{"id":53736,"date":"2026-10-14T01:00:00","date_gmt":"2026-10-13T21:00:00","guid":{"rendered":"https:\/\/edebiyyat-az.com\/?p=53736"},"modified":"2026-10-14T08:42:01","modified_gmt":"2026-10-14T04:42:01","slug":"turkan-nagiyeva-agri-estetika-ola-bil%c9%99rmi","status":"publish","type":"post","link":"https:\/\/edebiyyat-az.com\/?p=53736","title":{"rendered":"T\u00fcrkan Na\u011f\u0131yeva – A\u011fr\u0131 estetika ola bil\u0259rmi?"},"content":{"rendered":"\n
\"\"<\/a><\/figure>\n\n\n\n

\u201cS\u0259n\u0259t adamlar\u0131 daim \u0259zab \u00e7\u0259kibl\u0259r, ist\u0259r maddi, ist\u0259r m\u0259n\u0259vi \u0259ziyy\u0259t onlar\u0131 b\u00f6y\u00fck s\u0259n\u0259tl\u0259r yaratma\u011fa s\u00f6vq edib\u201d. – E\u015fitmisiniz bu m\u00fclahiz\u0259l\u0259ri? M\u0259n \u00e7ox e\u015fitmi\u015f\u0259m, m\u00fcasir d\u00f6vr\u00fcm\u00fczd\u0259 kifay\u0259t q\u0259d\u0259r insan \u201c\u0259zabdan do\u011fulan s\u0259n\u0259t\u201d m\u0259fhumunu m\u00fcdafi\u0259 edir. S\u0259n\u0259t h\u0259r d\u00f6vrd\u0259 m\u00f6vcud olub, lakin s\u0259n\u0259t\u00e7inin kim oldu\u011fu, nec\u0259 ya\u015fad\u0131\u011f\u0131 v\u0259 c\u0259miyy\u0259tin ona nec\u0259 baxd\u0131\u011f\u0131 \u0259srl\u0259r boyu davaml\u0131 d\u0259yi\u015fikliy\u0259 m\u0259ruz qal\u0131b. Bu d\u0259yi\u015fiklik t\u0259kc\u0259 s\u0259n\u0259t sah\u0259l\u0259rind\u0259mi ba\u015f verib? Xeyr. \u0130qtisadi sisteml\u0259r, din, siyasi qurulu\u015f, f\u0259rd anlay\u0131\u015f\u0131 v\u0259 h\u0259tta insan\u0131n \u00f6z daxili d\u00fcnyas\u0131n\u0131 anlama formas\u0131 s\u0259n\u0259tin mahiyy\u0259tini h\u0259r d\u00f6vr s\u00fczg\u0259cd\u0259n ke\u00e7irir. Yax\u015f\u0131, \u201cs\u0259n\u0259t maddi, m\u0259n\u0259vi v\u0259 ya psixoloji b\u00f6hrandan yaran\u0131r\u201d fikrini m\u00fcdafi\u0259y\u0259 \u00e7\u0131xarmazdan qabaq bir az ke\u00e7mi\u015f\u0259 s\u0259yah\u0259t edib bir-bir d\u00f6vrl\u0259rin m\u0259nz\u0259r\u0259l\u0259rin\u0259 baxaq, g\u00f6r\u0259k ki, bu inanca s\u0131\u011f\u0131nma\u011fa d\u0259y\u0259r, ya yox.<\/a><\/p>\n\n\n\n

 Ke\u00e7mi\u015f\u0259 s\u0259yah\u0259timiz, \u0259lb\u0259tt\u0259 ki, Antik Yunan m\u0259d\u0259niyy\u0259ti il\u0259 ba\u015flamal\u0131d\u0131r. S\u0259n\u0259t toxumlar\u0131n\u0131n c\u00fcc\u0259rm\u0259y\u0259 ba\u015flad\u0131\u011f\u0131, b\u00f6y\u00fcd\u00fcy\u00fc, qol-buda\u011f\u0131n\u0131 d\u00fcnyaya yayd\u0131\u011f\u0131 bu m\u0259d\u0259niyy\u0259t be\u015fiyind\u0259 – Q\u0259dim Romada s\u0259n\u0259t n\u0259 idi? S\u0259n\u0259tkar kim idi?<\/p>\n\n\n\n

  Bu d\u00f6vr\u00fcn yarad\u0131c\u0131lar\u0131 \u0259s\u0259rl\u0259rind\u0259 f\u0259rdi a\u011fr\u0131lar\u0131na deyil, \u00fcmumi m\u0259s\u0259l\u0259l\u0259r\u0259 k\u00f6kl\u0259nirdil\u0259r. \u00dcmumi m\u0259s\u0259l\u0259l\u0259r dediyim, y\u0259ni dini m\u0259tnl\u0259r, ilahi qorxu, \u0259xlaq, m\u00fcq\u0259dd\u0259slik v\u0259 s. n\u0259z\u0259rd\u0259 tutulur. Bu kimi d\u0259y\u0259rl\u0259r fonunda s\u0259n\u0259t kosmik nizam\u0131, mifoloji h\u0259qiq\u0259tl\u0259ri v\u0259 c\u0259miyy\u0259tin ortaq d\u0259y\u0259rl\u0259rini \u0259ks etdirm\u0259li idi. Bu s\u0259b\u0259bd\u0259n Homer, Esxil kimi m\u00fc\u0259llifl\u0259r \u201ciztirablar\u0131n s\u0259n\u0259t\u00e7isi\u201d   deyildil\u0259r. Onlar\u0131n yaratd\u0131\u011f\u0131 \u0259d\u0259biyyat q\u0259hr\u0259manl\u0131q, tale, sava\u015f v\u0259 tanr\u0131lar \u00fcz\u0259rind\u0259 qurulurdu. <\/p>\n\n\n\n

B\u0259s bu d\u00f6vrd\u0259 kimdir \u0259zabke\u015f s\u0259n\u0259t\u00e7il\u0259r? B\u0259lk\u0259 r\u0259ssamlar? <\/p>\n\n\n\n

O da yox. R\u0259ssamlar v\u0259 heyk\u0259ltara\u015flar o <\/a>d\u00f6vrd\u0259 yarad\u0131c\u0131 dahil\u0259r olmaqdan daha \u00e7ox usta kimi d\u0259y\u0259r qazanm\u0131\u015fd\u0131lar dey\u0259 bil\u0259rik. Pe\u015f\u0259kar usta. Y\u0259ni antik d\u00f6vrd\u0259 s\u0259n\u0259t b\u00f6y\u00fck d\u0259y\u0259r da\u015f\u0131sa da, s\u0259n\u0259t\u00e7i h\u0259l\u0259 \u201ciztirabl\u0131 dahi\u201d statusuna malik deyildi. Antik d\u00fcnya \u00fc\u00e7\u00fcn s\u0259n\u0259t\u00e7inin \u015f\u0259xsi emosiyas\u0131 yox, yaratd\u0131\u011f\u0131 harmoniyan\u0131n \u00f6z\u00fc \u00f6n\u0259mli idi. M\u0259s\u0259l\u0259n, \u201cLaokoon v\u0259 o\u011fullar\u0131\u201d heyk\u0259lind\u0259 biz a\u011fr\u0131n\u0131, faci\u0259ni g\u00f6r\u00fcr\u00fck. Heyk\u0259l  Troya ke\u015fi\u015fi Laokoon mifind\u0259n bir s\u0259hn\u0259nin t\u0259sviridir. O, o\u011fullar\u0131 il\u0259 birlikd\u0259 troyal\u0131lar\u0131 taxta at t\u0259hl\u00fck\u0259si bar\u0259d\u0259 x\u0259b\u0259rdar etm\u0259k \u00fc\u00e7\u00fcn tanr\u0131lar t\u0259r\u0259find\u0259n g\u00f6nd\u0259ril\u0259n d\u0259niz ilanlar\u0131 t\u0259r\u0259find\u0259n \u00f6ld\u00fcr\u00fcl\u00fcr. Bir bax\u0131n, faci\u0259nin \u00f6z\u00fc bel\u0259 nec\u0259 estetik bir harmoniya daxilind\u0259 t\u0259svir edilib! Y\u0259ni, Antik \u0259s\u0259rl\u0259r \u00fc\u00e7\u00fcn a\u011fr\u0131n\u0131n \u00f6z\u00fc yox, vizual, estetik, harmonik t\u0259sviri \u00f6nc\u0259likdir. <\/p>\n\n\n\n

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

B\u0259s aktyor s\u0259n\u0259tind\u0259 v\u0259ziyy\u0259t nec\u0259 idi? Ona da n\u0259z\u0259r salaq:<\/p>\n\n\n\n

Antik Yunan\u0131standa teatr sad\u0259c\u0259 \u0259yl\u0259nc\u0259 s\u0259nayesi deyildi. O, dini ritual, siyasi hadis\u0259 v\u0259 ictimai t\u0259cr\u00fcb\u0259nin g\u00f6st\u0259ricisi idi. Teatr s\u0259n\u0259tinin kollektiv ritual adland\u0131ra bilm\u0259yimizin k\u00f6k\u00fc \u015f\u0259rab tanr\u0131s\u0131 Dionis\u0259 dayan\u0131r. Antik aktyor daha \u00e7ox c\u0259miyy\u0259tin mifl\u0259rini s\u0259hn\u0259d\u0259 canland\u0131ran vasit\u0259\u00e7i idi. O d\u00f6vrd\u0259 aktyorluq fiziki bax\u0131mdan \u00e7\u0259tin s\u0259n\u0259t idi. A\u00e7\u0131q hava teatrlar\u0131nda saatlarla y\u00fcks\u0259k s\u0259sl\u0259 dan\u0131\u015fmaq, a\u011f\u0131r geyiml\u0259r v\u0259 maskalarla oynamaq b\u00f6y\u00fck fiziki d\u00f6z\u00fcm t\u0259l\u0259b edirdi. Amma maraql\u0131d\u0131r ki, bu z\u0259hm\u0259t h\u0259l\u0259 \u201cs\u0259n\u0259t \u00fc\u00e7\u00fcn iztirab\u201d anlay\u0131\u015f\u0131 il\u0259 \u0259laq\u0259l\u0259ndirilmirdi. Antik aktyor \u0259ziyy\u0259t \u00e7\u0259kirdis\u0259, bu, s\u0259n\u0259tin mistik a\u011fr\u0131s\u0131ndan yox, pe\u015f\u0259nin texniki v\u0259 ritual a\u011f\u0131rl\u0131\u011f\u0131ndan do\u011furdu. <\/p>\n\n\n\n

Dem\u0259li, axtard\u0131\u011f\u0131m\u0131z sual\u0131n cavab\u0131n\u0131 Antik d\u00f6vrd\u0259 tapmad\u0131q. O zaman \u00fcz tuturuq  orta \u0259srl\u0259r\u0259.<\/p>\n\n\n\n

Bu d\u00f6vrl\u0259 ba\u011fl\u0131 vacib bir m\u0259s\u0259l\u0259ni vur\u011fulamal\u0131yam. Orta \u0259sr insan\u0131 bug\u00fcnk\u00fc kimi \u00f6z\u00fcn\u00fc ifad\u0259 etm\u0259k ehtiyac\u0131 il\u0259 ya\u015fam\u0131rd\u0131. \u0130nsan \u00f6z\u00fcn\u00fc kainat\u0131n m\u0259rk\u0259zi yox, ilahi nizam\u0131n ki\u00e7ik par\u00e7as\u0131 hesab edirdi. Buna g\u00f6r\u0259, bu d\u00f6vr s\u0259n\u0259tin\u0259 \u015f\u0259xsi hissl\u0259rin t\u0259r\u0259nn\u00fcm\u00fcnd\u0259n daha \u00e7ox ilahi h\u0259qiq\u0259tin da\u015f\u0131y\u0131c\u0131s\u0131 rolunda baxsaq, yan\u0131lmar\u0131q. Yazarl\u0131q s\u0259n\u0259tind\u0259 v\u0259ziyy\u0259t bel\u0259 idi ki, m\u00fc\u0259llif \u00fc\u00e7\u00fcn  \u201c\u0259s\u0259ri m\u0259n yazm\u0131\u015fam\u201ddan daha \u00f6n planda \u201ch\u0259qiq\u0259ti \u00e7atd\u0131ra bildim\u201d ideyas\u0131 dayan\u0131rd\u0131. Bunun \u0259n g\u00f6z\u0259l n\u00fcmun\u0259si Dante Alegyerinin \u201c\u0130lahi Komediya\u201d \u0259s\u0259ridir. \u018fd\u0259bi \u0259s\u0259rl\u0259rd\u0259 g\u00fcnah, c\u0259za, \u00f6l\u00fcm, axir\u0259t, m\u0259n\u0259vi xilas kimi m\u00f6vzular \u00f6n planda idi. Lakin bunun \u00f6z\u00fc d\u0259 d\u00f6vr\u00fcn atmosferin\u0259 ba\u011fl\u0131 idi – epidemiyalar, m\u00fcharib\u0259l\u0259r, yoxsulluq v\u0259 s. \u0259d\u0259biyyat\u0131n da fokusunu bu m\u00f6vzulara y\u00f6n\u0259ldirdi. Bu d\u00f6vr yaz\u0131\u00e7\u0131s\u0131n\u0131n \u0259sas qorxusu \u201cTanr\u0131 g\u00fcnahlar\u0131m\u0131 \u0259fv ed\u0259c\u0259kmi?\u201d, \u201cM\u0259n g\u00fcnahkar b\u0259nd\u0259miy\u0259m?\u201d idi. Bu is\u0259 yava\u015f-yava\u015f m\u0259n\u0259vi a\u011fr\u0131lar\u0131n toxumlar\u0131n\u0131 s\u0259pirdi. <\/p>\n\n\n\n

Orta \u0259srl\u0259rin r\u0259ssamlar\u0131 \u00f6z\u00fcn\u00fc \u0259s\u0259rl\u0259rd\u0259 g\u00f6st\u0259rm\u0259y\u0259 \u00e7al\u0131\u015fmam\u0131\u015flar he\u00e7. Onlar \u00fc\u00e7\u00fcn \u0259n vacib m\u0259qam r\u0259sml\u0259rd\u0259 ilahiliyi, m\u00fcq\u0259dd\u0259sliyi, o da olmasa, dekorativ, estetik, simvolik r\u0259ngliliyi g\u00f6z \u00f6n\u00fcn\u0259 s\u0259rm\u0259k idi.   M\u0259s\u0259l\u0259n, biz indi \u201cBu\u011fda z\u0259misi v\u0259 s\u0259rvl\u0259r\u201d, \u201cUlduzlu gec\u0259\u201d \u0259s\u0259rl\u0259rin\u0259 baxaraq bu r\u0259sml\u0259rin Van Qoqa m\u0259xsus oldu\u011funu rahatl\u0131qla dey\u0259 bil\u0259rik. H\u0259tta Van Qoqu tan\u0131may\u0131b sad\u0259c\u0259 \u00fcslubuna b\u0259l\u0259d olanlar bel\u0259 onun \u0259s\u0259rl\u0259rini y\u00fcz \u0259s\u0259r i\u00e7ind\u0259n tan\u0131yacaqlar. Lakin Cotto di Bondonenin \u0259s\u0259rl\u0259ri haqq\u0131nda eynisini dem\u0259k olmaz. <\/p>\n\n\n\n

S\u00f6z yox ki, bu s\u0259n\u0259tkar orta \u0259srl\u0259rin <\/a>d\u00fchasid\u0131r. H\u0259tta bir s\u0131ra m\u0259nb\u0259l\u0259rd\u0259 qeyd olunur ki, onun \u0259s\u0259rl\u0259ri Leonardo Da Vinci, Mikelancelo kimi r\u0259ssamlara da ilham verib, lakin bu d\u00f6vr\u00fcn r\u0259ssam\u0131 \u201cbu m\u0259nim \u0259s\u0259rimdir\u201d dem\u0259k ist\u0259mirdi, ilahiliy\u0259, b\u0259\u015f\u0259ri ideallara xidm\u0259t edirdi. R\u0259ssamlar v\u0259 heyk\u0259ltara\u015flar m\u0259hz bu ideallarda birl\u0259\u015firl\u0259r. Bilirsinizmi niy\u0259? \u0130nsanlar\u0131n b\u00f6y\u00fck hiss\u0259si oxuya bilm\u0259diyi \u00fc\u00e7\u00fcn r\u0259sm, heyk\u0259l v\u0259 memarl\u0131q bir n\u00f6v vizual dil funksiyas\u0131 da\u015f\u0131y\u0131rd\u0131. Y\u0259ni bug\u00fcnk\u00fc kimi \u201cr\u0259ssam \u00f6z daxili d\u00fcnyas\u0131n\u0131 ifad\u0259 edir\u201d anlay\u0131\u015f\u0131 yox idi. Bir s\u00f6zl\u0259, orta \u0259sr s\u0259n\u0259tinin \u0259sas m\u0259qs\u0259di realizm yox, m\u0259n\u0259vi t\u0259sir idi. Amma bunu da qeyd ed\u0259k ki, orta \u0259sr r\u0259ssamlar\u0131n\u0131n i\u015fi inan\u0131lmaz d\u0259r\u0259c\u0259d\u0259 a\u011f\u0131r idi. B\u00f6y\u00fck kils\u0259 divarlar\u0131na freska \u00e7\u0259km\u0259k, \u015f\u00fc\u015f\u0259 mozaikalar haz\u0131rlamaq, dini kitablar\u0131 ill\u0259rl\u0259 \u0259l il\u0259 b\u0259z\u0259m\u0259k h\u0259m fiziki, h\u0259m d\u0259 texniki bax\u0131mdan \u00e7ox \u00e7\u0259tin proses idi. Monast\u0131rlarda \u00e7al\u0131\u015fan r\u0259ssam v\u0259 x\u0259ttatlar b\u0259z\u0259n bir kitab \u00fcz\u0259rind\u0259 ill\u0259rl\u0259 i\u015fl\u0259yirdil\u0259r. Bug\u00fcnk\u00fc r\u0259q\u0259msal d\u00f6vrd\u0259 bir klikl\u0259 b\u00f6y\u00fcd\u00fcb-ki\u00e7ildil\u0259n m\u0259tnl\u0259ri onlar \u0259l il\u0259 yaz\u0131r v\u0259 b\u0259z\u0259yirdil\u0259r. Bu i\u015f h\u0259m s\u0259bir, h\u0259m d\u0259 dini intizam t\u0259l\u0259b edirdi.<\/p>\n\n\n\n

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

M\u00f6vzudan k\u0259narla\u015fmadan aktyorluq s\u0259n\u0259ti haqq\u0131nda da bir balaca dan\u0131\u015f\u0131b n\u00f6vb\u0259ti d\u00f6vr\u0259 ke\u00e7id ed\u0259k. Antik d\u00f6vrd\u0259 teatr kollektiv ritual\u0131n bir hiss\u0259si idis\u0259, orta \u0259srl\u0259rin b\u00f6y\u00fck hiss\u0259sind\u0259 teatr m\u00fc\u0259yy\u0259n m\u0259nada dem\u0259k olar ki, \u015f\u00fcbh\u0259li f\u0259aliyy\u0259t hesab olunurdu. X\u00fcsusil\u0259 erk\u0259n orta \u0259srl\u0259rd\u0259 kils\u0259 aktyorlu\u011fa v\u0259 teatr tama\u015falar\u0131na ehtiyatla yana\u015f\u0131rd\u0131. Bunun bir ne\u00e7\u0259 s\u0259b\u0259bi vard\u0131. \u018fsas s\u0259b\u0259b, aktyor \u201cba\u015fqas\u0131na \u00e7evril\u0259n insan\u201d idi v\u0259 bu, dini bax\u0131mdan m\u00fc\u0259yy\u0259n m\u0259nada saxtakarl\u0131q kimi g\u00f6r\u00fcn\u00fcrd\u00fc. Bu s\u0259b\u0259bd\u0259n orta \u0259srin ilk m\u0259rh\u0259l\u0259l\u0259rind\u0259 aktyorlar\u0131n sosial statusu \u00e7ox a\u015fa\u011f\u0131 idi. Bu d\u00f6vrd\u0259 aktyorluq qeyri-stabil, riskli pe\u015f\u0259 hesab olunurdu. Lakin bu \u0259ziyy\u0259tl\u0259rin v\u0259 q\u0131snamalar\u0131n fonunda teatr s\u0259n\u0259ti yox olmad\u0131. Bildiyimiz \u00fczr\u0259, teatr \u0259vv\u0259ll\u0259r dini m\u0259rasiml\u0259rin i\u00e7ind\u0259n yaran\u0131b. Daha sonra kils\u0259l\u0259r teatr\u0131n emosional rezonans yaradan g\u00fcc\u00fcnd\u0259n istifad\u0259 ed\u0259r\u0259k dini t\u0259bli\u011f etm\u0259k \u00fc\u00e7\u00fcn bir vasit\u0259 olaraq bu s\u0259n\u0259td\u0259n yararland\u0131lar. Bibliyan\u0131n s\u0259hn\u0259l\u0259\u015fdirilm\u0259si, dini v\u0259 \u0259xlaqi tama\u015falar insanlar \u00fc\u00e7\u00fcn d\u0259 maraql\u0131 idi. Teatrlar insanlar\u0131 g\u00fcnaha s\u00f6vq ed\u0259n m\u0259kan olaraq bilins\u0259 d\u0259, h\u0259min m\u0259kana dini dekorlar, kostyumlar daxil olark\u0259n problem bir n\u00f6v h\u0259llin\u0259 vard\u0131. Amma unutmayaq, bu d\u00f6vr aktyoru f\u0259rdi \u00fcslubu olan, tan\u0131nan fiqur deyir, qeyri-stabil, s\u0259yyar v\u0259 yoxsul h\u0259yat t\u0259rzi s\u00fcr\u0259n s\u0259n\u0259t f\u0259dail\u0259ri idi. \u201c\u018fziyy\u0259t \u00e7\u0259k\u0259n s\u0259n\u0259t\u00e7i\u201d mifinin \u0259sas\u0131 aktyorlar\u0131n s\u0259n\u0259ti il\u0259 ba\u015flan\u011f\u0131c g\u00f6t\u00fcr\u00fcr dey\u0259 bil\u0259rik art\u0131q. <\/p>\n\n\n\n

G\u0259ldik \u00e7atd\u0131q s\u0259n\u0259t tarixinin d\u00f6n\u00fc\u015f n\u00f6qt\u0259sin\u0259 – Renessans d\u00f6vr\u00fcn\u0259. Renessans d\u00f6vr\u00fcn\u00fcn s\u0259n\u0259t\u00e7isi din, tanr\u0131 m\u00f6vzular\u0131ndan \u00e7\u0259kilib \u201cinsan n\u0259dir?\u201d sual\u0131na cavab tapma\u011fa \u00e7al\u0131\u015fd\u0131. S\u0259n\u0259t\u00e7i ilahilikd\u0259n d\u00fcny\u0259viliy\u0259 \u00e7a\u011f adlad\u0131.   Bu \u00e7a\u011fda yazarlar d\u00fcnyaya nisb\u0259t\u0259n nikbin bax\u0131rd\u0131. \u0130ntibah yaz\u0131\u00e7\u0131lar\u0131n\u0131 birl\u0259\u015fdir\u0259n \u0259sas x\u00fcsusiyy\u0259t d\u00fcnyan\u0131n, insan\u0131n, onun daxili ziddiyy\u0259tl\u0259rinin k\u0259\u015ffin\u0259 y\u00f6n\u0259lm\u0259k idi. Renessans insan\u0131n\u0131n ke\u00e7id hal\u0131n\u0131 Migel De Servantes \u201cDon Kixot\u201d \u0259s\u0259rind\u0259 ustal\u0131qla g\u00f6st\u0259rib – idealizml\u0259 reall\u0131\u011f\u0131n toqqu\u015fmas\u0131. C\u0259ngav\u0259rlik x\u0259yal\u0131 il\u0259 ya\u015fayan k\u00f6hn\u0259 d\u00fcnya adam\u0131 yeni d\u00fcnyada oldu\u011funun f\u0259rqind\u0259 deyil. Amma yenilikd\u0259n – reall\u0131qdan da qa\u00e7\u0131\u015f\u0131n olmad\u0131\u011f\u0131n\u0131 sonda anlay\u0131r. Bir d\u0259 \u015eekspirin \u201cHamlet\u201din\u0259 baxaq: insan, dey\u0259rdim ki, ilk d\u0259f\u0259 bu q\u0259d\u0259r m\u00fcr\u0259kk\u0259bdir, t\u0259r\u0259dd\u00fcdl\u00fcd\u00fcr, d\u00fc\u015f\u00fcnc\u0259l\u0259ri i\u00e7ind\u0259 bo\u011fuland\u0131r. Renessans yaz\u0131\u00e7\u0131 insan a\u011fl\u0131na, \u015f\u00fcuruna inan\u0131r, f\u0259rdiliyi \u00f6n\u0259 \u00e7\u0259kirdi.  <\/p>\n\n\n\n

\u201cB\u0259s \u015e\u0259rqd\u0259 yarad\u0131c\u0131 atmosferi nec\u0259 idi, he\u00e7 \u015e\u0259rqd\u0259n s\u00f6z etmirs\u0259n?\u201d dey\u0259 siz soru\u015fmam\u0131\u015f, \u00f6z\u00fcm\u00fc \u00e7atd\u0131r\u0131m \u015e\u0259rq\u0259. \u201c\u018fzabke\u015f s\u0259n\u0259t\u00e7i\u201d havas\u0131ndan ziyad\u0259 \u015e\u0259rqd\u0259 h\u0259l\u0259 \u201c\u0259ziyy\u0259t v\u0259 sevgi s\u0259n\u0259ti\u201d \u0259hvall\u0131 poeziya \u00f6n planda idi. M\u0259s\u0259l\u0259n, Fizuli poeziyas\u0131nda da elm, e\u015fq, a\u011fr\u0131 – ham\u0131s\u0131 bir birinin i\u00e7ind\u0259dir. \u015e\u0259rq yazar\u0131 \u00fc\u00e7\u00fcn haz\u0131rda ilahi t\u0259r\u0259nn\u00fcmd\u0259n daha \u00e7ox daxili hisl\u0259r v\u0259 m\u0259n\u0259vi d\u0259rinlik daha vacibdir. <\/p>\n\n\n\n

Renessans r\u0259ssam v\u0259 heyk\u0259lt\u0259ra\u015flar\u0131n\u0131 birl\u0259\u015fdir\u0259n \u0259sas motiv is\u0259 insan\u0131n \u00f6z\u00fc idi. Orta \u0259srd\u0259 insan fiquru m\u00fcq\u0259dd\u0259s simvol idi, intibah d\u00f6vr\u00fcnd\u0259ys\u0259 canl\u0131 anatomik varl\u0131\u011fa \u00e7evrildi. Leonardo Da Vin\u00e7i insan b\u0259d\u0259nini \u00f6yr\u0259nm\u0259k \u00fc\u00e7\u00fcn meyitl\u0259ri yar\u0131rd\u0131. Bu, \u00e7ox vacib m\u0259qamd\u0131r. \u00c7\u00fcnki art\u0131q insan b\u0259d\u0259ni m\u00fcq\u0259dd\u0259s v\u0259 ya g\u00fcnahkar varl\u0131q yox, \u00f6yr\u0259nilm\u0259li m\u00f6c\u00fcz\u0259 idi. Renessans r\u0259ssam\u0131 sad\u0259c\u0259 dini motivl\u0259r yaratmaqla yana\u015f\u0131, \u00f6z bax\u0131\u015f\u0131n\u0131, \u00fcslubunu da g\u00f6st\u0259rirdi \u0259s\u0259rl\u0259rind\u0259. Lakin r\u0259ssamlar s\u0259rb\u0259st idimi? H\u0259l\u0259lik xeyr. H\u0259l\u0259 d\u0259 saray himay\u0259sind\u0259n, kils\u0259 sifari\u015fl\u0259rind\u0259n as\u0131l\u0131l\u0131q qal\u0131rd\u0131. Modern dill\u0259 des\u0259k, \u201cfreelance\u201d i\u015f\u00e7i kimi hans\u0131sa qurum \u00fc\u00e7\u00fcn f\u0259aliyy\u0259t g\u00f6st\u0259rirdil\u0259r. Renessans r\u0259ssam\u0131n\u0131n \u0259s\u0259rl\u0259ri g\u00f6st\u0259rir ki, elm\u0259, f\u0259ls\u0259f\u0259y\u0259, insan a\u011fl\u0131na qay\u0131d\u0131\u015f m\u0259rk\u0259zil\u0259\u015fir.  <\/p>\n\n\n\n

\u0130ntibah d\u00f6vr\u00fc r\u0259ssaml\u0131\u011f\u0131ndan dan\u0131\u015f\u0131b Rafaelin <\/a>\u201cAfina M\u0259kt\u0259bi\u201dni n\u00fcmun\u0259 \u00e7\u0259km\u0259s\u0259k, s\u00f6hb\u0259timiz yar\u0131m\u00e7\u0131q qalar. Bu \u0259s\u0259r renessans\u0131n intellektual yan\u0131n\u0131 g\u00f6st\u0259rir. <\/p>\n\n\n\n

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

Fikir verin, freskada antik filosoflar, riyaziyyat\u00e7\u0131lar, elm adamlar\u0131 t\u0259svir edilib. D\u00fczd\u00fcr ki, \u0259ks olunan \u015f\u0259xsl\u0259rin b\u0259zil\u0259rin d\u0259qiq kimliyi m\u0259lum deyil, lakin m\u00fc\u0259yy\u0259n elementl\u0259rl\u0259 onlar\u0131 t\u0259xmin etm\u0259k m\u00fcmk\u00fcnd\u00fcr: Platon, Aristotel, Sofokl, \u0130bn R\u00fc\u015fd v\u0259 s. Bu \u0259s\u0259r g\u00f6st\u0259rir ki, renessans insan\u0131 yenid\u0259n elm\u0259, f\u0259ls\u0259f\u0259y\u0259 v\u0259 insan a\u011fl\u0131na qay\u0131d\u0131rd\u0131. Orta \u0259sr s\u0259n\u0259tind\u0259 bel\u0259 m\u0259rk\u0259zi ideya Tanr\u0131 idi, burada is\u0259 d\u00fc\u015f\u00fcn\u0259n insan \u00f6n plana ke\u00e7ir. <\/p>\n\n\n\n

Aktyorlara g\u0259ldikd\u0259 is\u0259 renessans bu sah\u0259ni d\u0259 ciddi d\u0259yi\u015fdi. Orta \u0259srin s\u0259yyar aktyorlar\u0131ndan f\u0259rqli olaraq art\u0131q professional teatr m\u0259kanlar\u0131 v\u0259 daimi truppalar yaranma\u011fa ba\u015flad\u0131. \u018fn bariz s\u00fcbut Qlobus Teatr\u0131n\u0131n m\u0259hz bu d\u00f6vrd\u0259 yaranmas\u0131d\u0131r. \u015eekspirin tama\u015falar\u0131 burada oynan\u0131l\u0131rd\u0131 v\u0259 teatr art\u0131q k\u00fctl\u0259vi \u015f\u0259h\u0259r \u0259yl\u0259nc\u0259sin\u0259 \u00e7evrilmi\u015fdi. Aktyorlar m\u00fc\u0259yy\u0259n q\u0259d\u0259r status sahibi olma\u011fa ba\u015flay\u0131rd\u0131lar. Bir renessans aktyorunun psixoloji portreti bel\u0259 idi ki, o, dini simvol olmaqdan \u00e7\u0131x\u0131b xarakter\u0259 \u00e7evrilirdi. \u015eekspirin \u0259s\u0259rl\u0259ri, yaratd\u0131\u011f\u0131 obrazlar aktyordan tama\u015fa zaman\u0131 x\u00fcsusi istedad t\u0259l\u0259b edirdi ki, insan psixologiyas\u0131n\u0131n m\u00fcr\u0259kk\u0259bliyini ustal\u0131qla canland\u0131rs\u0131n. Y\u0259ni, s\u0259n\u0259t f\u0259rdil\u0259\u015fir, s\u0259n\u0259t\u00e7i \u00f6z istedad\u0131 il\u0259 se\u00e7ilirdi. Lakin \u201c\u0259zabke\u015f s\u0259n\u0259t\u00e7i\u201d intibah d\u00f6vr\u00fc aktyorunun \u0259ynin\u0259 h\u0259l\u0259 oturmur. <\/p>\n\n\n\n

Renessans d\u00f6vr\u00fcnd\u0259n \u00fcz\u00fc bug\u00fcn\u0259 do\u011fru romantizm, realizm, modernizm, postmodernizm v\u0259 \u00e7a\u011fda\u015f d\u00f6vrl\u0259rimiz var ki, onlar\u0131n da s\u0259n\u0259t\u00e7il\u0259rin\u0259 v\u0259 h\u0259r d\u00f6vr\u00fcn atmosferin\u0259 n\u0259z\u0259r salmal\u0131y\u0131q ki, sual\u0131m\u0131z\u0131n cavab\u0131n\u0131 d\u0259qiql\u0259\u015fdir\u0259 bil\u0259k. Lakin sizi \u00e7ox yormadan bu d\u00f6vr\u00fcn m\u0259nz\u0259r\u0259l\u0259rind\u0259n \u00fcmumi dan\u0131\u015fma\u011fa \u00e7al\u0131\u015faca\u011fam. \u00c7\u00fcnki sual\u0131m\u0131z\u0131n dol\u011fun cavab\u0131 el\u0259 bu d\u00f6vrl\u0259rin birl\u0259\u015fm\u0259sind\u0259dir.<\/p>\n\n\n\n

Renessansdan sonra \u201cs\u0259n\u0259t\u00e7i t\u0259nhal\u0131\u011f\u0131\u201d atmosferi yaranm\u0131\u015f \u0259s\u0259rl\u0259rd\u0259 \u00f6z\u00fcn\u00fc biruz\u0259 verm\u0259y\u0259 ba\u015flad\u0131. Romantizm d\u00f6vr\u00fcnd\u0259 s\u0259n\u0259t insan\u0131n daxili a\u011fr\u0131s\u0131 il\u0259 eyni dild\u0259 dan\u0131\u015f\u0131rd\u0131. H\u00f6tenin Faustu, Viktor H\u00fcqonun c\u0259miyy\u0259tl\u0259 m\u00fcbariz\u0259 aparan obrazlar\u0131 bu d\u00f6vr\u00fcn insan\u0131n\u0131n daxili ziddiyy\u0259tl\u0259rini \u0259ks etdirirdi. Bizim d\u0259 romantikl\u0259rimizin \u0259s\u0259rl\u0259rind\u0259 bu x\u00fcsuslar\u0131n h\u0259r biri var. H\u00fcseyn Cavidin yaratd\u0131\u011f\u0131 obrazlar da t\u0259nhad\u0131r, ideallar\u0131 u\u011frunda m\u0259hv olur, c\u0259miyy\u0259tl\u0259 konflikt ya\u015fay\u0131r, m\u0259n\u0259vi se\u00e7im qar\u015f\u0131s\u0131nda qal\u0131r. \u201c\u015eeyx S\u0259nan\u201d, \u201c\u0130blis\u201d kimi \u0259s\u0259rl\u0259rin q\u0259hramanlar\u0131 x\u00fcsus\u0259n vur\u011fulanmal\u0131d\u0131r. Avropa romantikl\u0259ri daha \u00e7ox daxili a\u011fr\u0131dan yaz\u0131rd\u0131lar. Az\u0259rbaycan romantikl\u0259ri is\u0259 h\u0259m daxili a\u011fr\u0131n\u0131, h\u0259m d\u0259 c\u0259miyy\u0259tin gerid\u0259 qalm\u0131\u015fl\u0131\u011f\u0131n\u0131, c\u0259hal\u0259tl\u0259 m\u00fcbariz\u0259sini da\u015f\u0131mal\u0131 olurdular. Bayronun q\u0259hr\u0259man\u0131 d\u00fcnya il\u0259 sava\u015f\u0131rd\u0131sa, H\u00fcseyn Cavidin q\u0259hr\u0259man\u0131 h\u0259m d\u00fcnya, h\u0259m d\u0259 zamanla m\u00fcbariz\u0259 apar\u0131rd\u0131.<\/p>\n\n\n\n

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

T\u0259nhal\u0131q, faci\u0259, \u00fcmidsizlik, bunlar\u0131n i\u00e7ind\u0259 bir \u00fcmid, ideall\u0131q… D\u00f6vr\u00fcn bu atmosferi, \u0259lb\u0259tt\u0259 ki, r\u0259ssaml\u0131qdan da yan ke\u00e7mir. Kaspar David Fridrixin \u201cDuman d\u0259nizi \u00fcz\u0259rind\u0259ki g\u0259zgin\u201d \u0259s\u0259ri b\u00fct\u00fcn bir romantizm d\u00f6vr\u00fcn\u00fcn \u00f6z\u00fcn\u00fc kainat\u0131n m\u0259rk\u0259zind\u0259 ki\u00e7ik bir t\u0259nha kimi hiss ed\u0259n s\u0259n\u0259t\u00e7isinin \u00fcmumil\u0259\u015fmi\u015f simas\u0131d\u0131r. <\/p>\n\n\n\n

XIX \u0259srin ikinci yar\u0131s\u0131na do\u011fru romantizmin t\u0259nha, c\u0259miyy\u0259t\u0259 yad s\u0259n\u0259t\u00e7i obraz\u0131 realizm v\u0259 modernizm\u0259 ke\u00e7idd\u0259 daha a\u011f\u0131r, iztirabl\u0131 s\u0259n\u0259t\u00e7i obraz\u0131na \u00e7evrilm\u0259y\u0259 ba\u015flad\u0131. Art\u0131q yoxsullu\u011fun, sosial yadla\u015fman\u0131n, m\u0259n\u0259vi b\u00f6hran\u0131n v\u0259 h\u0259yat\u0131n s\u0259rt \u015f\u0259rtl\u0259rinin n\u0259tic\u0259sinin formala\u015fd\u0131rd\u0131\u011f\u0131  s\u0259n\u0259t\u00e7il\u0259rin izl\u0259ri g\u00f6r\u00fcnd\u00fc \u0259s\u0259rl\u0259rd\u0259. <\/p>\n\n\n\n

Yaz\u0131\u00e7\u0131lar art\u0131q q\u0259hr\u0259manlar\u0131n uca ideallar\u0131ndan deyil, adi insanlar\u0131n g\u00fcnd\u0259lik m\u00fcbariz\u0259sind\u0259n yaz\u0131rd\u0131lar. Fyodor Dostoyevski yoxsullu\u011fun, vicdan \u0259zab\u0131n\u0131n v\u0259 m\u0259n\u0259vi \u00e7\u00f6k\u00fc\u015f\u00fcn insan ruhunda yaratd\u0131\u011f\u0131 f\u0131rt\u0131nalar\u0131 \u201cCinay\u0259t v\u0259 c\u0259za\u201d kimi \u0259s\u0259rl\u0259rind\u0259 \u00e7atd\u0131rmaqla yana\u015f\u0131, insan\u0131n psixoloji qatlar\u0131na enir, real insan psixikas\u0131, \u0259zablar\u0131n insana verdiyi t\u0259sirl\u0259rl\u0259 bizi \u00fcz-\u00fcz\u0259 qoyur. Lev Tolstoy is\u0259 \u201cAnna Karenina\u201d v\u0259 \u201cH\u0259rb v\u0259 s\u00fclh\u201d vasit\u0259sil\u0259 insan\u0131n \u015f\u0259xsi faci\u0259sini c\u0259miyy\u0259t v\u0259 tarix fonunda t\u0259qdim edirdi. Anton \u00c7exovun q\u0259hramanlar\u0131 kim idi? H\u0259yat\u0131n i\u00e7ind\u0259 itib-batan, arzular\u0131n\u0131 realla\u015fd\u0131ra bilm\u0259y\u0259n adi insanlard\u0131. Frans Kafkan\u0131n “\u00c7evrilm\u0259” \u0259s\u0259rind\u0259 q\u0259hr\u0259man\u0131n h\u0259\u015f\u0259rata \u00e7evrilm\u0259si insan\u0131n c\u0259miyy\u0259t t\u0259r\u0259find\u0259n yadla\u015fd\u0131r\u0131lmas\u0131n\u0131n simvoluna \u00e7evrilir.<\/p>\n\n\n\n

\u015e\u0259rqd\u0259 d\u0259 bu d\u0259yi\u015fiklik \u00f6z\u00fcn\u00fc g\u00f6st\u0259rm\u0259y\u0259 ba\u015flam\u0131\u015fd\u0131. Az\u0259rbaycan \u0259d\u0259biyyat\u0131nda C\u0259lil M\u0259mm\u0259dquluzad\u0259, \u018fbd\u00fcrr\u0259him b\u0259y Haqverdiyev v\u0259 Mirz\u0259 \u018fl\u0259kb\u0259r Sabir art\u0131q romantik ideallardan \u00e7ox c\u0259miyy\u0259tin geriliyini, savads\u0131zl\u0131\u011f\u0131, yoxsullu\u011fu v\u0259 sosial \u0259dal\u0259tsizliyi q\u0259l\u0259m\u0259 al\u0131rd\u0131lar.<\/p>\n\n\n\n

Realizm b\u00fct\u00fcn s\u0259n\u0259t sah\u0259l\u0259rind\u0259 \u00f6z\u00fcn\u00fc g\u00f6st\u0259rdi. Reall\u0131qlar, daxili bo\u015fluqlar, m\u0259n\u0259vi <\/a>a\u011fr\u0131lar v\u0259r\u0259ql\u0259r\u0259, k\u0259tanlara t\u00f6k\u00fcld\u00fc: r\u0259ssamlar \u00f6z daxili d\u00fcnyalar\u0131n\u0131 tan\u0131td\u0131lar. Vinsent van Qoqun “Ulduzlu gec\u0259” v\u0259 “G\u00fcn\u0259baxanlar” \u0259s\u0259rl\u0259rind\u0259 g\u00f6rd\u00fcy\u00fcm\u00fcz r\u0259ngl\u0259r art\u0131q reall\u0131\u011f\u0131n deyil, r\u0259ssam\u0131n daxili d\u00fcnyas\u0131n\u0131n ifad\u0259sin\u0259 \u00e7evrilmi\u015fdi. Sa\u011fl\u0131\u011f\u0131nda c\u0259mi bir ne\u00e7\u0259 \u0259s\u0259r sata bil\u0259n, yoxsulluq v\u0259 psixoloji sars\u0131nt\u0131lar i\u00e7ind\u0259 ya\u015fayan Van Qoq \u00f6l\u00fcm\u00fcnd\u0259n sonra d\u00fcnya r\u0259ssaml\u0131\u011f\u0131n\u0131n simvollar\u0131ndan birin\u0259 \u00e7evrildi v\u0259 “\u0259ziyy\u0259t \u00e7\u0259k\u0259n s\u0259n\u0259t\u00e7i” anlay\u0131\u015f\u0131n\u0131n \u0259n m\u0259\u015fhur obrazlar\u0131ndan oldu. Edvard Munkun \u201c\u00c7\u0131\u011f\u0131rt\u0131 \u0259s\u0259ri d\u0259 d\u00f6vr\u00fcn atmosferind\u0259n vizual m\u0259lumat \u00f6t\u00fcr\u0259n \u0259s\u0259rl\u0259rd\u0259n biridir. <\/p>\n\n\n\n

\u018fzab art\u0131q romantikl\u0259rin t\u0259svir etdiyi kimi poetik bir ideal v\u0259 ya ilham m\u0259nb\u0259yi olmaqdan \u00e7\u0131xaraq, h\u0259yat\u0131n \u00f6z h\u0259qiq\u0259ti kimi q\u0259bul edilm\u0259y\u0259 ba\u015fland\u0131. XIX \u0259srd\u0259 ba\u015f ver\u0259n S\u0259naye \u0130nqilab\u0131, s\u00fcr\u0259tli \u015f\u0259h\u0259rl\u0259\u015fm\u0259, fabrikl\u0259rin yaranmas\u0131, f\u0259hl\u0259 sinfinin formala\u015fmas\u0131 v\u0259 sosial b\u0259rab\u0259rsizliyin d\u0259rinl\u0259\u015fm\u0259si s\u0259n\u0259tkar\u0131n bax\u0131\u015f istiqam\u0259tini d\u0259yi\u015fdirdi. O, art\u0131q \u00f6z daxili hissl\u0259rind\u0259n daha \u00e7ox ya\u015fad\u0131\u011f\u0131 c\u0259miyy\u0259t\u0259 bax\u0131rd\u0131. \u018fsas sual insan\u0131n n\u0259 hiss etm\u0259si deyil, onu bu hissl\u0259r\u0259 hans\u0131 h\u0259yat \u015f\u0259raitinin g\u0259tirib \u00e7\u0131xarmas\u0131 idi. S\u0259n\u0259tkar \u00fc\u00e7\u00fcn ilham m\u0259nb\u0259yi art\u0131q t\u0259nha qayal\u0131qlar, f\u0131rt\u0131nal\u0131 d\u0259nizl\u0259r v\u0259 \u0259l\u00e7atmaz sevgil\u0259r yox, k\u00fc\u00e7\u0259l\u0259rd\u0259 ya\u015fayan yoxsullar, a\u011f\u0131r z\u0259hm\u0259t \u00e7\u0259k\u0259n f\u0259hl\u0259l\u0259r, m\u00fcharib\u0259l\u0259rin da\u011f\u0131td\u0131\u011f\u0131 ail\u0259l\u0259r v\u0259 d\u0259yi\u015f\u0259n d\u00fcnyan\u0131n i\u00e7ind\u0259 \u00f6z yerini itir\u0259n insanlar idi.<\/p>\n\n\n\n

XX \u0259srin \u0259vv\u0259ll\u0259rind\u0259n etibar\u0259n insan\u0131n \u00f6z\u00fcn v\u0259 d\u00fcnyaya olan bax\u0131\u015f t\u0259rzi xeyli d\u0259yi\u015fdi. \u018flb\u0259tt\u0259 ki, s\u0259b\u0259bsiz deyil – d\u00fcnya m\u00fcharib\u0259l\u0259ri, s\u00fcr\u0259tli s\u0259nayel\u0259\u015fm\u0259, \u015f\u0259h\u0259rl\u0259\u015fm\u0259, texnologiyan\u0131n inki\u015faf\u0131 v\u0259 \u0259n\u0259n\u0259vi d\u0259y\u0259rl\u0259rin sars\u0131lmas\u0131 d\u00f6vr\u00fcn atmosferini tamamil\u0259 d\u0259yi\u015fdi. B\u0259li, modernizm d\u00f6vr\u00fcn\u00fcn add\u0131m s\u0259sl\u0259ri e\u015fidilm\u0259y\u0259 ba\u015fland\u0131. S\u0259n\u0259tkarlar\u0131 d\u00fc\u015f\u00fcnd\u00fcr\u0259n \u0259sas sual bu idi ki, insan bu d\u0259yi\u015f\u0259n d\u00fcnyada \u00f6z\u00fcn\u00fc nec\u0131 tap\u0131r? <\/p>\n\n\n\n

\u018fd\u0259biyyatda Kafka, Ceyms Coys, Virciniya Vulf kimi m\u00fc\u0259llifl\u0259r insan \u015f\u00fcurunun daxili ax\u0131n\u0131n\u0131, t\u0259nhal\u0131\u011f\u0131 v\u0259 yadla\u015fman\u0131 ara\u015fd\u0131r\u0131r, r\u0259ssaml\u0131qda Pikasso, Munk kimi s\u0259n\u0259t\u00e7il\u0259r reall\u0131\u011f\u0131 oldu\u011fu kimi g\u00f6st\u0259rm\u0259k \u0259v\u0259zin\u0259 onu insan\u0131n daxili t\u0259cr\u00fcb\u0259sind\u0259n ke\u00e7ir\u0259r\u0259k yenid\u0259n qururdular.
<\/a>
 Pablo Pikassonun \u201cGuernica\u201d \u0259s\u0259rind\u0259 m\u00fcharib\u0259nin real g\u00f6r\u00fcnt\u00fcs\u00fc fotoqrafik d\u0259qiqlikl\u0259 deyil, par\u00e7alanm\u0131\u015f fiqurlar, t\u0259hrif olunmu\u015f \u00fczl\u0259r v\u0259 xaotik formalar vasit\u0259sil\u0259 t\u0259qdim edilir. Xarici reall\u0131q nec\u0259 d\u0259 daxili iztirab\u0131n dilin\u0259 \u00e7evrilib! R\u0259smd\u0259 m\u00fcharib\u0259nin insan\u0131n \u015f\u00fcurunda yaratd\u0131\u011f\u0131 d\u0259h\u015f\u0259ti g\u00f6rm\u0259k \u00e7\u0259tin deyil. Kollektiv d\u0259h\u015f\u0259ti g\u00f6rm\u0259k…<\/p>\n\n\n\n

Postmodernizmd\u0259 v\u0259ziyy\u0259t bir az da d\u0259yi\u015fdi, s\u0259n\u0259t vahid h\u0259qiq\u0259t anlay\u0131\u015f\u0131nadan uzaqla\u015fd\u0131. D\u00f6vr\u00fcn s\u0259n\u0259t\u00e7isi m\u00fctl\u0259q \u015f\u0259kild\u0259 c\u0259miyy\u0259t\u0259 qar\u015f\u0131 \u00e7\u0131xan, \u0259zab \u00e7\u0259k\u0259n v\u0259 ya d\u00fcnyan\u0131 d\u0259yi\u015fdirm\u0259y\u0259 \u00e7al\u0131\u015fan romantik q\u0259hr\u0259man kimi \u00e7\u0131x\u0131\u015f etm\u0259kd\u0259n \u00e7\u0259kinib ironik, parodik t\u0259rzl\u0259 h\u0259yata bax\u0131\u015f buca\u011f\u0131n\u0131 d\u0259yi\u015fdirdi. \u018fzabke\u015f s\u0259n\u0259t\u00e7i obraz\u0131 da burada art\u0131q \u00f6z m\u00fcq\u0259dd\u0259sliyini itirdi. M\u00fctl\u0259q h\u0259qiq\u0259t anlay\u0131\u015f\u0131 par\u00e7aland\u0131 v\u0259 s\u0259n\u0259tkar baxd\u0131 ki, \u201cbiz niy\u0259 m\u00fctl\u0259q bir cavab tapmal\u0131y\u0131q ki?\u201d sual\u0131 daha m\u0259ntiq\u0259s\u0131\u011fand\u0131r. Modernist s\u0259n\u0259tkar h\u0259l\u0259 d\u0259 t\u0259nhal\u0131\u011f\u0131, b\u00f6hran\u0131 v\u0259 daxili iztirab\u0131 yarad\u0131c\u0131l\u0131\u011f\u0131n m\u00fch\u00fcm m\u0259nb\u0259yi hesab ed\u0259 bilirdi, postmodern s\u0259n\u0259tkar is\u0259 bu mifin \u00f6z\u00fcn\u00fc d\u0259 sor\u011fuya \u00e7\u0259kdi. Bel\u0259c\u0259, \u0259srl\u0259r boyu s\u0259n\u0259tkar\u0131 s\u0259n\u0259tkar ed\u0259n f\u0259dakarl\u0131q v\u0259 iztirab anlay\u0131\u015f\u0131 t\u0259dric\u0259n onun taleyinin qa\u00e7\u0131lmaz \u015f\u0259rti olmaqdan \u00e7\u0131xd\u0131. M\u00fcasir d\u00f6vr\u0259 g\u0259ldikd\u0259 is\u0259 s\u0259n\u0259t\u00e7inin qar\u015f\u0131s\u0131nda art\u0131q tamam ba\u015fqa sual dayanacaqd\u0131: s\u0259n\u0259t yaratmaq \u00fc\u00e7\u00fcn \u0259zab \u00e7\u0259km\u0259k h\u0259qiq\u0259t\u0259n laz\u0131md\u0131rm\u0131, yoxsa s\u0259n\u0259t\u00e7i \u0259zabdan azad olaraq da b\u00f6y\u00fck s\u0259n\u0259t yarada bil\u0259r?<\/p>\n\n\n\n

H\u0259, bel\u0259c\u0259 s\u0259n\u0259tin ke\u00e7diyi uzun, a\u011fr\u0131l\u0131, iztirabl\u0131, ke\u015fm\u0259ke\u015fli, suallarla dolu yollardan \u00f6z\u00fcm\u00fcz\u0259 laz\u0131m olan cavablar\u0131 toplaya-toplaya \u00e7a\u011f\u0131m\u0131za g\u0259lib \u00e7atd\u0131q v\u0259 ba\u015f\u0131ndan b\u0259ri cavab\u0131n\u0131 axtard\u0131\u011f\u0131m\u0131z \u0259sas sual\u0131m\u0131z\u0131 yenid\u0259v verm\u0259li olaca\u011fam. M\u00fcasir s\u0259n\u0259t\u00e7i h\u0259l\u0259 d\u0259 \u0259zabke\u015f s\u0259n\u0259t\u00e7i mifinin i\u00e7ind\u0259dir, yoxsa art\u0131q bu mifd\u0259n \u00e7\u0131xma\u011fa ba\u015flay\u0131b?<\/p>\n\n\n\n

\u018fzab v\u0259 u\u011fur \u00e7a\u011fda\u015f s\u0259n\u0259tkar\u0131n h\u0259yat\u0131nda bir-birini istisna etmir. H\u0259tta b\u0259z\u0259n bir s\u0259n\u0259t\u00e7i kommersiya bax\u0131m\u0131ndan \u00e7ox u\u011furlu oldu\u011fu halda \u015f\u0259xsi h\u0259yatda t\u0259nhal\u0131q, psixoloji t\u0259zyiq v\u0259 yarad\u0131c\u0131l\u0131q b\u00f6hran\u0131 ya\u015faya bil\u0259r. Dig\u0259r t\u0259r\u0259fd\u0259n, yoxsulluq i\u00e7ind\u0259 ya\u015fayan h\u0259r s\u0259n\u0259t\u00e7inin b\u00f6y\u00fck s\u0259n\u0259t yaratd\u0131\u011f\u0131 fikri d\u0259 do\u011fru deyil. Y\u0259ni m\u00fcasir d\u00f6vrd\u0259 is\u0259 s\u0259n\u0259t\u00e7i art\u0131q yaln\u0131z iztirab \u00e7\u0259k\u0259n yarad\u0131c\u0131 deyil, h\u0259m d\u0259 bazar\u0131n, median\u0131n v\u0259 ictimai g\u00f6zl\u0259ntil\u0259rin i\u00e7ind\u0259 f\u0259aliyy\u0259t g\u00f6st\u0259r\u0259n pe\u015f\u0259kard\u0131r.<\/p>\n\n\n\n

\u00c7a\u011fda\u015f aktyorluq s\u0259n\u0259ti bu bax\u0131mdan daha \u00e7ox s\u00f6z dem\u0259y\u0259 imkan verdir. Hollivudda aktyorun u\u011furu yaln\u0131z onun istedad\u0131 il\u0259 \u00f6l\u00e7\u00fclm\u00fcr. Onun hans\u0131 filmd\u0259 \u00e7\u0259kilm\u0259si, hans\u0131 rejissorla i\u015fl\u0259m\u0259si, kassada u\u011fur qazanmas\u0131, tama\u015fa\u00e7\u0131 t\u0259r\u0259find\u0259n tan\u0131nmas\u0131 v\u0259 h\u0259tta \u015f\u0259xsi h\u0259yat\u0131n\u0131n mediada nec\u0259 t\u0259qdim olunmas\u0131 da bu u\u011furun t\u0259rkibin\u0259 daxil olur. Aktyor bir t\u0259r\u0259fd\u0259n milyonlarla insan\u0131n sevdiyi obrazlar\u0131 yarad\u0131r, dig\u0259r t\u0259r\u0259fd\u0259n is\u0259 h\u0259min insanlar\u0131n g\u00f6zl\u0259ntil\u0259ri alt\u0131nda ya\u015fay\u0131r. O, daim g\u0259nc, g\u00f6z\u0259l, enerjili, maraql\u0131 v\u0259 g\u00f6r\u00fcn\u0259n olmal\u0131d\u0131r. Bir m\u00fcdd\u0259t \u0259vv\u0259l u\u011fur qazanan aktyor n\u00f6vb\u0259ti layih\u0259d\u0259 eyni s\u0259viyy\u0259ni g\u00f6st\u0259r\u0259 bilm\u0259dikd\u0259, onun s\u0259n\u0259tkar kimi deyil, b\u0259z\u0259n sad\u0259c\u0259 \u201cu\u011furlu m\u0259hsul\u201d kimi qiym\u0259tl\u0259ndirilm\u0259si d\u0259 m\u00fcmk\u00fcnd\u00fcr. Bel\u0259likl\u0259, m\u00fcasir aktyorun iztirab\u0131 \u0259vv\u0259lki d\u00f6vrl\u0259rd\u0259ki kimi yaln\u0131z yoxsulluq v\u0259 ya c\u0259miyy\u0259t t\u0259r\u0259find\u0259n anla\u015f\u0131lmamaqla ba\u011fl\u0131 deyil; bu iztirab b\u0259z\u0259n m\u0259\u015fhurlu\u011fun yaratd\u0131\u011f\u0131 t\u0259zyiq, \u015f\u0259xsi h\u0259yat\u0131n ictimail\u0259\u015fm\u0259si, tipajdan \u00e7\u0131xa bilm\u0259m\u0259k v\u0259 daim \u00f6z\u00fcn\u00fc s\u00fcbut etm\u0259k m\u0259cburiyy\u0259ti \u015f\u0259klind\u0259 ortaya \u00e7\u0131x\u0131r.<\/p>\n\n\n\n

Lokal \u00e7\u0259r\u00e7iv\u0259d\u0259n baxas\u0131 olsaq, Az\u0259rbaycan kino v\u0259 teatr m\u00fchitind\u0259 aktyorun iztirab\u0131 \u00e7ox vaxt romantik t\u0259nhal\u0131qdan deyil, m\u0259hdud layih\u0259l\u0259rd\u0259n, qeyri-sabit i\u015f imkanlar\u0131ndan v\u0259 maddi \u00e7\u0259tinlikl\u0259rd\u0259n qaynaqlan\u0131r. Aktyor yaln\u0131z s\u0259hn\u0259d\u0259 v\u0259 kamera qar\u015f\u0131s\u0131nda \u00e7\u0131x\u0131\u015f ed\u0259n s\u0259n\u0259t\u00e7i deyil, b\u0259z\u0259n apar\u0131c\u0131, dublyaj aktyoru, m\u00fc\u0259llim v\u0259 ya ba\u015fqa sah\u0259l\u0259rd\u0259 \u00e7al\u0131\u015fan pe\u015f\u0259kar kimi d\u0259 f\u0259aliyy\u0259t g\u00f6st\u0259rm\u0259li olur. Buna g\u00f6r\u0259 d\u0259 onun \u0259sas m\u00fcbariz\u0259si obraz yaratmaqla g\u00fcnd\u0259lik ya\u015fay\u0131\u015f\u0131n\u0131 t\u0259min etm\u0259k aras\u0131nda yaran\u0131r. T\u0259\u0259ss\u00fcf do\u011fursa da, modern d\u00f6vr\u00fcm\u00fcz\u00fcn reall\u0131\u011f\u0131 budur: \u00e7a\u011fda\u015f aktyor, \u0259vv\u0259lki d\u00f6vrl\u0259rin c\u0259miyy\u0259td\u0259n uzaq v\u0259 t\u0259nhal\u0131q i\u00e7ind\u0259 yaradan s\u0259n\u0259tkar\u0131ndan f\u0259rqli olaraq, h\u0259m d\u0259 prod\u00fcserin, median\u0131n, tama\u015fa\u00e7\u0131n\u0131n v\u0259 sosial \u015f\u0259b\u0259k\u0259l\u0259rin g\u00f6zl\u0259ntil\u0259ri il\u0259 \u00fczl\u0259\u015f\u0259n ictimai \u015f\u0259xsdir. M\u00fcasir aktyor iztirab s\u0259n\u0259t v\u0259 h\u0259yat aras\u0131nda tarazl\u0131q yaratmaq m\u0259cburiyy\u0259tinin n\u0259tic\u0259sidir.<\/p>\n\n\n\n

Yaz\u0131\u00e7\u0131l\u0131qda da v\u0259ziyy\u0259t o q\u0259d\u0259r d\u0259 f\u0259rql\u0259nmir. \u018fvv\u0259ll\u0259r yaz\u0131\u00e7\u0131n\u0131n iztirab\u0131 daha \u00e7ox senzura, siyasi t\u0259zyiq, yoxsulluq v\u0259 c\u0259miyy\u0259td\u0259n k\u0259narda qalmaqla \u0259laq\u0259l\u0259ndirilirdis\u0259, bu g\u00fcn h\u0259min probleml\u0259r\u0259 s\u00fcr\u0259tli informasiya ax\u0131n\u0131, diqq\u0259t u\u011frunda r\u0259qab\u0259t, daim g\u00f6r\u00fcnm\u0259k m\u0259cburiyy\u0259ti v\u0259 \u0259s\u0259rin kommersiya g\u00f6zl\u0259ntil\u0259rin\u0259 uy\u011funla\u015fd\u0131r\u0131lmas\u0131 da \u0259lav\u0259 olunur. Bir t\u0259r\u0259fd\u0259n baxd\u0131\u011f\u0131m\u0131zda, m\u00fcasir yaz\u0131\u00e7\u0131 \u0259vv\u0259lki d\u00f6vrl\u0259rl\u0259 m\u00fcqayis\u0259d\u0259 daha \u00e7ox yazmaq v\u0259 yay\u0131mlanmaq imkan\u0131na malikdir, lakin dig\u0259r t\u0259r\u0259fd\u0259n yazd\u0131\u011f\u0131 m\u0259tnin oxunmas\u0131 \u00fc\u00e7\u00fcn onu sosial mediada tan\u0131tmal\u0131, \u0259d\u0259bi m\u00fchitd\u0259 g\u00f6r\u00fcnm\u0259li v\u0259 b\u0259z\u0259n \u00f6z\u00fcn\u00fc brend\u0259 \u00e7evirm\u0259lidir. B\u0259li, bu kimi m\u00fcasir probleml\u0259rin fonunda yaz\u0131b yaratmaq da \u00e7\u0259tinl\u0259\u015fir \u00e7a\u011fda\u015f yazar \u00fc\u00e7\u00fcn. M\u00fcasir \u0259d\u0259biyyat g\u00f6st\u0259rir ki, s\u0259n\u0259t h\u0259m a\u011fr\u0131dan, h\u0259m sevincd\u0259n, h\u0259m g\u00fcnd\u0259lik h\u0259yat\u0131n m\u00fc\u015fahid\u0259sind\u0259n, h\u0259m d\u0259 sad\u0259c\u0259 d\u00fc\u015f\u00fcnm\u0259k v\u0259 yaratmaq ehtiyac\u0131ndan do\u011fa bil\u0259r.<\/p>\n\n\n\n

Bel\u0259likl\u0259, s\u0259n\u0259t tarixinin m\u00fcxt\u0259lif m\u0259rh\u0259l\u0259l\u0259rin\u0259 n\u0259z\u0259r sald\u0131qda g\u00f6r\u00fcr\u00fck ki, \u201c\u0259zabke\u015f s\u0259n\u0259t\u00e7i\u201d obraz\u0131 d\u0259yi\u015fm\u0259z h\u0259qiq\u0259t deyil, h\u0259r d\u00f6vr\u00fcn sosial, dini, siyasi v\u0259 iqtisadi \u015f\u0259rtl\u0259ri il\u0259 yenid\u0259n formala\u015fan bir mifdir. B\u00f6y\u00fck s\u0259n\u0259t yaratmaq \u00fc\u00e7\u00fcn m\u00fctl\u0259q \u0259zab \u00e7\u0259km\u0259k laz\u0131m deyill. S\u0259n\u0259t a\u011fr\u0131dan da, sevincd\u0259n d\u0259, m\u00fc\u015fahid\u0259d\u0259n d\u0259, azad d\u00fc\u015f\u00fcnc\u0259d\u0259n d\u0259 do\u011fa bil\u0259r. \u018fsas m\u0259s\u0259l\u0259 s\u0259n\u0259t\u00e7inin n\u0259 q\u0259d\u0259r \u0259zab \u00e7\u0259kdiyi deyil, ya\u015fad\u0131\u011f\u0131 d\u00fcnyaya nec\u0259 baxd\u0131\u011f\u0131 v\u0259 bu bax\u0131\u015f\u0131 hans\u0131 s\u0259n\u0259t dilin\u0259 \u00e7evir\u0259 bildiyidir. \u0130stedadlar \u0259zab \u00e7\u0259km\u0259d\u0259n d\u0259 parlay\u0131r. <\/p>\n\n\n\n

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

\u201cS\u0259n\u0259t adamlar\u0131 daim \u0259zab \u00e7\u0259kibl\u0259r, ist\u0259r maddi, ist\u0259r m\u0259n\u0259vi \u0259ziyy\u0259t onlar\u0131 b\u00f6y\u00fck s\u0259n\u0259tl\u0259r yaratma\u011fa s\u00f6vq edib\u201d. – E\u015fitmisiniz bu m\u00fclahiz\u0259l\u0259ri? M\u0259n \u00e7ox e\u015fitmi\u015f\u0259m, m\u00fcasir d\u00f6vr\u00fcm\u00fczd\u0259 kifay\u0259t q\u0259d\u0259r insan \u201c\u0259zabdan do\u011fulan s\u0259n\u0259t\u201d m\u0259fhumunu m\u00fcdafi\u0259 edir. S\u0259n\u0259t h\u0259r d\u00f6vrd\u0259 m\u00f6vcud olub, lakin s\u0259n\u0259t\u00e7inin kim oldu\u011fu, nec\u0259 ya\u015fad\u0131\u011f\u0131 v\u0259 c\u0259miyy\u0259tin ona nec\u0259 baxd\u0131\u011f\u0131 \u0259srl\u0259r boyu davaml\u0131 d\u0259yi\u015fikliy\u0259 m\u0259ruz … <\/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-53736","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\/53736","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=53736"}],"version-history":[{"count":3,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/posts\/53736\/revisions"}],"predecessor-version":[{"id":53761,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/posts\/53736\/revisions\/53761"}],"wp:attachment":[{"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=53736"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=53736"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=53736"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}