\u0130BDA esteti\u011fi e\u015fya ve hadiseleri teshirde “model” yerine “vesile”yi m\u00fcndemi\u00e7tir. Bir \u015fey en iyi hangi durumda yakalan\u0131r? Bu sorunun cevab\u0131 zann\u0131mca estetik durum olmal\u0131. Zira estetik vizyon edebi, k\u00fclt\u00fcrel, sosyal, siyasi v.b. Bak\u0131\u015f a\u00e7\u0131lar\u0131n\u0131n en g\u00fc\u011fzel ve makbul taraflar\u0131n\u0131 kendine mezc eden bir durumdur.
\nModernle\u015fme s\u00fcrecimizle birlikte model olarak, ger\u00e7eklik olarak, gerekti\u011finde g\u00fc\u00e7 kullan\u0131larak benimsetilmeye \u00e7al\u0131\u015f\u0131lan formlar i\u00e7inde s\u0131n\u0131rlanmay\u0131 reddeden \u0130BDA Mimar\u0131, Allah’\u0131n g\u00fczel isimlerinde El-M\u00fcbd\u00ee isminin h\u00fckm\u00fc alt\u0131nda Muttal\u00ee k\u0131l\u0131nd\u0131\u011f\u0131 s\u0131rlar\u0131 (“Allah’la Res\u00fbl, nebi ve velilerden her birisi aras\u0131nda, o ki\u015fiden ba\u015fkas\u0131n\u0131n Muttal\u00ee olamayaca\u011f\u0131 bir s\u0131r bulunur.”1) Fikir, \u015fiir, sanat, aksiyon v.b. Kanallar ile \u0130BDA mihrak\u0131na ak\u0131tt\u0131, b\u00f6ylece ismiyle m\u00fcsemma e\u015fsiz, misalsiz, benzersiz B\u00fcy\u00fck Do\u011fu-\u0130BDA sistemi do\u011fdu. Bu kendinden zuhurdur ve \u0130BDA Diyalekti\u011fininin temel ilkelerinden ba\u015fl\u0131cas\u0131d\u0131r.
\nB\u00fcy\u00fck Do\u011fu-\u0130BDA d\u00fcnya g\u00f6r\u00fc\u015f\u00fc \u0130slam\u0131 e\u015fya ve hadiselere tatbik fikri oldu\u011fu kadar, as\u0131rlard\u0131r ger\u00e7ekli\u011finden kopar\u0131lmaya, kaybettirilmeye \u00e7al\u0131\u015f\u0131lan \u0130slami ruh ve anlay\u0131\u015f\u0131 yeniden asl\u0131na ba\u011flaman\u0131n da sistemidir. “Sen olmasayd\u0131n alemleri yaratmazd\u0131m.” hitab\u0131na muhattab olan Gaye \u0130nsan-Ufuk Peygamber, varolu\u015fun yeg\u00e2ne vesilesi. B\u00fcy\u00fck Do\u011fu-\u0130BDA, \u0130slama muhatab anlay\u0131\u015f\u0131n sistemi olarak, e\u015fyan\u0131n hakikatini g\u00f6rebilmenin dil ve diyalekti\u011fi, e\u015fya ve hadiseleri teshire mevzu her\u015fey, mahiyeti itibariyle Allah’\u0131 araman\u0131n mekan\u0131 olarak yarat\u0131lan alemde yaratan\u0131 m\u00fc\u015fahade edebilmenin vas\u0131tas\u0131. \u0130lahi huzur kainatin her zerresine n\u00fcfus etmi\u015ftir. “Bir \u015feye n\u00fcfuz ve sirayet eden kendisine sirayet edilen \u015fey ile perdelenmi\u015ftir.”(2) Perdeleri kald\u0131r\u0131p n\u00fcfuz ve sirayet edeni, yani eserde m\u00fcessiri m\u00fc\u015fahede edebilmek; “Hakk’\u0131 Hak’ta tan\u0131mak sadece e\u015fyan\u0131n zuhur etmesi, fakat h\u00fck\u00fcmlerinin kaybolmas\u0131yla m\u00fcmk\u00fcnd\u00fcr. Avam\u0131n g\u00f6z\u00fc ancak e\u015fyan\u0131n h\u00fck\u00fcmlerini g\u00f6r\u00fcr, halbuki m\u00fck\u00e2\u015fefenin fethine nail olanlar e\u015fyada Hakk’tan ba\u015fkas\u0131n\u0131 g\u00f6rmez.” (3) Bunun aksi k\u00e2inat\u0131 maksats\u0131z, sadece maddeden ibaret g\u00f6ren, insan\u0131 g\u00fcnahk\u00e2r, d\u00fcnyay\u0131 da b\u00fct\u00fcn\u00fcyle bir g\u00fcnah ortam\u0131 olarak alg\u0131layan Yahudi-Hristiyan k\u00fclt\u00fcr\u00fc ve ondan beslenen bat\u0131 d\u00fc\u015f\u00fcncesinin hayata bak\u0131\u015f\u0131d\u0131r. Bu bak\u0131\u015f i\u00e7in d\u00fcnya ya\u011fma, talan ve sava\u015f alan\u0131d\u0131r. Zira, e\u015fyaya yakla\u015fan \u015fuur, hayat\u0131 g\u00fczelle\u015ftirmek i\u00e7in de\u011fil g\u00fcnah \u00e7\u0131karmak saikiyle yakla\u015fmaktad\u0131r.
\nBa\u015flang\u0131c\u0131nda Bat\u0131 Sanat\u0131 k\u00f6klerini her hakiki sanatta oldu\u011fu gibi kutsallar\u0131nda bulurken, hakikat \u00f6l\u00e7\u00fcs\u00fcn\u00fcn iflas\u0131 sonucu nesneyi ele al\u0131\u015f\u0131ndaki sakatl\u0131k, insan\u0131 sufl\u00ee bir varl\u0131k muhasebesine sevk etti. Bundan kaynaklanan bo\u015flu\u011fu a\u015fmak i\u00e7in hep yeniden simge, imge ve efsanelere sar\u0131lmak zorunda kald\u0131. Oysa, nesneyi belirleyebilmek, onu, ait oldu\u011fu b\u00fct\u00fcn i\u00e7inde yeniden yerle\u015ftirmekle m\u00fcmk\u00fcn. Bunun aksi indirgemeci d\u0131\u015favurumdur, sonsuzlu\u011fu kesintiye u\u011fratmak ve d\u00fcnyay\u0131 bu kopukluk perspektifinden alg\u0131lamakt\u0131r. E\u015fyan\u0131n hakikatini g\u00f6rebilmek \u00f6zne-nesne b\u00fct\u00fcnl\u00fc\u011f\u00fcn\u00fc sa\u011flamay\u0131 ve im\u00e2n\u00ee perspektifi zorunlu k\u0131lar. Bu da o nesnenin Allah’\u0131n hangi isminin h\u00fckm\u00fc alt\u0131nda oldu\u011funu ve Allah’\u0131n hangi ismi ile zikretti\u011fini bilmek ile m\u00fcmk\u00fcn. Bat\u0131 sanat\u0131 nesneyi ele al\u0131r, onu de\u011fi\u015ftirir ve d\u00f6n\u00fc\u015ft\u00fcr\u00fcrken hakikati aramaktan ziyade kendini ispat pe\u015finde oldu. Bu sebeple sanata, d\u00fc\u015f\u00fcnceye dair sordu\u011fu sorular\u0131n cevab\u0131n\u0131 da ona g\u00f6re ald\u0131. “Gaye mihrak\u0131nda Allah ve Sevgilisi olmayan, kendi kendinden ibaret her t\u00fcrl\u00fc varl\u0131k ve olu\u015f yoklu\u011fun bul denizine” (4) nihilizme \u00e7\u0131kt\u0131. “Y\u00fczy\u0131l\u0131m\u0131z\u0131n sanat\u0131, bu sorulara verilebilecek t\u00fcm olas\u0131 yan\u0131tlar\u0131n yetersiz g\u00f6r\u00fcn\u00fcp yads\u0131nd\u0131\u011f\u0131 bir alana d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr. Ard\u0131nda ko\u015fulan, sanki bir yan\u0131t bulabilme \u00e7abas\u0131 de\u011fil, getirilen yan\u0131t\u0131n eksikli\u011fini ve yetersizli\u011fini olabildi\u011fince \u00e7abuk ve g\u00fc\u00e7l\u00fc bir bi\u00e7imde kan\u0131tlayabilme \u00e7abas\u0131yd\u0131. Birbirine kar\u015f\u0131 olan ak\u0131mlar sadece bu noktada birle\u015fiyorlard\u0131.” (5) Yani, ger\u00e7e\u011fi modernizmin \u00fczerine oturdu\u011fu kendisi-\u00f6teki z\u0131tl\u0131\u011f\u0131nda par\u00e7alamak\u00fc k\u00f6ks\u00fcz bir gelecek kayg\u0131s\u0131na kurban etmek.
\n“Dehr Zat’a delalet eden bir isimdir. Ar\u015fta ta\u00e2yy\u00fcn etmekle zaman suretine b\u00fcr\u00fcn\u00fcr ve Dehr’in h\u00fck\u00fcmleri yerine gelir.”(6) Zaman da mek\u00e2nda taayy\u00fcn etmekle sanat suretine b\u00fcr\u00fcn\u00fcr ve zamanda m\u00fcessiri idrak ederiz. \u0130nsan \u015fuurunda olsa da, olmasa da, netice itibariyle arad\u0131\u011f\u0131 Allah’t\u0131r, sanat Allah’\u0131 aramakt\u0131r. Allah’\u0131 araman\u0131n en g\u00fczel ve en makb\u00fbl yolu da ibadet. \u0130badet, sanat al\u00e2kas\u0131 g\u00f6steriyor ki, her s\u00f6z ve davran\u0131\u015f\u0131 ibadet olan M\u00fcsl\u00fcman, hayat\u0131 sanatk\u00e2rane ya\u015famak zorunda. “Sanat bi\u00e7imlendirilmi\u015f zamand\u0131r.” Zaman\u0131 bi\u00e7imlendirebilmekte zaman\u0131 a\u015fma gayesine ermi\u015f b\u00fcy\u00fck san\u00e2tkarlar i\u00e7in. “\u0130badet sanatt\u0131r”, “b\u00fcy\u00fck ar\u0131nma”d\u0131r, her an yeniden asl\u00ee haline d\u00f6n\u00fc\u015ft\u00fcr ve kulun kullu\u011funu idrakine vesiledir.” Ubudet, kulun ontolojik mutaciyetidir, ubudiyet de, her an bu ubudetin \u015fuurunda olunmas\u0131yla ger\u00e7ekle\u015fir. F\u0131k\u0131h \u0131st\u0131lat\u0131 olarak (en ba\u015fta namaz olmak \u00fczere) taabbud kasd\u0131yla ger\u00e7ekle\u015ftirilen b\u00fct\u00fcn amelleri ifade eden, ibadet ise, b\u00f6yle bir \u015fuurdan do\u011facak praksisttir.” (7)
\n\u0130bda Diyalekti\u011fi’nden biliyoruz ki, hayat s\u00fcrekli ak\u0131\u015f i\u00e7inde ve biz hal-an’da, zaman\u0131n ucunda ya\u015f\u0131yoruz. Bu kadar h\u0131zla ak\u0131p ge\u00e7en zamandan her an yeni ve her an hi\u00e7 i\u015fitilmemi\u015f olan\u0131 bulup kal\u0131c\u0131 k\u0131lmak nazar ve akl\u0131n dahlinin devre d\u0131\u015f\u0131 kalmas\u0131yla m\u00fcmk\u00fcn. Akl\u0131n dahlinin s\u00f6z konusu oldu\u011fu yerde o \u015fey art\u0131k biricik olmaktan \u00e7\u0131kar ve yeniden \u00fcretimi s\u00f6z konusu olur. Nazar ve akl\u0131 ask\u0131ya alabilmek, primitif sanat\u0131n ula\u015fmak isteyipte bir t\u00fcrl\u00fc ula\u015famad\u0131\u011f\u0131 h\u00e2l, ancak \u00fcmm\u00eelikle m\u00fcmk\u00fcn. “Genellikle ‘okuma-yazmas\u0131z’ olarak terc\u00fcme edilen \u00fcmm\u00ee kelimesi Kur’an da bir \u00e7ok defa ge\u00e7mekte, tekil haliyle Hz. Peygamber’i (Araf 7\/157.158.), \u00e7o\u011ful haliyle de g\u00f6nderildi\u011fi kavmin mensuplar\u0131n\u0131 (Cuma, 62\/2.) tavsif etmektedir. Burada ilgili ayetlerin tefsiri \u00fczerinde durmayaca\u011f\u0131z, zira mevzuumuzdan \u00e7ok uzakla\u015fmam\u0131z\u0131 gerektirecektir. Kelimenin m\u00e2n\u00e2s\u0131n\u0131 ayd\u0131nlatmak \u00fczere \u015fu kadar\u0131n\u0131 hat\u0131rlatal\u0131m ki, ‘MM (anne)’ kelimesi k\u00f6k\u00fcnden gelmektedir ve bu sebeple de, Lis\u00e2n’ul Arap m\u00fcellifi ‘\u00fcmm\u00ee’ kelimesini ‘annesinin onu du\u011furdu\u011fu halde bulunan \u015feklinde tarif eder.” (8) Lis\u00e2n-\u00fcl Arap m\u00fcellifinin izahat\u0131ndan da a\u00e7\u0131k\u00e7a anla\u015f\u0131l\u0131yor ki, zannedilenin aksine Peygamberimizin \u00fcmm\u00ee olmas\u0131 de\u011fil, olmamas\u0131 yanl\u0131\u015f olurdu. Vahy’in \u00e7o\u011funuz uyku halinde yada r\u00fcyada gelmesi, nazar ve akl\u0131n hi\u00e7 dahlinin olmamas\u0131, tekrar\u0131n, yeniden \u00fcretimin s\u00f6z konusu olmad\u0131\u011f\u0131n\u0131 yeterince g\u00f6stermiyor mu?
\nS\u0131r idraki g\u00fczellik idrakidir. \u0130bda diyalekti\u011finin temel ilkelerinden birisi de, “s\u0131r idraki”dir. “G\u00fczelli\u011fin b\u00fct\u00fcn b\u00fcy\u00fcs\u00fc bir s\u0131r i\u00e7inde olmas\u0131ndan kaynaklan\u0131r. Par\u00e7alar\u0131 birbirine ba\u011flayan ba\u011flar\u0131n yok olmas\u0131yla g\u00fczellik de yok olur\u00e7” (9) Estetik s\u00f6z konusu oldu\u011funda kar\u0131\u015ft\u0131r\u0131lan kavramlardan birisi beden terbiyesi di\u011feri de g\u00fczellik. Oysa beden terbiyesi ayr\u0131, g\u00fczel ayr\u0131, \u00f6zel apayr\u0131. Birincisinde enerjik, ikincisinde eritici, \u00fc\u00e7\u00fcnc\u00fcs\u00fcnde ideal g\u00fczellik h\u00fck\u00fcm s\u00fcrer. \u0130ster devlet olsun, ister toplum, isterse fert, reddetmeyen biriktiren b\u00fcnye \u00f6l\u00fc b\u00fcnyedir. Bu ba\u011flamda bat\u0131 toplumu biriktiricili\u011fiyle \u00f6l\u00fc toplumdur. \u0130\u015fg\u00e2lcili\u011finden, s\u00f6m\u00fcrgecili\u011fine, hatta m\u00fczecili\u011fine kadar ya\u015fad\u0131\u011f\u0131 hayat tarz\u0131 bunun delilidir.
\n“S\u0131rr\u00ee’lik yarat\u0131lm\u0131\u015f\u0131n, zaman\u0131n, mek\u00e2n\u0131n \u00f6tesidir. S\u0131rr\u00eelik bir anlamda mek\u00e2n\u0131n geni\u015fletilmesidir. Ba\u015fta alt\u0131 ciltlik “Tilki G\u00fcnl\u00fc\u011f\u00fc-Ruhi Roman”\u0131 olmak \u00fczere \u0130bda K\u00fclliyat\u0131 ba\u015ftan ba\u015fa bunun ger\u00e7eklenmesidir. Birbiriyle al\u00e2kas\u0131z gibi g\u00f6r\u00fcnen hadiselerin birbirine dolana dolana, sar\u0131la sar\u0131la tevhid s\u0131rr\u0131na ak\u0131\u015f\u0131n\u0131n alt\u0131 ciltlik destan\u0131, hangi g\u00f6zle bak\u0131lmas\u0131 gerekti\u011finin misal\u00ee de \u0130bn\u00ee Manzur’dan: “\u0130bn\u00ee Arab\u00ee’nin vefat\u0131ndan birka\u00e7 sene \u00f6nce do\u011fan \u0130bn\u00ee Manzur, me\u015fhur Lis\u00e2nu’l Arab\u00ee’nin \u00f6n s\u00f6z\u00fcnde, bu s\u00f6zl\u00fc\u011f\u00fc yazmaktan maksad\u0131n\u0131n “t\u0131pk\u0131 kavmi kendisiyle alay ederken Hz. Nuh’un gemisini in\u015fa etmesi gibi” Hz. Peygamber’in Lis\u00e2n\u0131’n\u0131n b\u00fct\u00fcn kelimelerini bir araya toplamak oldu\u011funu a\u00e7\u0131klar.” (10)
\nHakikat kimdeyse g\u00fc\u00e7l\u00fc olan odur. B\u00fcy\u00fck Do\u011fu-\u0130bda Nuh’un Gemisi, \u0130bda Mimar\u0131 m\u00fcsteh\u00e2klar buyursun diyor. Herkes, “Vesileye yap\u0131\u015f\u0131n\u0131z” \u00f6l\u00e7\u00fcs\u00fcnden ald\u0131\u011f\u0131 pay\u0131 liy\u00e2kat ve istidad\u0131 nispetince yerine getirmeli, tabi\u00ee ki gemiyi terk eden farelerden de\u011fil, y\u00fczd\u00fcrmenin \u015ferefine ermek isteyenlerden olmak istiyorsa. “Aleni d\u00f6v\u00fcnmesem bilmezler ki hayreti” (11) m\u0131sra’s\u0131nda dile getirilen sitemi dost, d\u00fc\u015fman herkes biraz \u00fcst\u00fcne al\u0131nmal\u0131. Ta ki hayreti g\u00f6r\u00fcns\u00fcn. Zira, hayretin bir anlam\u0131 da asalettir.<\/p>\n
Kaynaklar
\n1-F\u00fct\u00fbhu’l Gayb \u2013 A. Geylani
\n2-\u0130bda Diyalekti\u011fi \u2013 S. Mirzabeyo\u011flu
\n3-Sahilsiz Bir Umman \u2013 M. Chodkiewicz Muhyiddin \u0130bn Arabi
\n4-G\u00f6lgeler \u2013 S.\u00a0 Mirzabeyo\u011flu
\n5-Sanatsal Ger\u00e7eklikler \u2013 H.B. Kahraman Olgular ve \u00f6teleri
\n6-K\u00fclt\u00fcr Davam\u0131z \u2013 S. Mirzabeyo\u011flu
\n7-Sahilsiz Bir Umman \u2013 M. Chodkiewicz Muhyiddin \u0130bn Arabi
\n8- d.g.e
\n9-Estetik \u00dczerine \u2013 F.V. Schiller
\n10- Sahilsiz Bir Umman \u2013 M. Chodkiewicz Muhyiddin \u0130bn Arabi
\n11- Kayan Y\u0131ld\u0131z S\u0131rr\u0131 \u2013 S. Mirzabeyo\u011flu<\/p>\n
<\/p>\n
<\/p>\n","protected":false},"excerpt":{"rendered":"
\u0130BDA esteti\u011fi e\u015fya ve hadiseleri teshirde “model” yerine “vesile”yi m\u00fcndemi\u00e7tir. Bir \u015fey en iyi hangi durumda yakalan\u0131r? Bu sorunun cevab\u0131 zann\u0131mca estetik durum olmal\u0131. Zira estetik vizyon edebi, k\u00fclt\u00fcrel, sosyal,…<\/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-619","post","type-post","status-publish","format-standard","hentry","category-yazarlar","author-mevlut-koc","no-post-thumbnail"],"yoast_head":"\n