{"id":58735,"date":"2020-09-08T01:35:39","date_gmt":"2020-09-08T06:35:39","guid":{"rendered":"https:\/\/akunq.net\/tr\/?p=58735"},"modified":"2020-09-08T01:35:39","modified_gmt":"2020-09-08T06:35:39","slug":"hora-kariye-yasayanlarin-ulkesinden-insansiz-ulkeye","status":"publish","type":"post","link":"https:\/\/akunq.net\/tr\/?p=58735","title":{"rendered":"Hora\/Kariye: Ya\u015fayanlar\u0131n \u00fclkesinden insans\u0131z \u00fclkeye"},"content":{"rendered":"

\"\"<\/h4>\n

2006-2018 aras\u0131nda Bo\u011fazi\u00e7i \u00dcniversitesi Tarih B\u00f6l\u00fcm\u00fc\u2019nde dersler veren Bizans Sanat Tarihi uzman\u0131 Dr. Anestis Vasilakeris, Agos i\u00e7in, Kariye\u2019nin mozaikleri ve fresklerinde betimlenen anlat\u0131lar\u0131n, bug\u00fcn\u00fcn d\u00fcnyas\u0131na, \u00f6zellikle y\u00f6neticilere f\u0131s\u0131ldad\u0131\u011f\u0131 \u2018zamans\u0131z\u2019 mesajlar\u0131 kaleme ald\u0131.<\/em><\/h4>\n

ANESTIS VASILAKERIS\u00a0<\/strong><\/p>\n

Theodoros Metohitis, muhtemelen, \u00e7a\u011f\u0131n\u0131n en ayd\u0131n insan\u0131yd\u0131. Hora (Kariye) Manast\u0131r\u0131\u2019n\u0131n kilisesinin mozaiklerini ve fresklerini o yapt\u0131rm\u0131\u015f, yap\u0131m s\u00fcrecine de nezaret etmi\u015fti. D\u00fc\u015f\u00fcn\u00fcr, matematik\u00e7i, g\u00f6kbilimci, ilahiyat\u00e7\u0131 ve \u015fairdi; \u0130mparatorluk Hazinesi\u2019nin y\u00f6neticisi olarak, g\u00fc\u00e7l\u00fc bir devlet adam\u0131yd\u0131. Kilisede yer alan tasvirler, onun ki\u015filik \u00f6zelliklerini yans\u0131t\u0131r. 14. y\u00fczy\u0131l\u0131n ba\u015flar\u0131nda, sonralar\u0131 \u0130talyan R\u00f6nesans\u0131\u2019n\u0131n \u2018homo universalis\u2019 (evrensel insan) olarak adland\u0131raca\u011f\u0131 fig\u00fcr\u00fcn m\u00fckemmel bir \u00f6rne\u011fiydi. Rafine bir entelekt\u00fcel ve deneyimli bir devlet adam\u0131 olarak, ya\u015fad\u0131\u011f\u0131 d\u00f6nemin, \u00e7ok uzun s\u00fcrm\u00fc\u015f, \u00e7ok \u00f6zel bir \u00e7a\u011f\u0131n sonu oldu\u011funun fark\u0131ndayd\u0131; Roma \u0130mparatorlu\u011fu, Bizans \u00e7\u00f6kmek \u00fczereydi. Kariye\u2019nin duvarlar\u0131ndaki tasvirlerle, ard\u0131nda, v\u00e2risi oldu\u011fu uygarl\u0131\u011fa dair g\u00f6rsel bir miras b\u0131rakmak istemi\u015fti. 20. y\u00fczy\u0131l\u0131n ortalar\u0131nda Thomas Whittemore\u2019un bu tasvirleri ortaya \u00e7\u0131karmas\u0131yla, insanl\u0131k Bizans sanat\u0131n\u0131n ayakta kalan en kusursuz ba\u015fyap\u0131t\u0131n\u0131 ke\u015ffederek b\u00fcy\u00fck bir \u015fa\u015fk\u0131nl\u0131k ya\u015fad\u0131.
\nYunancada \u03c7\u03ce\u03c1\u03b1 (hora) kelimesi hem \u2018\u00fclke\u2019, \u2018memleket\u2019, hem de \u2018ta\u015f\u0131yan\u2019, \u2018bar\u0131nd\u0131ran\u2019 anlam\u0131na gelir. Hora\/Kariye, hem \u2018ya\u015fayanlar\u0131n \u00fclkesi\u2019 olarak \u0130sa Mesih\u2019e, hem de ta\u015f\u0131namaz olan\u0131 yani Tanr\u0131\u2019y\u0131 ta\u015f\u0131yan ki\u015fi olarak \u0130sa Mesih\u2019in annesine, Meryem Ana\u2019ya ithaf edilmi\u015ftir. Kilisedeki dikkat \u00e7ekici bir tasvirde, sanat\u00e7\u0131, izleyiciye Meryem\u2019in mant\u0131\u011fa ayk\u0131r\u0131 g\u00f6r\u00fcnen gebeli\u011fini \u00e7a\u011fr\u0131\u015ft\u0131rmak i\u00e7in soyut bir y\u00f6nteme ba\u015fvurmak zorunda kalm\u0131\u015ft\u0131r; burada \u0130sa, Meryem Ana\u2019n\u0131n rahmini temsil eden bir dairenin i\u00e7inde, elinde tuttu\u011fu d\u00f6rt \u0130ncil\u2019i takdis ederken g\u00f6r\u00fcl\u00fcr. Manast\u0131r\u0131n ad\u0131na dair bu d\u00fc\u015f\u00fcn\u00fc\u015f bi\u00e7imi, kiliseye ana kap\u0131dan girildi\u011finde g\u00f6ze \u00e7arpan ilk tasvirlerle ortaya konmu\u015ftur. \u0130sa ile Meryem Ana aras\u0131ndaki bo\u015fluk, i\u00e7ine \u00e7e\u015fitli \u015feylerin kondu\u011fu objelerin, kaplar\u0131n tasvirleriyle doldurularak, izleyici uzam ve \u2018bar\u0131nd\u0131rma\u2019 edimi \u00fczerine d\u00fc\u015f\u00fcnmeye davet edilmi\u015ftir.<\/p>\n

\"Ana<\/div>\n
Ana kap\u0131n\u0131n \u00fcst k\u0131sm\u0131nda, Ta\u015f\u0131namaz Olan\u0131n Ta\u015f\u0131y\u0131c\u0131s\u0131 Meryem\u2019in, iki yan\u0131nda meleklerle tasvir edildi\u011fi bir mozaik.<\/span><\/em><\/div>\n

Bizans h\u00fcmanizmi<\/strong>
\nKilisenin, yeniden M\u00fcsl\u00fcman ibadet yerine d\u00f6n\u00fc\u015ft\u00fcr\u00fclecek olan ana b\u00f6l\u00fcm\u00fcnde, \u0130sa, elinde, \u00fczerinde \u201cEy t\u00fcm yorgunlar ve y\u00fck\u00fc a\u011f\u0131r olanlar! Bana gelin, ben size rahat veririm\u201d ifadesinin (Matta 11:28) yer ald\u0131\u011f\u0131 bir par\u015f\u00f6menle tasvir edilmi\u015ftir. Daha \u00e7ok bilinen \u201cBen d\u00fcnyan\u0131n \u0131\u015f\u0131\u011f\u0131y\u0131m\u201d ifadesinin de\u011fil de bu ifadenin se\u00e7ilmi\u015f olmas\u0131, d\u00f6nemin Bizans din\u00ee d\u00fc\u015f\u00fcncesine h\u00e2kim olan h\u00fcmanizmin bu an\u0131tsal yap\u0131daki bir\u00e7ok yans\u0131mas\u0131ndan biri olarak yorumlanm\u0131\u015ft\u0131r. Tanr\u0131 burada bir \u2018filantrop\u2019, insanl\u0131\u011f\u0131n iyi y\u00fcrekli dostu olarak temsil edilmi\u015ftir.
\n\u0130\u00e7 narteksin kuzey taraf\u0131nda, Meryem Ana\u2019n\u0131n \u00e7ocuklu\u011fundan \u00e7e\u015fitli sahnelerin yer ald\u0131\u011f\u0131 k\u0131s\u0131mda, \u015fefkat ve sevgi dolu bir ebeveynlik tasviri vard\u0131r. Burada, Meryem\u2019in annesi ve babas\u0131n\u0131n, herhangi bir anne-baba gibi bebeklerine sar\u0131ld\u0131\u011f\u0131 ve bu s\u0131rada bir kad\u0131n\u0131n onlar\u0131 izledi\u011fi g\u00f6r\u00fcl\u00fcr. \u0130nsan do\u011fas\u0131na y\u00f6nelik bu y\u00fcceltme, bir t\u00fcr paradoksla, sahnenin ad\u0131nda ifade bulur: \u2018Tanr\u0131\u2019n\u0131n Annesi\u2019nin \u2013anne ve babas\u0131 taraf\u0131ndan\u2013 Sevilmesi\u2019. Bunun anla\u015f\u0131labilmesi i\u00e7in, yak\u0131n\u0131ndaki \u2018Tanr\u0131\u2019n\u0131n Annesinin Ana Rahmine D\u00fc\u015fmesi\u2019 (kucakla\u015fan \u00e7ift) ve \u2018Tanr\u0131\u2019n\u0131n Annesi\u2019nin Do\u011fumu\u2019 adl\u0131 tasvirlerle bir arada ele al\u0131nmas\u0131 gerekir. S\u00f6z konusu d\u00f6nemde, Bizansl\u0131 ilahiyat\u00e7\u0131lar, k\u0131sa s\u00fcre \u00f6nce, Meryem Ana\u2019n\u0131n \u2018lekesiz gebelik\u2019le d\u00fcnyaya gelmi\u015f oldu\u011fu d\u00fc\u015f\u00fcncesini ortaya atan Latin ilahiyat\u00e7\u0131lara kar\u015f\u0131 \u00e7\u0131kmaktayd\u0131. Bizansl\u0131 ilahiyat\u00e7\u0131lar, Meryem\u2019in, ana rahmine di\u011fer insanlar gibi do\u011fal \u015fekilde d\u00fc\u015ft\u00fc\u011f\u00fcn\u00fc, iki insan aras\u0131ndaki sevginin meyvesi olarak d\u00fcnyaya geldi\u011fini savunuyordu. Bundan daha de\u011ferli, daha y\u00fcce ne olabilirdi? S\u0131radan bir insan\u0131n Tanr\u0131\u2019n\u0131n annesi oldu\u011fu d\u00fc\u015f\u00fcncesi \u00f6nemliydi, \u00e7\u00fcnk\u00fc her insan\u0131n kutsal olanla yak\u0131ndan temas etme potansiyeli ta\u015f\u0131d\u0131\u011f\u0131n\u0131, her insan\u0131n bu \u00f6l\u00e7\u00fcde de\u011ferli oldu\u011funu ima ediyordu. Bu, Bizans H\u0131ristiyanl\u0131\u011f\u0131ndaki h\u00fcmanizmin, \u0130nsan ile Tanr\u0131 aras\u0131ndaki mesafeyi ortadan kald\u0131ran, \u00e7ok g\u00fc\u00e7l\u00fc bir sav\u0131d\u0131r.<\/p>\n

\"\u0130\u00e7<\/div>\n
\u0130\u00e7 narteksin kuzey k\u0131sm\u0131ndaki mozaiklerden, Meryem Ana\u2019n\u0131n \u00e7ocuklu\u011funa dair baz\u0131 sahnelerin yer ald\u0131\u011f\u0131 bir kesit.<\/span><\/em><\/div>\n

Ayasofya g\u00f6ndermesi<\/strong>
\nBu alana a\u00e7\u0131lan ana giri\u015fin \u00fcst k\u0131sm\u0131ndaki kemer aynas\u0131nda, yap\u0131n\u0131n hamisi Metohitis, \u0130sa\u2019n\u0131n \u00f6n\u00fcnde diz \u00e7\u00f6km\u00fc\u015f \u015fekilde tasvir edilmi\u015ftir. Yap\u0131n\u0131n yaln\u0131zca bu noktas\u0131nda tasvir edilmi\u015f olan Metohitis\u2019in \u00fczerinde, gururla ta\u015f\u0131d\u0131\u011f\u0131, muhtemelen M\u00fcsl\u00fcman bir y\u00f6neticinin hediyesi olan bir kaftan vard\u0131r.
\nBu tasvirin yan\u0131ndaki duvarda, an\u0131tsal bir \u2018Deisis\u2019 (Yakar\u0131\u015f) temsili yer al\u0131r; Meryem, o\u011flu \u0130sa\u2019ya, insanl\u0131\u011f\u0131 kurtarmas\u0131 i\u00e7in yalvarmaktad\u0131r. Burada, manast\u0131r\u0131n daha \u00f6nceki iki hamisi de dua ederken tasvir edilmi\u015ftir. Bu imgenin, Ayasofya\u2019n\u0131n galerisindeki \u00fcnl\u00fc Yakar\u0131\u015f mozai\u011fini and\u0131rd\u0131\u011f\u0131 ve burada, bilin\u00e7li olarak, B\u00fcy\u00fck Kilise\u2019yle, kolayca fark edilebilecek bir metinler aras\u0131 ili\u015fki kurulmu\u015f oldu\u011fu \u00f6ne s\u00fcr\u00fcl\u00fcr. \u0130stanbul\u2019da, Bizans d\u00f6nemine ait an\u0131tsal yap\u0131lardan \u00e7ok az\u0131n\u0131n muhafaza edilmi\u015f olmas\u0131, Bizans\u2019\u0131n sakinlerinin a\u015fina oldu\u011fu bir g\u00f6ndermenin yer ald\u0131\u011f\u0131 bu tasvire, nadir ve \u00e7ok k\u0131ymetli bir eser niteli\u011fi kazand\u0131r\u0131yor.
\nMetohitis\u2019in kendisi i\u00e7in yapt\u0131rd\u0131\u011f\u0131 mezar \u015fapelindeki fresklerde \u00f6l\u00fcm\u00fcn getirdi\u011fi elem de\u011fil, kurtulu\u015fun getirdi\u011fi sonsuz hayat\u0131n zaferi g\u00f6r\u00fcl\u00fcr; \u00f6l\u00fcm\u00fc alt eden \u0130sa, ilk insanlar Adem ile Havva\u2019y\u0131 mezarlar\u0131ndan \u00e7ekip \u00e7\u0131karmaktad\u0131r. Her yer \u0131\u015f\u0131l \u0131\u015f\u0131ld\u0131r. K\u0131yamet g\u00fcn\u00fcn\u00fcn tasvir edildi\u011fi sahnede, bir melek, y\u0131ld\u0131zlarla dolu g\u00f6ky\u00fcz\u00fcn\u00fc rulo \u015feklinde d\u00fcrmektedir. Melek, bu sakin jestle, art\u0131k ihtiya\u00e7 olmayan zaman boyutunu ortadan kald\u0131r\u0131r. \u0130nsanl\u0131k tarihi sona ermi\u015ftir.
\nD\u0131\u015f nartekste, bir tonozun \u00fczerinde, \u0130sa\u2019n\u0131n S\u0131nanmas\u0131\u2019n\u0131 konu alan bir tasvir bulunur. D\u00f6nemin sanat\u00e7\u0131lar\u0131, olaylar\u0131n \u00e7e\u015fitli a\u015famalar\u0131n\u0131 art arda resmetmeyi seviyordu. Bu canl\u0131 anlat\u0131da, \u0130sa fig\u00fcr\u00fcne, \u00e7izgi romanlarda oldu\u011fu gibi, her sahnede yeniden yer verilmi\u015ftir. Bir tasvirde, \u015eeytan, \u0130sa\u2019ya d\u00fcnyan\u0131n t\u00fcm krall\u0131klar\u0131n\u0131 g\u00f6stermekte ve bunlar \u00fczerinde mutlak iktidar teklif etmektedir. Ancak \u0130sa \u2018\u015eeytan\u2019a uymay\u0131p\u2019 bu teklifi reddeder.<\/p>\n

\"Kilisenin<\/div>\n
Kilisenin ana b\u00f6l\u00fcm\u00fcn\u00fcn kuzey taraf\u0131nda, \u00e7er\u00e7eve i\u00e7ine al\u0131nm\u0131\u015f bir tasvir: \u2018Ya\u015fayanlar\u0131n \u00dclkesi \u0130sa\u2019<\/span><\/em><\/div>\n

Bilgelikten distopyaya<\/strong>
\nAyn\u0131 alandaki bir ba\u015fka mozaikte, n\u00fcfus kayd\u0131 i\u00e7in Meryem ile Yusuf\u2019u kabul eden bir y\u00f6netici resmedilmi\u015ftir. Tasvir, bu bilge y\u00f6neticinin krall\u0131\u011f\u0131nda h\u00fck\u00fcm s\u00fcren uyum ve d\u00fczeni yans\u0131t\u0131r. Ayn\u0131 noktadan, galerinin ucunda, \u0130rodis (Hirodes) adl\u0131 bir ba\u015fka y\u00f6neticinin tasviri de g\u00f6r\u00fcl\u00fcr. G\u00fcvensizlik hissi, onu, \u0130sa ile ayn\u0131 ya\u015fta olan her \u00e7ocu\u011fun \u00f6ld\u00fcr\u00fclmesi emrini vermeye itmi\u015ftir. Askerler \u00e7ocuklar\u0131 katletmekte, anneler a\u011flamaktad\u0131r \u2013 karga\u015fan\u0131n, kavgan\u0131n h\u00e2kim oldu\u011fu, insan\u0131 \u015foka u\u011fratan bir d\u00fcnya… Bilgelikten yoksun bir y\u00f6netici olan \u0130rodis\u2019in krall\u0131\u011f\u0131nda \u015fiddet ve ac\u0131 h\u00e2kimdir. Bu imgeler, y\u00f6neticilik ilkelerine dair g\u00fc\u00e7l\u00fc, zaman \u00f6tesi bir yorum te\u015fkil eder.
\nHora\/Kariye, mozaikleri ve freskleriyle, ya\u015fayanlar\u0131n \u00fclkesini; bilgelik ve sayg\u0131n\u0131n, insan do\u011fas\u0131n\u0131n en de\u011ferli y\u00f6n\u00fcn\u00fc ortaya koydu\u011fu, ideal bir mek\u00e2n\u0131 temsil eder. Bu ayd\u0131nl\u0131k, \u0131\u015f\u0131k dolu \u00fclke, ayn\u0131 zamanda, insanlar\u0131n, \u2018ta\u015f\u0131namayacak olan\u2019la yani Tanr\u0131\u2019yla bir arada var olmas\u0131na imk\u00e2n tan\u0131r. Bir uyumun yakalanabilmesi bilgelik, sayg\u0131 ve insani de\u011ferlerin muhafaza edilmesiyle m\u00fcmk\u00fcnd\u00fcr; bu, \u00f6zellikle y\u00f6netenlerin \u00fczerine d\u00fc\u015fen, \u00e7ok b\u00fcy\u00fck bir sorumluluktur. Bu niteliklerden yoksun y\u00f6neticiler, \u00fclkeyi, g\u00fcvensizlik, \u015fiddet ve kederin h\u00fck\u00fcm s\u00fcrd\u00fc\u011f\u00fc, ya\u015fayanlar\u0131 tutsak etti\u011fi bir distopyaya d\u00f6nd\u00fcr\u00fcrler. Hora\/Kariye\u2019nin camiye d\u00f6n\u00fc\u015ft\u00fcr\u00fclmesi karar\u0131, hi\u00e7 ku\u015fkusuz, distopya y\u00f6n\u00fcnde at\u0131lm\u0131\u015f bir ad\u0131md\u0131r.
\nBu \u015fehrin sakinleri ve bu \u00fclkenin halklar\u0131, ne olursa olsun, bilge, medeni ve sayg\u0131l\u0131 y\u00f6neticileri hak ediyor.<\/p>\n

\u00c7eviri: Altu\u011f Y\u0131lmaz<\/em><\/strong><\/p>\n

FOTO\u011eRAFLAR: Berge Arabian<\/strong><\/em><\/p>\n

http:\/\/www.agos.com.tr\/tr\/yazi\/24513\/hora-kariye-yasayanlarin-ulkesinden-insansiz-ulkeye\u00a0<\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

2006-2018 aras\u0131nda Bo\u011fazi\u00e7i \u00dcniversitesi Tarih B\u00f6l\u00fcm\u00fc\u2019nde dersler veren Bizans Sanat Tarihi uzman\u0131 Dr. Anestis Vasilakeris, Agos i\u00e7in, Kariye\u2019nin mozaikleri ve fresklerinde betimlenen anlat\u0131lar\u0131n, bug\u00fcn\u00fcn d\u00fcnyas\u0131na, \u00f6zellikle y\u00f6neticilere f\u0131s\u0131ldad\u0131\u011f\u0131 \u2018zamans\u0131z\u2019 mesajlar\u0131 kaleme ald\u0131. ANESTIS VASILAKERIS\u00a0 Theodoros Metohitis, muhtemelen, \u00e7a\u011f\u0131n\u0131n en ayd\u0131n insan\u0131yd\u0131. Hora (Kariye) Manast\u0131r\u0131\u2019n\u0131n kilisesinin mozaiklerini ve fresklerini o yapt\u0131rm\u0131\u015f, yap\u0131m s\u00fcrecine de nezaret etmi\u015fti. […]<\/p>\n","protected":false},"author":7,"featured_media":58736,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,34,70],"tags":[],"class_list":["post-58735","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-haberler","category-istanbul","category-makaleler"],"yoast_head":"\nHora\/Kariye: Ya\u015fayanlar\u0131n \u00fclkesinden insans\u0131z \u00fclkeye - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi<\/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:\/\/akunq.net\/tr\/?p=58735\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Hora\/Kariye: Ya\u015fayanlar\u0131n \u00fclkesinden insans\u0131z \u00fclkeye - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi\" \/>\n<meta property=\"og:description\" content=\"2006-2018 aras\u0131nda Bo\u011fazi\u00e7i \u00dcniversitesi Tarih B\u00f6l\u00fcm\u00fc\u2019nde dersler veren Bizans Sanat Tarihi uzman\u0131 Dr. Anestis Vasilakeris, Agos i\u00e7in, Kariye\u2019nin mozaikleri ve fresklerinde betimlenen anlat\u0131lar\u0131n, bug\u00fcn\u00fcn d\u00fcnyas\u0131na, \u00f6zellikle y\u00f6neticilere f\u0131s\u0131ldad\u0131\u011f\u0131 \u2018zamans\u0131z\u2019 mesajlar\u0131 kaleme ald\u0131. ANESTIS VASILAKERIS\u00a0 Theodoros Metohitis, muhtemelen, \u00e7a\u011f\u0131n\u0131n en ayd\u0131n insan\u0131yd\u0131. Hora (Kariye) Manast\u0131r\u0131\u2019n\u0131n kilisesinin mozaiklerini ve fresklerini o yapt\u0131rm\u0131\u015f, yap\u0131m s\u00fcrecine de nezaret etmi\u015fti. 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