esatir-ve-mitoloji-vesilesiyle\/\",\"name\":\"\u201cEsatir ve Mitoloji\u201d (*) vesilesiyle\u2026 - 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