{"id":50908,"date":"2026-04-16T10:00:00","date_gmt":"2026-04-16T06:00:00","guid":{"rendered":"https:\/\/edebiyyat-az.com\/?p=50908"},"modified":"2026-04-16T14:09:00","modified_gmt":"2026-04-16T10:09:00","slug":"lutviyy%c9%99-esgerzade-rengi-ve-ozu-ayni-olan-eserler-veya-sanatta-savasin-yuzu","status":"publish","type":"post","link":"https:\/\/edebiyyat-az.com\/?p=50908","title":{"rendered":"L\u00fctviyy\u0259 \u018fSG\u018fRZAD\u018f.”RENG\u0130 VE \u00d6Z\u00dc AYNI OLAN ESERLER VEYA SANATTA SAVA\u015eIN Y\u00dcZ\u00dc”"},"content":{"rendered":"\n
\"\"<\/a><\/figure>\n\n\n\n

Prof.Dr. L\u00fctviyye Asgerzade<\/strong><\/p>\n\n\n\n

<\/p>\n\n\n\n

K\u0131yamet G\u00fcn\u00fc’n\u00fcn – evrenin ve t\u00fcm canl\u0131lar\u0131n sonunun ve Dirili\u015f G\u00fcn\u00fc’n\u00fcn oldu\u011funa inan\u0131l\u0131r. Ayr\u0131ca “insan\u0131n kiyameti \u00f6l\u00fcm\u00fcd\u00fcr, ya da tam tersi: herkesin \u00f6l\u00fcm\u00fc kendi kiyametidir” \u015feklinde yayg\u0131n bir d\u00fc\u015f\u00fcnce de vard\u0131r. Her insan\u0131n \u00f6l\u00fcm\u00fc ger\u00e7ekten onun kiyametimidir, yoksa t\u00fcm \u00f6l\u00fcmler ayr\u0131 birer kiyametdir? Nedense, bu sat\u0131rlar\u0131 yazarken, ger\u00e7ek k\u0131yametin, sava\u015f\u0131n deh\u015fetini kendi g\u00f6zleriyle g\u00f6renler, bu trajedileri ruhlar\u0131nda ya\u015fayanlar ve binlerce ac\u0131 i\u00e7inde \u00f6lenler i\u00e7in ve bu deh\u015fetlerin insanlara ya\u015fanmas\u0131na neden olan sava\u015flara sebep olanlar i\u00e7in olaca\u011f\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcyorum.<\/p>\n\n\n\n

D\u00fcnya tarihinde 14.500 sava\u015f ya\u015fanm\u0131\u015ft\u0131r. \u0130lgin\u00e7 bir \u015fekilde, son 3.500 y\u0131lda sadece 230 y\u0131l sava\u015f ya\u015fanmam\u0131\u015fd\u0131r. Bu sava\u015flar\u0131n en uzunu, \u0130ngiltere ve Fransa aras\u0131ndaki Y\u00fcz Y\u0131l Sava\u015flar\u0131 olarak kabul edilir. Tam 115 y\u0131l (1338-1453). Ve son 116 y\u0131lda 40’tan fazla sava\u015f ya\u015fanm\u0131\u015ft\u0131r. Sonu\u00e7 olarak, 100 milyondan fazla insan \u00f6lm\u00fc\u015ft\u00fcr. Devlet yasalar\u0131n\u0131, toplum ya\u015fam\u0131n\u0131 de\u011fi\u015ftirmi\u015f, \u015fehirler yerle bir edilmi\u015f ve insanlar atom bombas\u0131yla test edilmi\u015f (1945), \u00f6lenler \u00f6lm\u00fc\u015ft\u00fc ve ya\u015fayanlar maddi ve manevi zarara u\u011fram\u0131\u015ft\u0131.<\/p>\n\n\n\n

Sava\u015flar, insanlar\u0131n ya\u015famlar\u0131 \u00fczerinde y\u0131k\u0131c\u0131 bir etkiye sahiptir; psikolojik travmaya, fiziksel kay\u0131plara, zorunlu yer de\u011fi\u015ftirmeye ve ekonomik \u00e7\u00f6k\u00fc\u015fe neden olur. Bu s\u00fcre\u00e7, hem sava\u015fanlar\u0131n hem de sivillerin ya\u015famlar\u0131n\u0131 temelden de\u011fi\u015ftirir, sosyal ba\u011flar\u0131 kopar\u0131r, ahlaki ve psikolojik \u015foklar (korku, kayg\u0131) yarat\u0131r ve bar\u0131\u015f ko\u015fullar\u0131na uyum sa\u011flamay\u0131 zorla\u015ft\u0131r\u0131r. \u0130nsanlar sava\u015f bittikten sonra bile normal bir \u015fekilde huzur i\u00e7inde ya\u015fayamazlar, bilin\u00e7altlar\u0131na i\u015flemi\u015f o korkun\u00e7 anlar\u0131 ve \u00f6l\u00fcmleri s\u00fcrekli hat\u0131rlarlar, umutsuzlu\u011fa d\u00fc\u015ferler. K\u0131sacas\u0131 melankolik bir halde ya\u015famaya zorlan\u0131rlar.<\/p>\n\n\n\n

Melankoli, bir insan\u0131n can\u0131 s\u0131k\u0131ld\u0131\u011f\u0131nda, geri d\u00f6nd\u00fcr\u00fclemeyen ge\u00e7mi\u015fe \u00f6zlem duydu\u011funda ruhunu saran duygudur. Yaln\u0131zl\u0131k, bu duyguyu ya\u015fayanlar i\u00e7in \u00e7o\u011fu zaman “s\u0131\u011f\u0131nak” ve “ila\u00e7” olsa da, \u00f6zellikle yarat\u0131c\u0131 insanlar olmak \u00fczere, manevi olarak g\u00fc\u00e7l\u00fc ki\u015filer melankolik durumdan kurtulmay\u0131 ba\u015far\u0131rlar. Sanat, yarat\u0131c\u0131 insanlar i\u00e7in bir ar\u0131nma g\u00f6revi g\u00f6r\u00fcr. Bu durumda, Yunanca’da “kara h\u00fcz\u00fcn” anlam\u0131na gelen melankoli, bazen iyile\u015ftirici bir etkiye d\u00f6n\u00fc\u015f\u00fcr. Viktor Hugo’nun s\u00f6zleriyle: \u201cMelankoli, \u00fcz\u00fcnt\u00fcden do\u011fan mutluluktur.\u201d Bu duygusal durum her zaman yarat\u0131c\u0131l\u0131kla ili\u015fkilendirilir. Ger\u00e7ekten de, t\u00fcm bu duygusal durumlar, yarat\u0131c\u0131 insanlar\u0131n, sanat\u00e7\u0131lar\u0131n ve yazarlar\u0131n eserlerinde t\u00fcm deh\u015fetiyle yans\u0131t\u0131l\u0131r. \u00d6rne\u011fin, 1894’te, d\u0131\u015favurumculuk ve sembolizmin \u00f6nde gelen temsilcilerinden Norve\u00e7li sanat\u00e7\u0131 Edvard Munch, d\u00fc\u015f\u00fcncelere dalm\u0131\u015f, ruhunda bir bo\u015fluk hissi ta\u015f\u0131yan, renkler ve dokularla \u00e7evrili, kendine odaklanm\u0131\u015f, \u00e7\u00f6km\u00fc\u015f ve \u00fczg\u00fcn bir adam\u0131n portresini \u00e7izmi\u015ftir. G\u00f6zlerimizin \u00f6n\u00fcnde, bir eliyle ba\u015f\u0131n\u0131 tutan, d\u00fc\u015f\u00fcnce ve \u015f\u00fcphe girdab\u0131nda bo\u011fulan, korkun\u00e7 bir kaosun i\u00e7inde yakalanm\u0131\u015f, nostaljik duygulara \u00f6zlem duyan, bu g\u00fcnden ka\u00e7mak, g\u00fcr\u00fclt\u00fcden kurtulmak isteyen, zaman\u0131 fetheden ve i\u00e7ine dalmak istedi\u011fi anlar\u0131n yank\u0131lar\u0131ndan vazge\u00e7meyen bir fig\u00fcr duruyor. Munch, eserine “Melankoli” ad\u0131n\u0131 verdi.<\/p>\n\n\n\n

Edvard Munch’un en \u00fcnl\u00fc eseri “\u00c7\u0131\u011fl\u0131k”t\u0131r. “\u00c7\u0131\u011fl\u0131k” eseri, ya\u015fam, a\u015fk, korku ve \u00f6l\u00fcm gibi temalar\u0131 duygusal ve psikolojik bir \u015fekilde ele al\u0131r. “\u00c7\u0131\u011fl\u0131k” tablosu, insan\u0131n genel kayg\u0131s\u0131n\u0131n (kar\u015f\u0131t duygular\u0131n m\u00fccadelesinden kaynaklanan kayg\u0131; endi\u015fe, heyecan) bir ifadesi olarak yorumlanm\u0131\u015ft\u0131r. Geni\u015f, g\u00f6z kama\u015ft\u0131r\u0131c\u0131 renk \u015feritleri ve \u00e7ok basitle\u015ftirilmi\u015f formlarla, ac\u0131 \u00e7eken insan, panik atak ge\u00e7iren giyinmi\u015f bir kafatas\u0131 olarak ifade edilir. Munch bu tabloyla “ruhu ke\u015ffetme, yani kendini ke\u015ffetme” amac\u0131n\u0131 ger\u00e7ekle\u015ftirmi\u015ftir. O, resmin nas\u0131l yarat\u0131ld\u0131\u011f\u0131n\u0131 \u015f\u00f6yle anlat\u0131yor: “G\u00fcn bat\u0131m\u0131nda iki arkada\u015f\u0131mla yolda y\u00fcr\u00fcyordum. Aniden g\u00f6ky\u00fcz\u00fc kan k\u0131rm\u0131z\u0131s\u0131 oldu. Durdum ve inan\u0131lmaz derecede yorgun hissederek \u00e7ite yasland\u0131m. Ate\u015f ve kan dilleri mavi-siyah fiyortun \u00fczerine yay\u0131ld\u0131. Arkada\u015flar\u0131m \u00f6nden gitti, ben ise korkudan titreyerek arkada kald\u0131m. O anda do\u011fan\u0131n muazzam ve sonsuz bir \u00e7\u0131\u011fl\u0131\u011f\u0131n\u0131 duydum.” Ard\u0131ndan, bu resmin alt\u0131nda yatan ki\u015fisel ac\u0131y\u0131 ve i\u00e7sel karma\u015fay\u0131 \u015f\u00f6yle anlat\u0131yor: \u201cY\u0131llarca delili\u011fe yak\u0131nd\u0131m\u2026 \u201c\u00c7\u0131\u011fl\u0131k\u201d resmimi biliyor musunuz? A\u015f\u0131r\u0131 bir gerilim halindeydim, do\u011fa kan\u0131mda \u00e7\u0131\u011fl\u0131k at\u0131yordu\u2026 Ondan sonra tekrar sevme iste\u011fimi kaybettim.\u201d Genel olarak, Munch’\u0131n \u00e7al\u0131\u015fmalar\u0131 \u201cHayat\u0131n Cuma G\u00fcnleri\u201d serisiyle bilinir.<\/p>\n\n\n\n

Bir sanat\u00e7\u0131 g\u00f6zlemledi\u011fi bir do\u011fa olay\u0131ndan bu kadar etkileniyorsa, bir sava\u015f\u0131n bir insan\u0131n psikolojisinde b\u0131rakt\u0131\u011f\u0131 izler daha derin, daha korkun\u00e7tur. Bu a\u00e7\u0131dan bak\u0131ld\u0131\u011f\u0131nda, \u0130spanyol sanat\u00e7\u0131 Salvador Dali’nin \u0130kinci D\u00fcnya Sava\u015f\u0131’n\u0131n derin etkileri alt\u0131nda 1940 y\u0131l\u0131nda yapt\u0131\u011f\u0131 “Sava\u015f\u0131n Y\u00fcz\u00fc” tablosu en \u00e7arp\u0131c\u0131 eserlerden biridir. Bu nadir eser ayn\u0131 zamanda ruhun b\u00fcy\u00fck ac\u0131s\u0131n\u0131, fiziksel ve psikolojik \u0131st\u0131rab\u0131 ve umutsuzlu\u011fu da yans\u0131tmaktad\u0131r. Munch’un aksine, Dali’nin ruhundaki gerilimin nedeni sava\u015ft\u0131. O`nun ruhunda ve kan\u0131nda do\u011fa de\u011fil, sava\u015f \u00e7\u0131\u011fl\u0131k at\u0131yordu\u2026<\/p>\n\n\n\n

Eser, izleyicide sava\u015flar\u0131n ne kadar korkun\u00e7 ve deh\u015fet verici oldu\u011funu, bir insan\u0131n i\u00e7 d\u00fcnyas\u0131nda nas\u0131l derin yaralar a\u00e7t\u0131\u011f\u0131n\u0131, onu \u00f6l\u00fcmle tan\u0131\u015ft\u0131rd\u0131\u011f\u0131n\u0131, umutlar\u0131n\u0131 \u00f6ld\u00fcrd\u00fc\u011f\u00fcn\u00fc, fiziksel ve psikolojik ac\u0131ya neden oldu\u011funu ve genel olarak sava\u015f\u0131n bir insana “verdi\u011fi” deh\u015feti g\u00f6sterdi\u011fini d\u00fc\u015f\u00fcnd\u00fcrmektedir. Salvador Dali’nin de sava\u015f\u0131n deh\u015fetini ya\u015fad\u0131\u011f\u0131n\u0131 belirtmek gerekir. \u0130kinci D\u00fcnya Sava\u015f\u0131 s\u0131ras\u0131nda, 1940 yaz\u0131nda, Fransa teslim olduktan sonra, e\u015fiyle birlikte Amerika’ya gitmek zorunda kald\u0131 ve ya\u015fad\u0131\u011f\u0131 deh\u015feti yans\u0131tmak i\u00e7in sembolizmden en \u00fcst d\u00fczeyde yararlanarak “Sava\u015f\u0131n Y\u00fcz\u00fc” adl\u0131 eserini yapt\u0131. Sembolizm-s\u00fcrrealizmin tek \u00f6rne\u011fi olarak kabul edilen tablo, “\u00e7ok s\u0131ra d\u0131\u015f\u0131 bir olay \u00f6rg\u00fcs\u00fcne” sahip olsa da, “sembolleri olduk\u00e7a basittir”. Eserin kurgusu al\u0131\u015f\u0131lmad\u0131k derecede b\u00fct\u00fcnle\u015fik bir y\u00f6ne sahip. Salvador Dali burada “kriz paranoyak tarz\u0131ndan” ziyade sembolizmin ara\u00e7lar\u0131na vurgu yap\u0131yor.<\/p>\n\n\n\n

“Sava\u015f\u0131n Y\u00fcz\u00fc” adl\u0131 eserde, u\u00e7suz bucaks\u0131z bir \u00e7\u00f6l\u00fcn kumlar\u0131 \u00fczerinde y\u0131lanlarla \u00e7evrili bir kafatas\u0131 tasvir ediliyor. Kafan\u0131n \u00fc\u00e7 deli\u011fine de, g\u00f6z ve a\u011f\u0131z bo\u015fluklar\u0131 da dahil olmak \u00fczere, kafataslar\u0131 yerle\u015ftirilmi\u015f ve i\u00e7 k\u0131s\u0131mlar\u0131 da kafataslar\u0131yla s\u00fcslenmi\u015ftir. Dali, \u00f6l\u00fcm\u00fcn sembol\u00fc olan kafatas\u0131yla sava\u015f\u0131n y\u00fcz\u00fcn\u00fc somutla\u015ft\u0131r\u0131yor. Kafatas\u0131n\u0131 saran ve “sonsuz \u00f6l\u00fcm” olarak tasvir edilen y\u0131lanlar, ac\u0131mas\u0131zca onu sokmaya \u00e7al\u0131\u015f\u0131yor. Renklerin azl\u0131\u011f\u0131, bo\u011fuk tonlar ve kasvetli g\u00f6lgelerle \u00f6zel bir \u00f6zenle resmedilen bu tabloda sanat\u00e7\u0131, sava\u015f\u0131n t\u00fcm deh\u015fetini, \u00f6l\u00fcm\u00fcn\u00fc, korkusunu ve felaketini yans\u0131t\u0131yor. Sava\u015f bittikten sonra (1948) Avrupa’ya d\u00f6nm\u00fc\u015f olsa da, sava\u015f\u0131n ruhunda b\u0131rakt\u0131\u011f\u0131 iz, \u015fok, ac\u0131 ve \u0131st\u0131rap h\u00e2l\u00e2 ruhunu heyecanland\u0131r\u0131yordu. T\u0131pk\u0131 kan\u0131nda do\u011fan\u0131n \u00e7\u0131\u011fl\u0131\u011f\u0131n\u0131 duyan Munch gibi, sava\u015f\u0131n neden oldu\u011fu \u015fok ve ac\u0131 Dali’nin ruhunda \u00e7\u0131\u011fl\u0131k at\u0131yor, onu rahat b\u0131rakm\u0131yordu ve t\u00fcm bunlar di\u011fer eserlerinde (\u201cFiller\u201d) tekrarlan\u0131yor. Resim ve sanat\u00e7\u0131dan, ayn\u0131 zamanda melankolik bir sanat\u00e7\u0131dan bahsederken, dahi Pablo Picasso ve onun “Guernica” tablosundan bahsetmemek olmaz. Picasso, portrelerinde \u00fcz\u00fcnt\u00fcs\u00fcn\u00fc, ac\u0131s\u0131n\u0131 ve yo\u011fun duygular\u0131n\u0131 inan\u0131lmaz bir ustal\u0131kla yans\u0131tm\u0131\u015ft\u0131r. Bahsetti\u011fimiz tablo, \u0130spanya’n\u0131n Guernica \u015fehrinin Alman bombard\u0131man\u0131n\u0131 (26 Nisan 1937) sembolik olarak tasvir eden “Guernica” tablosudur.<\/p>\n\n\n\n

“Guernica” tablosunun karanl\u0131k bir \u00f6yk\u00fcs\u00fc vard\u0131r. 1936’da \u0130spanya’da i\u00e7 sava\u015f ya\u015fan\u0131yordu. Milliyet\u00e7iler Cumhuriyet\u00e7ilere ate\u015f a\u00e7\u0131yor, halk kendi i\u00e7inde sava\u015f\u0131yor ve birbirini yok ediyordu. Biskay b\u00f6lgesindeki Guernica \u015fehri, i\u00e7 sava\u015fta en a\u011f\u0131r yaray\u0131 alan yerlerden biriydi. 1937’de Nazi Almanyas\u0131 ve \u0130talyan u\u00e7aklar\u0131, \u0130spanya’daki bu zay\u0131f d\u00f6nemden yararlanarak Milliyet\u00e7ilere bombard\u0131man u\u00e7aklar\u0131 sa\u011flad\u0131. Yurtd\u0131\u015f\u0131ndan g\u00fc\u00e7 kazanan Milliyet\u00e7iler, Guernica \u015fehrini bombalad\u0131. Kasabada \u00fc\u00e7 g\u00fcn boyunca s\u00fcren yang\u0131nlarda 1654 ki\u015fi hayat\u0131n\u0131 kaybetti. \u00d6lenlerin \u00e7o\u011fu kad\u0131n, \u00e7ocuk ve ya\u015fl\u0131yd\u0131. Kasaban\u0131n erkekleri ise milliyet\u00e7ilere kar\u015f\u0131 sava\u015fmak i\u00e7in kasaba d\u0131\u015f\u0131ndayd\u0131. Cumhuriyet\u00e7ileri destekleyen Picasso, felaketi gazetede okudu ve derinden etkilendi. Eser, \u0130spanyol h\u00fck\u00fcmetinin Pablo Picasso’ya 1937 Paris D\u00fcnya Fuar\u0131’n\u0131n \u0130spanyol b\u00f6l\u00fcm\u00fc i\u00e7in sava\u015f\u0131 tasvir eden b\u00fcy\u00fck bir duvar resmi yapma g\u00f6revi vermesinden ilham alm\u0131\u015ft\u0131r. Bu g\u00f6rev, Nazi Almanyas\u0131’n\u0131n Guernica \u015fehrini bombalamas\u0131yla ayn\u0131 zamana denk geldi\u011fi i\u00e7in sanat\u00e7\u0131, eserin fikrini bu olaydan alm\u0131\u015ft\u0131r. Picasso, diktat\u00f6r Francisco Franco’nun hain taktikleriyle kazand\u0131\u011f\u0131 sava\u015f\u0131 tasvir etmi\u015f ve resmi Guernica’n\u0131n bombalanmas\u0131ndan 15 g\u00fcn sonra tamamlam\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Sadece siyah ve beyaz renklerden olu\u015fan ve sava\u015f\u0131n neden oldu\u011fu solgunlu\u011fu, ac\u0131y\u0131 ve \u0131st\u0131rab\u0131 simgeleyen eser, \u00f6nce Paris’te, ard\u0131ndan \u00e7e\u015fitli \u00fclkelerde sergilenerek sava\u015f\u0131n deh\u015fetini yans\u0131tan bir sembol haline gelmi\u015ftir. \u201cT\u00fcm sahne bir odada tasvir edilmi\u015ftir. Resmin sol taraf\u0131nda, b\u00fcy\u00fck g\u00f6zl\u00fc bir bo\u011fa, kollar\u0131nda \u00f6l\u00fc bir \u00e7ocuk i\u00e7in a\u011flayan bir kad\u0131n\u0131n \u00fczerinde durmaktad\u0131r. Resmin ortas\u0131nda, bir m\u0131zrakla ac\u0131 \u00e7eken bir at tasvir edilmi\u015ftir. At\u0131n burnu ve \u00fcst di\u015fleri insan kafatas\u0131 \u015feklinde g\u00f6sterilmi\u015ftir. At\u0131n alt\u0131nda par\u00e7alanm\u0131\u015f bir asker cesedi ve askerin elinde \u00fczerinde \u00e7i\u00e7ekler yeti\u015fen k\u0131r\u0131k bir k\u0131l\u0131\u00e7 vard\u0131r. A\u00e7\u0131k bir elektrik lambas\u0131 ac\u0131 \u00e7eken at\u0131n \u00fczerine \u0131\u015f\u0131k tutmaktad\u0131r. At\u0131n sa\u011f \u00fcst taraf\u0131nda, elinde gaz lambas\u0131 tutan bir kad\u0131n bu sahneyi pencereden g\u00f6rmekte ve deh\u015fet i\u00e7inde geri \u00e7ekilmektedir. Ba\u015fka bir kad\u0131n, korku i\u00e7inde sa\u011fdan ortaya do\u011fru hareket etmekte ve g\u00f6zleriyle elektrik lambas\u0131na bakmaktad\u0131r. Bo\u011fa, at ve \u00e7ocuk i\u00e7in a\u011flayan kad\u0131n\u0131n dilleri olarak tasvir edilen han\u00e7erler, onun \u0131st\u0131rap \u00e7\u0131\u011fl\u0131klar\u0131n\u0131 simgelemektedir.\u201d Resmin sol k\u00f6\u015fesinde, elleri havada alevler i\u00e7inde yanan bir adam tasvir edilmi\u015ftir. Sa\u011f k\u00f6\u015fede ise a\u00e7\u0131k bir kap\u0131yla sonlanan siyah bir duvar g\u00f6sterilmi\u015ftir. Resimde kullan\u0131lan semboller, \u00f6zellikle bo\u011fa ve at unsurlar\u0131 s\u00f6z konusu oldu\u011funda, \u00e7e\u015fitli \u015fekillerde, hatta bazen tart\u0131\u015fmal\u0131 bir \u015fekilde yorumlanm\u0131\u015ft\u0131r. Sanat tarih\u00e7isi Patricia Failing’e g\u00f6re, \u0130spanyol k\u00fclt\u00fcr\u00fcn\u00fcn \u00f6nemli unsurlar\u0131 olarak kabul edilen bo\u011fa ve at, sanat\u00e7\u0131n\u0131n bir\u00e7ok eserinde yer almaktad\u0131r. Onlar\u0131 farkl\u0131 sembolik kost\u00fcmlerle giydirdi\u011fi i\u00e7in, Guernica’da bu unsurlar\u0131n tam olarak neyi sembolize etti\u011fini s\u00f6ylemek imkans\u0131zd\u0131r. Ancak bu ikna edici de\u011fildir. Sanat\u00e7\u0131ya at ve bo\u011fa imgelerinin sembolik anlam\u0131 soruldu\u011funda, “Bu bo\u011fa bir bo\u011fa, bu at bir att\u0131r” diye yan\u0131t vermi\u015ftir. “Resimlerimdeki baz\u0131 sembollere anlam y\u00fckledi\u011finizde, bu do\u011fru olabilir. Ama benim amac\u0131m bu anlam\u0131 y\u00fcklemek de\u011fildi. Akl\u0131n\u0131zdaki fikri ben de d\u00fc\u015f\u00fcnebilirim, ama bu bilin\u00e7alt\u0131 olabilir. Ben sadece resim yapmaya ve \u015feyleri olduklar\u0131 gibi resmetmeye \u00e7al\u0131\u015f\u0131yorum.”<\/p>\n\n\n\n

Sanat\u00e7\u0131n\u0131n 1937’de yaratt\u0131\u011f\u0131 “Guernica” eseri, ayn\u0131 y\u0131l “A\u011flayan Kad\u0131n” eserinin yarat\u0131lmas\u0131na yol a\u00e7m\u0131\u015ft\u0131r. Eserin temellerinin “Guernica”dan \u00f6nce at\u0131ld\u0131\u011f\u0131 do\u011frudur. Ancak, “A\u011flayan Kad\u0131n”daki kad\u0131n\u0131n y\u00fcz\u00fcndeki a\u011f\u0131r \u00fcz\u00fcnt\u00fc ve ac\u0131n\u0131n, “Guernica”daki a\u011flayan d\u00f6rt kad\u0131n\u0131n g\u00f6lgesinde kalaca\u011f\u0131ndan emin oldu\u011fu i\u00e7in bu eseri ayr\u0131 olarak resmetmi\u015ftir.<\/p>\n\n\n\n

Eserin renk paleti olduk\u00e7a zengindir ve parlak renkler ile kal\u0131n \u00e7izgilerden olu\u015fmaktad\u0131r. K\u00fcbizm tarz\u0131nda resmedilen ve \u00fczg\u00fcn bir kad\u0131n\u0131 tasvir eden “A\u011flayan Kad\u0131n”, bir portre eseridir. \u201cEserin merkezinde, b\u00fcy\u00fck boyutlarda kar\u0131\u015f\u0131k bir el, a\u011f\u0131z, havlu, g\u00f6zya\u015flar\u0131 ve kad\u0131n\u0131n g\u00f6zleri tasvir edilmi\u015ftir. Havlunun \u00fcst k\u0131sm\u0131ndaki g\u00f6zler daha \u00e7ok dikkat \u00e7ekmektedir. Burada tasvir edilen kad\u0131n\u0131n \u00fcz\u00fcnt\u00fcs\u00fc ve kederi, \u201cGuernica\u201d eserindeki d\u00f6rt kad\u0131n\u0131nkiyle ayn\u0131 ac\u0131 ve karma\u015f\u0131k bak\u0131\u015f bi\u00e7imini payla\u015fmaktad\u0131r. Kad\u0131n\u0131n eserde hem \u00fczg\u00fcn hem de farkl\u0131 g\u00f6r\u00fcnmesi dikkat \u00e7ekicidir. Yak\u0131ndan bakarsak, renkli bir \u015fapka, dalgalanan sa\u00e7lar ve sa\u011f kula\u011f\u0131nda g\u00f6zya\u015flar\u0131n\u0131 yakalayan bir kelebek g\u00f6rebiliriz.\u201d<\/p>\n\n\n\n

Eserde tasvir edilen kad\u0131n\u0131n kimli\u011fi konusunda farkl\u0131 g\u00f6r\u00fc\u015fler bulunmaktad\u0131r. “Baz\u0131lar\u0131, ‘Guernika’daki \u00fczg\u00fcn kad\u0131n\u0131n bebe\u011fini kaybetmi\u015f bir kad\u0131n\u0131 tasvir etti\u011fini s\u00f6ylerken, di\u011ferleri resmin Meryem Ana’n\u0131n o\u011flu \u0130sa Mesih’in yas\u0131n\u0131 tutmas\u0131 motifinden esinlendi\u011fini, baz\u0131lar\u0131 ise eserdeki kad\u0131n\u0131n Picasso’nun metresi Dora Maar oldu\u011funu iddia etmektedir. Kad\u0131n\u0131n kimli\u011finden ba\u011f\u0131ms\u0131z olarak, eserde derin bir h\u00fcz\u00fcn vard\u0131r ve s\u00f6ylenenlere g\u00f6re Dora bir keresinde Picasso’nun kendi h\u00fczn\u00fcnden ilham ald\u0131\u011f\u0131n\u0131 itiraf etmi\u015ftir.”<\/p>\n\n\n\n

Melankolik duygular, sava\u015f\u0131n getirdi\u011fi felaketler, neden oldu\u011fu ac\u0131 ve \u0131st\u0131rap, Azerbaycan sanat\u0131nda ve Azerbaycanl\u0131 sanat\u00e7\u0131lar\u0131n eserlerinde de yer almaktad\u0131r. Bu ba\u011flamda, g\u00fcn\u00fcm\u00fcz\u00fcn sosyo-politik olaylar\u0131yla yank\u0131 bulan “M\u00fclteciler” serisi, Azerbaycan ger\u00e7ek\u00e7i resminin kurucusu ve yetenekli f\u0131r\u00e7a ustas\u0131 Bahruz Kangarli’nin eserlerinde b\u00fcy\u00fck \u00f6nem ta\u015f\u0131maktad\u0131r. Sanat\u00e7\u0131n\u0131n canl\u0131l\u0131\u011f\u0131, ger\u00e7ek\u00e7ili\u011fi ve psikolojik ifade g\u00fcc\u00fcyle \u00f6ne \u00e7\u0131kan “M\u00fclteciler” serisi, “Terk Edilmi\u015f Ev”, “Evsiz Aile”, “\u015eapkal\u0131 \u00c7ocuk”, “Nah\u00e7\u0131van’daki Y\u0131k\u0131k Evler”, “M\u00fclteci Kad\u0131n”, “M\u00fclteci \u00c7ocuk” gibi eserleri i\u00e7ermektedir. Sava\u015f\u0131n, m\u00fcltecili\u011fin, a\u00e7l\u0131\u011f\u0131n, yoksullu\u011fun getirdi\u011fi deh\u015fet, her m\u00fclteci \u00e7ocu\u011fun y\u00fcz\u00fcndeki atalar\u0131n\u0131n evlerine duyduklar\u0131 \u00f6zlem, ya\u015fad\u0131klar\u0131 duygular ve heyecanlar, g\u00f6zlerinde donmu\u015f h\u00fcz\u00fcn ve keder, portrelerinde b\u00fcy\u00fck bir ustal\u0131kla yans\u0131t\u0131lm\u0131\u015ft\u0131r. 1920’de Azerbaycan Demokratik Cumhuriyeti’nin \u00e7\u00f6k\u00fc\u015f\u00fc, Zangezur’un Ermenistan’a verilmesi, Nah\u00e7\u0131van ve Karaba\u011f’a y\u00f6nelik sald\u0131r\u0131lar, binlerce masum insan\u0131n \u00f6ld\u00fcr\u00fclmesi, Azerbaycan’\u0131n ya\u011fmalanmas\u0131 ve halk\u0131n tarihinden ve k\u00fclt\u00fcr\u00fcnden kopar\u0131lmas\u0131, sanat\u00e7\u0131 \u00fczerinde derin bir etki b\u0131rakt\u0131. Ve o, t\u00fcm bu adaletsizlikleri eserlerinde b\u00fcy\u00fck bir ac\u0131yla dile getirdi.<\/p>\n\n\n\n

Otobiyografik motiflerle zengin olan tarihi roman “Zangezur”da, Eyyub Abasov’un h\u00fcz\u00fcnl\u00fc \u00e7ocuklu\u011fu, ac\u0131 dolu ya\u015fam deneyimi ve sava\u015f\u0131n getirdi\u011fi deh\u015fetler kelimelerle ifade ediliyor. Resimlerde y\u00fcrek burkan bir \u015fekilde bahsetti\u011fimiz ac\u0131 \u00e7eken adam, roman\u0131n yazar\u0131d\u0131r ve yazar, sava\u015f\u0131n deh\u015fetine tan\u0131k olan bir \u00e7ocuktur: \u201cMinkend’in a\u015fa\u011f\u0131s\u0131ndaki yolda, yoksul bir \u00e7ingene kervan\u0131n\u0131 and\u0131ran, \u00e7\u0131plak, yal\u0131nayak ve a\u00e7 bir kalabal\u0131k y\u00fcr\u00fcyordu… \u00d6l\u00fcler \u00f6lm\u00fc\u015ft\u00fc, geri kalanlar Minkend kul\u00fcbelerine s\u0131\u011f\u0131nm\u0131\u015ft\u0131. Rahibin kederli, bo\u011fuk sesi g\u00f6\u011fs\u00fcnde yank\u0131lan\u0131yordu: \u201cMinkend kul\u00fcbesinin her k\u00f6\u015fesinde, her santimetrekaresinde bir insan nefesi duyuluyordu. Farkl\u0131 k\u00f6ylerden gelen m\u00fclteciler, Eyl\u00fcl so\u011fu\u011fundan ve aral\u0131ks\u0131z ya\u011fmurdan burada s\u0131\u011f\u0131nm\u0131\u015flard\u0131. Bu havas\u0131z, g\u00fcne\u015fsiz, nemli ve korkun\u00e7 kul\u00fcbe, onlar\u0131n sefil kaderlerini birle\u015ftirmi\u015fti. \u00c7e\u015fitli konu\u015fmalar ve sesler rahibin derin ve sonsuz g\u00f6\u011fs\u00fcnde yank\u0131lan\u0131yordu. \u0130nsanlardan biri a\u011fl\u0131yor, di\u011feri yanan bir kul\u00fcbeyi anlat\u0131yor, di\u011feri \u00e7\u0131lg\u0131nca g\u00fcl\u00fcyor ve bir di\u011feri dua ediyordu…\u201d<\/p>\n\n\n\n

B\u00fct\u00fcn bu sefaletin i\u00e7inde, bir yandan \u00e7irkin, bitli ve a\u00e7l\u0131ktan kaynaklanan tif\u00fcs ve ishal, insanlar\u0131n en ac\u0131mas\u0131z ikinci d\u00fc\u015fman\u0131 haline geldi. Her g\u00fcn, her saat, fitili bitmi\u015f ve ya\u011f\u0131 t\u00fckenmi\u015f tek bir lamba, bir \u00f6m\u00fcr boyu s\u00f6necekti…<\/p>\n\n\n\n

Sava\u015f\u0131n deh\u015feti, Munch, Dali ve Picasso’nun eserlerinde tasvir edilen manzaran\u0131n bir yans\u0131mas\u0131d\u0131r. Genel olarak, bu eserlerin yazar\u0131 sava\u015flard\u0131r.<\/p>\n\n\n\n

\u0130kinci D\u00fcnya Sava\u015f\u0131 s\u0131ras\u0131nda, Alman askerleri Paris’teki Pablo Picasso’nun evini ara\u015ft\u0131r\u0131rken, askerlerden biri sanat\u00e7\u0131ya sordu: – “Bu resim sizin eseriniz mi?” Picasso \u015f\u00f6yle dedi: “Hay\u0131r, bu sizin i\u015finiz.”<\/p>\n\n\n\n

Sanat\u00e7\u0131n\u0131n \u201cBu sizin i\u015finiz\u201d ifadesi, sav\u0131m\u0131z\u0131 do\u011fruluyor.<\/p>\n\n\n\n

Bu s\u00f6zler, Pablo Picasso’nun \u0130spanya \u0130\u00e7 Sava\u015f\u0131 s\u0131ras\u0131nda yazd\u0131\u011f\u0131 \u00fcnl\u00fc eseri \u201cGuernica\u201dy\u0131 ve genel olarak sava\u015fa kar\u015f\u0131 olan sava\u015f kar\u015f\u0131t\u0131 duru\u015funu ifade ediyor. Picasso, \u201cGuernica\u201d \u00fczerinde \u00e7al\u0131\u015f\u0131rken \u015f\u00f6yle diyor: \u201c\u0130spanya’n\u0131n m\u00fccadelesi, insanlara ve \u00f6zg\u00fcrl\u00fc\u011fe yap\u0131lan sald\u0131r\u0131ya kar\u015f\u0131d\u0131r. Bir sanat\u00e7\u0131 olarak, her zaman sanat\u0131n \u00f6l\u00fcm\u00fcne kar\u015f\u0131 olmaya \u00e7al\u0131\u015ft\u0131m. Bir an bile gericili\u011fe ve \u00f6l\u00fcme kat\u0131ld\u0131\u011f\u0131m\u0131 kim d\u00fc\u015f\u00fcnebilir? \u00dczerinde \u00e7al\u0131\u015ft\u0131\u011f\u0131m ve \u201cGuernica\u201d ad\u0131n\u0131 verdi\u011fim son eserlerimde, \u0130spanya’y\u0131 ac\u0131 ve \u00f6l\u00fcm okyanusuna s\u00fcr\u00fckleyen askeri s\u0131n\u0131fa duydu\u011fum nefreti a\u00e7\u0131k\u00e7a ifade ediyorum.\u201d<\/p>\n\n\n\n

Tart\u0131\u015ft\u0131\u011f\u0131m\u0131z t\u00fcm eserler, \u201cGuernica\u201d, \u201cA\u011flayan Kad\u0131n\u201d (Pablo Picasso), \u201c\u00c7\u0131\u011fl\u0131k\u201d, \u201cMelankoli\u201d (Edward Munch), \u201cSava\u015f\u0131n Y\u00fcz\u00fc\u201d (Salvador Dali), \u201cTerk Edilmi\u015f Ev\u201d, \u201cEvsiz Aile\u201d, \u201c\u015eapkal\u0131 \u00c7ocuk\u201d, \u201cNah\u00e7\u0131van’daki Y\u0131k\u0131k Evler\u201d, \u201cM\u00fclteci Kad\u0131n\u201d, \u201cM\u00fclteci \u00c7ocuk\u201d (Behruz Kangarli) ve \u201cZengezur\u201d (Eyyub Abasov) roman\u0131, \u00f6z\u00fcnde ayn\u0131d\u0131r ve sava\u015f\u0131n deh\u015fetini yans\u0131tan ve sava\u015fa kar\u015f\u0131 yaz\u0131lm\u0131\u015f eserler olarak ola\u011fan\u00fcst\u00fc \u00f6neme sahiptir.<\/p>\n\n\n\n

Sanat\u00e7\u0131lar\u0131n, \u00f6zellikle sanat\u00e7\u0131 ve yazarlar\u0131n eserlerinde sava\u015f\u0131n deh\u015fetinin yans\u0131mas\u0131ndan bahsederken, T\u00fcrk Dili ve Edebiyat\u0131 Derne\u011fi Erzurum \u015fubesi ba\u015fkan\u0131, \u201c\u0130ttifak\u201d gazetesi \u00e7al\u0131\u015fan\u0131, \u015fair Murat Erta\u015f’\u0131n \u201cOturma odas\u0131, kitaplar, mezarl\u0131k!\u201d ba\u015fl\u0131kl\u0131 bir makalesini dikkatimi \u00e7ekti. \u00c7ok dokunakl\u0131, ayn\u0131 zamanda da ger\u00e7e\u011fi yans\u0131tan bir yaz\u0131yd\u0131. M. Erta\u015f neden kitaplar\u0131n\u0131n her birine “mezar odas\u0131” diyor? Bu sorunun cevab\u0131 yaz\u0131n\u0131n kendisinde: “Bu kitaplar\u0131n her biri birer mezar ta\u015f\u0131… Bu kitaplar\u0131 yazanlar\u0131n \u00e7o\u011funun elleri, omuzlar\u0131, bacaklar\u0131, ba\u015flar\u0131, sa\u00e7lar\u0131, g\u00f6zleri ve dudaklar\u0131 topra\u011f\u0131n yeme\u011fi oldu; b\u00f6ceklerle ve \u00e7al\u0131l\u0131klarla beslendiler… Kalpleri h\u00e2l\u00e2 at\u0131yor, ama ruhlar\u0131 benim odamda…”<\/p>\n\n\n\n

Evim bir sonsuzluk odas\u0131 gibidir; odalarda, salonda ve oturma odas\u0131nda y\u00fczy\u0131llardan ve \u00fclkelerden ruhlar dola\u015f\u0131r. T\u00fcm m\u00fccadeleleri, mutluluklar\u0131, ac\u0131lar\u0131yla… K\u0131yamet G\u00fcn\u00fcnde…<\/p>\n\n\n\n

T\u00fcrbe ziyaret edilen bir yer anlam\u0131na gelir.. Bir insan\u0131n \u00f6ld\u00fckten sonra g\u00f6m\u00fcld\u00fc\u011f\u00fc yer. Bu kitaplar\u0131 yazanlar, kendilerini bu kitaplara g\u00f6menlerdir. Bu kitaplar\u0131n her biri bir mezar ta\u015f\u0131d\u0131r…\u201d<\/p>\n\n\n\n

Zangezur’da do\u011fan ve katliamda aile \u00fcyelerini kaybeden Eyyub Abasov, 1918-1920 Zangezur trajedisini \u201cZangezur\u201d adl\u0131 tarihi roman\u0131nda yans\u0131t\u0131rken, hem kaybetti\u011fi vatan\u0131 ve aile \u00fcyelerin\u0259 g\u00f6zya\u015flar\u0131yla yas tutmu\u015f, ac\u0131s\u0131n\u0131 ve kederini kitab\u0131n sayfalar\u0131na f\u0131s\u0131ldam\u0131\u015f, hem de hayal g\u00fcc\u00fcnde vatan\u0131nda dola\u015fm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

\u0130spanyol \u015fair, oyun yazar\u0131, ressam, piyanist ve besteci Federico Garc\u00eda Lorca’ya (1898-1936) \u015fu soru sorulmu\u015ftur: \u201c\u015eiirleriniz neden anlaml\u0131, k\u0131sa ve a\u00e7\u0131k?\u201d<\/p>\n\n\n\n

Lorca g\u00fcl\u00fcmseyerek \u015f\u00f6yle yan\u0131tlad\u0131: “\u00c7\u00fcnk\u00fc \u015fiir yazd\u0131\u011f\u0131mda, g\u00f6zlerimin \u00f6n\u00fcnde hep k\u00fc\u00e7\u00fck bir k\u0131z \u00e7ocu\u011fu canlan\u0131yor. Kendinden daha uzun bir \u00e7i\u00e7e\u011fi koparmak i\u00e7in uzan\u0131yor ama ona ula\u015fam\u0131yor.”<\/p>\n\n\n\n

Eyyub Abasov’un “Zangezur” roman\u0131n\u0131n her sayfas\u0131n\u0131 yazarken, memleketi Zangezur’un g\u00f6zlerinin \u00f6n\u00fcnde canland\u0131\u011f\u0131na, 15 ya\u015f\u0131nda terk etmek zorunda kald\u0131\u011f\u0131 Zangezur’da ve do\u011fdu\u011fu \u015eeki k\u00f6y\u00fcnde dola\u015ft\u0131\u011f\u0131na, bah\u00e7esine bak\u0131p \u00e7i\u00e7ek toplad\u0131\u011f\u0131na eminiz. Gidemedi\u011fi, g\u00f6remedi\u011fi ve ula\u015famad\u0131\u011f\u0131 Zangezur`un da\u011f\u0131n\u0131 ve vadisini defalarca gezib dola\u015ft\u0131… \u00c7al\u0131\u015fma odas\u0131nda, y\u0131llar \u00f6nce ya\u015fad\u0131klar\u0131n\u0131 ve daha sonra yazd\u0131klar\u0131n\u0131 milyonlarca kez yeniden ya\u015fad\u0131. Ruhu Zangezur’da dola\u015ft\u0131, anneli babal\u0131 g\u00fcnlerini hat\u0131rlad\u0131 ve Ermenilerin M\u00fcsl\u00fcmanlara kar\u015f\u0131 i\u015fledi\u011fi vah\u015fetler, bir film gibi milyonlarca kez g\u00f6zlerinin \u00f6n\u00fcnden ge\u00e7ti. Murat Erta\u015f’\u0131n s\u00f6zleriyle, \u00e7al\u0131\u015fma odas\u0131nda de\u011fil, “mezar odas\u0131nda” oturan ac\u0131 dolu ve huzursuz ruhu, Zangezur’da dola\u015ft\u0131, en zorlu yollar\u0131, tepeleri ve u\u00e7urumlar\u0131 a\u015ft\u0131, en y\u00fcksek zirvelerde kendini g\u00f6zlemledi ve kalbinde ta\u015f\u0131d\u0131\u011f\u0131 ac\u0131lar\u0131, trajedileri ve kederleri \u00f6nce kendi i\u00e7inde okudu. Yazar\u0131n \u00e7al\u0131\u015fma odas\u0131, ac\u0131 dolu ve huzursuz ruhu i\u00e7in “hem bir ac\u0131 yeri hem de bir \u015fifa yeri”ydi.<\/p>\n\n\n\n

Genel olarak, Edvard Munch’\u0131n “Melankoli”, “\u00c7\u0131\u011fl\u0131k”, Salvador Dali’nin “Sava\u015f\u0131n Y\u00fcz\u00fc”, Pablo Picasso’nun “Guernica”, “A\u011flayan Kad\u0131n”, Bahruz Kangarli’nin “M\u00fclteciler” serisi: “Terk Edilmi\u015f Ev”, “Evsiz Aile”, “\u015eapkal\u0131 \u00c7ocuk”, “Nah\u00e7\u0131van’daki Y\u0131k\u0131k Evler”, “M\u00fclteci Kad\u0131n”, “M\u00fclteci \u00c7ocuk” ve “M\u00fclteciler” serisinde yer alan di\u011fer portreler, Eyyub Abasov’un tarihi roman\u0131 “Zangezur”, trajedileri, hayat\u0131, a\u015fk\u0131, korkuyu, m\u00fcltecili\u011fi, a\u00e7l\u0131\u011f\u0131 ve \u00f6l\u00fcm\u00fc duygusal ve psikolojik olarak ustaca yans\u0131tan imgelerdir. Bu eserlere b\u00fcy\u00fck ac\u0131, fiziksel ve psikolojik \u0131st\u0131rap ve ruhun \u00e7ekti\u011fi umutsuzluk hakimdir. Sanat\u00e7\u0131n\u0131n milliyetine bak\u0131lmaks\u0131z\u0131n, t\u00fcm bu eserlerin rengi ve \u00f6z\u00fc ayn\u0131d\u0131r. Resimde renkler, f\u0131r\u00e7a darbeleri, semboller veya ince detaylarla yans\u0131t\u0131lan olaylar, edebiyatta kelimelerle resmedilir. Gelecek nesillerin olanlardan habersiz kalmamas\u0131 i\u00e7in resmedilirler.<\/p>\n\n\n\n

Ne yaz\u0131k ki, resimler ve yaz\u0131l\u0131 eserler bug\u00fcn de ge\u00e7erlili\u011fini koruyor.<\/p>\n","protected":false},"excerpt":{"rendered":"

Prof.Dr. L\u00fctviyye Asgerzade K\u0131yamet G\u00fcn\u00fc’n\u00fcn – evrenin ve t\u00fcm canl\u0131lar\u0131n sonunun ve Dirili\u015f G\u00fcn\u00fc’n\u00fcn oldu\u011funa inan\u0131l\u0131r. Ayr\u0131ca “insan\u0131n kiyameti \u00f6l\u00fcm\u00fcd\u00fcr, ya da tam tersi: herkesin \u00f6l\u00fcm\u00fc kendi kiyametidir” \u015feklinde yayg\u0131n bir d\u00fc\u015f\u00fcnce de vard\u0131r. Her insan\u0131n \u00f6l\u00fcm\u00fc ger\u00e7ekten onun kiyametimidir, yoksa t\u00fcm \u00f6l\u00fcmler ayr\u0131 birer kiyametdir? Nedense, bu sat\u0131rlar\u0131 yazarken, ger\u00e7ek k\u0131yametin, sava\u015f\u0131n deh\u015fetini kendi […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[],"class_list":["post-50908","post","type-post","status-publish","format-standard","hentry","category-pub"],"_links":{"self":[{"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/posts\/50908","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=50908"}],"version-history":[{"count":1,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/posts\/50908\/revisions"}],"predecessor-version":[{"id":50916,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/posts\/50908\/revisions\/50916"}],"wp:attachment":[{"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=50908"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=50908"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=50908"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}