{"id":583,"date":"2000-06-30T15:47:41","date_gmt":"2000-06-30T12:47:41","guid":{"rendered":"http:\/\/peyamigurel.com\/?p=583"},"modified":"2017-01-20T20:05:07","modified_gmt":"2017-01-20T18:05:07","slug":"peyami-gurelin-resimleri","status":"publish","type":"post","link":"https:\/\/peyamigurel.com\/index.php\/peyami-gurelin-resimleri\/","title":{"rendered":"Peyami G\u00fcrel’in Resimleri Hilmi Yavuz"},"content":{"rendered":"

Peyami G\u00fcrel’in Resimleri<\/strong> \/ Hilmi Yavuz<\/p>\n

– – –<\/p>\n

Claude L\u00e9vi-Strauss, Georges Charbonnier ile yapt\u0131\u011f\u0131 o ger\u00e7ekten unutulmaz s\u00f6yle\u015filerinden birinde, sanat yap\u0131t\u0131n\u0131n konumunu, dil ile do\u011fa aras\u0131nda bir ‘ara konum’ olarak temellendirir. Bu temellendirme, elbette sanat\u0131n semiyolojik alan\u0131n\u0131 belirlemek amac\u0131na y\u00f6neliktir. Ama, pekala tarih alan\u0131na da ta\u015f\u0131nabilir bir konumland\u0131rmad\u0131r bu: Ve galiba, Peyami G\u00fcrel, i\u015fte tastamam bunu yap\u0131yor: Resmi, Do\u011fa’n\u0131n Tarihi ile K\u00fclt\u00fcr’\u00fcn tarihinden ayr\u0131ld\u0131\u011f\u0131 de\u011fil, tam tersine birbiriyle \u00f6rt\u00fc\u015ft\u00fc\u011f\u00fc bir imgesel alanda konumland\u0131r\u0131yor.
\nPeyami G\u00fcrel’in, Cemal Re\u015fit Rey Konser Salonu giri\u015finde a\u00e7t\u0131\u011f\u0131 resim sergisinin \u00fczerinden bir hayli zaman ge\u00e7ti. Biliyorum. Ama gene de onun resimleri \u00fczerinde d\u00fc\u015f\u00fcnd\u00fcklerimi, ya da onun resimlerinin bana d\u00fc\u015f\u00fcnd\u00fcrtt\u00fckleri \u00fczerine yazmaktan alamad\u0131m kendimi. Hemen belirtmem gerekebilir belki: Ben T\u00fcrk resminin ‘ sahih’ bir resim gelene\u011fi in\u015fa edebilmesinin, t\u0131pk\u0131 \u015fiirde oldu\u011fu gibi; ancak zihinsel ya da entellekt\u00fcel tarihimizin dayatt\u0131\u011f\u0131 yani bize hem Do\u011fulu hem de Bat\u0131l\u0131 olmay\u0131 dayatan problematikten yola \u00e7\u0131k\u0131ld\u0131\u011f\u0131nda m\u00fcmk\u00fcn olaca\u011f\u0131 kan\u0131s\u0131nday\u0131m. T\u00fcrk resminde bu sahihli\u011fi \u015fimdilik sadece rahmetli Erol Akyava\u015f’\u0131n, Peyami G\u00fcrel’in ve bir \u00f6l\u00e7\u00fcde de Balkan Naci \u0130slimyeli’nin temsil etti\u011fini s\u00f6ylemek, bana g\u00f6re elbet, yanl\u0131\u015f olmayacakt\u0131r.<\/p>\n

Resmin Do\u011fa Tarihi ile K\u00fclt\u00fcr ya da Uygarl\u0131k Tarihi’nin birbirinden ayr\u0131ld\u0131\u011f\u0131 ya da koptu\u011fu alanda de\u011fil de, tam tersine, \u00f6rt\u00fc\u015ft\u00fc\u011f\u00fc imgesel alanda konumland\u0131rmak! Galiba, \u00f6nce, bu olduk\u00e7a soyut ifadenin biraz daha a\u00e7\u0131mlanmas\u0131 gerek. Entellekt\u00fcel Tarih, bize do\u011fa ile k\u00fclt\u00fcr\u00fcn, belki teknoloji ( alet \u00fcretmek i\u00e7in alet kullanmak ) veya belki, dil ( ileti\u015fim dili de\u011fil elbet, burada imgesel dili kastediyoruz ) ile birbirinden ayr\u0131ld\u0131\u011f\u0131n\u0131 g\u00f6steriyor. Yollar, insan\u0131n biyolojik varl\u0131\u011f\u0131 ile do\u011fan\u0131n i\u00e7inde yer almaya devam edi\u015fi sakl\u0131 kalmak ko\u015fuluyla, bir daha bulu\u015fmamak \u00fczere ayr\u0131lm\u0131\u015f g\u00f6r\u00fcn\u00fcyor. Do\u011frudur; do\u011fa ile k\u00fclt\u00fcr\u00fcn yollar\u0131 ayr\u0131lm\u0131\u015ft\u0131r. Ama sanat, ger\u00e7eklikteki bu yol ayr\u0131m\u0131n\u0131, imgesel ya da tahayy\u00fcl d\u00fczlemin de ortadan kald\u0131rma iktidar\u0131ndad\u0131r. Peyami G\u00fcrel’in yapmaya \u00e7al\u0131\u015ft\u0131\u011f\u0131n\u0131n da bu ‘ortadan kald\u0131rma’ oldu\u011funu d\u00fc\u015f\u00fcn\u00fcyorum: Tarihte farkl\u0131la\u015fm\u0131\u015f veya ayr\u0131lm\u0131\u015f olan\u0131, sanatta bir araya getirme! do\u011fa ile k\u00fclt\u00fcr\u00fc birle\u015ftirme ve elbette a\u015fma! Buna, ger\u00e7ek olan ile imgesel olan\u0131n birbirinden farkl\u0131la\u015fmad\u0131\u011f\u0131, deyi\u015f yerindeyse, bir ilksel (primordial) dil aray\u0131\u015f\u0131 da diyebiliriz…<\/p>\n

\u015eunu da eklemeliyim: Bu, Gianni Vattimo’nun ‘Modernli\u011fin Sonu’ ad\u0131n\u0131 ta\u015f\u0131yan \u00e7al\u0131\u015fmas\u0131nda dile getirdi\u011fi t\u00fcrden bir esteti\u011fi g\u00f6stermiyor; ama belki, g\u00f6steriyor da! Vattimo, ‘medeniyet ve k\u00fclt\u00fcr\u00fcn kayna\u011f\u0131n\u0131n estetik oldu\u011funu’ d\u00fc\u015f\u00fcnen Gianbattista Vico ve bir anlamda onun izini s\u00fcren romantiklerin, esteti\u011fe verdikleri merkezi konuma dikkati \u00e7eker. Peyami G\u00fcrel’in resme bak\u0131\u015f\u0131 k\u00fclt\u00fcr\u00fc ve uygarl\u0131\u011f\u0131 bu anlamda ‘estetize’ etmek midir? Pek sanm\u0131yorum. Bana sorarsan\u0131z, o, daha a\u015fk\u0131n ( transcendent ) bir resimsel s\u00f6ylenebilir: Do\u011fan\u0131n kendinde olan yaz\u0131s\u0131 ile ( ki, ben buna ‘ham yaz\u0131’ diyorum ), K\u00fclt\u00fcr\u00fcn okunabilir yaz\u0131s\u0131n\u0131 ( buna da, ‘i\u015flenmi\u015f yaz\u0131’ diyorum ) a\u015fk\u0131nla\u015ft\u0131rarak, deyi\u015f yerindeyse, bir ‘\u00f6te yaz\u0131’ya d\u00f6n\u00fc\u015ft\u00fcrmek! Peyami G\u00fcrel, bizi bu ‘\u00f6te yaz\u0131’y\u0131’ okumaya \u00e7a\u011f\u0131r\u0131yor.<\/p>\n

Nedir bu ‘\u00f6te yaz\u0131’ ? Ham yaz\u0131’y\u0131 da ( do\u011fa ), i\u015flenmi\u015f yaz\u0131’y\u0131 da ( k\u00fclt\u00fcr ) \u00f6teleyen ? Peyami G\u00fcrel bu ‘\u00f6te yaz\u0131’ okumalar\u0131n\u0131n referanslar\u0131n\u0131 vermiyor. Ham yaz\u0131 ile i\u015flenmi\u015f yaz\u0131 aras\u0131ndaki ayr\u0131mlar\u0131 silikle\u015ftirerek, ‘\u00f6te yaz\u0131’ imas\u0131nda bulunuyor sadece, o kadar! Ama, bu imkan\u0131n neye at\u0131fta bulundu\u011funu, onun yapt\u0131\u011f\u0131 bu silikle\u015ftirmeye ya da ‘ ortadan kald\u0131rma’ya’ bakarak ke\u015ffedebiliriz. Burada, ‘ke\u015fif’ s\u00f6z\u00fcn\u00fc kullanmam bo\u015funa de\u011fil! \u00c7\u00fcnk\u00fc ‘\u00f6te yaz\u0131’n\u0131n a\u015fk\u0131nl\u0131\u011f\u0131, bu maksatl\u0131 silikle\u015ftirmenin neyi imledi\u011fi ke\u015ffedilerek kavranabilir ancak…<\/p>\n

Evet, \u015fimdi yeniden soral\u0131m: Nedir Peyami G\u00fcrel’in a\u015fk\u0131nla\u015ft\u0131rd\u0131\u011f\u0131 bu ‘\u00d6te yaz\u0131’ ? Levh-i Mahfuz’un yaz\u0131s\u0131 m\u0131 ? O ilksel ve y\u00fcce buyru\u011fun, ‘ oku’ ( ‘\u0130kra! ) buyru\u011funun nesnesi olan yaz\u0131 m\u0131 ? Peyami G\u00fcrel, do\u011fay\u0131 ve k\u00fclt\u00fcr\u00fc a\u015fan o gizemli yaz\u0131y\u0131, Nietzsche gibi s\u00f6ylersek, bizi \u015feylerin gizli y\u00fcre\u011fine, var olanlar\u0131n anas\u0131na ta\u015f\u0131yacak biricik yaz\u0131y\u0131 ( yaz\u0131 yoksa ne ‘oku’nabilir ki ? ) ke\u015ffetmeye \u00e7a\u011f\u0131r\u0131yor: Okuma’ya ve ke\u015ffetme’ye! Asl\u0131nda bu ikisi ayn\u0131 \u015fey de\u011fil mi ?<\/p>\n

Uruc<\/h4>\n

Peyami G\u00fcrel’in resimleri yaz\u0131n\u0131n s\u00f6ze olan \u00f6nceli\u011fini g\u00f6steren allegorik bir y\u00fckseli\u015fin (a\u015fma’n\u0131n, yoksa ‘uruc’un mu demeliydim ?) hendesesidir; ana-bir olan\u0131n hendesesi…<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Peyami G\u00fcrel’in Resimleri \/ Hilmi Yavuz – – – Claude L\u00e9vi-Strauss, Georges Charbonnier ile yapt\u0131\u011f\u0131 o ger\u00e7ekten unutulmaz s\u00f6yle\u015filerinden birinde, sanat yap\u0131t\u0131n\u0131n konumunu, dil ile do\u011fa aras\u0131nda bir ‘ara konum’ olarak temellendirir. Bu temellendirme, elbette sanat\u0131n semiyolojik alan\u0131n\u0131 belirlemek amac\u0131na y\u00f6neliktir. Ama, pekala tarih alan\u0131na da ta\u015f\u0131nabilir bir konumland\u0131rmad\u0131r bu: Ve galiba, Peyami G\u00fcrel, i\u015fte… Daha fazlas\u0131n\u0131 oku »Peyami G\u00fcrel’in Resimleri Hilmi Yavuz<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":9915,"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":[270,136],"tags":[],"class_list":["post-583","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-2000-crr-sergisi","category-gazete-dergi"],"yoast_head":"\nPeyami G\u00fcrel'in Resimleri Hilmi Yavuz - Peyami G\u00fcrel<\/title>\n<meta name=\"description\" content=\"Peyami G\u00fcrel'in Resimleri. 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