{"id":1086,"date":"2024-06-02T22:49:49","date_gmt":"2024-06-02T19:49:49","guid":{"rendered":"https:\/\/erenyesilyurt.com\/?p=1086"},"modified":"2024-08-21T14:46:05","modified_gmt":"2024-08-21T11:46:05","slug":"yazid-khalifi-arap-hat-sanati-dervislerin-yaratici-dinamizminin-uzantisi-olarak-farkli-ve-cagdas-bir-bakisin-somutlasmis-halidir","status":"publish","type":"post","link":"https:\/\/erenyesilyurt.com\/index.php\/2024\/06\/02\/yazid-khalifi-arap-hat-sanati-dervislerin-yaratici-dinamizminin-uzantisi-olarak-farkli-ve-cagdas-bir-bakisin-somutlasmis-halidir\/","title":{"rendered":"Yazid Kheloufi: Arap hat sanat\u0131 dervi\u015flerin yarat\u0131c\u0131 dinamizminin uzant\u0131s\u0131 olarak farkl\u0131 ve \u00e7a\u011fda\u015f bir bak\u0131\u015f\u0131n somutla\u015fm\u0131\u015f halidir"},"content":{"rendered":"\n

Yazid Kheloufi<\/a> eserlerinde harfler manevi d\u00fcnyaya ge\u00e7i\u015f kap\u0131s\u0131n\u0131n anahtar\u0131 gibi tezah\u00fcr ediyor. Kuzey Afrikal\u0131 sanat\u00e7\u0131lar\u0131n \u00f6zg\u00fcnl\u00fck sorununu a\u015fma bi\u00e7imlerinden bizim de \u00f6\u011frenece\u011fimiz \u015feyler var.\u00a0<\/p>\n\n\n\n

Sizi tan\u0131yarak ba\u015flayal\u0131m. K\u0131saca kendinizden bahseder misiniz?<\/em><\/strong><\/p>\n\n\n\n

1963 y\u0131l\u0131nda Cezayir’in en bat\u0131s\u0131nda, Fas s\u0131n\u0131r\u0131na biti\u015fik k\u00fc\u00e7\u00fck bir kasabada do\u011fdum. \u0130lk\u00f6\u011fretimi do\u011fdu\u011fum kasabada tamamlad\u0131ktan sonra lise e\u011fitimim i\u00e7in Tilimsan\u2019a gittim. Okulumun yerinin, k\u00f6kenleri Zenata kabilesinden Benu Abd al-Ved veya Benu Zayan’a kadar uzanan bir Berberi hanedan\u0131 olan Zayani devletinin krallar\u0131n\u0131n saraylar\u0131n\u0131n bulundu\u011fu tarihi El-Me\u015fver Saray\u0131 olmas\u0131 b\u00fcy\u00fck bir \u015fanst\u0131. Burada End\u00fcl\u00fcs mimarisi, seramik ve epigrafik yaz\u0131tlarla ilk temas\u0131n\u0131 kurdum ve bunlar onun estetik alg\u0131lar\u0131m\u0131 ve hayal g\u00fcc\u00fcm\u00fcn etkiledi. <\/p>\n\n\n

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Daha sonra haritac\u0131l\u0131k ve topografya alan\u0131nda \u00e7al\u0131\u015ft\u0131m. Ard\u0131ndan seramik s\u00fcsleme sanat\u00e7\u0131s\u0131 olarak \u00e7al\u0131\u015fabilmek i\u00e7in bir s\u00fcre e\u011fitim ald\u0131m. Doksanl\u0131 y\u0131llar\u0131n ortalar\u0131nda L\u00fcbnan’a gidip bir s\u00fcre orada ikamet ettim. Sida \u015fehrinde G\u00fcney L\u00fcbnan’da bir seramik at\u00f6lyesi y\u00f6nettim. Cezayir\u2019de at\u00f6lyemde \u00e7al\u0131\u015fmalar\u0131ma devam ediyorum.<\/p>\n\n\n\n

Nas\u0131l hattat oldunuz ve daha sonra heykel ve serami\u011fe nas\u0131l y\u00f6neldiniz?<\/em><\/strong><\/p>\n\n\n\n

Sanatla ili\u015fkim, harflerle ilk deneyimimin Cezayir’in en bat\u0131s\u0131ndaki k\u00f6y\u00fcmdeki Kur\u2019an okulunda oldu\u011fu erken \u00e7ocukluk d\u00f6nemimden itibaren ba\u015flad\u0131. Cezayir’de ve Ma\u011frip’in geri kalan\u0131nda devlet okullar\u0131na ba\u015flamadan \u00f6nce be\u015f ya\u015f\u0131na kadar yaln\u0131zca Kur’an kurslar\u0131na gidersiniz. Ben de Kur’an-\u0131 Kerim ayetlerini \u00fczerine yaz\u0131p ezberledi\u011fimiz ah\u015fap plakalar (luhlar) \u00fczerine yazmak i\u00e7in kam\u0131\u015f ve boyamak kil arama yolculu\u011funa ba\u015flad\u0131m. Yaz\u0131, harfler ve kil, evreni \u00f6zetleyen ve Kur’an metni i\u00e7in ta\u015f\u0131y\u0131c\u0131 olarak kulland\u0131\u011f\u0131m\u0131z mukaddes malzemeler\u2026<\/p>\n\n\n

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\"\"<\/figure>\n<\/div>\n\n\n

Kur’an ayetlerini ta\u015f\u0131yan luhlara i\u015flerken yazma arac\u0131 olarak kulland\u0131\u011f\u0131m kam\u0131\u015f, kil, hayal g\u00fcc\u00fcm ile e\u015fya ve kelimeler aras\u0131nda ba\u011flant\u0131 kurdum. Orada harflere ba\u011fland\u0131m, onlar\u0131n s\u0131rlar\u0131yla varl\u0131\u011f\u0131mla b\u00fct\u00fcnle\u015fti. O zamandan beri hatta a\u015f\u0131\u011f\u0131m. Kesretten birli\u011fe, bo\u015fluktan mekan anlay\u0131\u015f\u0131n\u0131 kapsayarak y\u00f6neldim ve bu arada farkl\u0131 boyutlarla temas ettim. Bu temas yeni ara\u00e7lar ve ta\u015f\u0131y\u0131c\u0131lar kullanarak ger\u00e7ekle\u015fti. Bu ara\u00e7lar\u0131n aras\u0131nda heykel, oyma ve eski End\u00fcl\u00fcs tarz\u0131nda tahtalar \u00fczerine yaz\u0131 yazma gibi y\u00f6ntemler bulunmaktayd\u0131.<\/p>\n\n\n\n

Seramik \u00e7al\u0131\u015fmalar\u0131n\u0131z\u0131 yaparken \u00f6zel bir y\u00f6nteminiz ve rit\u00fcelleriniz oldu\u011fundan bahsetmi\u015ftiniz.<\/strong><\/p>\n\n\n\n

\u00c7al\u0131\u015fmalar\u0131m\u0131n seramik olmad\u0131\u011f\u0131n\u0131 ve \u00e7al\u0131\u015fmalar\u0131mda kulland\u0131\u011f\u0131m ana malzemenin do\u011fada buldu\u011fum kil oldu\u011funu belirtmeliyim. Benim at\u00f6lyem do\u011faya a\u00e7\u0131k. Do\u011fa bize \u00f6\u011fretir ve anlat\u0131r. Yapt\u0131\u011f\u0131m sanat, kozmik boyutuyla ya\u015fam\u0131n anlam\u0131na odaklan\u0131r. Bu nedenle \u00e7evrem ve ortam\u0131mla m\u00fckemmel bir uyum i\u00e7inde olmaya \u00e7al\u0131\u015f\u0131yorum. Eserlerimi haz\u0131rlama s\u00fcreci birka\u00e7 a\u015famadan ge\u00e7iyor. T\u00fcm bu s\u00fcre\u00e7 benim i\u00e7in \u00f6zel bir rit\u00fcel olu\u015fturuyor. \u00c7al\u0131\u015f\u0131rken sufi semalar\u0131 \u00f6zellikle Ebu Hasan \u015e\u00fc\u015fteri\u2019nin kasidelerini dinliyorum. \u00dczerine metinlerini yazd\u0131\u011f\u0131m ah\u015fap panolar\u0131 boyay\u0131p kaplamak bana Kur\u2019an kursunda yapt\u0131\u011f\u0131m \u015feyi hat\u0131rlat\u0131yor. Kur\u2019an ayetlerini kil kapl\u0131 ah\u015fap panolara yazard\u0131k.<\/p>\n\n\n\n

Sanat anlay\u0131\u015f\u0131n\u0131z\u0131 nas\u0131l a\u00e7\u0131klars\u0131n\u0131z?<\/strong><\/p>\n\n\n

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Sanat\u0131n insan hayat\u0131ndaki seyri, insan\u0131n kendi iradesiyle ger\u00e7ekle\u015fmesinden ziyade bat\u0131n aleminin varl\u0131\u011f\u0131n\u0131 d\u0131\u015fa do\u011fru \u00e7ekilmesi. Bir tecelli s\u00f6z konusu\u2026 \u0130nsan burada, fenomenler aleminde farkl\u0131 fraksiyonlar\u0131n kayna\u015fmas\u0131 ile meydana gelen varolu\u015funun niteli\u011fini, e\u015fyaya kar\u015f\u0131 faydac\u0131, nicelikli ve t\u00fcketici bir anlay\u0131\u015fla se\u00e7mez. Bu hakk\u0131n nuru ile s\u00fcrekli birlikteli\u011fin ve bunun neticesine sana verilen tecelliler ile olur. Hakk\u0131n nurunun en rafine tecelli hali de sanat ile ger\u00e7ekle\u015fiyor. \u0130slam esteti\u011finde bulunan bo\u015flu\u011fu bir g\u00fczellik de\u011feri olarak kullanma yetene\u011fi kazand\u0131m. Bu “Sanat\u00e7\u0131 \/ Ara\u00e7 \/ Malzeme” <\/em>\u00fc\u00e7l\u00fcs\u00fcn\u00fcn yarat\u0131c\u0131 bir anlay\u0131\u015fla bulu\u015ftu\u011fu yeni ve tekrar eden ke\u015fif yolculu\u011fumda ger\u00e7ekle\u015fti. Bu sanatsal deneyimler, insanl\u0131k tarihine ait s\u00fcreklilikler zincirinin bir halkas\u0131 olarak g\u00f6r\u00fclmelidir; \u00e7\u00fcnk\u00fc eserlerim, Cezayir topraklar\u0131 \u00fczerinde ge\u00e7mi\u015f medeniyetler aras\u0131ndaki ileti\u015fim ve etkile\u015fimin bir ifadesi.<\/p>\n\n\n\n

\u00c7al\u0131\u015fmalar\u0131n\u0131za bakt\u0131\u011f\u0131mda ana temay\u0131 “harfler” olu\u015fturuyor. T\u00fcm \u00e7al\u0131\u015fmalar\u0131n\u0131zda “harfler” bask\u0131n. <\/strong><\/p>\n\n\n\n

Yaz\u0131, yarat\u0131c\u0131l\u0131\u011f\u0131n ve medeniyet duraklar\u0131 aras\u0131ndaki k\u00f6pr\u00fc kurman\u0131n kaynaklar\u0131ndan biri. Tarihin ba\u015flang\u0131c\u0131ndan bu yana binlerce yaz\u0131c\u0131 ve katibin izlerini takip ederek, bu topraklar\u0131n kokusunu ve rengini i\u00e7eren bu mirastan besleniyorum. Harfler \u00fczerine \u00e7al\u0131\u015fmalar\u0131m, Arap kaligrafisine modernlik kazand\u0131ran, \u00e7ok fazla hareket ve \u00f6zg\u00fcrl\u00fc\u011fe sahip yaz\u0131 y\u00f6ntemlerinin olu\u015fturdu\u011fu g\u00f6rsel yap\u0131lar\u0131n g\u00fcc\u00fcn\u00fc ke\u015ffetme olana\u011f\u0131 verdi. \u0130bn Mukle ile Ba\u011fdat okulu ve daha sonra Ebu Hayyan et-Tevhidi’nin Arap hat sanat\u0131n\u0131 ele ald\u0131\u011f\u0131 yaz\u0131lar\u0131ndan birinde anlatt\u0131\u011f\u0131 gibi, Arap hat sanat\u0131n\u0131n \u0130bn Bevvab ile kurulan Arap harflerinin formunun esteti\u011fini olu\u015fturmas\u0131 ve Arap harflerini geleneksel \u00e7emberinin d\u0131\u015f\u0131ndan ele alan bireysel sanatsal deneyimler her zaman ilgimi \u00e7ekmi\u015ftir. En \u00e7ok Cezayir’de bulunan memleketi Kanadasa \u015fehrine ithafen Kandusi olarak bilinen sanat\u00e7\u0131 ve \u00e2lim Muhammed bin Kas\u0131m’\u0131n kaligrafik kompozisyonlar\u0131ndan ilham ald\u0131m. Onun kaligrafi deneyimi, harfi farkl\u0131 bir bak\u0131\u015f a\u00e7\u0131s\u0131 ve estetik \u00f6ng\u00f6r\u00fcyle ele alan, tabiri caizse Arap harfinin topografik kimli\u011fini erkenden \u00f6ng\u00f6ren en \u00f6nemli deneyimlerden biri olmaya devam ediyor.<\/p>\n\n\n

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\"\"<\/figure>\n<\/div>\n\n\n

Arap hat sanat\u0131, Arap-\u0130slam elyazmas\u0131 yazarlar\u0131n\u0131n ve dervi\u015flerin yarat\u0131c\u0131 dinamizminin uzant\u0131s\u0131 olarak farkl\u0131 ve \u00e7a\u011fda\u015f bir bak\u0131\u015f\u0131n somutla\u015fm\u0131\u015f halidir. Ruhani bir estetik vizyondan (kalp g\u00f6z\u00fc ve beden g\u00f6z\u00fc aras\u0131ndaki g\u00fczellik) ge\u00e7en zevkli bir ikilikle y\u00fckl\u00fc yap\u0131ya giden, bo\u015fluk taraf\u0131ndan somutla\u015ft\u0131r\u0131lan vizyoner senfonisiyle, kapsaml\u0131 g\u00f6ksel derinli\u011fi ile Arap alfabesine tak\u0131nt\u0131l\u0131 olmam\u0131 sa\u011flayan \u015fey bu. <\/p>\n\n\n\n

End\u00fcl\u00fcsl\u00fc \u015euayb Ebu Medyen\u2019in Tilimsan\u2019daki t\u00fcrbesini ne zaman ziyaret etsem, cami ve t\u00fcrbenin duvarlar\u0131n\u0131 s\u00fcsleyen oymalar\u0131n ve yaz\u0131tlar\u0131n g\u00fczelli\u011fi beni cezbeder ve onlar\u0131 her g\u00f6rd\u00fc\u011f\u00fcmde hala derinden etkilenir ve onlara do\u011fru \u00e7ekilirim.<\/p>\n\n\n\n

Yirmi be\u015f y\u0131l\u0131 a\u015fk\u0131n bir s\u00fcredir bu estetik temel, Cezayir’in en bat\u0131s\u0131ndaki Tilimsan b\u00f6lgemizde bolca bulunan ve End\u00fcl\u00fcs miras\u0131yla do\u011frudan ili\u015fkisi olan zengin bir k\u00fclt\u00fcrel tahayy\u00fcl ile y\u00fckl\u00fc camilerin, mezarlar\u0131n ve sufi t\u00fcrbelerinin duvarlar\u0131nda yo\u011fun bir \u015fekilde as\u0131l\u0131 olan End\u00fcl\u00fcs kitabeleri arac\u0131l\u0131\u011f\u0131yla bana ula\u015ft\u0131.<\/p>\n\n\n\n

Kuzey Afrika k\u00fclt\u00fcr\u00fc sanat\u00e7\u0131lara ne gibi f\u0131rsatlar sunuyor? Kuzey Afrikal\u0131 M\u00fcsl\u00fcman bir sanat\u00e7\u0131 olarak k\u00f6klerinizle nas\u0131l ba\u011flant\u0131 kuruyorsunuz?<\/strong><\/p>\n\n\n\n

Evrensel olan, ka\u00e7\u0131n\u0131lmaz olarak yerelden olan ba\u015flar. Ya\u015fad\u0131\u011f\u0131m\u0131z inan\u0131lmaz teknolojik b\u00fcy\u00fcme ve ileti\u015fimin dijitalle\u015fmesiyle birlikte d\u00fcnya, duygular\u0131n ve ifadelerin birle\u015fti\u011fi k\u00fc\u00e7\u00fck bir k\u00f6y haline gelmi\u015ftir. Bununla birlikte, her birimizin “anlam” aray\u0131\u015f\u0131nda kendi ba\u015flang\u0131\u00e7 noktalar\u0131m\u0131z ve d\u00f6n\u00fcm noktalar\u0131m\u0131z vard\u0131r ve dil, herhangi birimiz i\u00e7in sanatsal \u00fcr\u00fcn\u00fcn parametrelerini tan\u0131mlamada \u00f6nemli bir role sahiptir.<\/p>\n\n\n\n

Kuzey Afrikal\u0131 benli\u011fin estetik tahayy\u00fcl\u00fcn\u00fc \u015fekillendiren estetik referanslar, Do\u011fu’dan Bat\u0131’ya do\u011fru gelen ruhun ekseniyle ili\u015fkilidir. Bu tahayy\u00fcl\u00fcn \u00f6zellikleri aras\u0131nda Babil zigguratlar\u0131n\u0131n ve \u00e7amur kokusunun t\u00fcts\u00fc kokusuyla kesi\u015fti\u011fi antik Yemen Hadramut yap\u0131lar\u0131n\u0131n varl\u0131\u011f\u0131 yer almaktad\u0131r. <\/p>\n\n\n

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\"\"<\/figure>\n<\/div>\n\n\n

Kuzey Afrika halk\u0131n\u0131n estetik etki \u00e7emberinin tamamlanmas\u0131na katk\u0131da bulunan bir di\u011fer \u00f6nemli durak ise Do\u011fu ve Bat\u0131’n\u0131n birle\u015fmesiyle yeni ve benzersiz sanat tarzlar\u0131n\u0131n do\u011fdu\u011fu ve beslendi\u011fi End\u00fcl\u00fcs’t\u00fcr.<\/p>\n\n\n\n

Bir s\u00fcredir, Mustans\u0131r Billah’\u0131n y\u00f6netimi d\u00f6neminde Kur’an’\u0131 yazan hattat kad\u0131nlar\u0131n g\u00fc\u00e7l\u00fc varl\u0131\u011f\u0131n\u0131n yer ald\u0131\u011f\u0131 Kurtuba’n\u0131n<\/em> ba\u015fl\u0131kl\u0131 sanatsal bir proje arac\u0131l\u0131\u011f\u0131yla Kurtuba d\u00f6nemini tekrar ele almakla me\u015fgul\u00fcm. Ebu \u0130shak es-Sahili el-G\u0131rnati’nin \u015fiiri \u00fczerinden felsefi olarak toprak mimarisine bakan \u0130slam sanat\u0131 y\u00fczlerden biri \u00fczerinde \u00e7al\u0131\u015f\u0131yorum. <\/p>\n\n\n\n

Sanat \u00e7al\u0131\u015fmalar\u0131m g\u00fcc\u00fcn\u00fc ve k\u00f6klerini, 1290’da Granada’da do\u011fan ve 1346’da Timbuktu’da \u00f6len, Granada’n\u0131n sanat okulunun kurucusu \u015fair Ebu \u0130shak Saheli’nin dinamizminden al\u0131yor. B\u00fct\u00fcn bir b\u00f6lgenin sanatsal hayal g\u00fcc\u00fcn\u00fc tasarlayan bu deha, G\u0131rnata’n\u0131n d\u00fc\u015f\u00fc\u015f\u00fcnden ve bilgi merkezinin End\u00fcl\u00fcs’ten Sahra \u00c7\u00f6l\u00fc’n\u00fcn g\u00fcneyine ta\u015f\u0131nmas\u0131ndan hemen sonra Bat\u0131 Sudan’da do\u011fru ortam\u0131 buldu. Malzeme ile etkile\u015fimi, felsefesi, y\u00fczy\u0131llar sonra Antoni Gaudi ile Katalan ekol\u00fcne ve yeni sanata, daha sonra da Antoni T\u00e0pies ile Barselona ekol\u00fcne ve sanat\u0131n maneviyatla ili\u015fkisine yol bulmu\u015ftur.<\/p>\n","protected":false},"excerpt":{"rendered":"

Yazid Kheloufi eserlerinde harfler manevi d\u00fcnyaya ge\u00e7i\u015f kap\u0131s\u0131n\u0131n anahtar\u0131 gibi tezah\u00fcr ediyor. Kuzey Afrikal\u0131 sanat\u00e7\u0131lar\u0131n \u00f6zg\u00fcnl\u00fck sorununu a\u015fma bi\u00e7imlerinden bizim de \u00f6\u011frenece\u011fimiz \u015feyler var.\u00a0 Sizi tan\u0131yarak ba\u015flayal\u0131m. K\u0131saca kendinizden bahseder misiniz? 1963 y\u0131l\u0131nda Cezayir’in en bat\u0131s\u0131nda, Fas s\u0131n\u0131r\u0131na biti\u015fik k\u00fc\u00e7\u00fck bir kasabada do\u011fdum. \u0130lk\u00f6\u011fretimi do\u011fdu\u011fum kasabada tamamlad\u0131ktan sonra lise e\u011fitimim i\u00e7in Tilimsan\u2019a gittim. 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