{"id":4742,"date":"2010-10-27T10:42:31","date_gmt":"2010-10-27T07:42:31","guid":{"rendered":"http:\/\/localhost\/wordpress\/2010\/10\/27\/sanatin-dogusubuyudin-ve-estetik-kaygi\/"},"modified":"2010-10-27T10:42:31","modified_gmt":"2010-10-27T07:42:31","slug":"sanatin-dogusubuyudin-ve-estetik-kaygi","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2010\/10\/27\/sanatin-dogusubuyudin-ve-estetik-kaygi\/","title":{"rendered":"Sanat\u0131n do\u011fu\u015fu,b\u00fcy\u00fc,din ve estetik kayg\u0131"},"content":{"rendered":"![](\"http:\/\/www.paradokslar.com\/sanat\/sanat_kuslar.gif\")
Sanat kut t\u00f6renlerinin, tap\u0131nma t\u00f6renlerinin ba\u011fr\u0131ndan do\u011fmu\u015ftur. Bu \u00f6nermeyi \u00f6nemsiz say\u0131p g\u00f6rmezden gelenler olabilir. \u00c7\u00fcnk\u00fc sanat t\u0131pk\u0131 b\u00fcy\u00fc gibi, yery\u00fcz\u00fcnde b\u00fcy\u00fck bir g\u00fc\u00e7t\u00fcr\u00a0\u00a0 ya da b\u00f6yle bir g\u00fc\u00e7 olabilir ve bu y\u00fczden uysal, evcil tutulmak istenebilir. Oysa ki ger\u00e7ekte, sanat\u0131n k\u00f6kenlerinin incelenmesini k\u00fc\u00e7\u00fcmsemekle onun ne oldu\u011funu anlama ve b\u00f6ylece tad\u0131na varma olana\u011f\u0131ndan yoksun kal\u0131r\u0131z. Biz b\u00f6ylesi bir durumla kar\u015f\u0131la\u015fmamak amac\u0131yla k\u0131sa yaz\u0131m\u0131zda “gittik\u00e7e \u00e7o\u011falan kan\u0131tlar\u0131n zenginli\u011fine bakarak, sanat\u0131n ba\u015flang\u0131\u00e7ta b\u00fcy\u00fc oldu\u011fu, ger\u00e7ek ama bilinmeyen bir d\u00fcnyaya egemen olmaya yarayan t\u0131ls\u0131ml\u0131 bir ara\u00e7 oldu\u011fu sonucuna varan g\u00f6r\u00fc\u015f\u00fc anlatmaya \u00e7al\u0131\u015faca\u011f\u0131z.<\/p>\n
Ayakta durabilen ve \u00f6n ayaklar\u0131n\u0131 kullanabilen y\u00fcksek memeliler daha ba\u015ftan a\u015fa\u011f\u0131 omurgal\u0131lardan ayr\u0131l\u0131rlar. Bedendeki devingen organlar\u0131n s\u00fcrekli incelmesi anlam\u0131na gelen bu geli\u015fme, \u00e7evredeki \u00f6zel ko\u015fullar\u0131n bir sonucu olarak ortaya \u00e7\u0131kar. Ormanda ya\u015fayan bu hayvanlar g\u00f6rme ve dokunma duyular\u0131 aras\u0131nda yak\u0131n bir i\u015fbirli\u011fi ve incelmi\u015f kas d\u00fczenine sahiptirler. Ellerin geli\u015fmesi beyin i\u00e7in yeni sorunlar, yeni olanaklar ortaya \u00e7\u0131kard\u0131\u011f\u0131 i\u00e7in daha ba\u015flang\u0131\u00e7ta el ile beyin aras\u0131nda b\u00fct\u00fcnsel bir ba\u011f kurulmu\u015f olur.<\/p>\n
\u0130nsan, y\u00fcksek memelilerin bir sonraki a\u015famas\u0131 olan insans\u0131 memelilerden, ayakta durabildi\u011fi ve bunun sonucunda elleri ile ayaklar\u0131 aras\u0131ndaki i\u015fb\u00f6l\u00fcm\u00fcn\u00fc tamamlad\u0131\u011f\u0131ndan dolay\u0131 ayr\u0131l\u0131r. Ayak parmaklar\u0131 kavrama \u00f6zelli\u011fini yitirir, el parmaklar\u0131 ise maymunlarda olmayan bir beceriklilik kazanarak art\u0131k ara\u00e7 yapabilir. Bu belirleyici ad\u0131m yepyeni bir ya\u015fama yolu a\u00e7ar insana. Do\u011fay\u0131 denetimi alt\u0131na alabilmek amac\u0131yla kulland\u0131\u011f\u0131 ara\u00e7lar\u0131 ile ge\u00e7imi i\u00e7in gerekli olan \u015feyleri aramaktan kurtulup, onlar\u0131 \u00fcretmeye ba\u015flar. Do\u011fay\u0131 denetimi alt\u0131na almaya \u00e7al\u0131\u015f\u0131rken, onun insan isteminin d\u0131\u015f\u0131nda kendi yasalar\u0131na g\u00f6re y\u00f6netildi\u011fini anlar.<\/p>\n
\u00c7evresinde olup bitenlerin nas\u0131l oldu\u011funu \u00f6\u011frenerek, bu olaylar\u0131 ger\u00e7ekle\u015ftirmek i\u00e7in ne yapmas\u0131 gerekti\u011fini kavrar ve bu nesnel gereklili\u011fi tan\u0131d\u0131k\u00e7a kendi ama\u00e7lar\u0131 do\u011frultusunda kullanma g\u00fcc\u00fc elde eder. “\u00d6te yandan do\u011fa yasalar\u0131n\u0131 anlayamad\u0131\u011f\u0131 s\u00fcrece, \u00e7evresindeki d\u00fcnyay\u0131 salt kendi istemini \u00f6ne s\u00fcrerek de\u011fi\u015ftirebilece\u011fini san\u0131r. B\u00fcy\u00fcn\u00fcn temeli de budur.”<\/p>\n
Bu a\u00e7\u0131klama \u0131\u015f\u0131\u011f\u0131nda, tavan\u0131 damlayan dar ge\u00e7itlerden onca eziyetle ge\u00e7tikten sonra insanlardan uzak zifiri karanl\u0131k bir ma\u011faran\u0131n duvar\u0131na me\u015fale \u0131\u015f\u0131\u011f\u0131 ile yap\u0131lan alabildi\u011fine canl\u0131 bizon resimlerini \u00e7izen avc\u0131-ressam\u0131 yaln\u0131z ressam de\u011fil, bir b\u00fcy\u00fcc\u00fc oldu\u011funu \u00e7ok rahat anlar\u0131z. Bu resimler “imgelerin etkisine ili\u015fkin evrensel inan\u0131\u015f\u0131n, en eski \u00f6rnekleridir. Ba\u015fka bir deyi\u015fle bu ilkel avc\u0131lar, oklar\u0131n\u0131 ve ta\u015f baltalar\u0131n\u0131 kullanarak elde ettikleri avlar\u0131n yaln\u0131zca resmini yapmakla, ger\u00e7ek hayvanlar\u0131n da kendi g\u00fc\u00e7lerine boyun e\u011fece\u011fine inan\u0131r.” B\u00f6yle bir b\u00fcy\u00fc, etkisini avc\u0131ya cesaret vererek g\u00f6sterir.<\/p>\n
Ayn\u0131 \u015fey bir toplu \u00e7al\u0131\u015fma ortam\u0131nda,beraber s\u00f6ylenen ritmik \u015fiir i\u00e7in de ge\u00e7erlidir. Ba\u015flang\u0131\u00e7ta \u00fcretilen madde -\u00f6rne\u011fin ekin- \u00e7al\u0131\u015f\u0131rken \u00e7\u0131kan sesin nedeni olarak d\u00fc\u015f\u00fcn\u00fcl\u00fcr. \u00dcr\u00fcn\u00fc art\u0131rmak amac\u0131yla ses taklit edilir ve bu sesin olu\u015fturdu\u011fu yeni ritme uygun olarak \u00e7al\u0131\u015fma s\u00fcrd\u00fcr\u00fcl\u00fcr. Bu \u015fekilde sa\u011flanan d\u00fczen de yap\u0131lan i\u015fin artmas\u0131n\u0131 sa\u011flar ve \u00fcr\u00fcn bak\u0131m\u0131ndan verim de y\u00fckselir. Verimin artmas\u0131na neden olarak, d\u00fczeni sa\u011flayan ritmik sesi bir \u015fekilde \u00e7\u0131karan b\u00fcy\u00fcc\u00fcn\u00fcn yapt\u0131\u011f\u0131 b\u00fcy\u00fc g\u00f6r\u00fcl\u00fcr. \u00d6rneklerinin \u00e7e\u015fitli kaynaklarda s\u0131k\u00e7a g\u00f6rebilece\u011fimiz bu gibi b\u00fcy\u00fcsel inan\u0131\u015flar g\u00fcn\u00fcm\u00fcz ilkel kabilelerinde halen s\u00fcrmektedir. Baz\u0131 bayramlarda kabile \u00fcyeleri hayvan k\u0131l\u0131\u011f\u0131na girerek, hayvansal davran\u0131\u015flarla kutsal oyunlar oynamaktad\u0131r.<\/p>\n
Onlar da bir bak\u0131ma av hayvanlar\u0131na kar\u015f\u0131 g\u00fc\u00e7 sa\u011flam\u0131\u015f olduklar\u0131n\u0131 d\u00fc\u015f\u00fcneceklerdir. Bunun d\u0131\u015f\u0131nda baz\u0131 hayvanlarla akraba oldu\u011funu d\u00fc\u015f\u00fcnen inan\u0131\u015flar vard\u0131r. Orta Asya’dan g\u00f6\u00e7 eden T\u00fcrkler’e bir di\u015fi kurdun yol g\u00f6sterdi\u011fine inan\u0131l\u0131r. \u0130lkel erginleme t\u00f6renlerinde gencin yeniden do\u011fdu\u011funu, bir ki\u015filik kazand\u0131\u011f\u0131n\u0131 simgelemek i\u00e7in k\u0131zlar\u0131n cinsel organlar\u0131ndan kan gelmesini sa\u011flamak amac\u0131yla ba\u015flayan s\u00fcnnet olay\u0131, g\u00fcn\u00fcm\u00fczde bekaretin \u00f6nem kazand\u0131\u011f\u0131 ataerkil toplumda erke\u011fin s\u00fcnnet olmas\u0131 ile devam etmektedir.<\/p>\n
“Bu inan\u0131\u015flar\u0131n sanatla ili\u015fkisinin az oldu\u011funu d\u00fc\u015f\u00fcnmek yanl\u0131\u015ft\u0131r. \u00c7\u00fcnk\u00fc ger\u00e7ekte sanat\u0131 \u00e7e\u015fitli bi\u00e7imlerde etkileyen bu inan\u0131\u015flard\u0131r. Bir \u00e7ok sanat yap\u0131t\u0131n\u0131n anlam\u0131 bu acayip geleneklerde bir \u00f6nemi olmas\u0131ndan ileri geliyor. Dolay\u0131s\u0131yla \u00f6nemli olan, bir heykelin veya bir resim yap\u0131t\u0131n\u0131n bizim \u00f6l\u00e7\u00fcm\u00fcze g\u00f6re g\u00fczelli\u011fi de\u011fil, onun etkilili\u011fi ba\u015fka bir deyi\u015fle, istenilen b\u00fcy\u00fcsel etkiyi sa\u011flama olana\u011f\u0131d\u0131r.”<\/p>\n
Bu d\u00fc\u015f\u00fcnceden yola \u00e7\u0131karak ta\u015fa bir \u015fekil vererek ilk arac\u0131 yapan, ma\u011fara duvar\u0131na resim yapan veya ritmik bir ezgi ile \u00e7al\u0131\u015fma s\u00fcrecini d\u00fczenleyen, b\u00f6ylece toplu i\u015fg\u00fcc\u00fcn\u00fc art\u0131ran ilk \u00f6rg\u00fctleyici i\u00e7in sanat\u00e7\u0131 ifadesini kullanmam\u0131z yanl\u0131\u015f olmayacakt\u0131r. \u0130lkel toplumdan, daha karma\u015f\u0131k yap\u0131l\u0131 toplumlara yani s\u0131n\u0131fl\u0131 toplumlara ge\u00e7ildik\u00e7e b\u00fcy\u00fc ayr\u0131\u015fmaya ba\u015flar. B\u00fcy\u00fcc\u00fcn\u00fcn g\u00f6revi sanat\u00e7\u0131 ve rahip daha sonra da hekim, bilgin ve d\u00fc\u015f\u00fcn\u00fcr aras\u0131nda payla\u015f\u0131l\u0131r. B\u00f6ylelikle sanat, kendi i\u00e7erisinde \u00f6nemli bir ilerleme sa\u011flar ve daha belirgin olarak ortaya \u00e7\u0131kmaya ba\u015flar. Sanat\u00e7\u0131 \u00f6nemli bir y\u00fck\u00fc \u00fczerinden atarak, kendi yarat\u0131c\u0131 ki\u015fili\u011fini hissettirmeye ba\u015flar ama g\u00fcn\u00fcm\u00fcz de dahil mevcut olana yeniden \u015fekil verme veya yans\u0131lama gibi d\u00fc\u015f\u00fcnceler sanat\u00e7\u0131n\u0131n kafas\u0131ndan ve \u00fcr\u00fcn\u00fcnden \u00e7\u0131kmaz. Yani b\u00fcy\u00fc g\u00fcc\u00fcn\u00fc s\u00fcrd\u00fcr\u00fcr…
ilkel d\u00f6nemlerde ma\u011faraya yap\u0131lan resimlerde \u00e7izilen hayvan fig\u00fcrlerinin devasa b\u00fcy\u00fckl\u00fckte olmas\u0131 hayvan ayn\u0131 ebatlarda olms\u0131 taklit etmektir.b\u00fcy\u00fc ihitiyyac ve kendini do\u011faya kar\u015f\u0131 kabul ettirmek i\u00e7in sanat \u00e7\u0131km\u0131\u015ft\u0131r.sanat\u0131n ilk \u00e7\u0131k\u0131\u015f\u0131nsa estekik kayg\u0131 varm\u0131yd\u0131. <\/p>\n
Sanat ve Din<\/p>\n
\u0130nsanlar\u0131n d\u0131\u015f\u0131ndaki nesneleri ya da zihin d\u00fcnyas\u0131nda yorumlad\u0131\u011f\u0131 \u015feyleri, \u00e7e\u015fitli birimlerde ifade etmelerinden \u00f6t\u00fcr\u00fc sanat ya da sanatlar do\u011fmu\u015ftur. Ba\u015fka bir tabirle sanat, insanlar\u0131n ve sosyal gruplar ile milletlerin d\u00fcnyay\u0131 yorumlay\u0131\u015f tarzlar\u0131d\u0131r. Bu yorumlardaki benzerlikleri, farkl\u0131l\u0131klar\u0131 ya da aynilikleri ise insanlar\u0131n i\u00e7inde bulunduklar\u0131 sosyo-k\u00fclt\u00fcrel yap\u0131 ile \u00f6zel yetenek ve becerileri belirler.<\/p>\n
Sanat eserlerinde ki baz\u0131 ortakl\u0131klar tesad\u00fcflerle izah edilemezler. \u00d6yle izah etme\u011fe kalk\u0131l\u0131rsa, o zaman tarih, mitoloji, sosyoloji, antropoloji, edebiyat gibi sosyal bilimlerin sonu\u00e7lar\u0131n\u0131 da birer tesad\u00fcf eserleri olarak ifade etmek zorunda kal\u0131n\u0131r ki, sonu\u00e7ta sosyo-k\u00fclt\u00fcrel hayat bir tesad\u00fcfler zincirinden ibaretmi\u015f gibi alg\u0131lan\u0131r. Oysa sosyo-k\u00fclt\u00fcrel hayat bir tesad\u00fcfler yuma\u011f\u0131 olmay\u0131p, sosyal ger\u00e7ekli\u011fin kendisidir. Sosyal ger\u00e7eklik ise, sosyal gruplar\u0131n tarihlerinden getirdikleri ve yeni eklemelerle devam ettirdikleri gelenekli bir s\u00fcre\u00e7tir. Bu s\u00fcre\u00e7teki didi\u015fmelerden yani \u201cinsan\u0131n sonu gelmeyen \u00f6zlemleriyle s\u0131n\u0131rl\u0131 imkanlar\u0131 aras\u0131ndaki \u00e7eli\u015fkiden sanat do\u011fmu\u015ftur\u201d. Bu nedenle “sanat duygu ve d\u00fc\u015f\u00fcncelerin kayna\u015ft\u0131r\u0131larak ahenkli bir tertip halinde ifadesidir\u201d.<\/p>\n
Sosyo-k\u00fclt\u00fcrel hayattaki bir \u00e7ok unsur gibi, sanat da birtak\u0131m dini inan\u00e7larla yak\u0131ndan ilgilidir. Belki bundan olacak ki Fischer, \u201cba\u015flang\u0131\u00e7daki b\u00fcy\u00fc zamanla dine, bilime ve sanata d\u00f6n\u00fc\u015ft\u00fc\u201d der. Fischer esrinin bir ba\u015fka yerinde de \u201cta ba\u015flang\u0131\u00e7tan beri insan b\u00fcy\u00fcc\u00fcd\u00fcr\u201d diyerek, b\u00fcy\u00fcn\u00fcn sosyo-k\u00fclt\u00fcrel yap\u0131daki \u00f6nemine dikkatimizi \u00e7ekerek, son zamanlarda \u00e7o\u011falan belgelerin zenginli\u011fi sanat\u0131n ba\u015flang\u0131\u00e7ta bir \u201cb\u00fcy\u00fc\u201d oldu\u011funu ortaya koyuyor der.<\/p>\n
\u0130nsanla ilgili rituallerin \u00f6nemli bir k\u0131sm\u0131nda din ile b\u00fcy\u00fcn\u00fcn etkili rol oynad\u0131\u011f\u0131n\u0131 alan \u00e7al\u0131\u015fmalar\u0131na dayal\u0131 sosyolojik ve antropolojik verilerde s\u0131k\u00e7a g\u00f6rmek m\u00fcmk\u00fcnd\u00fcr. Mesela yasaks\u0131z bir sosyal grubun olmad\u0131\u011f\u0131 bilinmektedir. Yasaklar\u0131n kayna\u011f\u0131n\u0131n ise din ya da dine benzer inan\u00e7lar oldu\u011fu genelde kabul g\u00f6rmektedir. O halde din ile sanat aras\u0131ndaki yak\u0131n ilginin, fazla garip olmamas\u0131 gerek. Bu sebeple ilerde ayr\u0131nt\u0131l\u0131 bahsedece\u011fimiz ve foto\u011fraflarda da g\u00f6rece\u011fimiz \u00fczere \u201cko\u00e7ba\u015f\u0131\u201d damgalar\u0131n\u0131n da birtak\u0131m dini kimlik ta\u015f\u0131mas\u0131 gayet do\u011fald\u0131r.<\/p>\n
Din ile sanat aras\u0131ndaki ili\u015fkiye dikkat \u00e7eken sanat tarih\u00e7ilerinden biri olan Read da \u201cge\u00e7mi\u015fe bakt\u0131\u011f\u0131m\u0131zda tarih \u00f6ncesinin belirsiz kaynaklar\u0131ndan sanat ve dinin el ele \u00e7\u0131kt\u0131klar\u0131n\u0131 g\u00f6r\u00fcyoruz\u2026. Eserlerini yarat\u0131rken dini inan\u0131\u015ftan hareket etmemi\u015f gibi g\u00f6r\u00fcnen sanat\u00e7\u0131lar\u0131n bile hayatlar\u0131 daha yak\u0131ndan incelenince dini duyarl\u0131k diyebilece\u011fimiz bir tarafta kar\u015f\u0131la\u015f\u0131r\u0131z. Van Gogh\u2019un hayat\u0131 buna iyi bir \u00f6rnektir\u2026 Dinin rahipleri ile b\u00fcy\u00fcc\u00fcleri, yarat\u0131c\u0131 sanat\u00e7\u0131larla ayn\u0131d\u0131r, ve sanat\u0131n i\u015fi sadece tap\u0131nma veya yat\u0131\u015ft\u0131rmad\u0131r\u201d, diyerek sanat ile din aras\u0131ndaki yak\u0131n ilgiyi g\u00f6zler \u00f6n\u00fcne serer. Read bir ba\u015fka eserinde de \u201cb\u00fcy\u00fc, dinin oldu\u011fu kadar bilimin de \u00e7\u0131k\u0131\u015f noktas\u0131 olarak bilinir\u201d der. Sanat ile din aras\u0131ndaki yak\u0131n ilgiye bir ba\u015fka eserde \u201cBizans sanat\u0131 dinsel bir sanatt\u0131r. Ba\u015flang\u0131\u00e7ta h\u0131ristiyanl\u0131\u011f\u0131n ilk yay\u0131lma \u00f6z\u00fc i\u00e7inde Yunan-Roma gelene\u011fini devam ettirmi\u015ftir\u201d denmektedir. Bu sat\u0131rlar\u0131n yazar\u0131n\u0131n uzmanl\u0131k alan\u0131 sosyoloji oldu\u011fu i\u00e7in yukar\u0131daki iddia hakk\u0131nda s\u00f6yleyece\u011fi fazla s\u00f6z\u00fc yoktur. Ancak sanat ile din aras\u0131ndaki yak\u0131n ilgiden dolay\u0131 yukar\u0131daki g\u00f6r\u00fc\u015fe kat\u0131lmamak m\u00fcmk\u00fcn de\u011fildir. Dolay\u0131s\u0131yla Do\u011fu sanat\u0131yla Bat\u0131 sanat\u0131 aras\u0131nda her \u015feyden \u00f6nce, dinden veya dini anlay\u0131\u015ftan kaynaklanan temel bir farkl\u0131l\u0131\u011f\u0131n olmas\u0131 gerekir.<\/p>\n
\u00d6yleyse genelde Do\u011fu, \u00f6zelde T\u00fcrk sanat\u0131n\u0131n, Bat\u0131 sanat\u0131ndan farkl\u0131 ele al\u0131n\u0131p incelenmesi gerekmez mi? Bat\u0131\u2019da sanat dendi\u011finde ilk akla gelen resim, heykel ve bale\u2019dir. Bununla birlikte g\u00fczellik kavram\u0131 sanatla o kadar i\u00e7 i\u00e7e kullan\u0131lm\u0131\u015ft\u0131r ki sanat \u201cestetik\u201d kavram\u0131yla izah edilmi\u015f, hatta sanat yerine estetik kavram\u0131 kullan\u0131lm\u0131\u015ft\u0131r. T\u00fcrk sanat\u0131nda ise resim, heykel \u00e7ok az kullan\u0131l\u0131rken, neredeyse bale g\u00fcn\u00fcm\u00fczde bile halka mal olmu\u015f de\u011fildir. Oysa sanat her \u015feyden \u00f6nce, geleneksel u\u011fra\u015f alan\u0131 olarak halk\u0131n yak\u0131n ilgi alan\u0131d\u0131r. Dolay\u0131s\u0131yla bir halk\u0131n sanat hakk\u0131ndaki bilgileri ve eylemleri onun sosyo-k\u00fclt\u00fcrel tarihinden hareketle ele al\u0131nmal\u0131d\u0131r. Ancak sanat\u0131 Bat\u0131 mant\u0131\u011f\u0131yla alg\u0131lad\u0131\u011f\u0131m\u0131zdan dolay\u0131 bizim k\u00fclt\u00fcr\u00fcm\u00fczde \u00e7ok \u00f6nemli yeri olan at ku\u015famlar\u0131, kurganlar, balballar, mezarl\u0131klar, kad\u0131nlar\u0131m\u0131z\u0131n el i\u015fleri (hal\u0131, kilim, ke\u00e7e dahil) ile yurt (ke\u00e7eden yap\u0131lan, T\u00fcrklere has yuvarlak \u00e7ad\u0131r)\u2019lar. T\u00fcrk sanat tarih\u00e7ileri taraf\u0131ndan, genelde bir problem alan\u0131 olarak g\u00f6r\u00fclmedi\u011fi gibi, tarihi k\u00f6kleri y\u00fczlerce y\u0131la dayanan, bu ata yadigar\u0131 sanat eserleri, bilin\u00e7sizce \u00e7\u00fcr\u00fcmeye ya da teknolojiye terk edilmi\u015ftirler. Mesela Ahlat\u2019da g\u00f6rd\u00fc\u011f\u00fcm\u00fcz mezar ta\u015flar\u0131 ile Bitlis merkezindeki mezar ta\u015flar\u0131, kaderleriyle ba\u015fba\u015fa b\u0131rak\u0131lm\u0131\u015flard\u0131r. \u00d6zellikle birer sanat eseri olan Ahlat mezar ta\u015flar\u0131 k\u0131sa zamanda korumaya al\u0131nmazsa y\u00fczlerce y\u0131ll\u0131k tarih yok olmayla kar\u015f\u0131 kar\u015f\u0131yad\u0131r. Korkar\u0131m Anadolu\u2019nun baz\u0131 merkezlerinde dokunan geleneksel hal\u0131 kilimler de yak\u0131n bir gelecekte kaybolacaklard\u0131r. \u00c7\u00fcnk\u00fc bir boyu veya bir tarihi anlatan damgalar modernlik ad\u0131na de\u011fi\u015ftirilmege \u00e7al\u0131\u015f\u0131l\u0131yor. Mesela Nusaybin\u2019de g\u00f6rd\u00fc\u011f\u00fcm\u00fcz hal\u0131 dokuyan k\u0131zlar\u0131m\u0131z geleneksel damgalar\u0131n\u0131 de\u011fil de, all\u0131 g\u00fcll\u00fc neyi anlatt\u0131\u011f\u0131 belli olmayan, \u00e7izgilerle hal\u0131 dokuyorlard\u0131.<\/p>\n
Sonu\u00e7 olarak \u201cAvrupa sanat hiyerar\u015fisinin tepesi fig\u00fcratif resim ve heykel taraf\u0131ndan tutulmu\u015ftur”. Belki bundan olacak ki Bat\u0131\u2019da sanat \u201cestetik\u201d anlam\u0131nda kullan\u0131lm\u0131\u015ft\u0131r. T\u00fcrk felsefesinde ise sanatta esas olan birinci \u00f6ncelik ahenk, bir \u015feyi anlatmak ve onu ifade edebilmektir. Burada bir ifade tarz\u0131n\u0131n ahenkli olmas\u0131 ne kadar \u00f6nemli ise par\u00e7alar veya damgalar aras\u0131ndaki ahenk de o kadar \u00f6nemlidir.<\/p>\n","protected":false},"excerpt":{"rendered":"
Sanat kut t\u00f6renlerinin, tap\u0131nma t\u00f6renlerinin ba\u011fr\u0131ndan do\u011fmu\u015ftur. Bu \u00f6nermeyi \u00f6nemsiz say\u0131p g\u00f6rmezden gelenler olabilir. \u00c7\u00fcnk\u00fc sanat t\u0131pk\u0131 b\u00fcy\u00fc gibi, yery\u00fcz\u00fcnde b\u00fcy\u00fck bir g\u00fc\u00e7t\u00fcr\u00a0\u00a0 ya da b\u00f6yle bir g\u00fc\u00e7 olabilir ve bu y\u00fczden uysal, evcil tutulmak istenebilir. Oysa ki ger\u00e7ekte, sanat\u0131n k\u00f6kenlerinin incelenmesini k\u00fc\u00e7\u00fcmsemekle onun ne oldu\u011funu anlama ve b\u00f6ylece tad\u0131na varma olana\u011f\u0131ndan yoksun kal\u0131r\u0131z. Biz […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[103],"tags":[],"class_list":{"0":"post-4742","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-felsefe-genel"},"yoast_head":"\n
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narteks.net","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/narteks.net\/index.php\/2010\/10\/27\/sanatin-dogusubuyudin-ve-estetik-kaygi\/","og_locale":"tr_TR","og_type":"article","og_title":"Sanat\u0131n do\u011fu\u015fu,b\u00fcy\u00fc,din ve estetik kayg\u0131","og_description":"Sanat kut t\u00f6renlerinin, tap\u0131nma t\u00f6renlerinin ba\u011fr\u0131ndan do\u011fmu\u015ftur. Bu \u00f6nermeyi \u00f6nemsiz say\u0131p g\u00f6rmezden gelenler olabilir. \u00c7\u00fcnk\u00fc sanat t\u0131pk\u0131 b\u00fcy\u00fc gibi, yery\u00fcz\u00fcnde b\u00fcy\u00fck bir g\u00fc\u00e7t\u00fcr\u00a0\u00a0 ya da b\u00f6yle bir g\u00fc\u00e7 olabilir ve bu y\u00fczden uysal, evcil tutulmak istenebilir. Oysa ki ger\u00e7ekte, sanat\u0131n k\u00f6kenlerinin incelenmesini k\u00fc\u00e7\u00fcmsemekle onun ne oldu\u011funu anlama ve b\u00f6ylece tad\u0131na varma olana\u011f\u0131ndan yoksun kal\u0131r\u0131z. Biz […]","og_url":"https:\/\/narteks.net\/index.php\/2010\/10\/27\/sanatin-dogusubuyudin-ve-estetik-kaygi\/","og_site_name":"narteks.net","article_published_time":"2010-10-27T07:42:31+00:00","og_image":[{"url":"http:\/\/www.paradokslar.com\/sanat\/sanat_kuslar.gif","type":"","width":"","height":""}],"author":"Tar\u0131k","twitter_card":"summary_large_image","twitter_creator":"@narteks","twitter_site":"@narteks","twitter_misc":{"Yazan:":"Tar\u0131k","Tahmini okuma s\u00fcresi":"11 dakika"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/narteks.net\/index.php\/2010\/10\/27\/sanatin-dogusubuyudin-ve-estetik-kaygi\/#article","isPartOf":{"@id":"https:\/\/narteks.net\/index.php\/2010\/10\/27\/sanatin-dogusubuyudin-ve-estetik-kaygi\/"},"author":{"name":"Tar\u0131k","@id":"https:\/\/narteks.net\/#\/schema\/person\/61f37d9834294b72d31d274e7ed79bca"},"headline":"Sanat\u0131n do\u011fu\u015fu,b\u00fcy\u00fc,din ve estetik kayg\u0131","datePublished":"2010-10-27T07:42:31+00:00","mainEntityOfPage":{"@id":"https:\/\/narteks.net\/index.php\/2010\/10\/27\/sanatin-dogusubuyudin-ve-estetik-kaygi\/"},"wordCount":2168,"commentCount":0,"publisher":{"@id":"https:\/\/narteks.net\/#organization"},"image":{"@id":"https:\/\/narteks.net\/index.php\/2010\/10\/27\/sanatin-dogusubuyudin-ve-estetik-kaygi\/#primaryimage"},"thumbnailUrl":"http:\/\/www.paradokslar.com\/sanat\/sanat_kuslar.gif","articleSection":["Felsefe (Genel)"],"inLanguage":"tr","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/narteks.net\/index.php\/2010\/10\/27\/sanatin-dogusubuyudin-ve-estetik-kaygi\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/narteks.net\/index.php\/2010\/10\/27\/sanatin-dogusubuyudin-ve-estetik-kaygi\/","url":"https:\/\/narteks.net\/index.php\/2010\/10\/27\/sanatin-dogusubuyudin-ve-estetik-kaygi\/","name":"Sanat\u0131n do\u011fu\u015fu,b\u00fcy\u00fc,din ve estetik kayg\u0131 - 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