{"id":41332,"date":"2016-07-27T03:46:10","date_gmt":"2016-07-27T08:46:10","guid":{"rendered":"http:\/\/akunq.net\/tr\/?p=41332"},"modified":"2016-07-27T03:46:10","modified_gmt":"2016-07-27T08:46:10","slug":"kumkapi-halilarinda-sakli-gezgin-bir-tarih","status":"publish","type":"post","link":"https:\/\/akunq.net\/tr\/?p=41332","title":{"rendered":"Kumkap\u0131 hal\u0131lar\u0131nda sakl\u0131 gezgin bir tarih"},"content":{"rendered":"

\"Hali\"<\/a>Ekin Akal\u0131n<\/strong><\/a>\u00a0<\/strong><\/p>\n

Lizbon\u2019daki Calouste Gulbenkian M\u00fczesi bug\u00fcnlerde \u00f6zel bir sergiye evsahipli\u011fi yap\u0131yor. \u2018Kumkap\u0131: Gezgin Hal\u0131lar\u0131\u2019 ba\u015fl\u0131kl\u0131 sergi, ismini 19. y\u00fczy\u0131lda \u0130stanbul\u2019un Kumkap\u0131 semtinde ipek \u00fczerine metal ipliklerle dokunan ve zengin ilmikleriyle dikkat \u00e7eken Ermeni ustalar\u0131n eserlerini biraraya getiriyor. 16. ve 17. y\u00fczy\u0131l klasik Pers hal\u0131lar\u0131ndan de eserlenen bu sanat eserlerinin ve serginin ayr\u0131nt\u0131lar\u0131yla ilgili olarak Rita Fabiana ile birlikte k\u00fcrat\u00f6rl\u00fc\u011f\u00fc \u00fcstlenen ve ayn\u0131 zamanda Calouste Gulbenkian M\u00fczesi\u2019nde tekstil koleksiyonundan sorumlu olan Clara Serra ile s\u00f6yle\u015ftik.<\/em><\/strong><\/p>\n

Bu son derece ilgin\u00e7 sergi projesinin nas\u0131l ortaya \u00e7\u0131kt\u0131\u011f\u0131n\u0131 anlatabilir misiniz biraz?<\/strong><\/p>\n

M\u00fczenin tekstil koleksiyonundan sorumlu ki\u015fi olarak nadiren sergilenen bu ola\u011fan\u00fcst\u00fc grubun depoda kapal\u0131 kalmamas\u0131, daha fazla ki\u015fiye ula\u015fabilmesi i\u00e7in ne yapabilece\u011fimizi uzunca bir s\u00fcredir d\u00fc\u015f\u00fcnmekteydim. Yeni m\u00fcd\u00fcr\u00fcm\u00fcz Penelope Curtis\u2019e bu sergi projesinden bahsetti\u011fimde \u00e7ok olumlu yakla\u015ft\u0131 ve biz de bunun \u00fczerine \u00a0haz\u0131rl\u0131klara ba\u015flad\u0131k. Sergide Kumkap\u0131 hal\u0131lar\u0131n\u0131n en \u00fcnl\u00fc ustalar\u0131ndan biri olan Hagop Kapoudjian\u2019\u0131n (1870-1946) dokudu\u011fu \u00fc\u00e7 hal\u0131y\u0131, 1977 Halep do\u011fumlu \u00e7a\u011fda\u015f Ermeni sanat\u00e7\u0131 Mekhitar Garabedian\u2019\u0131n i\u015fleriyle birarada sergileyerek gelenek ve devaml\u0131l\u0131k kavramlar\u0131n\u0131 da g\u00fcndeme getiriyoruz.<\/p>\n

Orta Do\u011fu hal\u0131c\u0131l\u0131k tarihi kitaplarda Kumkap\u0131 hal\u0131lar\u0131n\u0131n bahsi pek ge\u00e7mez, bu eksikli\u011fin sebebi nedir? Ayr\u0131ca bu hal\u0131lar\u0131 di\u011ferlerinden nas\u0131l ay\u0131rt edebiliriz, mesela teknik veya tasar\u0131m a\u00e7\u0131s\u0131ndan belirleyici \u00f6zellikleri var m\u0131?\u00a0<\/strong><\/p>\n

San\u0131r\u0131m 19.y\u00fczy\u0131l\u0131n sonu ve 20. y\u00fczy\u0131l\u0131n yap\u0131lm\u0131\u015f hal\u0131lar m\u00fcze par\u00e7as\u0131 olarak g\u00f6r\u00fclmedi\u011fi i\u00e7in bilimsel \u00e7al\u0131\u015fmalar\u0131n d\u0131\u015f\u0131nda kal\u0131yor. Asl\u0131na bakarsan\u0131z burada 16. ve 17. y\u00fczy\u0131l Pers hal\u0131lar\u0131ndan esinlenerek yap\u0131lm\u0131\u015f hal\u0131lardan bahsediyoruz, \u00f6zellikle tasar\u0131m anlam\u0131nda\u2026 Baz\u0131 \u00f6rnekler de \u0130ran hal\u0131lar\u0131n\u0131 ola\u011fan\u00fcst\u00fc bir \u015fekilde yeniden yorumluyor. Elbette, T\u00fcrk etkileri de var \u00e7\u00fcnk\u00fc sonu\u00e7ta bu hal\u0131lar Ermeni ustalar taraf\u0131ndan Osmanl\u0131\u2019da Kumkap\u0131\u2019da yap\u0131lm\u0131\u015f. \u00d6te yandan teknik altyap\u0131lar\u0131 d\u00f6nemin k\u0131s\u0131tl\u0131 \u015fartlar\u0131na tezat olu\u015fturacak kadar ileri seviyede bir hazine. Malzemenin zenginli\u011finden (ipek ve metal) dokuman\u0131n kalitesine, o kadar ileri seviye bir uygulama kullan\u0131lm\u0131\u015f ki baz\u0131 uzmanlar orijinal 17. y\u00fczy\u0131l \u0130ran hal\u0131lar\u0131ndan bile daha iyi olduklar\u0131n\u0131 s\u00f6yl\u00fcyor.<\/p>\n

Ustalar\u0131n hik\u00e2yesinden bahsedebilir misiniz, bu mahalleye ne zaman ve neden yerle\u015ftiler, \u00a0Kumkap\u0131\u2019da say\u0131lar\u0131 ne kadard\u0131?\u00a0<\/strong><\/p>\n

19. y\u00fczy\u0131l\u0131n sonunda, Orta Anadolu\u2019dan gelen k\u00fc\u00e7\u00fck bir grup Ermeni hal\u0131 ustas\u0131, Ermeni mahallesi olan Kumkap\u0131\u2019ya yerle\u015fti. Elbette bir yandan \u015fehirlerde Ermenilere y\u00f6nelik zulm\u00fcn artarak devam ediyor olmas\u0131n\u0131n yan\u0131 s\u0131ra Kumkap\u0131\u2019n\u0131n Hereke\u2019ye yak\u0131n olmas\u0131 belirleyici bir fakt\u00f6r oldu. Nitekim tekstil \u00fcretimi a\u00e7\u0131s\u0131ndan \u00f6nemli bir merkez olan Hereke\u2019nin bu d\u00f6nemde inan\u0131lmaz geli\u015fmi\u015f olmas\u0131 ve b\u00fcy\u00fck bir \u00f6nem kazanmas\u0131, Kumkap\u0131 ustalar\u0131 i\u00e7in belirleyici bir kriterdi. \u00a0Tabii, bu arada \u0130stanbul\u2019da \u00e7ok aktif bir Ermeni cemaati oldu\u011funu unutmayal\u0131m.<\/p>\n

\u00d6te yandan bu sanatsal \u00fcretimin geli\u015fimine paralel olarak Osmanl\u0131\u2019n\u0131n son y\u0131llar\u0131nda Ermenilerin ya\u015fad\u0131\u011f\u0131 ve sonras\u0131nda soyk\u0131r\u0131ma kadar varan sosyal ve politik sorunlar da art\u0131yordu. Bu ko\u015fullardan dolay\u0131 bir\u00e7ok dokumac\u0131 zamanla Kumkap\u0131\u2019dan ayr\u0131lmak zorunda kald\u0131 ve Kumkap\u0131 hal\u0131lar\u0131n\u0131 gittikleri yerden dokumaya devam ettiler. Dolay\u0131s\u0131yla hal\u0131lar da yarat\u0131c\u0131lar\u0131 ile birlikte gezgin bir karaktere b\u00fcr\u00fcnd\u00fc.<\/p>\n

San\u0131r\u0131m Hagop usta, hal\u0131lar\u0131ndaki imzay\u0131 daha ziyade kimli\u011fini, Ermeni miras\u0131n\u0131 ifade etmek i\u00e7in kulland\u0131. Ermeni k\u00fclt\u00fcr\u00fcn\u00fcn savunucusu oldu\u011fu i\u00e7in de hal\u0131lar\u0131 Ermeni alfabesiyle imzalad\u0131 ve bu nedenden \u00f6t\u00fcr\u00fc de bir\u00e7ok sorun ya\u015fad\u0131, sonunda da Osmanl\u0131 \u0130mparatorlu\u011fu topraklar\u0131ndan ayr\u0131lmak zorunda kald\u0131.<\/p>\n

1890\u2019larda Kapoudjian\u2019in dokumac\u0131l\u0131k mesle\u011fini aktif olarak s\u00fcrd\u00fcrd\u00fc\u011f\u00fcn\u00fc, Kumkap\u0131 hal\u0131lar\u0131n\u0131n en \u00fcnl\u00fclerinden oldu\u011funu ve Kumkap\u0131\u2019da bir \u2018ekol\u2019 kurdu\u011funu biliyoruz. Ayr\u0131ca \u00e7ok iyi ve \u00fcnl\u00fc bir restorat\u00f6r oldu\u011fu i\u00e7in Hagop zamanla kendi desenlerini de olu\u015ftururdu. Kulland\u0131\u011f\u0131 uzun ip demetleri, e\u015fi benzeri olmayan renk paletiyle birle\u015fince hal\u0131lar\u0131na, \u0131\u015f\u0131k g\u00f6lge aras\u0131nda oyunlar\u0131 olan bir hava verdi ve b\u00f6ylece benzerlerinden ayr\u0131ld\u0131.<\/p>\n

\u0130slam Sanatlar\u0131nda \u00fczerinde imza olan eserlerin say\u0131s\u0131 \u00e7ok s\u0131n\u0131rl\u0131d\u0131r ve Hagop Kapoujian\u2019\u0131n hal\u0131lar\u0131 bu istisnai \u00f6rnekler aras\u0131nda yer al\u0131yor. Kapoujian\u2019\u0131n sanat\u0131, kariyeri ve mesle\u011fe olan yakla\u015f\u0131m\u0131 konusunda neler anlat\u0131rs\u0131n\u0131z?<\/strong><\/p>\n

San\u0131r\u0131m Hagop usta, hal\u0131lar\u0131ndaki imzay\u0131 daha ziyade kimli\u011fini, Ermeni miras\u0131n\u0131 ifade etmek i\u00e7in kulland\u0131. Ermeni k\u00fclt\u00fcr\u00fcn\u00fcn savunucusu oldu\u011fu i\u00e7in de hal\u0131lar\u0131 Ermeni alfabesiyle imzalad\u0131 ve bu nedenden \u00f6t\u00fcr\u00fc de bir\u00e7ok sorun ya\u015fad\u0131, sonunda da Osmanl\u0131 \u0130mparatorlu\u011fu topraklar\u0131ndan ayr\u0131lmak zorunda kald\u0131. Bu s\u00fcre i\u00e7inde Ermeni katliamlar\u0131n\u0131n say\u0131s\u0131 inan\u0131lmaz derecede artt\u0131 ve sonunda da soyk\u0131r\u0131ma kadar vard\u0131.<\/p>\n

Hagop Kapoudjian 1870\u2019lerde do\u011fdu. Ailesi Kayseri as\u0131ll\u0131yd\u0131 ama ta\u015frada Ermenilere y\u00f6nelik katliamlar\u0131n artmas\u0131 nedeniyle \u0130stanbul\u2019a ta\u015f\u0131nd\u0131klar\u0131 d\u00fc\u015f\u00fcn\u00fcl\u00fcyor. 1890\u2019larda Kapoudjian\u2019in dokumac\u0131l\u0131k mesle\u011fini aktif olarak s\u00fcrd\u00fcrd\u00fc\u011f\u00fcn\u00fc, Kumkap\u0131 hal\u0131lar\u0131n\u0131n yarat\u0131c\u0131lar\u0131ndan birisi oldu\u011funu, ustalar aras\u0131nda en \u00fcnl\u00fclerinden oldu\u011funu ve Kumkap\u0131\u2019da bir \u2018ekol\u2019 kurdu\u011funu biliyoruz. Ayr\u0131ca \u00e7ok iyi ve \u00fcnl\u00fc bir restorat\u00f6r oldu\u011fu i\u00e7in Hagop zamanla kendi desenlerini de olu\u015ftururdu. Bunun i\u00e7in 16. ve 17. y\u00fczy\u0131la ait Safavi kilimlerindeki desenleri \u00e7al\u0131\u015fmaya adam\u0131\u015ft\u0131 kendini. Hagop Kapoujian teknik a\u00e7\u0131dan da fark yaratt\u0131. Kulland\u0131\u011f\u0131 uzun ip demetleri, e\u015fi benzeri olmayan renk paletiyle birle\u015fince hal\u0131lar\u0131na, \u0131\u015f\u0131k g\u00f6lge aras\u0131nda oyunlar\u0131 olan bir hava verdi ve b\u00f6ylece benzerlerinden ayr\u0131ld\u0131. Hal\u0131lar\u0131 ger\u00e7ekten b\u00fcy\u00fcl\u00fc gibidir ve \u00f6zellikle kulland\u0131\u011f\u0131 uzun ip sistemi bu hal\u0131lar\u0131 \u00f6zel k\u0131lar.<\/p>\n

M\u00fczenin kurucusu Calouste G\u00fclbenkian ve Hagop Kapoujian\u2019\u0131 bir araya getiren ne oldu?\u00a0<\/strong><\/p>\n

\u00d6ncelikle her ikisi de ayn\u0131 d\u00f6nemde ya\u015fad\u0131. Calouste Gulbenkian 1920\u2019li y\u0131llarda Paris\u2019te ya\u015fayan bir Ermeniydi ve Hagop Kapoujian da Paris\u2019e tam bu y\u0131llarda geldi. Paris\u2019teki Ermeni cemaati o d\u00f6nem \u00e7ok aktifti ve tabii Gulbenkian bu cemaat i\u00e7inde zengin bir i\u015fadam\u0131 ve koleksiyoner olarak iyi tan\u0131n\u0131yordu. Gulbenkian da Hagop Kapoujian\u2019\u0131 yak\u0131ndan takip ediyordu \u00e7\u00fcnk\u00fc hal\u0131 ve tekstil onun tutkusuydu ve Hagop da tan\u0131nm\u0131\u015f bir restorat\u00f6rd\u00fc. Hagop, Gulbekian\u2019a kendisini tan\u0131tan bir mektup yazd\u0131\u011f\u0131nda Gulbenkian onu zaten tan\u0131d\u0131\u011f\u0131n\u0131 ve ihtiyac\u0131 oldu\u011fu zaman onu arayaca\u011f\u0131n\u0131 belirten bir cevap yazd\u0131.<\/p>\n

Hagop Kapoujian, Gulbenkian i\u00e7in y\u0131llarca \u00e7al\u0131\u015ft\u0131, koleksiyonundaki en de\u011ferli par\u00e7alar\u0131 restore etti. \u00d6te yandan teknik konularda dan\u0131\u015fmak i\u00e7in say\u0131s\u0131z defa \u00e7a\u011fr\u0131ld\u0131 ve tabii Gulbenkian\u2019\u0131n hal\u0131 koleksiyonunu en iyi \u015fekilde saklanmas\u0131 i\u00e7in de b\u00fcy\u00fck katk\u0131larda bulundu.<\/p>\n

Kumkap\u0131\u2019da \u00e7ok ciddi bir Ermeni n\u00fcfusu vard\u0131 eskiden. Bug\u00fcn Patrikhane\u2019nin halen o semtte bulunmas\u0131na kar\u015f\u0131n n\u00fcfus \u00a0olduk\u00e7a zay\u0131flad\u0131. 19. y\u00fczy\u0131lda Kumkap\u0131 nas\u0131l bir yerdi? G\u00fcn\u00fcm\u00fczde Kumkap\u0131 hal\u0131 at\u00f6lyelerinden geriye kalan var m\u0131? \u00a0<\/strong><\/p>\n

19. y\u00fczy\u0131lda Kumkap\u0131 \u00e7ok dinamik bir Ermeni n\u00fcfusuna ev sahipli\u011fi yap\u0131yordu, \u00a0tam anlam\u0131yla bir Ermeni mahallesiydi. Bug\u00fcn de Patrikhanenin merkezi burada yer al\u0131yor. Ancak g\u00fcn\u00fcm\u00fcz\u00fcn Kumkap\u0131\u2019s\u0131 bal\u0131k restoranlar\u0131yla dolu ho\u015f bir mahalleden ibaret ve herhangi bir hal\u0131 at\u00f6lyesinin kald\u0131\u011f\u0131n\u0131 da zannetmiyorum.<\/p>\n

Koleksiyonun sergiyle ilgili b\u00f6l\u00fcmleri hakk\u0131nda biraz bilgi vermek ister misiniz?\u00a0<\/strong><\/p>\n

Elbette. M\u00fczede \u00f6nemli bir tekstil koleksiyonumuz var. Calouste Gulbenkian M\u00fczesi\u2019nin \u0130slami tekstil koleksiyonu 16.y\u00fczy\u0131ldan 18.y\u00fczy\u0131la kadar uzan\u0131yor ve \u0130slam d\u00fcnyas\u0131n\u0131n \u00fc\u00e7 b\u00fcy\u00fck imparatorlu\u011funu kaps\u0131yor: T\u00fcrkiye\u2019de Osmanl\u0131lar, \u0130ran\u2019da Safaviler ve Hindistan\u2019da Mo\u011follar. Bu koleksiyonun i\u00e7erisinde de iki temel b\u00f6l\u00fcm var: dokumalar ve hal\u0131lar. Dokumalarda, koleksiyoner en fazla Osmanl\u0131 T\u00fcrkiye\u2019sinden par\u00e7alara ilgi g\u00f6stermi\u015f. Muhtemelen bunun sebebi de motiflerin estetik nitelikleri ve m\u00fckemmel bi\u00e7imde korunmu\u015f olmalar\u0131. Nitekim, 16. ve 17. y\u00fczy\u0131llarda, \u0130ran da Osmanl\u0131 imparatorlu\u011fu gibi \u00f6nemli bir kuma\u015f \u00fcreticisiydi. Doaly\u0131s\u0131yla \u0130ran men\u015feli dokumalar\u0131n say\u0131s\u0131 \u00e7ok. Hal\u0131 koleksiyonu ise, 1907 ile 1939 aras\u0131nda al\u0131nm\u0131\u015f 85 par\u00e7adan olu\u015fuyor. Bunlar\u0131n 12 tanesi \u015fu anda sergileniyor. Koleksiyonerin bu alandaki tercihi Safavi \u0130ran\u0131 ve Mo\u011fol Hindistan\u0131 y\u00f6n\u00fcnde olmu\u015f. Ayr\u0131ca Kafkas hal\u0131lar\u0131na da \u00f6zel bir ilgi g\u00f6stermi\u015f. \u015eu anda sergilenen \u0130ran ve Hint hal\u0131lar\u0131 klasik d\u00f6nem olarak adland\u0131r\u0131lan 16.y\u00fczy\u0131ldan ve 17.y\u00fczy\u0131ldan kalma. Sarayl\u0131 ve \u015fehirli at\u00f6lyelerde \u00fcretilmi\u015f olan bu hal\u0131lar, teknik ve sanatsal a\u00e7\u0131dan \u00e7ok kaliteli ve bu d\u00f6nemin hal\u0131c\u0131l\u0131k altyap\u0131s\u0131n\u0131n ne kadar sofistike oldu\u011funu g\u00f6steriyor.<\/p>\n

\u0130slam Sanatlar\u0131 kavram\u0131, 20. y\u00fczy\u0131l boyunca M\u00fcsl\u00fcman n\u00fcfusun yan\u0131 s\u0131ra H\u0131ristiyan ve Yahudi cemaatlerini de kapsayan heterojen bir ifade bulmak hedefiyle bir\u00e7ok kere de\u011fi\u015fti, ama konuyla ilgili tart\u0131\u015fmalar h\u00e2l\u00e2 devam ediyor. Sizce bu terim Osmanl\u0131 \u0130mparatorlu\u011funda ya\u015fayan ve \u00e7al\u0131\u015fan bir Ermeni bir sanat\u00e7\u0131y\u0131 s\u0131n\u0131fland\u0131rmak i\u00e7in ne kadar uygun?<\/strong><\/p>\n

San\u0131r\u0131m Kumkap\u0131 dokumac\u0131lar\u0131 gibi Osmanl\u0131 T\u00fcrkiye\u2019sinde ya\u015fam\u0131\u015f Ermeni sanat\u00e7\u0131lardan bahsetti\u011fimizde \u0130slam Sanatlar\u0131 s\u0131n\u0131fland\u0131rmas\u0131n\u0131 kullanamay\u0131z. \u0130slam Sanatlar\u0131\u2019n\u0131n \u00e7ok b\u00fcy\u00fck bir alan oldu\u011funu biliyorum ama san\u0131r\u0131m bu durum biraz daha farkl\u0131. Bu hal\u0131lar\u0131n T\u00fcrk ve \u0130ran sanat\u0131n\u0131n etkisinde kalarak dokunmu\u015f oldu\u011fu tezi do\u011fru tabii… Ancak bu sanat eserleri bir yandan da daha farkl\u0131 bir ge\u00e7mi\u015fe, mesleki yakla\u015f\u0131ma ve k\u00fclt\u00fcre sahip Ermeni sanat\u00e7\u0131lar taraf\u0131ndan ortaya kondu. Asl\u0131na bakarsan\u0131z, bu ki\u015filerin k\u00f6kenleri H\u0131ristiyan\u2026dolay\u0131s\u0131yla kategorize etmek zor.<\/p>\n

Farkl\u0131 co\u011frafyalar, ortak ge\u00e7mi\u015f<\/strong><\/p>\n

Biraz da serginin g\u00fcncel boyutu hakk\u0131nda konu\u015fabilir miyiz? Mekhitar Garabedian\u2019\u0131n Ermeni alfabesini konu alan i\u015fi sergiye \u00e7ok duygusal bir boyut kat\u0131yor. Garabedian bu projenin nas\u0131l par\u00e7as\u0131 oldu ve bu i\u015fin \u00f6zelli\u011fi sizce nedir?<\/strong><\/p>\n

Sergiye g\u00fcncel bir hal\u0131 koyma fikri m\u00fcze m\u00fcd\u00fcr\u00fc Penelope Curtis\u2019ten \u00e7\u0131kt\u0131. Ben de Ermeni bir sanat\u00e7\u0131n\u0131n katk\u0131s\u0131n\u0131n ho\u015f olaca\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnd\u00fcm. Sonra Garabedian\u2019\u0131n hal\u0131s\u0131n\u0131 Venedik Bienal\u2019inin (2015) katalo\u011funda g\u00f6rd\u00fcm ve g\u00f6r\u00fcr g\u00f6rmez vuruldum. Mekhitar Garabedian \u00e7al\u0131\u015fmalar\u0131nda Ermeni miras\u0131 \u00fczerine yo\u011funla\u015f\u0131yor, yerinden edilme ve diasporada ya\u015famakla ilgili eserler \u00fcretiyor. Garabediyan sergiye, \u201cFig.a, comme alphabet\u201d (2012-2016) serisinin par\u00e7as\u0131 olan, Ermeni alfabesi al\u0131\u015ft\u0131rma ka\u011f\u0131d\u0131n\u0131 hat\u0131rlatan, p\u00fcsk\u00fcll\u00fc bir hal\u0131 \u015feklinde materyalize edilmi\u015f ve do\u011frudan m\u00fcze duvar\u0131na i\u015flenmi\u015f iki i\u015fle kat\u0131l\u0131yor.
\nBir de \u015funu eklemek istiyorum, Mekhitar ve Hapog Kapoujian, farkl\u0131 co\u011frafyalardan ve d\u00f6nemlerden iki sanat\u00e7\u0131 olmalar\u0131na ra\u011fmen ortak bir ge\u00e7mi\u015fi payla\u015f\u0131yorlar ve asl\u0131nda bu hik\u00e2ye Calouste Sarkis Gulbenkian\u2019\u0131n hik\u00e2yesiyle de kesi\u015fiyor \u2013Ermeni, T\u00fcrkiye as\u0131ll\u0131, Londra\u2019da okumu\u015f, Paris\u2019te ya\u015fam\u0131\u015f ve 1955\u2019de hayat\u0131n\u0131n son d\u00f6nemini ge\u00e7irdi\u011fi Lizbon\u2019da \u00f6lm\u00fc\u015f.<\/p>\n

http:\/\/www.agos.com.tr\/tr\/yazi\/16029\/kumkapi-halilarinda-sakli-gezgin-bir-tarih<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Ekin Akal\u0131n\u00a0 Lizbon\u2019daki Calouste Gulbenkian M\u00fczesi bug\u00fcnlerde \u00f6zel bir sergiye evsahipli\u011fi yap\u0131yor. \u2018Kumkap\u0131: Gezgin Hal\u0131lar\u0131\u2019 ba\u015fl\u0131kl\u0131 sergi, ismini 19. y\u00fczy\u0131lda \u0130stanbul\u2019un Kumkap\u0131 semtinde ipek \u00fczerine metal ipliklerle dokunan ve zengin ilmikleriyle dikkat \u00e7eken Ermeni ustalar\u0131n eserlerini biraraya getiriyor. 16. ve 17. y\u00fczy\u0131l klasik Pers hal\u0131lar\u0131ndan de eserlenen bu sanat eserlerinin ve serginin ayr\u0131nt\u0131lar\u0131yla ilgili olarak […]<\/p>\n","protected":false},"author":7,"featured_media":41333,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,45,71],"tags":[],"class_list":["post-41332","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-haberler","category-halk-sanati","category-mulakatlar"],"yoast_head":"\nKumkap\u0131 hal\u0131lar\u0131nda sakl\u0131 gezgin bir tarih - 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