{"id":52619,"date":"2026-08-07T12:00:00","date_gmt":"2026-08-07T08:00:00","guid":{"rendered":"https:\/\/edebiyyat-az.com\/?p=52619"},"modified":"2026-08-07T13:30:22","modified_gmt":"2026-08-07T09:30:22","slug":"unudulmayan-mubar%c9%99k-dogumlara-elnar%c9%99-akimova","status":"publish","type":"post","link":"https:\/\/edebiyyat-az.com\/?p=52619","title":{"rendered":"Unudulmayan m\u00fcbar\u0259k do\u011fumlara…\u00a0– Elnar\u0259 AK\u0130MOVA"},"content":{"rendered":"\n
\"\"<\/a><\/figure>\n\n\n\n

Yaratmaq \u00f6l\u00fcm\u00fc \u00f6ld\u00fcrm\u0259k dem\u0259kdir.<\/strong><\/em><\/p>\n\n\n\n

Romen Rollan<\/strong><\/em><\/p>\n\n\n\n

Vaxtil\u0259 Frans Kafka dostu Maks Broda \u0259lyazmalar\u0131n\u0131 verib onlar\u0131 yand\u0131rma\u011f\u0131 ist\u0259mi\u015fdi. Maks Brodsa onlar\u0131 yand\u0131rmay\u0131b d\u00fcnyaya bir Kafka ehti\u015fam\u0131 ya\u015fatd\u0131. Az\u0259r Turan da dostu Faiq \u0130smay\u0131lovun iyn\u0259boyu \u015feirl\u0259rini onunla bir \u00f6lm\u0259y\u0259 qoymad\u0131. \u015eeirl\u0259rini \u00e7ap el\u0259di, haqq\u0131nda “\u00d6l\u00fcm s\u00fcvarisi” kitab\u0131n\u0131 yazd\u0131, “\u018fd\u0259biyyat q\u0259zeti”nin ba\u015f redaktoru oldu\u011fu bu ill\u0259rd\u0259 Faiqin \u015feirl\u0259rini \u0259d\u0259bi prosesin h\u0259mi\u015f\u0259 h\u0259r\u0259k\u0259td\u0259 olan canl\u0131 orqanizmin\u0259 \u00e7evirdi. Az\u0259rbaycan poeziyas\u0131na Faiq \u0130smay\u0131lov adl\u0131 \u015fair qazand\u0131rd\u0131.<\/p>\n\n\n\n

Poeziya \u00fcf\u00fcql\u0259rind\u0259 q\u0259fil g\u00fcn i\u015f\u0131\u011f\u0131 kimi do\u011fub g\u0259ldiyi q\u0259fil s\u00fcr\u0259tl\u0259 d\u0259 qeyb\u0259 \u00e7\u0259kil\u0259n Faiq ancaq yadda\u015flarda, xatir\u0259l\u0259rd\u0259, bir d\u0259 yazd\u0131\u011f\u0131 \u015feirl\u0259rin s\u0259tirl\u0259rind\u0259 ya\u015fad\u0131. Onlar\u0131n he\u00e7 biri ona v\u0259fas\u0131z \u00e7\u0131xmad\u0131. He\u00e7 olmasa burda b\u0259xti g\u0259tirdi. He\u00e7 olmasa burda f\u0259l\u0259yin \u00e7\u0259rxi t\u0259rsin\u0259 f\u0131rlanmad\u0131. Bir dost \u0259li, bir d\u0259 \u015feir yadda\u015f\u0131 onu \u00e7\u0259kildiyi qaranl\u0131\u011f\u0131n h\u00fccr\u0259sind\u0259n al\u0131b g\u00fcn i\u015f\u0131\u011f\u0131na \u00e7\u0131xartd\u0131. M\u00fcv\u0259qq\u0259ti olan \u00f6mr\u00fcn \u0259b\u0259di y\u00fcr\u00fc\u015f\u00fc ba\u015flad\u0131. Yenid\u0259n do\u011fuldu Faiq \u0130smay\u0131lov…<\/p>\n\n\n\n

\u0130ndi budur, haqq\u0131nda ikinci kitab \u0259rs\u0259y\u0259 g\u0259lib: “Do\u011fumun unudulu\u015fu”! M\u00fc\u0259llifi \u00dclvi Babasoyun t\u0259birinc\u0259 des\u0259k, “Faiq \u0130smay\u0131lov s\u0259f\u0259rd\u0259n qay\u0131d\u0131r. T\u0259miz, nadir bioqrafiyas\u0131 v\u0259 Az\u0259rbaycan poeziyas\u0131ndak\u0131 layiqli yeri il\u0259”. Q\u0259rib\u0259dir, \u00e7ox q\u0131sa \u00f6m\u00fcr k\u0259simi ya\u015fayan, ya\u015flanmadan h\u0259yat\u0131 t\u0259rk ed\u0259n Faiq \u0130smay\u0131lov bu g\u00fcn az qala poeziyan\u0131n klassiki s\u0259viyy\u0259sind\u0259 q\u0259bul, d\u0259rk edilir. Bunu h\u0259m d\u0259 klassikan\u0131n oxunu\u015fu m\u0259qam\u0131 \u00fcz\u0259rind\u0259n s\u0259sl\u0259ndirm\u0259k olar. H\u0259r g\u0259l\u0259n n\u0259sil klassik irsi yeni g\u00f6zl\u0259 d\u0259y\u0259rl\u0259ndirdiyi kimi, Faiqin d\u0259 \u015feirl\u0259ri yeti\u015f\u0259n g\u0259nc n\u0259slin, yeni \u0259d\u0259bi n\u0259f\u0259sin, poetik d\u00fc\u015f\u00fcnc\u0259nin predmetin\u0259 \u00e7evrilir. “Do\u011fumun unudulu\u015fu” kitab\u0131 dedikl\u0259rimiz\u0259 s\u00fcbutdur. \u00dclvi \u00e7a\u011fda\u015f, modern s\u0259n\u0259t g\u00f6r\u00fc\u015fl\u0259rini, elmi-n\u0259z\u0259ri bilgil\u0259rini, poeziya sistemi haqq\u0131nda yeni d\u00fcnyag\u00f6r\u00fc\u015fl\u0259ri, d\u00fc\u015f\u00fcnc\u0259 paradiqmalar\u0131n\u0131 Faiqin \u015feirl\u0259ri \u0259sas\u0131nda s\u0131naqdan \u00e7\u0131xar\u0131r. Bu \u015feirl\u0259r\u0259 istinad\u0259n \u00fcmum\u0259n m\u0259tnin struktur v\u0259 ifad\u0259 estetikas\u0131 haqq\u0131nda fikirl\u0259rini, s\u0259n\u0259tl\u0259 ba\u011fl\u0131 n\u0259z\u0259ri d\u00fc\u015f\u00fcnc\u0259l\u0259rini b\u00f6l\u00fc\u015f\u00fcr. \u00c7\u00fcnki Faiqin \u015feirl\u0259ri h\u0259r zaman yeni oxunu\u015fa imkan ver\u0259n m\u0259tnl\u0259rdir. \u018fsl s\u0259n\u0259tin, \u0259sl poeziyan\u0131n g\u00fcc\u00fc h\u0259m d\u0259 bundad\u0131r. Yeni s\u0259n\u0259t paradiqmalar\u0131n\u0131 i\u00e7ind\u0259n ke\u00e7ir\u0259 bilm\u0259sind\u0259.<\/p>\n\n\n\n

\u00dclvi Faiq \u0130smay\u0131lovu “sevgid\u0259n \u00f6l\u0259n \u015fair” adland\u0131r\u0131r: “Siz he\u00e7 sevgid\u0259n \u00f6l\u0259n adam g\u00f6rm\u00fcs\u00fcn\u00fczm\u00fc? M\u0259n g\u00f6rm\u00fc\u015f\u0259m. Ancaq real h\u0259yatda deyil. S\u0259n\u0259tin fenomenal estetika buca\u011f\u0131nda k\u0259si\u015f\u0259n bir \u00f6m\u00fcrd\u0259 \u015fahid oldum bu nadir ya\u015famaq, var olmaq formas\u0131na. “\u0130yn\u0259boyu \u015feirl\u0259r” yazan Faiq \u0130smay\u0131lovun yarad\u0131c\u0131l\u0131\u011fnda rast g\u0259ldim sevinc v\u0259 k\u0259d\u0259rin poetik izdivac\u0131na. Bir-birinin \u0259ksi olan bu iki duy\u011fu sif\u0259timd\u0259 eyni anda canland\u0131, t\u0259zah\u00fcr etdi. Ruhum v\u0259 b\u0259d\u0259nim is\u0259 ayr\u0131-ayr\u0131l\u0131qda q\u0259zaya u\u011frad\u0131, sanki. \u00c7\u00fcnki Faiqin h\u0259yat\u0131 da \u015feirl\u0259ri kimi, z\u00fclm\u0259t qaranl\u0131qda iyn\u0259 boyda i\u015f\u0131q axtaran, \u00fcmidli bir sevginin qurban\u0131na \u00e7evrilmi\u015fdi”.<\/p>\n\n\n\n

Poeziyan\u0131n f\u0259ls\u0259f\u0259si onsuz da sevgi h\u0259qiq\u0259tind\u0259 ehtiva olunur. Faiq h\u0259yat\u0131n, ya\u015fama\u011f\u0131n m\u0259nas\u0131n\u0131 sevgid\u0259 g\u00f6r\u00fcrd\u00fc v\u0259 sonad\u0259k inand\u0131\u011f\u0131 bu ideyan\u0131n irad\u0259si \u0259leyhin\u0259 getm\u0259di. \u00d6l\u00fcm\u00fc il\u0259 sevgi m\u0259tnl\u0259rinin taml\u0131\u011f\u0131n\u0131, daxili safl\u0131\u011f\u0131n\u0131 qorumu\u015f oldu. G\u00f6yd\u0259n b\u0259xtin\u0259 yaz\u0131lan q\u0259zav\u00fc-q\u0259d\u0259r\u0259 el\u0259 ya\u011fan yaz ya\u011f\u0131\u015f\u0131na oldu\u011fu kimi \u00e7\u0259tir tutmad\u0131: “Siz Allah, ba\u011flay\u0131n o \u00e7\u0259tirl\u0259ri,\/a\u00e7\u0131n ba\u015f\u0131n\u0131z\u0131 yaz ya\u011f\u0131\u015f\u0131na”, – dedi. Amma ona ayr\u0131lan az vaxtda s\u00fcrreal r\u0259sm tablolar\u0131na s\u0131\u011fd\u0131r\u0131lan m\u0259nan\u0131 \u00f6z ki\u00e7ik \u015feirl\u0259rinin b\u0259tnin\u0259 y\u0131\u011f\u0131b: “Bu d\u00fcnyan\u0131n istisiyl\u0259 soyu\u011fu\/\u00f6p\u00fc\u015f\u0259n yerd\u0259n\/k\u00fcl\u0259yi ba\u015flay\u0131r…”, – kimi misralarla t\u0259kc\u0259 t\u0259bi\u0259tin yox, poeziyan\u0131n hadis\u0259sini yaratd\u0131 Faiq \u0130smay\u0131lov.<\/p>\n\n\n\n

Bu m\u0259nada onun \u015feirl\u0259ri v\u0259 \u00f6l\u00fcm\u00fc sevgi akt\u0131n\u0131n metaforudur. Sevgi il\u0259 ba\u011fl\u0131 Faiqin \u00f6z ger\u00e7\u0259kliyi var v\u0259 \u00dclvi haql\u0131 olaraq bunu insan\u0131n ilahi mahiyy\u0259t\u0259 ba\u011fl\u0131l\u0131\u011f\u0131n\u0131n ekvivalenti kimi s\u0259ciyy\u0259l\u0259ndirir. \u00c7\u00fcnki b\u0259dii m\u0259tn h\u0259m d\u0259 ilkin d\u00fcnyan\u0131, onun ger\u00e7\u0259klik strukturunu ehtiva ed\u0259ndir. \u00dclvi bu \u015feirl\u0259ri mifopoetik t\u0259f\u0259kk\u00fcr sisteminin h\u00fcdudlar\u0131 daxilind\u0259 t\u0259hlil\u0259 \u00e7\u0259kir, \u015feird\u0259ki \u0259sl m\u0259nan\u0131, sanki daim gizli, \u00f6rt\u00fckd\u0259 saxlan\u0131lan ilahi mahiyy\u0259tin sirrini d\u0259rin qatlarda aray\u0131r. “Faiqin \u015feirl\u0259ri \u00fc\u00e7 m\u00fcxt\u0259lif tarixi, mifoloji v\u0259 poetik yadda\u015f\u0131 \u00f6z\u00fcnd\u0259 birl\u0259\u015fdirir. Bel\u0259likl\u0259, sivilizasiyan\u0131n \u00fc\u00e7 f\u0259rqli d\u00f6vr\u00fc e\u015fq, \u015feir v\u0259 m\u00fcdriklikl\u0259 uzla\u015f\u0131r”. M\u00fc\u0259llif \u015feirl\u0259rd\u0259ki m\u0259h\u0259bb\u0259t duy\u011fusunun ali s\u0259viyy\u0259d\u0259 t\u0259qdimin\u0259 adekvat olaraq qad\u0131n, sevgi anlamlar\u0131n\u0131n cazib\u0259sini m\u00fcmk\u00fcn olan b\u00fct\u00fcn n\u00f6qt\u0259l\u0259rd\u0259n v\u0259 estetikalardan g\u00f6st\u0259rir.<\/p>\n\n\n\n

\"\"\/<\/figure>\n\n\n\n

T\u0259klik v\u0259 h\u00fcznd\u0259n, h\u0259sr\u0259t v\u0259 ayr\u0131l\u0131qdan boylanan, dar\u0131xan, g\u00f6zl\u0259ri yol \u00e7\u0259k\u0259n, k\u00fc\u00e7\u0259l\u0259ri q\u0259rib-q\u0259rib g\u0259z\u0259n \u015fair obraz\u0131… Faiq niy\u0259 k\u0259d\u0259rd\u0259n bu q\u0259d\u0259r m\u0259hr\u0259mlikl\u0259 b\u0259hs edirdi, g\u00f6r\u0259s\u0259n? Bu \u015feirl\u0259rin can\u0131ndak\u0131 yor\u011funlu\u011fun s\u0259b\u0259bi n\u0259l\u0259r idi? B\u0259lk\u0259 sad\u0259 bir k\u0259nd u\u015fa\u011f\u0131 kimi do\u011fulub d\u00fcnyan\u0131n \u00e7irkinlikl\u0259rin\u0259 bula\u015fmamaq ac\u0131s\u0131, onu ir\u0259lid\u0259 g\u00f6zl\u0259y\u0259n b\u0259xtsiz taleyi duyub a\u011fr\u0131maq, yar\u0131m qalm\u0131\u015f niyy\u0259tl\u0259r, paralanm\u0131\u015f \u00fcmidl\u0259r, amma v\u0259 lakin… diri qalan, he\u00e7 solmayan arzular\u0131n g\u00f6y qur\u015fa\u011f\u0131… Bu fikirl\u0259ri 2016-c\u0131 ild\u0259 Faiq haqq\u0131nda “Duy\u011fular\u0131n \u00e7i\u00e7\u0259k \u0259tri” adlanan yaz\u0131mda yazm\u0131\u015fd\u0131m. “Do\u011fumun unudulu\u015fu” kitab\u0131nda da m\u00fc\u0259llif bu kontekstd\u0259 d\u0259qiq vur\u011fular edir: “Faiq yalq\u0131zl\u0131\u011f\u0131 Avropa modernistl\u0259ri kimi l\u0259n\u0259tl\u0259mir. T\u0259nhal\u0131q hissini m\u0259nims\u0259yir, do\u011fma, m\u0259hr\u0259m duy\u011fuya \u00e7evirir. Kazimir Malevi\u00e7 “Qara kvadrat”da inc\u0259s\u0259n\u0259tin t\u0259nhal\u0131\u011f\u0131n\u0131, b\u0259lk\u0259 d\u0259, sonunu t\u0259svirsizliyin v\u0259 r\u0259ngsizliyin qara k\u00f6lg\u0259sin\u0259 \u00e7evirdiyi kimi, Faiq “Qara” \u015feirind\u0259 insan\u0131 k\u00f6lg\u0259t\u0259k izl\u0259y\u0259n m\u0259nliyin, eqonun z\u0259rif b\u0259dii strukturunu yarad\u0131r. \u00c7\u00fcnki “Qara” \u015feirind\u0259 \u00fcsyan yoxdur, t\u0259sdiq, raz\u0131la\u015fma var. Faiq insan\u0131n \u00f6z\u00fcyl\u0259 – k\u00f6lg\u0259siyl\u0259 bar\u0131\u015fma\u011f\u0131n\u0131n poeziyas\u0131n\u0131 yarad\u0131r. Modernist struktur antimodernist m\u0259zmunda t\u0259qdim edilir”:<\/p>\n\n\n\n

Bir m\u0259n\u0259m,<\/em><\/p>\n\n\n\n

bir d\u0259 a\u011f divarda<\/em><\/p>\n\n\n\n

qara k\u00f6lg\u0259m…<\/em><\/p>\n\n\n\n

Deyir\u0259m n\u0259 yax\u015f\u0131<\/em><\/p>\n\n\n\n

t\u0259k deyil\u0259m.<\/em><\/p>\n\n\n\n

Faiqin h\u0259r \u00e7\u00fcr s\u00f6z oyunundan uzaq dill\u0259 yaz\u0131lan, metafora z\u0259nginliyi v\u0259 q\u0259rib\u0259liyi, b\u0259dii tap\u0131nt\u0131lar v\u0259 obrazl\u0131 ifad\u0259l\u0259r \u00e7e\u015fidi il\u0259 se\u00e7il\u0259n, ayr\u0131 bir intonasiya lad\u0131nda ger\u00e7\u0259kl\u0259\u015f\u0259n \u015feirl\u0259rini \u00dclvi m\u00fcxt\u0259lif yollarla, f\u0259rqli m\u00f6vqel\u0259rl\u0259 \u00f6yr\u0259nm\u0259y\u0259 can at\u0131r. Elmin d\u0259qiq v\u0259 \u0259sasland\u0131r\u0131lm\u0131\u015f m\u00fcdd\u0259alar\u0131, f\u0259ls\u0259fi fikrin \u00e7oxy\u00f6nl\u00fc v\u0259 m\u00fcr\u0259kk\u0259b konsepsiyalar\u0131n\u0131n hasil\u0259 g\u0259tirdiyi m\u00fclahiz\u0259l\u0259rl\u0259 yana\u015f\u0131, o, \u015feiri qavraman\u0131n dig\u0259r aspektl\u0259rind\u0259n d\u0259 yararlan\u0131r. Dil v\u0259 mifologiyan\u0131n, mifologiya il\u0259 inc\u0259s\u0259n\u0259tin birg\u0259liyini, s\u00f6z\u00fcn mifopoetik t\u0259f\u0259kk\u00fcrd\u0259n g\u0259l\u0259n metaforik g\u00fcc\u00fcn\u00fc Faiqin \u015feirl\u0259ri \u0259sas\u0131nda izah etm\u0259y\u0259 \u00e7al\u0131\u015f\u0131r. Faiq \u0130smay\u0131lov \u015feirl\u0259rinin apar\u0131c\u0131 poetik amili dil vasit\u0259l\u0259rinin xarici effekt v\u0259 t\u0259\u0259ss\u00fcrat yaratmaqdan daha \u00e7ox x\u00fcsusi anlam yarad\u0131c\u0131 mexanizm\u0259, m\u0259ntiqi g\u00fcc\u00fc olan d\u0259lil v\u0259 \u0259saslara \u00e7evrilm\u0259sidir. Bu bax\u0131mdan, \u00dclvi t\u0259x\u0259yy\u00fcl\u00fcn\u00fcn imkan verdiyi q\u0259d\u0259r bu \u015feirl\u0259ri f\u0259rqli kulturoloji aspektl\u0259rd\u0259n a\u00e7ma\u011fa y\u00f6nl\u0259nir. \u0130lk bax\u0131\u015fda rasional ifad\u0259 il\u0259 yaz\u0131lan bu m\u0259qal\u0259l\u0259rd\u0259 emosional g\u0259rginlik, film v\u0259 musiqi fonunun birg\u0259liyi m\u0259tn\u0259 dol\u011fun s\u0259ciyy\u0259 qazand\u0131r\u0131r. \u00dclvi Babasoy f\u0259rqli co\u011frafi m\u0259kan v\u0259 zaman qatlar\u0131na daxil olur, m\u0259tnl\u0259raras\u0131 s\u0259rh\u0259dl\u0259ri m\u00fc\u0259yy\u0259nl\u0259\u015fdirm\u0259y\u0259 \u00e7al\u0131\u015f\u0131r, onlar aras\u0131nda cizgil\u0259r ayd\u0131nla\u015fd\u0131qca h\u0259r m\u0259tnin daxilind\u0259 ox\u015far s\u0259sl\u0259r, notlar \u00f6z modusu il\u0259 meydana \u00e7\u0131x\u0131r.           <\/p>\n\n\n\n

Daha bir m\u0259qam. M\u00fc\u0259llif Faiqin \u015feirl\u0259rind\u0259ki “oxucu-b\u0259d\u0259n dili” amilini vizual m\u0259tnin plastik ifad\u0259liliyind\u0259 \u00f6n\u0259mli rol da\u015f\u0131yan amil olaraq s\u0259ciyy\u0259l\u0259ndirir. Vizual \u015feirl\u0259r m\u0259s\u0259l\u0259sin\u0259 toxunur. Bu g\u00fcn \u00e7a\u011fda\u015f poeziyada funksional olan vizual \u015feir yazmaq tendensiyas\u0131n\u0131 Faiq 80-ci ill\u0259rd\u0259 ger\u00e7\u0259kl\u0259\u015fdirib: “Faiq iyirmi ya\u015f\u0131nda \u015feir s\u0259n\u0259tind\u0259 yenilikl\u0259r edir. O, n\u0259z\u0259ri anlay\u0131\u015flardan birba\u015fa x\u0259b\u0259rdar deyildir. “Ya\u011f\u0131\u015f” \u015feirind\u0259 ir\u0259li v\u0259 geriy\u0259 s\u0131\u00e7ray\u0131\u015flar, vizual effektl\u0259rin kadrarxas\u0131 v\u0259 kadr\u00f6n\u00fc t\u0259c\u0259ss\u00fcm\u00fc maraq do\u011furur. Y\u0259ni oxucunun yadda\u015f\u0131, misralar\u0131n yadda\u015f\u0131 v\u0259 \u015fairin yadda\u015f\u0131 vahid bir harmoniya yarad\u0131r”.<\/p>\n\n\n\n

\u0130st\u0259nil\u0259n m\u0259tn – ist\u0259r poeziya n\u00fcmun\u0259si olsun, ist\u0259r proza, \u00f6z\u00fcnd\u0259 m\u00fcxt\u0259lif zaman qatlar\u0131n\u0131 ehtiva edir. Ke\u00e7mi\u015fin yadda\u015f\u0131 v\u0259 indinin m\u00fcasirliyin\u0259 dair elementl\u0259rin c\u0259ml\u0259\u015fdiyi m\u0259tn yaln\u0131z q\u0131z\u0131l orta yarad\u0131b zaman\u0131n axar\u0131na daxil ola bilir. V\u0259 daxil oldu\u011fu zamanda \u00f6z daxili iyerarxiyas\u0131n\u0131 qurub, \u00f6z zaman\u0131 il\u0259 s\u0259rb\u0259st davranma\u011f\u0131, dil tapma\u011f\u0131 bacar\u0131r. \u00dclvi Babasoy Faiqin \u015feirl\u0259rinin daxili-bioloji ritml\u0259rind\u0259 zaman anlay\u0131\u015f\u0131na s\u0131\u011fmayan virtual ba\u011flar\u0131 \u00fcz\u0259 \u00e7\u0131xar\u0131r. M\u00fc\u0259llif \u0259d\u0259biyyat\u015f\u00fcnasl\u0131qda m\u00fc\u0259llif-obraz-oxucu s\u0259viyy\u0259l\u0259rind\u0259 ger\u00e7\u0259kl\u0259\u015f\u0259n m\u0259tnin b\u0259dii zaman konsepsiyas\u0131nda \u0259ks olunmas\u0131 m\u0259s\u0259l\u0259sini qabard\u0131r. \u0130ntertekstual m\u0259tnl\u0259rd\u0259 oxucu amili vacib m\u0259s\u0259l\u0259dir. Niy\u0259? \u00c7\u00fcnki b\u0259dii m\u0259tnin metaforik \u00e7oxqatl\u0131l\u0131\u011f\u0131nda zaman\u0131n varl\u0131\u011f\u0131 v\u0259 d\u00fcz\u00fcm\u00fc xaotikdir, f\u0259rqli m\u0259d\u0259niyy\u0259tl\u0259rd\u0259n g\u0259l\u0259n m\u0259tnl\u0259r hans\u0131sa eyni ba\u015flan\u011f\u0131cda birl\u0259\u015firl\u0259r. Dem\u0259li, m\u00fc\u0259yy\u0259n zaman h\u00fcdudunu a\u015fm\u0131\u015f olurlar. Amma bu t\u0259m\u0259rk\u00fcz n\u00f6qt\u0259si, vahid estetik \u0259razinin sahibi art\u0131q yaz\u0131\u00e7\u0131 yox, oxucudur. Umberto Eko “Q\u0131z\u0131lg\u00fcl\u00fcn ad\u0131” roman\u0131 haqq\u0131nda yaz\u0131rd\u0131: “M\u0259tn sizin qar\u015f\u0131n\u0131zdad\u0131r v\u0259 \u00f6z m\u0259nas\u0131n\u0131 yarad\u0131r. M\u0259n ist\u0259s\u0259m d\u0259, ist\u0259m\u0259s\u0259m d\u0259 tapmaca meydana g\u0259lib. Ziddiyy\u0259tli ikilik. Burada bir (ola bilsin ki, h\u0259tta bir ne\u00e7\u0259) gizli m\u0259nan\u0131n h\u0259kk olundu\u011funu anlasam da he\u00e7 n\u0259yi izah ed\u0259 bilmir\u0259m. M\u00fc\u0259llif kitab\u0131 bitir\u0259n kimi \u00f6lm\u0259li idi. M\u0259tnin yolunu k\u0259sm\u0259m\u0259k \u00fc\u00e7\u00fcn”.<\/p>\n\n\n\n

\u00dclvi Babasoy \u015f\u0259rhl\u0259rind\u0259 ba\u015fqa yolu tutur. O, Faiqin \u015feirl\u0259rin\u0259 \u0259sas\u0259n h\u0259m m\u00fc\u0259llifin \u00f6z\u00fcn\u00fcn daxili xarakter \u00f6z\u0259llikl\u0259rini, h\u0259m d\u0259 onun d\u00fc\u015f\u00fcnc\u0259 t\u0259rzini, d\u00fcnyag\u00f6r\u00fc\u015f\u00fcn\u00fc, m\u0259tnl\u0259rind\u0259ki “d\u00fcnya v\u0259 ger\u00e7\u0259klik modeli”ni, s\u0259n\u0259t haqq\u0131nda fikirl\u0259rini duyma\u011fa \u00e7al\u0131\u015f\u0131r. B\u0259z\u0259n, sanki \u00f6z\u00fc d\u0259 bu m\u0259tnl\u0259rin i\u00e7in\u0259 daxil olub onlar\u0131n f\u0259al personaj\u0131na \u00e7evrilir. V\u0259 bu zaman \u015feirl\u0259rin “oxucu qavray\u0131\u015f\u0131”n\u0131 m\u00fc\u0259llifini “\u00f6ld\u00fcrm\u0259k” hesab\u0131na ger\u00e7\u0259kl\u0259\u015fdirmir, bel\u0259 bir yol d\u00fczg\u00fcn d\u0259 olmazd\u0131. B\u00fct\u00fcn \u015feirl\u0259rin t\u0259hlilind\u0259 obrazl\u0131 element kimi \u00e7\u0131x\u0131\u015f edir. \u0130.Erenburqun bel\u0259 bir fikri var ki, m\u00fc\u0259llifl\u0259 oxucu aras\u0131nda q\u0259rib\u0259 yax\u0131nl\u0131q var, m\u00fc\u0259yy\u0259n m\u0259qamda onlar\u0131n h\u0259r ikisi eyni i\u015fi g\u00f6r\u00fcr: oxucu da eynil\u0259 yaz\u0131\u00e7\u0131 kimi s\u00fcjet uydurur, \u0259s\u0259ri \u00f6z d\u00fc\u015f\u00fcnc\u0259l\u0259ri, xatir\u0259l\u0259ri, hissl\u0259ri il\u0259 z\u0259nginl\u0259\u015fdirir.<\/p>\n\n\n\n

\u00dclvi Babasoy poetik m\u0259tnl\u0259rin t\u0259hlili zaman\u0131 \u015fairin psixoloji \u0259hval-ruhiyy\u0259si m\u0259s\u0259l\u0259sini qabard\u0131r, m\u0259tl\u0259b\u0259 m\u00fc\u0259llifin ruhunun d\u0259rki m\u00fcst\u0259visind\u0259n g\u0259lir, onu \u015f\u0259rh edir. Az\u0259r Turan\u0131n 1994-c\u00fc ild\u0259 yazd\u0131\u011f\u0131 “\u00d6l\u00fcm s\u00fcvarisi” kitab\u0131 da V.H\u00fcqodan al\u0131nm\u0131\u015f bel\u0259 bir fikri epiqraf se\u00e7m\u0259kl\u0259 ba\u015flay\u0131rd\u0131: “Orda t\u0259nha qalm\u0131\u015f bir ruh vard\u0131r”. Maraql\u0131d\u0131r ki, \u00dclvinin kitab\u0131n\u0131n epiqraf\u0131 da ruhla ba\u011fl\u0131 Az\u0259r Turan\u0131n kitabda yer alm\u0131\u015f qeydl\u0259rind\u0259ndir. Bu, \u0259d\u0259biyyat\u0131m\u0131zda az rast g\u0259lin\u0259n, amma vacib m\u0259qamlardand\u0131r. \u00c7\u00fcnki \u0259d\u0259biyyatda \u00fcslub r\u0259ngar\u0259ngliyi il\u0259 bir-birind\u0259n f\u0259rql\u0259n\u0259n, t\u0259hkiy\u0259 t\u0259rzl\u0259ri il\u0259 se\u00e7il\u0259n m\u0259tnl\u0259rin meydana \u00e7\u0131xmas\u0131n\u0131n t\u0259minat\u00e7\u0131s\u0131 kimi m\u00fc\u0259llif kimliyinin v\u0259 onun psixoloji durumunun m\u00fch\u00fcm \u0259h\u0259miyy\u0259ti vard\u0131r. \u00dclvi d\u0259 Faiqin \u015feirl\u0259rind\u0259ki x\u00fcsusi f\u0259rdi-psixoloji y\u00fck da\u015f\u0131yan t\u0259zadlar sistemini, g\u00fccl\u00fc emosiyaya malik y\u0131\u011fcam epizodlar monolitliyini, fikirl\u0259 d\u00fc\u015f\u00fcnc\u0259nin v\u0259hd\u0259tini, h\u0259r add\u0131mda oxucunu heyr\u0259t, g\u00f6zl\u0259nilm\u0259zlik qar\u015f\u0131s\u0131nda qoya bilm\u0259k \u00f6z\u0259llikl\u0259rini \u00fcz\u0259 \u00e7\u0131xarma\u011fa \u00e7al\u0131\u015fark\u0259n daha \u00e7ox fikrin, ruhun obraz\u0131n\u0131 g\u00f6z\u0259g\u00f6r\u00fcn\u0259n edir, m\u0259n\u0259vi d\u00fcnyas\u0131n\u0131 \u00f6n\u0259 \u00e7\u0259kir: “\u015eeir insan kimi b\u0259d\u0259n v\u0259 ruha malik orqanizmdir. Dem\u0259li, ruh metaforu, ruhun estetik obraz\u0131 \u0259b\u0259s yer\u0259 deyildir”.<\/p>\n\n\n\n

B\u0259li, m\u0259n \u00dclvi Babasoyla raz\u0131la\u015f\u0131ram, o m\u0259nada ki, bizd\u0259, Az\u0259rbaycan \u0259d\u0259biyyat\u015f\u00fcnasl\u0131\u011f\u0131nda bir \u00e7ox poetika m\u0259s\u0259l\u0259l\u0259rinin konseptual n\u0259z\u0259ri t\u0259hlili apar\u0131lmay\u0131b, x\u00fcsus\u0259n \u00f6z\u00fcn\u00fcn vur\u011fulad\u0131\u011f\u0131 kimi, “\u015fairin ruhu v\u0259 b\u0259d\u0259ni anlay\u0131\u015f\u0131na bizim poeziya v\u0259 \u0259d\u0259biyyat\u015f\u00fcnasl\u0131qda \u00f6t\u0259ri n\u0259z\u0259r sal\u0131n\u0131b. Daha \u00e7ox k\u00f6vr\u0259k, duy\u011fulu, \u015feiriyy\u0259tli bir \u015fair obraz\u0131 canland\u0131r\u0131l\u0131b. Halbuki, \u015fairin ruhunun daxili qat\u0131, \u015f\u00fcuralt\u0131 v\u0259ziyy\u0259ti poeziyada daha h\u0259ssas v\u0259 vacib olan struktur v\u0259 ifad\u0259 estetikas\u0131n\u0131 yarad\u0131r”. Bu, t\u0259bii ki, sovet d\u00f6vr\u00fcn\u00fcn qapal\u0131 ideoloji m\u0259kanda f\u0259aliyy\u0259tind\u0259n ir\u0259li g\u0259l\u0259n m\u0259s\u0259l\u0259dir. H\u0259r halda varsa da ke\u00e7mi\u015fin sosioloji t\u0259hlil kontekstind\u0259 fiaskoya u\u011fram\u0131\u015f b\u0259zi n\u0259z\u0259ri kateqoriyalar kimi, bu g\u00fcn yeni kontekstd\u0259 – d\u00fcnya \u0259d\u0259bi-estetik fikrin\u0259 \u0259saslanan bax\u0131\u015f sistemind\u0259 h\u0259llini tapmas\u0131 g\u0259r\u0259kdir. Burada m\u0259tnl\u0259 ona yana\u015fan\u0131n aras\u0131nda dialoqun yaranmas\u0131 amili d\u0259 vacibdir. Bu g\u00fcn reseptiv t\u0259nqidin \u0259sas prinsipl\u0259rind\u0259n biri d\u0259 m\u0259hz budur: yaz\u0131\u00e7\u0131 v\u0259 onun m\u0259tnini oxuyan aras\u0131nda dialoq! Faiqin \u015feirl\u0259ri il\u0259 \u00dclvi aras\u0131nda m\u00fcnasib\u0259t daima dialoq \u015f\u0259klind\u0259 ger\u00e7\u0259kl\u0259\u015fir. Bu dialoq n\u0259tic\u0259sind\u0259 \u00dclvi Babasoy \u015feirl\u0259rin m\u0259sam\u0259l\u0259rind\u0259, s\u00fcxurlar\u0131nda gizl\u0259n\u0259n ideya v\u0259 d\u00fc\u015f\u00fcnc\u0259l\u0259ri \u00f6n\u0259 \u00e7\u0131xar\u0131r, onlar\u0131 uzaq \u00f6lk\u0259l\u0259rin, ayr\u0131 m\u0259d\u0259niyy\u0259tl\u0259rin yaz\u0131\u00e7\u0131lar\u0131n\u0131n m\u0259tnl\u0259ri il\u0259 eyni m\u0259qamda g\u00f6r\u00fc\u015fd\u00fcr\u00fcr. Faiqin m\u0259tnl\u0259rinin linqvistik v\u0259 vizual kodlar \u0259sas\u0131nda a\u00e7\u0131m\u0131na \u00e7al\u0131\u015f\u0131r. Bu m\u0259nada, kitabda ideyan\u0131n h\u0259llin\u0259, a\u00e7\u0131m\u0131na y\u00f6n\u0259lmi\u015f m\u00fcxt\u0259lif b\u0259dii \u0259s\u0259rl\u0259rin eyni m\u0259qamda b\u0259hsl\u0259\u015fm\u0259si, birl\u0259\u015fm\u0259si il\u0259 yana\u015f\u0131, bunun kinematoqrafik kodlarla \u00e7atd\u0131r\u0131lmas\u0131 i\u015fl\u0259kliyi d\u0259 diqq\u0259td\u0259n qa\u00e7m\u0131r. Bel\u0259 bir q\u0259rib\u0259 v\u0259 q\u0259rib g\u00f6r\u00fcn\u0259n m\u00fcqayis\u0259l\u0259r m\u00fc\u0259llif\u0259 niy\u0259 g\u0259r\u0259k olur? G\u00f6st\u0259rm\u0259k \u00fc\u00e7\u00fcn ki, s\u0259n\u0259t konseptuald\u0131r, b\u0259\u015f\u0259ridir, biri dig\u0259rini t\u00f6r\u0259d\u0259ndir.<\/p>\n\n\n\n

Faiqin \u015feirl\u0259ri il\u0259 m\u00fcxt\u0259lif s\u0259n\u0259t n\u00fcmun\u0259l\u0259rinin t\u0259hlili, f\u0259rqli f\u0259ls\u0259fi-estetik, arxitektonik-\u00fcslubi, kompozisiya v\u0259 t\u0259hkiy\u0259 qurulu\u015flar\u0131 olan m\u0259tnl\u0259rin bir araya g\u0259tirilm\u0259si d\u0259 m\u0259hz s\u0259n\u0259td\u0259ki konseptuall\u0131\u011f\u0131n d\u0259rki bax\u0131m\u0131ndan maraq do\u011furur: “Yarpaqlar\u0131n \u00fcz\u00fcnd\u0259 \u00f6l\u00fcm k\u00f6lg\u0259si” \u015feirinin t\u0259hlili Edqar Morenin e\u015fq, \u015feir v\u0259 m\u00fcdriklik tezisi kontekstind\u0259” izah olunur. “Lui Araqonun “xo\u015fb\u0259xt sevgi yoxdur” misras\u0131 il\u0259 Faiqin “dem\u0259li, g\u00f6rm\u00fcs\u0259n s\u0259ad\u0259t n\u0259dir” ifad\u0259si aras\u0131nda estetik planda bir \u00fcnsiyy\u0259t, rabit\u0259 yaran\u0131r. \u0130lk bax\u0131\u015fda bir-birin\u0259 zidd g\u00f6r\u00fcn\u0259n bu misralar e\u015fqin mahiyy\u0259tind\u0259ki k\u0259d\u0259rd\u0259 qovu\u015fur”. Yaxud q\u0131z\u0131 G\u00fcl\u0259 \u00e7ald\u0131\u011f\u0131 laylan\u0131n mistik hal\u0259si, Nazim Hikm\u0259t, Xalid\u0259 Edip Ad\u0131var, Y\u0259hya Kamal Bayatl\u0131 m\u0259tnl\u0259ri, Cozef Ko\u015futun “Bir v\u0259 \u00fc\u00e7 stul” \u0259s\u0259ri il\u0259 Faiqin \u015feiri aras\u0131ndak\u0131 \u0259laq\u0259, Sara Kolancelonun “Ba\u011f\u00e7a m\u00fc\u0259llimi” filminin m\u00fc\u0259llif\u0259 5 ya\u015f\u0131ndak\u0131 Faiqi xat\u0131rlatmas\u0131 v\u0259 s. h\u0259r biri \u015feirl\u0259rd\u0259n g\u00f6r\u00fcn\u0259n ruhun dikt\u0259si il\u0259 ya\u015fan\u0131r. Maraql\u0131s\u0131 budur ki, \u00dclvi Faiqin \u015feirl\u0259rinin h\u0259r birind\u0259 d\u0259rin psixoloji y\u00fck da\u015f\u0131yan kontrasta k\u00f6kl\u0259nir, onlar\u0131n poeziyadan daha \u00e7ox n\u0259sri xat\u0131rladan t\u0259\u0259ss\u00fcrat b\u00fct\u00f6vl\u00fcy\u00fcn\u00fcn \u0259ks-s\u0259das\u0131n\u0131 aray\u0131r. Onun t\u0259hlil\u0259 c\u0259lb etdiyi bir \u00e7ox \u0259s\u0259rin, dey\u0259k ki, M\u00f6vlud S\u00fcleymanl\u0131, Jan-L\u00fck Qodardan g\u0259l\u0259n v\u0259 ayr\u0131lan notlar\u0131n vur\u011fulanmas\u0131, film, musiqi v\u0259 r\u0259sml\u0259rin struktur-tipoloji m\u00fcqayis\u0259sin\u0259 z\u0259min buradan do\u011fur. M\u00fcxt\u0259lif zaman v\u0259 m\u0259kan koordinatlar\u0131nda yarad\u0131lan bu s\u0259n\u0259t n\u00fcmun\u0259l\u0259rinin daxili motivi eyni bir melodiyan\u0131n vahid z\u0259minli t\u00f6r\u0259m\u0259l\u0259ri, ayr\u0131nt\u0131lar\u0131 statusunda g\u00f6r\u00fcn\u00fcrl\u0259r.<\/p>\n\n\n\n

Biz h\u0259r \u015feir, musiqi, film par\u00e7as\u0131nda d\u00fcnyam\u0131za yax\u0131n n\u0259l\u0259rs\u0259 tap\u0131b duy\u011fulana bilirik. Zaman ke\u00e7ir, ill\u0259r gerid\u0259 qal\u0131r, b\u0259z\u0259n yadda\u015f\u0131n\u0131n lap uzaq k\u00fcnc\u00fcnd\u0259 qalan hans\u0131sa munislik oyan\u0131r, oyan\u0131\u015f\u0131 il\u0259 \u00e7ox \u015feyl\u0259rin s\u00fckutu pozulur. Biri dig\u0259ri il\u0259 uyu\u015fluq tapan bu n\u0259sn\u0259l\u0259r \u00e7ox uzaqlara gedib \u00e7\u0131x\u0131r. Bizd\u0259n sonra g\u0259l\u0259nl\u0259rd\u0259n bel\u0259 uzaqlara adlamaq g\u00fcc\u00fcn\u0259 sahib olurlar. Faiq \u0130smay\u0131lovun \u015feirl\u0259ri d\u0259 bel\u0259dir. \u0130ld\u0259n-il\u0259 ke\u00e7\u0259r\u0259k, zamanlara qar\u0131\u015faraq h\u0259m ya\u015fa dolmaqdad\u0131r, h\u0259m d\u0259 h\u0259r zaman\u0131n ruhunu da\u015f\u0131ya bildiyi \u00fc\u00e7\u00fcn cavand\u0131r. Ona g\u00f6r\u0259 h\u0259m tarixin, sivilizasiyan\u0131n, mifoloji yadda\u015f\u0131m\u0131z\u0131n ba\u015flan\u011f\u0131c m\u0259qam\u0131ndan boy verir, h\u0259m h\u0259m\u0259sri Nazim Hikm\u0259tl\u0259 qovu\u015fur, h\u0259m yeni yarad\u0131l\u0131\u015f\u0131n ruhunda – k\u00f6rp\u0259 G\u00fcl\u0259 oxunan laylada bir daha durulur, m\u00fcq\u0259dd\u0259sl\u0259\u015fir, sanki.<\/p>\n\n\n\n

“\u00d6m\u00fcr \u00e7evr\u0259si qapanmay\u0131b Faiq \u0130smay\u0131lovun. Heyk\u0259ll\u0259\u015fmi\u015f \u015fair olmaqdansa, \u015feirin d\u00fcnyas\u0131nda daimi m\u00f6vcudluq, var olmaq daha yax\u015f\u0131d\u0131r. Qara torpaqla g\u00fcn\u0259\u015f aras\u0131ndak\u0131 f\u0259rq q\u0259d\u0259r bir u\u00e7urum var bu b\u00f6lg\u00fcd\u0259. Faiq \u015feird\u0259 ya\u015fama\u011f\u0131 se\u00e7m\u0259kl\u0259 ortaq d\u00fc\u015fm\u0259nimiz \u00f6l\u00fcm\u00fc \u00f6ld\u00fcrm\u0259yi bacar\u0131r”.<\/p>\n\n\n\n

M\u0259n bu m\u0259qamda, g\u0259nc \u0259d\u0259biyyat\u015f\u00fcnas \u00dclvi Babasoyun yaz\u0131b hasil\u0259 g\u0259tirdiyi kitab\u0131n m\u0259ziyy\u0259tl\u0259rin\u0259 m\u00fc\u0259yy\u0259n vur\u011fu salandan sonra onun niyy\u0259tin\u0259, g\u00f6rd\u00fcy\u00fc bu d\u0259y\u0259rli i\u015fin d\u0259y\u0259rin\u0259 fokuslan\u0131ram. \u0130ndiki \u0259d\u0259bi xaos v\u0259 stixiya m\u0259qam\u0131n\u0131n i\u015fl\u0259k oldu\u011fu, az qala h\u0259r \u015feyin al\u0131n\u0131b sat\u0131ld\u0131\u011f\u0131 \u00e7a\u011f\u0131m\u0131zda \u00dclvinin \u0259sl \u0259d\u0259biyyat fakt\u0131 olan Faiq \u0130smay\u0131lovun \u015feirl\u0259rin\u0259 diqq\u0259t ay\u0131rmas\u0131n\u0131, onlar\u0131 b\u00f6y\u00fck sevgi v\u0259 s\u0259liq\u0259 il\u0259 t\u0259hlil\u0259 \u00e7\u0259kib kitab meydana qoymaq \u0259zmini alq\u0131\u015flay\u0131ram. “Do\u011fumun unudulu\u015fu” adland\u0131rd\u0131\u011f\u0131 bu kitab\u0131n ad\u0131 i\u00e7imd\u0259ki t\u0259\u0259ss\u00fcf nidas\u0131n\u0131 t\u0259s\u0259lli sevinci il\u0259 \u0259v\u0259zl\u0259yir.<\/p>\n\n\n\n

N\u0259 q\u0259d\u0259r ki, s\u00f6z\u0259, s\u0259n\u0259t\u0259 saf duy\u011fulardan yana\u015fan q\u0259l\u0259m adamlar\u0131 olacaq, Do\u011fumlar unudulmayacaq! Bu kitab da unudulmayan m\u00fcbar\u0259k do\u011fumlara ithafd\u0131r!<\/p>\n\n\n\n

M\u0259nb\u0259: https:\/\/edebiyyatqazeti.az<\/a><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Yaratmaq \u00f6l\u00fcm\u00fc \u00f6ld\u00fcrm\u0259k dem\u0259kdir. Romen Rollan Vaxtil\u0259 Frans Kafka dostu Maks Broda \u0259lyazmalar\u0131n\u0131 verib onlar\u0131 yand\u0131rma\u011f\u0131 ist\u0259mi\u015fdi. Maks Brodsa onlar\u0131 yand\u0131rmay\u0131b d\u00fcnyaya bir Kafka ehti\u015fam\u0131 ya\u015fatd\u0131. Az\u0259r Turan da dostu Faiq \u0130smay\u0131lovun iyn\u0259boyu \u015feirl\u0259rini onunla bir \u00f6lm\u0259y\u0259 qoymad\u0131. \u015eeirl\u0259rini \u00e7ap el\u0259di, haqq\u0131nda “\u00d6l\u00fcm s\u00fcvarisi” kitab\u0131n\u0131 yazd\u0131, “\u018fd\u0259biyyat q\u0259zeti”nin ba\u015f redaktoru oldu\u011fu bu ill\u0259rd\u0259 Faiqin \u015feirl\u0259rini … <\/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-52619","post","type-post","status-publish","format-standard","hentry","category-pub","latest_post"],"_links":{"self":[{"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/posts\/52619","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=52619"}],"version-history":[{"count":1,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/posts\/52619\/revisions"}],"predecessor-version":[{"id":52629,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/posts\/52619\/revisions\/52629"}],"wp:attachment":[{"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=52619"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=52619"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=52619"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}