Modern d\u00f6nemde K\u00fcrtlerin ya\u015fad\u0131\u011f\u0131 yok olma tehlikesi, sanatlar\u0131na da yans\u0131m\u0131\u015ft\u0131r. Bu s\u00fcre\u00e7te sanatlar\u0131nda dile gelen \u015fey, dirili\u015f ve umut sanat\u0131d\u0131r. Bir ucu yenilgi korkusu, bir ucu var olma umudu ta\u015f\u0131yan bu durum; d\u00f6nemin K\u00fcrt edebiyat\u0131nda rahatl\u0131kla okunabilir.<\/p>\n
Derler ki insan cismiyle de\u011fil ismiyle, yani k\u00fclt\u00fcr\u00fcyle insand\u0131r. K\u00fclt\u00fcrel bir varl\u0131k olan insan, hakikatini bir\u00e7ok yolla dile getirmi\u015ftir. Ancak bizce, hakikatin en iyi dile geldi\u011fi insan faaliyeti sanatt\u0131r. Sanat ise hakikati a\u00e7\u0131klad\u0131\u011f\u0131 kadar sanatt\u0131r. \u00d6rne\u011fin bir tabloda, bir kitapta, bir filmde, bir \u015fiirde ya\u015famsal ger\u00e7ekli\u011fimiz ne kadar dile geliyorsa, o eseri o oranda sanatsal bulur, o oranda benimseriz.<\/p>\n
K\u00fcrt halk\u0131n\u0131n yaz\u0131m, \u00e7izim, yarat\u0131m ve g\u00f6sterim sanatlar\u0131nda ele al\u0131n\u0131\u015f\u0131 herhangi bir halkla bir tutulamaz. K\u00fcrt halk\u0131n\u0131n sanat\u0131, isyandan, m\u00fccadeleden, s\u00f6m\u00fcrge ko\u015fullar\u0131nda do\u011fan bir sanatt\u0131r. Ve hakikati de burada sakl\u0131d\u0131r. Bu adeta lanetlenmi\u015f, \u00e7orak \u00fclkeler aras\u0131nda b\u00f6l\u00fcnm\u00fc\u015f halk\u0131n edebiyat\u0131n\u0131 ele almak; biraz insan\u0131, insanl\u0131\u011f\u0131, Ortado\u011fu\u2019yu ele almak anlam\u0131na gelir.<\/p>\n
\u00d6rne\u011fin her kilam bir \u00f6yk\u00fcy\u00fc anlat\u0131r. Hepsi de anlam aray\u0131\u015f\u0131n\u0131n, anlam veri\u015fin dile geli\u015f bi\u00e7imidir. T\u0131pk\u0131 tarih boyunca oldu\u011fu gibi; insan, anlam verdik\u00e7e bunu \u00f6nce davran\u0131\u015flar\u0131yla d\u0131\u015fa vurmu\u015f. Sonra s\u00f6zleriyle. Daha sonra bunu resmetmi\u015f, ta\u015flara kaz\u0131m\u0131\u015f; heykellerle anlatt\u0131k\u00e7a anlatm\u0131\u015f. Anlatm\u0131\u015f ya\u015fad\u0131klar\u0131n\u0131, ya\u015famak istediklerini, m\u00fccadelesini\u2026 ve t\u00fcm bunlar\u0131 ya\u015fad\u0131\u011f\u0131 anda yapm\u0131\u015f. Sonra verdi\u011fi anlam, davran\u0131\u015f olmu\u015f. S\u00f6z olmu\u015f. Yaz\u0131 olmu\u015f. \u00d6zcesi: sanat olmu\u015f.<\/p>\n
Sanat\u00e7\u0131 her \u015feyden \u00f6nce kendinden verendir. Hesaps\u0131z, kar\u015f\u0131l\u0131ks\u0131z. Sanatsa hakikatin g\u00fczellik s\u00fczgecinden ge\u00e7irilmesidir. Yani ifade edilen bir hakikate bi\u00e7im verme i\u015fidir. Sanat ve sanat\u00e7\u0131 biraz da budur; ve bu ayn\u0131 zamanda ana kad\u0131n\u0131n tarifidir. \u0130\u015fte ad\u0131na sanat denilecekse, b\u00f6yledir.<\/p>\n
S\u00fcmer yaz\u0131l\u0131 tabletlerinde tanr\u0131\u00e7a Nidaba\u2019n\u0131n edebiyat tanr\u0131\u00e7as\u0131 olarak belirlendi\u011fi bilinmektedir. \u00c7\u00fcnk\u00fc k\u00fclt\u00fcrel yarat\u0131m\u0131n hayata ge\u00e7irilmesinde \u00f6nemli ve ba\u015fat ara\u00e7 olan edebiyat\u0131 tanr\u0131\u00e7al\u0131k d\u00fczeyinde kutsamalar\u0131, bu i\u015fin \u00f6nemini ne derece fark ettiklerini g\u00f6stermektedir. Daha ba\u015f\u0131ndan beri zalimlerin d\u00fcnyas\u0131na kar\u015f\u0131 k\u00fclt\u00fcrel direni\u015f, edebi yarat\u0131m\u0131n her bi\u00e7imiyle kendisini toplumun ya\u015fam\u0131nda hissettirmeye ve var etmeye devam etmi\u015ftir. Yine S\u00fcmer mitolojisinden tanr\u0131\u00e7a Nan\u015fe\u2019nin \u00e7a\u011fr\u0131lar\u0131 ve \u00fcstlendi\u011fi g\u00f6rev bize, tarihsel k\u00fclt\u00fcrel direni\u015fin \u00e7ok y\u00f6nl\u00fc ve derinlikli y\u00fcr\u00fct\u00fcld\u00fc\u011f\u00fcn\u00fc g\u00f6sterir.<\/p>\n
Ve tanr\u0131\u00e7a Nan\u015fe, adeta binlerce y\u0131ll\u0131k k\u00fclt\u00fcrel direni\u015fin sesi olarak \u015f\u00f6yle seslenir<\/p>\n
\u201cYetimi avutmak, dula kad\u0131n\u0131 b\u0131rakmamak i\u00e7in \/ kudretlilerin yok edilece\u011fi bir yer kurmak i\u00e7in \/ g\u00fc\u00e7s\u00fczlerin kudretlileri devirmesi i\u00e7in \/ Nan\u015fe insanlar\u0131n y\u00fcre\u011fini yoklar…\u201d<\/p>\n
Modern d\u00f6nemde K\u00fcrtlerin ya\u015fad\u0131\u011f\u0131 yok olma tehlikesi, sanatlar\u0131na da yans\u0131m\u0131\u015ft\u0131r. Bu s\u00fcre\u00e7te sanatlar\u0131nda dile gelen \u015fey, dirili\u015f ve umut sanat\u0131d\u0131r. Bir ucu yenilgi korkusu, bir ucu var olma umudu ta\u015f\u0131yan bu durum; d\u00f6nemin K\u00fcrt edebiyat\u0131nda rahatl\u0131kla okunabilir:<\/p>\n
\u201cEy raq\u00eeb, her maye qewm\u00ea Kurd ziman
Na\u015fik\u00ea \u00fb danay\u00ea bi top\u00ean zeman
Kes neb\u00eaje, Kurd dimirin, Kurd j\u00een dibin
J\u00een dibin \u00fb qet nakeve
Ala Kurdan\u201d<\/p>\n
\u00d6yle d\u00fc\u015f\u00fcn\u00fcyorum ki, siyasi bir iradenin s\u0131n\u0131rlar\u0131na \u00e7arpan bu ses; bir bedduaya d\u00f6n\u00fc\u015fecek \u015fekilde, kendi bedeniyle birlikte topra\u011fa kar\u0131\u015farak, K\u00fcrtlerin etraf\u0131nda daralan \u00e7emberle birlikte h\u00e2l\u00e2 sanat\u0131n s\u0131n\u0131rlar\u0131na \u00e7arp\u0131yor. Nuri Dersim\u00ee\u2019nin Efrin dolaylar\u0131nda b\u0131rakt\u0131\u011f\u0131 an\u0131lar, fele\u011fe bir sitem olacak kadar, mezar ta\u015flar\u0131na son vasiyet bi\u00e7iminde yaz\u0131lm\u0131\u015ft\u0131r:<\/p>\n
\u201cMin li ser v\u00ea r\u00eaya dijwar kir, gelek q\u00eer \u00fb hawar
Da ji bo me j\u00ee rojek dinyay\u00ea bibe gulbihar\u201d<\/p>\n
Her zaman ve her yerde okundu\u011funda insan\u0131n i\u00e7ini titreten bu sat\u0131rlar, belki de bizi iyi anlatt\u0131\u011f\u0131 i\u00e7indir. Bir devrimciden geriye kalan en anlaml\u0131 s\u00f6zler, ancak b\u00f6yle olabilir. Ya mezar ta\u015flar\u0131 ya da sanata konu olan anlat\u0131mlar, ilgin\u00e7 hallere b\u00fcr\u00fcnmektedir. Bir kervanc\u0131 ya da ahir zamandan gelen bir m\u00fcjde ku\u015fu, K\u00fcrtlerin sanat dilinin ilgin\u00e7 bir ifadesi haline geldi. Ve denilebilir ki; bu dilimize yans\u0131yan, dilimizle anlam bulan zafer nidalar\u0131 sanatt\u0131r…<\/p>\n
Son olarak, Amedli bir dervi\u015fin kaleminden bir \u015fiir b\u0131rak\u0131yorum;<\/p>\n
\u201cDi hest\u00ean talanb\u00fby\u00ee de t\u00eam gulebarandin
\nTu ji ten\u00eab\u00fbna min re dib\u00ee heval
\nJi ni\u015fkava ser\u00ea xwe dat\u00een\u00ee ser s\u00eenga min…<\/p>\n
Ber\u00ea xwe didim k\u00eejan mil\u00ee tu t\u00ea ber \u00e7av\u00ea min
\nJi xwe ev\u00eena te j\u00ee m\u00eena \u00eavina welat\u00ea min qedexe b\u00fb
\nGelo ev\u00een qedexe dibe?<\/p>\n
Awaz\u00ean ev\u00eendar\u00ean birindar dil\u00ea min dorp\u00ea\u00e7 dike
\nLi \u00e7ola sehra li Leyla digerim
\nLi Zagrosan li Binef\u015fa Nar\u00een
\nLi S\u00eepan\u00ea Xelat\u00ea li Xec\u00ea
\nDi zindan\u00ean tar\u00ee de Z\u00een
\nDibim Ferhat li \u00e7iyayan…<\/p>\n
Bila xweliya la\u015f\u00ea min biwe\u015f\u00eenin ax\u00ea
\nBelk\u00ee d\u00eesa weke dewran\u00ea ber\u00ea heskirin bibi\u015fkive
\n\u00db di kul\u00eelkeke \u00e7iyay\u00ee de bigih\u00eaje ev\u00eena min\u201d<\/p>\n
\u00a0 \u00a0 \u00a0Derya Polat\u00a0<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":" Modern d\u00f6nemde K\u00fcrtlerin ya\u015fad\u0131\u011f\u0131 yok olma tehlikesi, sanatlar\u0131na da yans\u0131m\u0131\u015ft\u0131r. Bu s\u00fcre\u00e7te sanatlar\u0131nda dile gelen \u015fey, dirili\u015f ve umut sanat\u0131d\u0131r. Bir ucu yenilgi korkusu, bir ucu var olma umudu ta\u015f\u0131yan bu durum; d\u00f6nemin K\u00fcrt edebiyat\u0131nda rahatl\u0131kla okunabilir. Derler ki insan cismiyle de\u011fil ismiyle, yani k\u00fclt\u00fcr\u00fcyle insand\u0131r. K\u00fclt\u00fcrel bir varl\u0131k olan insan, hakikatini bir\u00e7ok yolla dile […]<\/p>\n","protected":false},"author":2,"featured_media":7052,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"jnews-multi-image_gallery":[],"jnews_single_post":{"format":"standard","override":[{"template":"1","parallax":"1","fullscreen":"1","layout":"right-sidebar","sidebar":"default-sidebar","second_sidebar":"default-sidebar","sticky_sidebar":"1","share_position":"top","share_float_style":"share-monocrhome","show_featured":"1","show_post_meta":"1","show_post_author_image":"1","show_post_date":"1","post_date_format":"default","post_date_format_custom":"Y\/m\/d","show_post_category":"1","post_reading_time_wpm":"300","post_calculate_word_method":"str_word_count","zoom_button_out_step":"2","zoom_button_in_step":"3","show_post_tag":"1","show_prev_next_post":"1","show_popup_post":"1","number_popup_post":"1","show_author_box":"1","show_post_related":"0","show_inline_post_related":"0"}],"image_override":[{"single_post_thumbnail_size":"crop-500","single_post_gallery_size":"crop-500"}],"trending_post_position":"meta","trending_post_label":"Trending","sponsored_post_label":"Sponsored by","disable_ad":"0","subtitle":""},"jnews_primary_category":[],"jnews_social_meta":[],"jnews_review":[],"enable_review":"","type":"percentage","name":"","summary":"","brand":"","sku":"","good":[],"bad":[],"score_override":"","override_value":"","rating":[],"price":[],"jnews_override_counter":{"view_counter_number":"0","share_counter_number":"0","like_counter_number":"0","dislike_counter_number":"0"},"jnews_post_split":{"post_split":[{"template":"1","tag":"h2","numbering":"asc","mode":"normal","first":"0","enable_toc":"0","toc_type":"normal"}]},"footnotes":""},"categories":[1,50,44],"tags":[],"class_list":["post-6779","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-analiz","category-genc-kalemler","category-kultur-sanat"],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/berru.org\/wp-content\/uploads\/2025\/06\/Zagroslar-ve-Kurtler-Ressam-Alexandre-Jacovleff.1887-1938-1.jpg","_links":{"self":[{"href":"https:\/\/berru.org\/index.php\/wp-json\/wp\/v2\/posts\/6779","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/berru.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/berru.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/berru.org\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/berru.org\/index.php\/wp-json\/wp\/v2\/comments?post=6779"}],"version-history":[{"count":4,"href":"https:\/\/berru.org\/index.php\/wp-json\/wp\/v2\/posts\/6779\/revisions"}],"predecessor-version":[{"id":7056,"href":"https:\/\/berru.org\/index.php\/wp-json\/wp\/v2\/posts\/6779\/revisions\/7056"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/berru.org\/index.php\/wp-json\/wp\/v2\/media\/7052"}],"wp:attachment":[{"href":"https:\/\/berru.org\/index.php\/wp-json\/wp\/v2\/media?parent=6779"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/berru.org\/index.php\/wp-json\/wp\/v2\/categories?post=6779"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/berru.org\/index.php\/wp-json\/wp\/v2\/tags?post=6779"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}