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K\u00c2\u0130NATA KONUK olarak g\u00f6nderilen insana k\u00e2inattaki yerinin g\u00fczel olmas\u0131 gerekti\u011fi bildirilmi\u015ftir. Vahiy, insandaki haml\u0131\u011f\u0131, kabal\u0131\u011f\u0131, vicdans\u0131zl\u0131\u011f\u0131, korkuyu, riyay\u0131, hayvan\u00eeli\u011fi g\u00fczele d\u00f6n\u00fc\u015ft\u00fcrme niteli\u011fi ta\u015f\u0131maktad\u0131r. Ancak insandaki g\u00fczele d\u00f6n\u00fc\u015fme olgusu, vahye kulak veren insan\u0131n g\u00f6sterdi\u011fi \u00e7abayla orant\u0131l\u0131d\u0131r.<\/p>\n
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Bir kabirde a\u00e7\u0131lm\u0131\u015f bir delik g\u00f6ren \u0130sl\u00e2m Peygamberi (a.s.m.), buran\u0131n kapat\u0131lmas\u0131n\u0131 emreder. Kendisine sorarlar: ?Bunu yapman\u0131n kabirdekine bir yarar\u0131 olacak m\u0131?? Bu soruya ?Hay\u0131r? kar\u015f\u0131l\u0131\u011f\u0131n\u0131 verir \u0130sl\u00e2m Peygamberi, ?Ona ne yarar\u0131, ne de zarar\u0131 var; fakat dirilerin g\u00f6z\u00fcn\u00fc rahats\u0131z eder.? \u0130sl\u00e2m?daki estetik anlay\u0131\u015f\u0131n\u0131n kayna\u011f\u0131 olabilecek bir s\u00f6z bu. Ya\u015fam\u0131n her alan\u0131n\u0131 i\u00e7ine alan bir g\u00fczel bak\u0131\u015f. Yaln\u0131zca g\u00f6r\u00fcnt\u00fc g\u00fczelli\u011fini vurgulayan bu bak\u0131\u015f, insan\u0131n t\u00fcm davran\u0131\u015flar\u0131n\u0131; ba\u015fka insanlarla, hatta hayvan, bitki ve cans\u0131zlarla ili\u015fkilerini, i\u00e7 d\u00fcnyas\u0131ndaki aray\u0131\u015flar\u0131n\u0131, y\u00f6neli\u015flerini d\u00fczenleyici bir mahiyet sergilemektedir.<\/p>\n
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\u0130nsan ?cemalperestlik,? ?g\u00fczellik sevdas\u0131,? ?kemal\u00e2ta meftuniyet? hisleriyle dolu oldu\u011fundan k\u00e2inattaki g\u00fczelli\u011fi fark edebilir bir \u00f6zellik ta\u015f\u0131maktad\u0131r. Di\u011fer yarat\u0131lm\u0131\u015flar\u0131n g\u00fczel sanatlar alan\u0131nda eser verememelerinin s\u0131rr\u0131 da burada yatmaktad\u0131r. Onlar yaln\u0131zca kendilerine ilham edileni yapmakla y\u00fck\u00fcml\u00fcd\u00fcr. \u0130nsan ise hem kendindeki cevheri, g\u00fczeli arama ve g\u00fczele y\u00f6nelme \u00f6z\u00fcn\u00fc, hem de varl\u0131klardaki g\u00fczelli\u011fi ke\u015ffetme i\u015ftiyak\u0131n\u0131 ve s\u00f6ylemini ?yakalamak? zorundad\u0131r. Ne ki g\u00fczelliklerin \u00e2yine oldu\u011funu, sermed\u00ee g\u00fczelliklerin yans\u0131mas\u0131, yani sonsuzlu\u011fun yank\u0131s\u0131 oldu\u011funu hi\u00e7bir zaman unutmamal\u0131 insan bu iklimde.<\/p>\n
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Sahiller s\u0131n\u0131r \u00e7izer daima g\u00fczelli\u011fe. G\u00fczellik \u00f6l\u00fcms\u00fcz duygular\u0131, \u00f6teleri terenn\u00fcm etmek ister. \u0130lk kez s\u00f6ylenmek, ilk kez yaz\u0131lmak, ilk kez bestelenmek; g\u00fczelli\u011fin hi\u00e7 de\u011fi\u015fmeyen \u00e7\u0131\u011fl\u0131\u011f\u0131d\u0131r. Her\u015fey ilk kez yaz\u0131l\u0131r, s\u00f6ylenir, bestelenir; ama bin y\u0131llara uzanan yolculu\u011fumuz bize de\u011fi\u015fmezli\u011fin saf \u015fiirini ta\u015f\u0131r durur.<\/p>\n
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G\u00fcnl\u00fck ya\u015fant\u0131n\u0131n al\u0131\u015f\u0131lm\u0131\u015fl\u0131\u011f\u0131n\u0131, \u00fclfet perdesini y\u0131rtt\u0131\u011f\u0131m\u0131z oranda k\u00e2inat\u0131n esrarl\u0131 g\u00fczelli\u011fi bizi hayret ve hayranl\u0131k derinliklerine \u00e7eker. Bu derinliklerin cazibesine kap\u0131labilmek i\u00e7in ne akademik bir kariyer gerekir, ne de \u00e7ok fazla bilgi. Yeter ki bir \u00e7ocuk bak\u0131\u015f\u0131yla, \u00f6nyarg\u0131s\u0131z bir yakla\u015f\u0131mla, g\u00f6n\u00fcl safl\u0131\u011f\u0131yla bakabilsin insan, her\u015feye. Cem\u00e2l\u00ee ve cel\u00e2l\u00ee g\u00fczelliklerin der\u00fbnundan kopard\u0131\u011f\u0131 \u00e7i\u00e7eklerle s\u00fcslesin hayat\u0131n\u0131.<\/p>\n
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E\u015fyada tecelli eden esteti\u011fe kay\u0131ts\u0131z kalan insan, hakik\u00ee g\u00fczellikten yoksundur. \u0130nsan\u0131n yapt\u0131\u011f\u0131 sanat\u0131, e\u015fyada tecelli eden sanattan daha y\u00fcksek g\u00f6ren kimse de m\u00fcthi\u015f bir yan\u0131lg\u0131 i\u00e7indedir.<\/p>\n
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G\u00f6kg\u00fcr\u00fclt\u00fcs\u00fcndeki, buluttaki, k\u0131\u015ftaki, so\u011fuktaki, gurbetteki, \u00f6l\u00fcmdeki, musibetlerdeki hikmet g\u00fczelliklerini de g\u00f6rebilmelidir insan. Evini, masas\u0131n\u0131, yaz\u0131s\u0131n\u0131, \u00f6yk\u00fcs\u00fcn\u00fc, roman\u0131n\u0131, resmini, hatt\u0131n\u0131, ebrusunu, \u015fiirini, bestesini, giyimini, y\u00fcr\u00fcy\u00fc\u015f\u00fcn\u00fc, ileti\u015fimini g\u00fczelle\u015ftirebilmelidir ayn\u0131 zamanda.<\/p>\n
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Her estetik, asl\u0131nda a\u015fk\u0131n olan?a \u00e7a\u011fr\u0131d\u0131r. Sonsuzlu\u011fun yank\u0131s\u0131 olarak nitelendirdi\u011fimiz estetik, bizi a\u015fk\u0131n g\u00fczelli\u011fi g\u00f6rmeye davet etmekte, bize ebed\u00ee imlemektedir. \u0130man\u0131n ?bir h\u00fcsn-\u00fc m\u00fccerred ve m\u00fcnezzeh? oldu\u011funu d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcm\u00fczde ise, tecess\u00fcs\u00fcm\u00fcz\u00fc d\u0131\u015ftan i\u00e7e do\u011fru u\u00e7urmu\u015f, bilin\u00e7 ku\u015fumuzu yarat\u0131lm\u0131\u015fl\u0131\u011f\u0131n gizine y\u00f6neltmi\u015f oluruz.<\/p>\n
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\u0130nsan\u0131n l\u00e2tifeleri \u00f6zg\u00fcnl\u00fc\u011f\u00fcn\u00fc koruduk\u00e7a, insan hayat kar\u015f\u0131s\u0131nda estetik tav\u0131r alacakt\u0131r. Hayat kar\u015f\u0131s\u0131nda estetik tav\u0131r alabilen ve bu tavr\u0131n\u0131 koruyabilen insan, kendi \u00f6zg\u00fcnl\u00fc\u011f\u00fcn\u00fc ve \u00f6zg\u00fcrl\u00fc\u011f\u00fcn\u00fc de koruyabilecektir. \u0130nsan\u0131n kendisine ve ba\u015fkas\u0131na zarar vermemesi ba\u011flam\u0131nda \u00f6zg\u00fcrl\u00fc\u011f\u00fcn\u00fc tadabilen kimse, duyarl\u0131l\u0131klar\u0131n\u0131 g\u00fczel davran\u0131\u015flara, s\u00f6zlere d\u00f6n\u00fc\u015ft\u00fcrebilir.<\/p>\n
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Esteti\u011fi bulmam\u0131za imk\u00e2n veren bir varolu\u015f \u015fark\u0131s\u0131n\u0131 duyuyor, insan d\u0131\u015f\u0131ndaki di\u011fer canl\u0131lar\u0131n b\u00f6yle bir kayg\u0131 ve imk\u00e2na sahip olamay\u0131\u015flar\u0131n\u0131 bu noktadan de\u011ferlendiriyoruz. \u0130\u015fte bu y\u00fczden \u015fiir yazan kanguru, \u00f6yk\u00fc yazan sincap, resim yapan z\u00fcrafa yok. Suad Alkan?\u0131n buradan yola \u00e7\u0131karak maddenin sanat\u0131n kayna\u011f\u0131 olamayaca\u011f\u0131 d\u00fc\u015f\u00fcncesine varmas\u0131, \u00f6nemli bir noktaya i\u015faret etmektedir.<\/p>\n
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Ya\u015fad\u0131\u011f\u0131m\u0131z d\u00fcnyada ve i\u00e7imizde s\u00fcrekli \u00e7at\u0131\u015fmalar ya\u015farken ?estetik olan?\u0131 nas\u0131l bulabilece\u011fiz? Bu \u00e7at\u0131\u015fmalardan g\u00fczel sonu\u00e7lar \u00e7\u0131karmak ve sonunda?hatta ba\u015f\u0131nda ve i\u00e7inde?\u0130brahim Hakk\u0131?n\u0131n dedi\u011fi gibi ?Mevl\u00e2 g\u00f6relim neyler \/ Neylerse g\u00fczel eyler? demek m\u00fcmk\u00fcn olabilecek mi? <\/p>\n
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\u00c7at\u0131\u015fma, trajik, trajik olan kavramlar\u0131n\u0131 d\u00fc\u015f\u00fcnelim. Prof. Dr. Ramazan Kaplan, trajik \u00f6geyi \u015f\u00f6yle a\u00e7\u0131klar: ?\u0130nsanda derin etki b\u0131rakan her t\u00fcrl\u00fc davran\u0131\u015f, her t\u00fcrl\u00fc d\u00fc\u015f\u00fcnce ya da birbirine e\u015fde\u011fer iki olgu kar\u015f\u0131s\u0131nda se\u00e7me yapmak durumunda olan insan\u0131n durumu.? Binba\u015f\u0131 As\u0131m?\u0131 hat\u0131rl\u0131yorum. Bedi\u00fczzaman?\u0131n \u00f6\u011frencilerinden olan As\u0131m, \u00dcstad?\u0131na zarar gelmemesi ve yalan s\u00f6ylememe ikileminde kald\u0131\u011f\u0131nda \u00fc\u00e7\u00fcnc\u00fc yolu ihtiyar etmi\u015f, ?Ya Rab, benim can\u0131m\u0131 al? niyaz\u0131nda bulunmu\u015f, s\u0131dk \u015fehidi olmu\u015ftur. Ne \u00dcstad?\u0131na zarar verdirmi\u015f, ne de yalan s\u00f6ylemi\u015ftir. ?Estetik bir tav\u0131r? sergileyerek, bu \u00e7at\u0131\u015fmadan g\u00fczel bir sona ula\u015fm\u0131\u015ft\u0131r.<\/p>\n
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Trajik ve trajedi konusunda Sad\u0131k Yals\u0131zu\u00e7anlar?\u0131n \u015fu s\u00f6zlerine de kulak vermeli: ?Beden-ruh \u00e7eli\u015fkisinin M\u00fcsl\u00fcman a\u00e7\u0131s\u0131ndan trajik bir durum \u00fcretti\u011fini s\u00f6yleyebiliriz. Nefsimizle vicdan\u0131m\u0131z aras\u0131nda ya\u015fad\u0131\u011f\u0131m\u0131z \u00e7at\u0131\u015fma… Biz ger\u00e7ek trajediyi \u00fcretece\u011fiz. Trajediyi hakik\u00ee anlam\u0131na kavu\u015fturaca\u011f\u0131z. Sonsuz bir hayata namzet olarak yarat\u0131lan insan\u0131n d\u00fcnyev\u00ee tercihlerindeki traji\u011fi anlataca\u011f\u0131z. Hakikate sa\u011f\u0131rla\u015fan insan\u0131n dram\u0131n\u0131 yans\u0131taca\u011f\u0131z. D\u00fcnyev\u00ee olanla uhrev\u00ee olan\u0131 tercih zorunda b\u0131rak\u0131lan insan\u0131n se\u00e7im g\u00fc\u00e7l\u00fc\u011f\u00fcn\u00fc anlataca\u011f\u0131z.? (K\u00f6pr\u00fc, say\u0131: 55)<\/p>\n
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Nietzsche?nin \u00e7at\u0131\u015fma anlay\u0131\u015f\u0131n\u0131 irdeleyen Be\u015fir Ayvazo\u011flu, ?esasen bu \u00e7at\u0131\u015fman\u0131n d\u00fcnyan\u0131n \u00f6z\u00fcnde var oldu\u011funu s\u00f6yleyen Nietzsche?de hayat\u0131n bir anlamda trajedi m\u00e2n\u00e2s\u0131na geldi\u011fini? (A\u015fk Esteti\u011fi, Birlik Yay\u0131nlar\u0131, s. 31) vurgulamaktad\u0131r.<\/p>\n
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\u0130htiyarlar Risalesi olan Yirmialt\u0131nc\u0131 Lem?a?da pek \u00e7ok \u00e7at\u0131\u015fmaya tan\u0131k oluruz; ancak buradaki \u00e7at\u0131\u015fmalarda ?trajik? bir sonu g\u00f6remeyiz. <\/p>\n
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\u0130nsan i\u00e7in as\u0131l trajedi, g\u00fcnah\u0131n trajedisidir, k\u00fcfr\u00fcn trajedisidir. Allah?tan uzakla\u015fmak, kopmak, Allah?\u0131 sorgulamaya kalk\u0131\u015fmak, ?\u00c7\u00fcr\u00fcm\u00fc\u015f kemikleri kim diriltecek?? diye Allah?a meydan okumaya \u00e7al\u0131\u015fmakt\u0131r as\u0131l trajedi. \u0130nsan, bu noktada g\u00fczeli, g\u00fczelli\u011fi bulamaz. Soyut g\u00fczelli\u011fin kap\u0131lar\u0131n\u0131 da kapat\u0131r kendisine.<\/p>\n
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Seyyid H\u00fcseyin Nasr ?\u0130sl\u00e2m, Allah?\u0131 unutmaya yol a\u00e7acak olan m\u00fczi\u011fi yasaklam\u0131\u015f.? derken, ?\u0130sl\u00e2m, m\u00fczi\u011fe cennetin bir yank\u0131s\u0131 olan ve duygulu olanla bu d\u00fcnyayla ilgili olan g\u00fczelli\u011fin birle\u015fti\u011fi bir b\u00fct\u00fcnleyici nitelik vermi\u015ftir. Hem a\u015fk\u0131n ve hem de i\u00e7kin olan Hakikat?in bir sal\u0131n\u0131m\u0131 ve yank\u0131s\u0131 olan manev\u00ee bir m\u00fczik olu\u015fturulmu\u015ftur? diye s\u00f6ylerken m\u00fczik ba\u011flam\u0131nda sanat\u0131n hayat\u0131m\u0131zdaki yerine i\u015faret ediyordu (\u0130sl\u00e2m Sanat\u0131 ve Maneviyat\u0131, \u0130nsan Yay\u0131nlar\u0131). Edebiyat eserleri ba\u011flam\u0131nda da ayn\u0131 bak\u0131\u015f a\u00e7\u0131s\u0131 yanl\u0131\u015f olmaz: \u0130nsan\u0131 Yarat\u0131c\u0131s\u0131ndan uzakla\u015ft\u0131rmayan sanat, \u0130sl\u00e2m?\u0131n ruhuna ayk\u0131r\u0131 de\u011fildir.<\/p>\n
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Demek ki hayat\u0131m\u0131z, H\u00fcseyin Su?nun g\u00fczeleylem s\u00f6zc\u00fc\u011f\u00fcyle kavramla\u015ft\u0131rd\u0131\u011f\u0131 salih amellerle estetik konumlara b\u00fcr\u00fcn\u00fcyor. G\u00fczeleylem kavram\u0131n\u0131n i\u00e7ine d\u00fc\u015f\u00fcnceyi, duyguyu, bak\u0131\u015f a\u00e7\u0131s\u0131n\u0131, davran\u0131\u015f\u0131, eylemi kat\u0131yorum.<\/p>\n
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G\u00fczeleylemle \u0131\u015f\u0131yor g\u00f6nl\u00fcm\u00fcz, rahatl\u0131yor i\u00e7imiz, \u015fahlan\u0131yor akl\u0131m\u0131z. G\u00fczeleylemle uzan\u0131yoruz maziye ve istikbale, onlar\u0131 dost ediniyoruz. Hastal\u0131klar g\u00fczeleylemle bize yak\u0131nla\u015f\u0131yor. Bel\u00e2lar\u0131 g\u00fczeleylemle kar\u015f\u0131lad\u0131k\u00e7a nurlar yeti\u015fiyor imdad\u0131m\u0131za. G\u00f6z\u00fcm\u00fcz\u00fcn \u00f6n\u00fcnden kaybolup giden g\u00fczel varl\u0131klar\u0131 g\u00fczeleylemle anl\u0131yoruz. G\u00fczeleylemle siliyoruz g\u00f6z\u00fcm\u00fcz\u00fcn ya\u015f\u0131n\u0131, i\u00e7imizin pas\u0131n\u0131, t\u00fcm \u00e7irkinlikleri.<\/p>\n
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\u0130\u015fte estetik tav\u0131r, estetik denilince bunlar\u0131n t\u00fcm\u00fc ve daha fazlas\u0131 anla\u015f\u0131lmal\u0131 bence. Paul Valery?nin ?G\u00fczel olan hi\u00e7bir \u015fey, h\u00fclasa edilemez? s\u00f6z\u00fcn\u00fc \u015fimdi daha iyi anl\u0131yorum.<\/p>\n
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Ya\u015fant\u0131m\u0131z, estetikten, g\u00fczeleylemden nasibini ald\u0131k\u00e7a g\u00fczelle\u015ftirecek bizi; ondan yoksun kald\u0131k\u00e7a \u00e7\u00fcr\u00fcyen, k\u00fcflenen bir varl\u0131k olarak kalaca\u011f\u0131z. Dirilerin g\u00f6z\u00fcn\u00fc rahats\u0131z eden bir kabir deli\u011fini kapatmak da bir g\u00fczeleylemdir, mavera ile ili\u015fi\u011fini kesmeyen bir \u00f6yk\u00fc yazmak da; bir g\u00fczel s\u00f6z s\u00f6ylemek de, bir \u015fiir okumak da. Bir bak\u0131\u015f, bir mimik bile.<\/p>\n
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\u00a9\u00a02021 karakalem.net, Taha \u00c7a\u011flaro\u011flu<\/p>\n
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10.04.2003 K\u00c2\u0130NATA KONUK olarak g\u00f6nderilen insana k\u00e2inattaki yerinin g\u00fczel olmas\u0131 gerekti\u011fi bildirilmi\u015ftir. Vahiy, insandaki haml\u0131\u011f\u0131, kabal\u0131\u011f\u0131, vicdans\u0131zl\u0131\u011f\u0131, korkuyu, riyay\u0131, hayvan\u00eeli\u011fi g\u00fczele d\u00f6n\u00fc\u015ft\u00fcrme niteli\u011fi ta\u015f\u0131maktad\u0131r. Ancak insandaki g\u00fczele d\u00f6n\u00fc\u015fme olgusu, vahye kulak veren insan\u0131n g\u00f6sterdi\u011fi \u00e7abayla orant\u0131l\u0131d\u0131r. Bir kabirde a\u00e7\u0131lm\u0131\u015f bir delik g\u00f6ren \u0130sl\u00e2m Peygamberi (a.s.m.), buran\u0131n kapat\u0131lmas\u0131n\u0131 emreder. Kendisine sorarlar: ?Bunu yapman\u0131n kabirdekine bir yarar\u0131 […]<\/p>\n","protected":false},"author":37,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[],"ppma_author":[202],"class_list":["post-89974","post","type-post","status-publish","format-standard","hentry","category-yazarlar"],"yoast_head":"\n