{"id":2901,"date":"2026-04-22T14:26:19","date_gmt":"2026-04-22T11:26:19","guid":{"rendered":"https:\/\/erenyesilyurt.com\/?p=2901"},"modified":"2026-04-22T14:36:37","modified_gmt":"2026-04-22T11:36:37","slug":"hammad-gillani-calismalarimin-ozunde-ikilikler-arasinda-gezinmek-var-gerilim-ile-sukunet-catisma-ile-cozulme","status":"publish","type":"post","link":"https:\/\/erenyesilyurt.com\/index.php\/2026\/04\/22\/hammad-gillani-calismalarimin-ozunde-ikilikler-arasinda-gezinmek-var-gerilim-ile-sukunet-catisma-ile-cozulme\/","title":{"rendered":"Hammad Gillani: \u00c7al\u0131\u015fmalar\u0131m\u0131n \u00f6z\u00fcnde ikilikler aras\u0131nda gezinmek var\u2014gerilim ile s\u00fck\u00fbnet, \u00e7at\u0131\u015fma ile \u00e7\u00f6z\u00fclme"},"content":{"rendered":"\n

Hammad Gillani,<\/a> bir sanat\u00e7\u0131 olarak bir\u00e7ok hik\u00e2yenin kesi\u015fim noktas\u0131nda duruyor. Nesillerdir \u00e2lim ve Sufi bir aileden gelen Pakistanl\u0131 sanat\u00e7\u0131, bu k\u00f6kl\u00fc miras\u0131 minyat\u00fcrden yola \u00e7\u0131karak \u00e7a\u011fda\u015f sanat prati\u011fiyle bulu\u015fturuyor. Kendisiyle War and Peace<\/em> sergisi \u00fczerine konu\u015ftuk.<\/p>\n\n\n\n

Okurlar\u0131m\u0131za kendinizi k\u0131saca tan\u0131tabilir misiniz? Aile k\u00f6klerinizin \u015eeyh Abd\u00fclkadir Geylani\u2019ye dayanmas\u0131 ger\u00e7ekten etkileyici. Do\u011fdu\u011funuz yerin ruhu ile bu derin k\u00f6kl\u00fc aile miras\u0131n\u0131n i\u00e7inde yeti\u015fti\u011finiz k\u00fclt\u00fcrel ortam \u00fczerindeki etkisini nas\u0131l tan\u0131mlars\u0131n\u0131z?<\/em><\/strong><\/em><\/strong><\/p>\n\n\n

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Untitled | Gouache, Gold Leaf on Wasli Paper |23 x 16 inches |2024<\/figcaption><\/figure>\n<\/div>\n\n\n

Kendimi tan\u0131tmaktan memnuniyet duyar\u0131m. Benim ad\u0131m Syed Hammad Ullah Shah Gillani, ancak sanat d\u00fcnyas\u0131nda Hammad Gillani olarak tan\u0131n\u0131yorum.<\/p>\n\n\n\n

Pakistan\u2019\u0131n kabile b\u00f6lgelerinde yerle\u015fik bir sufi ailede do\u011fdum. Nesiller boyunca ailem, dini ilimlere ve sufi prati\u011fin derin geleneklerine s\u0131k\u0131 s\u0131k\u0131ya ba\u011fl\u0131 oldu.<\/p>\n\n\n\n

Bu miras\u0131n yeti\u015fme tarz\u0131m \u00fczerindeki etkisi hem ruhani hem de ritmikti. Gelene\u011fimiz, Allah\u2019\u0131 ve Peygamber\u2019i (SAV) zikretmeyi ve bir m\u00fcr\u015fidin rehberli\u011finde ilahi a\u015fk\u0131n pe\u015finden gitmeyi merkeze alan tasavvuf yoluyla (tarikat) \u015fekilendi. B\u00fcy\u00fcrken i\u00e7inde bulundu\u011fum k\u00fclt\u00fcrel ortam, s\u00fcrekli i\u00e7sel tefekk\u00fcr ve her per\u015fembe d\u00fczenlenen Hatm-i Haceg\u00e2n gibi haftal\u0131k manevi toplant\u0131larla belirleniyordu.<\/p>\n\n\n\n

Bu tekrar, adanm\u0131\u015fl\u0131k ve tefekk\u00fcr atmosferi g\u00fcnl\u00fck hayat\u0131m\u0131n ritmini olu\u015fturdu. Bu yaln\u0131zca ruhsal duyarl\u0131l\u0131\u011f\u0131m\u0131 \u015fekillendirmekle kalmad\u0131; d\u00fcnyay\u0131 alg\u0131lama bi\u00e7imime de y\u00f6n verdi. Sufi yolunun disiplini\u2014g\u00f6r\u00fcnmeyene odaklanma ve tekrar\u0131n g\u00fcc\u00fc\u2014bug\u00fcn st\u00fcdyoma ta\u015f\u0131d\u0131\u011f\u0131m enerjinin ayn\u0131s\u0131d\u0131r; resimlerimdeki titiz ve tekrarl\u0131 f\u0131r\u00e7a darbeleri benim i\u00e7in g\u00f6rsel bir zikir i\u015flevi g\u00f6r\u00fcyor.<\/p>\n\n\n\n

Minyat\u00fcr sanat\u0131 muazzam bir sab\u0131r ve derin bir gelenek bilinci gerektirir. Yolunuz bu kadim sanat dal\u0131yla nas\u0131l kesi\u015fti? Sizi minyat\u00fcr resmine y\u00f6nelten temel motivasyon veya o “ilk k\u0131v\u0131lc\u0131m” neydi?<\/em><\/strong><\/em><\/strong><\/p>\n\n\n

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Still life | Gouache on Wasli Paper |18 x 24.5 inches |2026<\/figcaption><\/figure>\n<\/div>\n\n\n

Minyat\u00fcre giden yolum ne do\u011frudan oldu ne de planl\u0131yd\u0131. Pakistan\u2019\u0131n Afganistan s\u0131n\u0131r\u0131 boyunca uzanan kabile b\u00f6lgesinde do\u011fdum. Zamanla bu b\u00f6lge \u00e7at\u0131\u015fmalardan ve Taliban\u2019dan derinden etkilendi ve ailem bu s\u00fcre\u00e7te yerinden edilme tecr\u00fcbesini ya\u015fad\u0131. Bu d\u00f6nem \u00fczerimde derin bir duygusal etki b\u0131rakt\u0131; travma ve TSSB (Travma Sonras\u0131 Stres Bozuklu\u011fu) ile m\u00fccadele ettim.<\/p>\n\n\n\n

O d\u00f6nemde g\u00f6r\u00fc\u015ft\u00fc\u011f\u00fcm bir doktorla yapt\u0131\u011f\u0131m\u0131z konu\u015fmalardan birinde, \u00e7izime olan erken ilgimden bahsettik. O an bir d\u00f6n\u00fcm noktas\u0131 oldu; beni sanata y\u00f6nelmeye te\u015fvik etti ve sonunda National College of Arts. ba\u015fvurdum. Minyat\u00fcr resimle ilk kez NCA’da kar\u015f\u0131la\u015ft\u0131m. Onun disiplinine, karma\u015f\u0131k detaylar\u0131na ve gelene\u011fin i\u00e7ine g\u00f6m\u00fcl\u00fc hikaye anlat\u0131c\u0131l\u0131\u011f\u0131n\u0131n derinli\u011fine hemen \u00e7ekildim. Minyat\u00fcr\u00fcn talep etti\u011fi sab\u0131r ve s\u00fcrecinin meditatif do\u011fas\u0131, i\u00e7sel durumumla derin bir yank\u0131 uyand\u0131rarak bana hem bir ifade bi\u00e7imi hem de iyile\u015fme i\u00e7in sessiz bir alan sundu.<\/p>\n\n\n\n

War and Peace\u201d serginizin arkas\u0131ndaki temel felsefe nedir? Bu sergi arac\u0131l\u0131\u011f\u0131yla izleyiciyi hangi \u00e7at\u0131\u015fmalar ya da uzla\u015fmalar \u00fczerine d\u00fc\u015f\u00fcnmeye davet ediyorsunuz?<\/em><\/strong><\/strong><\/em><\/p>\n\n\n

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\u201cWar and Peace\u201d sergisi, asl\u0131nda benimle k\u00fcrat\u00f6r\u00fcm ve mentorum Aisha Khalid aras\u0131nda s\u00fcregelen bir diyalogdan do\u011fdu. Bu sohbetler s\u0131ras\u0131nda, Tolstoy\u2019un insan karma\u015f\u0131kl\u0131\u011f\u0131n\u0131 ele al\u0131\u015f\u0131na at\u0131fla sergi ba\u015fl\u0131\u011f\u0131n\u0131 \u00f6nerdi ve bu ba\u015fl\u0131k, benim prati\u011fimde \u00e7al\u0131\u015ft\u0131\u011f\u0131m temalarla g\u00fc\u00e7l\u00fc bir ba\u011f kurdu.<\/p>\n\n\n\n

\u00c7al\u0131\u015fmalar\u0131m\u0131n \u00f6z\u00fcnde ikilikler aras\u0131nda gezinmek var\u2014gerilim ile s\u00fck\u00fbnet, \u00e7at\u0131\u015fma ile \u00e7\u00f6z\u00fclme aras\u0131ndaki s\u00fcrekli itme-\u00e7ekme. Bu hem ki\u015fisel deneyimlerimde hem de \u00e7evremizdeki daha geni\u015f sosyo-politik ger\u00e7ekliklerde kendini g\u00f6steriyor. Bizi etkileyen ve sergiyi \u015fekillendiren \u015fey, bu kar\u015f\u0131tl\u0131klar\u0131n g\u00f6rsel dilimde haf\u0131za, k\u0131r\u0131lganl\u0131k ve ya\u015fanm\u0131\u015fl\u0131k \u00fczerinden nas\u0131l ortaya \u00e7\u0131kt\u0131\u011f\u0131d\u0131r.<\/p>\n\n\n\n

Sava\u015f ve bar\u0131\u015f\u0131 kat\u0131 kar\u015f\u0131tl\u0131klar olarak sunmakla ilgilenmiyorum. Aksine, onlar\u0131 birbirine derinden ba\u011fl\u0131, neredeyse birbirine ba\u011f\u0131ml\u0131 olarak g\u00f6r\u00fcyorum. Bir durum di\u011ferine akar ve anlam\u0131n b\u00fcy\u00fck k\u0131sm\u0131 bu ge\u00e7i\u015fte ortaya \u00e7\u0131kar. Bu i\u015fler arac\u0131l\u0131\u011f\u0131yla izleyiciyi bu karma\u015f\u0131kl\u0131kla y\u00fczle\u015fmeye ve hem ki\u015fisel hem kolektif tarihlerin bu kesintisiz bozulma ve iyile\u015fme d\u00f6ng\u00fcleriyle nas\u0131l \u015fekillendi\u011fini d\u00fc\u015f\u00fcnmeye davet ediyorum.
<\/p>\n\n\n\n

Bu sergide, geleneksel minyat\u00fcr\u00fcn \u00e7ok katmanl\u0131, detayl\u0131 ve bezemeci yap\u0131s\u0131ndan uzakla\u015f\u0131p daha sade ve minimal \u00e7izgilere y\u00f6neldi\u011finizi g\u00f6r\u00fcyoruz. Bu estetik tercih, sanatsal bak\u0131\u015f a\u00e7\u0131n\u0131zdaki i\u00e7sel bir d\u00f6n\u00fc\u015f\u00fcm\u00fcn m\u00fc yoksa \u201cfazlal\u0131klar\u0131 soyma\u201d ihtiyac\u0131n\u0131n m\u0131 sonucu?<\/em><\/strong>
<\/em><\/strong><\/p>\n\n\n

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Landscape IV | Acrylic Paint on Canvas |60 x 108 inches |2025<\/figcaption><\/figure>\n<\/div>\n\n\n

Bu de\u011fi\u015fim, Bab\u00fcr minyat\u00fcr tekni\u011fi \u00fczerine ald\u0131\u011f\u0131m akademik e\u011fitimin ard\u0131ndan ba\u015flayan derin bir sorgulama s\u00fcrecinden do\u011fdu. T\u00fcm karma\u015f\u0131kl\u0131\u011f\u0131 ve bezemecili\u011fiyle geleneksel g\u00f6rsel dili \u00f6\u011frendikten sonra, i\u015fte ger\u00e7ekten neyin gerekli oldu\u011funu sorgulamaya ba\u015flad\u0131m. Resmin ruhunu kaybetmeden nelerin \u00e7\u0131kar\u0131labilece\u011fini d\u00fc\u015f\u00fcnd\u00fcm.<\/p>\n\n\n\n

Bu d\u00f6n\u00fc\u015f\u00fcm hem i\u00e7sel hem de bilin\u00e7liydi. \u201cFazlal\u0131klar\u0131 soyma\u201d s\u00fcrecine girdim; kompozisyonu ve malzemeyi giderek azaltarak daha sade ve do\u011frudan bir forma ula\u015ft\u0131m. Bu da bazen neredeyse \u00e7ocuksu ya da ilkel g\u00f6r\u00fcnen ama yine de anlam ta\u015f\u0131yan minimal bir esteti\u011fe yol a\u00e7t\u0131.<\/p>\n\n\n\n

Ancak imgeler sadele\u015fmi\u015f olsa da s\u00fcre\u00e7 h\u00e2l\u00e2 gelene\u011fe derinlemesine ba\u011fl\u0131. Minyat\u00fcr\u00fc terk etmedim; onu yeniden y\u00f6nlendirdim. H\u00e2l\u00e2 geleneksel sincab k\u0131l\u0131 f\u0131r\u00e7alar ve pardakht tekni\u011fini kullan\u0131yorum; her \u201cbasit\u201d \u00e7izgiyi binlerce k\u00fc\u00e7\u00fck ve hassas dokunu\u015fla in\u015fa ediyorum.<\/p>\n\n\n\n

Bu \u015fekilde, yava\u015f ve geleneksel bir y\u00f6ntemle h\u0131zl\u0131 ve spontane g\u00f6r\u00fcnen bir \u015fey \u00fcretiyorum. Sonu\u00e7 bir paradoks: jestsel bir iz gibi g\u00f6r\u00fcnen ama asl\u0131nda b\u00fcy\u00fck sab\u0131r ve emekle yap\u0131lm\u0131\u015f bir resim.<\/p>\n\n\n\n

Benim i\u00e7in bu \u00fcretim s\u00fcreci, a\u00e7\u0131kl\u0131\u011fa do\u011fru bir yolculuk\u2014miras\u0131m\u0131n meditatif ruhunu korurken art\u0131k g\u00f6rme bi\u00e7imime uymayan bezemeci y\u00fck\u00fc geride b\u0131rakmak.<\/p>\n\n\n\n

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Landscape II | Acrylic Paint on Canvas |72 x 40 inches |2025<\/figcaption><\/figure>\n\n\n\n

“Landscape” (Manzara) adl\u0131 \u00e7al\u0131\u015fman\u0131z, bana y\u0131llar \u00f6nce babam\u0131n eve getirdi\u011fi b\u00fcy\u00fck, \u00e7er\u00e7eveli bir gelincik tarlas\u0131 tablosunu hat\u0131rlat\u0131yor. Hem huzurlu bir \u00e7i\u00e7ek tarlas\u0131n\u0131 hem de bir sava\u015f alan\u0131ndaki kanla k\u0131z\u0131la boyanm\u0131\u015f gelincikleri \u00e7a\u011fr\u0131\u015ft\u0131ran bu eserin arkas\u0131ndaki hikayeyi \u00f6zellikle merak ediyorum.<\/em><\/strong><\/p>\n\n\n

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Landscape II | Acrylic Paint on Canvas |72 x 40 inches |2025<\/figcaption><\/figure>\n<\/div>\n\n\n

Benim i\u00e7in \u201cLandscape\u201d, sanat prati\u011fimde \u00f6nemli bir d\u00f6n\u00fcm noktas\u0131d\u0131r. Tuval \u00fczerine akrilik boya kulland\u0131\u011f\u0131m ilk deneyimimdi, ancak bu \u00e7al\u0131\u015fmaya minyat\u00fcr resim alan\u0131ndaki geleneksel e\u011fitimimi harfiyen uygulayarak yakla\u015ft\u0131m. Bu daha b\u00fcy\u00fck \u00f6l\u00e7ekte bile, boyan\u0131n s\u00fcr\u00fcl\u00fc\u015f\u00fc, titiz katmanlama ve renklerin yo\u011funlu\u011fu, t\u00fcm\u00fcyle o disiplinden kaynaklanmaktad\u0131r. Hatta her vuru\u015fta bir minyat\u00fcrc\u00fcn\u00fcn ruhunun hissedilmesini sa\u011flamak i\u00e7in \u00f6zel f\u0131r\u00e7alar\u0131m\u0131 kendim el yap\u0131m\u0131 olarak haz\u0131rlad\u0131m.<\/p>\n\n\n\n

\u0130lham, gelinciklerin yayg\u0131n olarak yeti\u015ftirildi\u011fi b\u00fcy\u00fcd\u00fc\u011f\u00fcm b\u00f6lgeden geliyor. \u00c7i\u00e7ek a\u00e7t\u0131klar\u0131nda t\u00fcm manzara inan\u0131lmaz derecede huzurlu ve g\u00fczel g\u00f6r\u00fcn\u00fcr. \u0130lk bak\u0131\u015fta, resmin bu dinginli\u011fi yans\u0131tmas\u0131n\u0131 ve hayat dolu g\u00f6r\u00fcnmesini istedim.<\/p>\n\n\n\n

Ancak esere daha yak\u0131ndan bakt\u0131\u011f\u0131n\u0131zda, atmosfer de\u011fi\u015fir. Ye\u015fil renk huzursuzluk vermeye ba\u015flar ve k\u0131rm\u0131z\u0131 daha yo\u011fun \u2014neredeyse \u015fiddetli\u2014 g\u00f6r\u00fcn\u00fcr. Bu de\u011fi\u015fim, son zamanlarda Gazze, \u0130ran ve L\u00fcbnan ba\u015fta olmak \u00fczere d\u00fcnya genelinde g\u00f6rd\u00fc\u011f\u00fcm\u00fcz g\u00fcncel \u00e7at\u0131\u015fmalar\u0131 temsil ediyor. Bu \u00e7al\u0131\u015fma arac\u0131l\u0131\u011f\u0131yla, bu z\u0131t duygular\u0131 bir araya getirmek istedim: Y\u00fczeyde g\u00f6rd\u00fc\u011f\u00fcm\u00fcz bar\u0131\u015f ve g\u00fczellik ile hemen alt\u0131nda yatan derin gerilim, \u00e7at\u0131\u015fma ve huzursuzluk hissi.<\/p>\n\n\n\n

Resimlerinizdeki sar\u0131 ve mavi formlar olduk\u00e7a \u00e7arp\u0131c\u0131 ve minimalist. Bu renkler ve formlar\u0131n arkas\u0131ndaki ger\u00e7eklik nedir?<\/em><\/strong>
Bu seride sar\u0131 ve mavi resimler, \u00e7at\u0131\u015fman\u0131n g\u00fcndelik hayat\u0131n en s\u0131radan par\u00e7alar\u0131n\u0131 nas\u0131l kolonize etti\u011fini inceleyen bir \u00e7al\u0131\u015fmad\u0131r.<\/p>\n\n\n

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Still life | Acrylic Paint on Canvas |60 x 84 inches |2025<\/figcaption><\/figure>\n<\/div>\n\n\n

\u200bSar\u0131 resimler yayg\u0131n su bidonlar\u0131n\u0131, mavi olanlar ise her yerde g\u00f6rd\u00fc\u011f\u00fcm\u00fcz plastik varilleri temsil eder. Bunlar asl\u0131nda sadece kaplard\u0131r\u2014su ta\u015f\u0131mak veya depolamak i\u00e7in kullan\u0131lan i\u015flevsel nesneler; bir zamanlar evin sembolleriydi.<\/p>\n\n\n\n

Ancak \u00e7at\u0131\u015fma g\u00fcndelik hayat\u0131n par\u00e7as\u0131 h\u00e2line geldik\u00e7e, bu nesnelerin anlam\u0131 de\u011fi\u015fmeye ba\u015flad\u0131. El yap\u0131m\u0131 patlay\u0131c\u0131lar\u0131n \u00fcretiminde kullan\u0131lmalar\u0131 nedeniyle bir tehlike hissi ta\u015f\u0131maya ba\u015flad\u0131lar. B\u00f6ylece tan\u0131d\u0131k ve g\u00fcvenli olan \u015fey, yava\u015f yava\u015f belirsiz ve tehditk\u00e2r bir h\u00e2l ald\u0131.<\/p>\n\n\n\n

Onlar\u0131 nat\u00fcrmort olarak resmederek bu gerilimi dondurmak istedim. \u0130lk bak\u0131\u015fta izleyici basit bir nesne g\u00f6r\u00fcr; ancak yakla\u015ft\u0131k\u00e7a asl\u0131nda korkunun mimarisine bakt\u0131\u011f\u0131n\u0131 fark eder. Benim ilgilendi\u011fim \u015fey bu psikolojik d\u00f6n\u00fc\u015f\u00fcm\u2014\u00e7at\u0131\u015fma ortam\u0131n\u0131n d\u00fcnyayla kurdu\u011fumuz ili\u015fkiyi nas\u0131l de\u011fi\u015ftirdi\u011fi; en temel hayatta kalma nesnelerinin bile belirsizlik ve \u015fiddet an\u0131lar\u0131 ta\u015f\u0131maya ba\u015flamas\u0131d\u0131r.<\/p>\n","protected":false},"excerpt":{"rendered":"

Hammad Gillani, bir sanat\u00e7\u0131 olarak bir\u00e7ok hik\u00e2yenin kesi\u015fim noktas\u0131nda duruyor. Nesillerdir \u00e2lim ve Sufi bir aileden gelen Pakistanl\u0131 sanat\u00e7\u0131, bu k\u00f6kl\u00fc miras\u0131 minyat\u00fcrden yola \u00e7\u0131karak \u00e7a\u011fda\u015f sanat prati\u011fiyle bulu\u015fturuyor. Kendisiyle War and Peace sergisi \u00fczerine konu\u015ftuk. Okurlar\u0131m\u0131za kendinizi k\u0131saca tan\u0131tabilir misiniz? Aile k\u00f6klerinizin \u015eeyh Abd\u00fclkadir Geylani\u2019ye dayanmas\u0131 ger\u00e7ekten etkileyici. Do\u011fdu\u011funuz yerin ruhu ile bu derin… Continue reading →<\/span><\/a><\/span><\/p>\n","protected":false},"author":1,"featured_media":2894,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1,59],"tags":[],"class_list":["post-2901","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-roportajlar","category-sanatcilar"],"yoast_head":"\nHammad Gillani: \u00c7al\u0131\u015fmalar\u0131m\u0131n \u00f6z\u00fcnde ikilikler aras\u0131nda gezinmek var\u2014gerilim ile s\u00fck\u00fbnet, \u00e7at\u0131\u015fma ile \u00e7\u00f6z\u00fclme - Eren Ye\u015filyurt<\/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:\/\/erenyesilyurt.com\/index.php\/2026\/04\/22\/hammad-gillani-calismalarimin-ozunde-ikilikler-arasinda-gezinmek-var-gerilim-ile-sukunet-catisma-ile-cozulme\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Hammad Gillani: \u00c7al\u0131\u015fmalar\u0131m\u0131n \u00f6z\u00fcnde ikilikler aras\u0131nda gezinmek var\u2014gerilim ile s\u00fck\u00fbnet, \u00e7at\u0131\u015fma ile \u00e7\u00f6z\u00fclme - Eren Ye\u015filyurt\" \/>\n<meta property=\"og:description\" content=\"Hammad Gillani, bir sanat\u00e7\u0131 olarak bir\u00e7ok hik\u00e2yenin kesi\u015fim noktas\u0131nda duruyor. 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