Alevi ve Bektaşi yazı-resim sanatında insan sureti
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Dosyalar
Tarih
2020-03-20
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Ankara Haci Bayram Veli University
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Bu makalede; 1826’da dağıtılan Bektaşi tarikatı Babagan (Mücerret) kolunun üretmiş olduğu, ancak 1925 yılında tekke ve zaviyelerin kapatılmasıyla özel koleksiyonlara, müzelere girmiş fakat çoğunluğu ise tahrip edilmiş olan; sureti sîrete, sîreti surete dönüştüren “yazı-resim” sanatının Alevi ve Bektaşi erkânındaki yeri ve önemi anlatılmaya çalışılmıştır. Bu sanatın Hurûfîlik etkisiyle ortaya çıkmadığı, piktogram veya güzel yazı yazma/kaligrafi olmadığı; vahdet-i vücut düşüncesinin bir tezahürü olduğu ifade edilmiştir. Alevi ve Bektaşi erkânının ortaya koyduğu yazı-resim sanatının harflerle üretilmiş bulunması Hurufîlik olarak adlandırılmasına neden olsa da; bu sanatın Hurufîlik düşüncesinin ürünü değil aksine vahdet-i vücut düşüncesinin bir yansıması olduğuna dair açıklık getirilmiştir. Simetrik bir anlayışla gerçekleştirilen yazı-resimlerde, hat sanatında “müsennâ” yani “aynalı yazı” olarak bilinen yazı şeklinin neden tercih edildiği anlatılmaya çalışılmıştır. Varlığın zahir(dış) ve batın(iç) suretlerine simgesel bir göndermede bulunan yazı-resim sanatının vahdet-i vücut düşüncesi ile olan irtibatı anlatılmıştır. Yazı-resimlerde önemli bir yere sahip olan insan suretinde yapılmış eserlerin plastik değerleri ve bu eserler üzerinden, Alevi ve Bektaşi erkânında insan olmak, insan suretinin sîrete nasıl dönüştürüldüğü; insan suretinde yazılan “Allah-Muhammed-Ali” isimlerinin görünmeyenden nasıl görünür kılındığı anlatılmaya çalışılmıştır. Meleklerin Âdem’e secde ettikleri andan bugüne niçin İnsan’a secde edildiğine ve bunun Alevi ve Bektaşi erkânında taşıdığı anlamlara dair bilgi verilmiştir.
In this article, it has been discussed on the place and importance of the art of writing and painting, which transforms soul to image and image to soul, in Alawi-Bektashi method. These works had been produced by the Babagan (Mücerret) branch of Bektashi order, which was distributed in 1826. They had been entered private collections and museums in 1925 and majority of this works had been falsified. In this paper, it has been clarified that it does not emerge from the Hur?f?sm effect; they are not pictograms or good writing calligraphy, but a manifestation of pantheism. Although the art of writing and painting produced by the Alawi and Bektashi method has been called Hurüfism because of writing in letters, it has been explained in the article that it is not a product of Hurüfism, but rather a reflection of the pantheism. It has been discussed why with a symmetrical understanding realized writing-paintings are preferred, which has been known as a type of writing in calligraphy as musanna (dual) mirrored writing. The relation of the pantheism to the art of writing-painting, which has a symbolic reference to the apparent (outer) and abdominal (inner) images of being, has been explained. This paper also tackles with the plastic values of the works made in the form of human, which have an important place in the text and pictures, how to be a human in the Alawi-Bektashi way, and how to transform the human image into a soul. It evaluates how the names of Allah-Muhammad-Ali images in human form have been transformed from invisible to visible. Besides, the information have been given about why the prostration to Man has been done since the day of prostration to Adam and what it meant in the Alawi-Bektashi way.
In this article, it has been discussed on the place and importance of the art of writing and painting, which transforms soul to image and image to soul, in Alawi-Bektashi method. These works had been produced by the Babagan (Mücerret) branch of Bektashi order, which was distributed in 1826. They had been entered private collections and museums in 1925 and majority of this works had been falsified. In this paper, it has been clarified that it does not emerge from the Hur?f?sm effect; they are not pictograms or good writing calligraphy, but a manifestation of pantheism. Although the art of writing and painting produced by the Alawi and Bektashi method has been called Hurüfism because of writing in letters, it has been explained in the article that it is not a product of Hurüfism, but rather a reflection of the pantheism. It has been discussed why with a symmetrical understanding realized writing-paintings are preferred, which has been known as a type of writing in calligraphy as musanna (dual) mirrored writing. The relation of the pantheism to the art of writing-painting, which has a symbolic reference to the apparent (outer) and abdominal (inner) images of being, has been explained. This paper also tackles with the plastic values of the works made in the form of human, which have an important place in the text and pictures, how to be a human in the Alawi-Bektashi way, and how to transform the human image into a soul. It evaluates how the names of Allah-Muhammad-Ali images in human form have been transformed from invisible to visible. Besides, the information have been given about why the prostration to Man has been done since the day of prostration to Adam and what it meant in the Alawi-Bektashi way.
Açıklama
Anahtar Kelimeler
Alevi-Bektaşi, Vahdet-i vücut, Yazı-resim sanatı, İnsan, Alawi, Bektashi, Pantheism, Writing-painting art, Human, Ottoman
Kaynak
Turk Kulturu ve Haci Bektas Veli - Arastirma Dergisi
WoS Q Değeri
Scopus Q Değeri
Q3
Cilt
95
Sayı
Künye
Günana, M. (2020). Alevi ve Bektaşi yazı-resim sanatında insan sureti. Turk Kulturu ve Haci Bektas Veli - Arastirma Dergisi, 95, 323-333. doi:10.34189/hbv.95.011
