{"id":1946,"date":"2000-08-01T20:35:41","date_gmt":"2000-08-01T17:35:41","guid":{"rendered":"http:\/\/peyamigurel.com\/?p=1946"},"modified":"2017-01-20T19:55:16","modified_gmt":"2017-01-20T17:55:16","slug":"hat-sanati-progress-dergisi-2000","status":"publish","type":"post","link":"https:\/\/peyamigurel.com\/index.php\/hat-sanati-progress-dergisi-2000\/","title":{"rendered":"Hat Sanat\u0131 Progress Dergisi"},"content":{"rendered":"

Hat Sanat\u0131<\/strong> \/ Progress Dergisi<\/p>\n

– – – –<\/p>\n

\u0130nsano\u011flunun varolu\u015funun temel farkl\u0131l\u0131klar\u0131ndan birinin \u201cNesneleri isimlendirmek ve bunlar\u0131 semboller arac\u0131l\u0131\u011f\u0131 ile aktarmak ve kal\u0131c\u0131 hale gelmesini sa\u011flamak oldu\u011funu d\u00fc\u015f\u00fcn\u00fcrsek, san\u0131r\u0131m yaz\u0131 sanat\u0131n\u0131n \u00f6nemini biraz olsun anlam\u0131\u015f oluruz.<\/p>\n

Bug\u00fcn olduk\u00e7a \u00e7e\u015fitlenen g\u00f6rsel anlat\u0131m usulleri aras\u0131nda yerini korumakta olan yaz\u0131, de\u011fi\u015fik k\u00fclt\u00fcrlerde \u00e7ok farkl\u0131 bi\u00e7imle alm\u0131\u015ft\u0131r.<\/p>\n

Tarih\u00e7e<\/p>\n

Tarih\u00e7eye genel yaz\u0131 tarihinden ziyade klasik hat sanat\u0131 a\u00e7\u0131s\u0131ndan de\u011finmek daha do\u011fru olur. B\u00f6lge ve tarihi itibariyle \u00e7ok de\u011fi\u015fik rivayetler bulunmakla birlikte, Arap yar\u0131madas\u0131nda d\u00fcz ve k\u00f6\u015feli makili ile yuvarlak unsurlar\u0131n bulundu\u011fu \u015eami stilinin yayg\u0131n iki yaz\u0131 \u00e7e\u015fidi oldu\u011fu s\u00f6ylenebilir.<\/p>\n

\u0130slamiyet ile birlikte bu iki yaz\u0131 \u00e7e\u015fidinin kayna\u015ft\u0131\u011f\u0131n\u0131 ve kufi yaz\u0131n\u0131n ortaya \u00e7\u0131kt\u0131\u011f\u0131 s\u00f6ylenebilir… Daha sonra bu yaz\u0131dan aklam-\u0131 sitte ya da \u015fe\u015f kalem denilen yaz\u0131 \u00e7e\u015fitleri do\u011far. Bunlar S\u00fcl\u00fcs, Muhakkak, Reyhani, Nesih, Tevkii, ve Rika\u2019d\u0131r. Daha sonra \u0130ran men\u015feli olan Talik yaz\u0131 da bu s\u0131n\u0131fland\u0131rmaya dahil olmu\u015ftur. \u00c7ok geni\u015f ve farkl\u0131 k\u00fclt\u00fcrlere yay\u0131lan Arap yaz\u0131s\u0131, \u00e7e\u015fitli s\u00fcre\u00e7lerden ge\u00e7mi\u015f ve bu ana s\u0131n\u0131flama kendi i\u00e7inde de de\u011fi\u015fik \u00e7e\u015fitlemeler g\u00f6stermi\u015ftir. \u00d6zellikle Osmanl\u0131\u2019larda yaz\u0131 sanat\u0131 en olgun d\u00f6nemini ya\u015fam\u0131\u015ft\u0131r. Yaz\u0131 \u00e7e\u015fidi de\u011fi\u015fmi\u015f olmas\u0131na ra\u011fmen g\u00fcn\u00fcm\u00fczde en iyi hattatlar yine \u0130stanbul\u2019dan \u00e7\u0131kmaktad\u0131r.<\/p>\n

Malzeme ve gere\u00e7<\/p>\n

Malzemelerimizi \u00fc\u00e7 ana ba\u015fl\u0131kta toplayabiliriz. Kalem, m\u00fcrekkep ve ka\u011f\u0131t. \u0130yi sonu\u00e7 almak i\u00e7in dikkat edilecek nokta, b\u00fct\u00fcn malzemelerin kaliteli olmas\u0131d\u0131r. \u015eimdi bunlar\u0131 teker teker ele alal\u0131m.<\/p>\n

Kalem<\/p>\n

Ba\u015fta kam\u0131\u015f olmak \u00fczere karg\u0131, tahta, demir kalem olarak an\u0131lan \u00e7ok de\u011fi\u015fik kalem \u00e7e\u015fitleri bulunur. \u00d6zellikle kam\u0131\u015f kalem hat sant\u0131nda a\u011f\u0131rl\u0131kl\u0131 olarak kullan\u0131land\u0131r. D\u00fcnyan\u0131n de\u011fi\u015fik y\u00f6relerinden kam\u0131\u015f kalem elde edilir. Bizim dikkat edece\u011fimiz husus, sert olmas\u0131d\u0131r.<\/p>\n

\u00c7al\u0131\u015fmaya ba\u015flamak i\u00e7in kam\u0131\u015f\u0131m\u0131z\u0131 usul\u00fcne uygun bir \u015fekilde a\u00e7mak gerekir. Kam\u0131\u015f\u0131n iki ucunu keserek \u00f6nce i\u00e7indeki lifleri temizleriz. Daha sonra sol elimize al\u0131r\u0131z ve sa\u011f elimizdeki b\u0131\u00e7ak ile ucunu a\u00e7ar\u0131z. A\u00e7ma noktas\u0131n\u0131n ne \u00e7ok geriden, ne de \u00e7ok \u00f6nden olmamas\u0131 gerekir. Kabaca a\u00e7t\u0131ktan sonra b\u0131\u00e7akla u\u00e7tan geriye do\u011fru bir yar\u0131k a\u00e7\u0131l\u0131r. Sonra yar\u0131\u011f\u0131n iki kenar\u0131 istenilen geni\u015fli\u011fe gelinceye kadar yontulur. A\u00e7t\u0131\u011f\u0131m\u0131z b\u00f6lgeyi de hafif\u00e7e yontarak hafif bir e\u011fim veririz. Bu i\u015flem bittikten sonra kelemimizi sert bir zemine s\u0131rt\u00fcst\u00fc yat\u0131r\u0131p ucunu hafif bir e\u011fimle keseriz. Kalemi a\u00e7ma ve ucunu kesme tecr\u00fcbe gerektiren bir i\u015ftir. Ucundaki e\u011fim ve a\u00e7\u0131lan b\u00f6lgenin uzunlu\u011fu ve k\u0131sal\u0131\u011f\u0131, yaz\u0131m\u0131z\u0131 etkileyecektir.<\/p>\n

M\u00fcrekkep<\/p>\n

\u00c7ok de\u011fi\u015fik renk \u00e7e\u015fitte, klasik usulde m\u00fcrekkep haz\u0131rlama teknikleri vard\u0131r. M\u00fcrekkebin temel hammaddesi, Arap zamk\u0131 ve saf sudur. Daha sonra arzu edilen renge g\u00f6re \u00e7ok de\u011fi\u015fik maddeler ilave olunur. Ba\u015flang\u0131\u00e7 a\u015famas\u0131nda tavsiyemiz, dolmakalem m\u00fcrekkebi ile ba\u015flamakt\u0131r. \u00c7al\u0131\u015fmalar\u0131m\u0131z ilerledik\u00e7e m\u00fcrekkebimizi kendimiz haz\u0131rlar\u0131z. \u0130yi m\u00fcrekkebin \u00f6zelli\u011fi, ne \u00e7ok koyu, ne de \u00e7ok sulu olmas\u0131d\u0131r. Koyu m\u00fcrekkep \u00e7abuk kurudu\u011fu i\u00e7in kalemin ucunda zor hareket edecektir. Sulu m\u00fcrekkep ise akaca\u011f\u0131 i\u00e7in hakimiyet zorla\u015facakt\u0131r.<\/p>\n

Ka\u011f\u0131t<\/p>\n

G\u00fcn\u00fcm\u00fczde \u00e7ok zengin bir ka\u011f\u0131t \u00e7e\u015fidi bulunmaktad\u0131r. De\u011fi\u015fik incelik ve kal\u0131nl\u0131klarda, renkli, beyaz dokulu vb. Hat sanat\u0131 i\u00e7in \u00f6zellikle ba\u015flang\u0131\u00e7ta 70-100 gr. aras\u0131 1. Hamur ka\u011f\u0131t yeterli olacakt\u0131r. \u0130lk \u00e7al\u0131\u015fmalar\u0131m\u0131zda do\u011frudan do\u011fruya beyaz ka\u011f\u0131d\u0131n \u00fczerine \u00e7al\u0131\u015fabiliriz. Ancak bu sanat\u0131n zevkine varmak istiyorsak, ka\u011f\u0131d\u0131m\u0131z\u0131 boyamay\u0131 ve aharlamay\u0131 \u00f6\u011frenmeliyiz. Hele aharl\u0131 ka\u011f\u0131t \u00fczerinde \u00e7al\u0131\u015fma, \u015fevkimizi artt\u0131racakt\u0131r.<\/p>\n

Ka\u011f\u0131t Boyama<\/p>\n

Ka\u011f\u0131d\u0131m\u0131z\u0131 ba\u015fka usullerle olmakla birlikte, iki t\u00fcrl\u00fc boyayabiliriz. Banyo ve s\u00fcrme usul\u00fc.<\/p>\n

Banyo usul\u00fc: Renk verici madde ya da boyalar\u0131m\u0131z\u0131 haz\u0131rlay\u0131p ka\u011f\u0131tlar\u0131m\u0131z\u0131 \u0131l\u0131k vaziyette iken bu malzemenin i\u00e7inde banyo ederiz.<\/p>\n

S\u00fcrme usul\u00fc: Yine haz\u0131rlad\u0131\u011f\u0131m\u0131z boyam\u0131z\u0131 s\u00fcnger ya da f\u0131r\u00e7a yard\u0131m\u0131yla bir ya da birka\u00e7 kat ka\u011f\u0131d\u0131m\u0131za s\u00fcrerek boyar\u0131z. Her bir kat s\u00fcr\u00fc\u015fte ka\u011f\u0131d\u0131m\u0131z kurumu\u015f olmal\u0131d\u0131r.<\/p>\n

Renkler<\/h4>\n

Hafif, g\u00f6z\u00fc yormayan, yaz\u0131lacak olan hatt\u0131 bo\u011fmayacak renkler tercih edilmelidir. Bu konuda, \u00e7ay, \u0131hlamur, safran, k\u00f6k boya, nohut, ceviz, so\u011fan kabu\u011fu gibi ve burada say\u0131lamayacak kadar \u00e7ok boyama hammaddesi bulunmaktad\u0131r.<\/p>\n","protected":false},"excerpt":{"rendered":"

Hat Sanat\u0131 \/ Progress Dergisi – – – – \u0130nsano\u011flunun varolu\u015funun temel farkl\u0131l\u0131klar\u0131ndan birinin \u201cNesneleri isimlendirmek ve bunlar\u0131 semboller arac\u0131l\u0131\u011f\u0131 ile aktarmak ve kal\u0131c\u0131 hale gelmesini sa\u011flamak oldu\u011funu d\u00fc\u015f\u00fcn\u00fcrsek, san\u0131r\u0131m yaz\u0131 sanat\u0131n\u0131n \u00f6nemini biraz olsun anlam\u0131\u015f oluruz. Bug\u00fcn olduk\u00e7a \u00e7e\u015fitlenen g\u00f6rsel anlat\u0131m usulleri aras\u0131nda yerini korumakta olan yaz\u0131, de\u011fi\u015fik k\u00fclt\u00fcrlerde \u00e7ok farkl\u0131 bi\u00e7imle alm\u0131\u015ft\u0131r. Tarih\u00e7e… Daha fazlas\u0131n\u0131 oku »Hat Sanat\u0131 Progress Dergisi<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":9913,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"neve_meta_sidebar":"","neve_meta_container":"","neve_meta_enable_content_width":"","neve_meta_content_width":0,"neve_meta_title_alignment":"","neve_meta_author_avatar":"","neve_post_elements_order":"","neve_meta_disable_header":"","neve_meta_disable_footer":"","neve_meta_disable_title":"","footnotes":""},"categories":[136,430],"tags":[],"class_list":["post-1946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-gazete-dergi","category-makaleler-gorusler"],"yoast_head":"\nHat Sanat\u0131 Progress Dergisi - Peyami G\u00fcrel<\/title>\n<meta name=\"description\" content=\"Hat Sanat\u0131 Progress Dergisi. \u0130nsano\u011flunun varolu\u015funun temel farkl\u0131l\u0131klar\u0131ndan birinin \u201cNesneleri isimlendirmek ve bunlar\u0131 semboller arac\u0131l\u0131\u011f\u0131 ile aktarmak\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/peyamigurel.com\/index.php\/hat-sanati-progress-dergisi-2000\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Hat Sanat\u0131 Progress Dergisi - 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