{"id":4323,"date":"2026-04-16T16:02:49","date_gmt":"2026-04-16T13:02:49","guid":{"rendered":"https:\/\/simurgedebiyat.com\/?p=4323"},"modified":"2026-04-16T16:19:58","modified_gmt":"2026-04-16T13:19:58","slug":"4323","status":"publish","type":"post","link":"https:\/\/simurgedebiyat.com\/index.php\/2026\/04\/16\/4323\/","title":{"rendered":"KUZEY\u0130N SESS\u0130Z B\u0130LGEL\u0130\u011e\u0130: KOPENHAG \/DAN\u0130MARKA G\u00dcNCES\u0130"},"content":{"rendered":"
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Balt\u0131k\u2019ta Varolu\u015f ve Akdeniz\u2019den Kutba Selam<\/div>\n<\/div>\n
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G\u00fcneyin g\u00fcne\u015finden, Mezopotamya\u2019n\u0131n kadim topraklar\u0131ndan \u00e7\u0131k\u0131p Avrupa\u2019n\u0131n en u\u00e7 noktas\u0131na, Kuzey\u2019in so\u011fuk ba\u011fr\u0131na do\u011fru bir gece yolculu\u011funa ba\u015flad\u0131m. Berlin\u2019den hareket eden otob\u00fcs\u00fcm\u00fcz karanl\u0131\u011f\u0131 y\u0131rtarken, i\u00e7imde bir yerlerde bu yolculu\u011fun sadece co\u011frafi bir yer de\u011fi\u015ftirme de\u011fil, ayn\u0131 zamanda ruhsal bir e\u015fik oldu\u011funu biliyordum. Gecenin bir yar\u0131s\u0131 otob\u00fcs\u00fcm\u00fcz devasa bir vapurun karn\u0131na girdi\u011finde, kendimi Balt\u0131k Denizi\u2019nin ortas\u0131nda, g\u00fcvertede buldum.<\/div>\n
Balt\u0131k, sadece bir deniz de\u011fil; bir zaman t\u00fcneldi sanki. Arkada kalan gemilerin \u0131\u015f\u0131klar\u0131, \u00f6nde ilerleyenlerin h\u00fcz\u00fcnl\u00fc par\u0131lt\u0131s\u0131… \u0130ki kara k\u00fctlesi aras\u0131nda bitmek bilmeyen bir trafik. O an, bin y\u0131l \u00f6nce ayn\u0131 dalgalar\u0131 yaran Viking teknelerini hayal ettim. Sava\u015f\u00e7\u0131, t\u00fcccar ve ma\u011frur… Onlar bu denizi fethetmi\u015flerdi, bense bu denizi hissetmeye gelmi\u015ftim. Akdeniz\u2019in s\u0131cak kuca\u011f\u0131ndan \u00e7\u0131km\u0131\u015f bir yazar i\u00e7in Balt\u0131k, ula\u015f\u0131labilecek en u\u00e7 hayal, en so\u011fuk ger\u00e7eklikti. Kuzey\u2019e varmak, insan\u0131n kendi s\u0131n\u0131rlar\u0131n\u0131 test etmesi gibiydi.<\/div>\n
K\u00fc\u00e7\u00fckken d\u00fcnya haritas\u0131na bakt\u0131\u011f\u0131mda bir g\u00fcn bu denizlere gelece\u011fimi hayal ederdim. \u015eimdi bu denizdeyim ve bir \u00e7ocukluk hayalini ger\u00e7ekle\u015ftirmi\u015f ka\u015fif gibi hissediyordum\u2026 Gezmek ke\u015ffetmektir ama en \u00e7ok insan\u0131n kendini ke\u015ffetmesidir.<\/div>\n<\/div>\n
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Kopenhag: Hayal K\u0131r\u0131kl\u0131\u011f\u0131 ve “\u00c7irkin \u00d6rdek Yavrusu”<\/div>\n
Kopenhag\u2019a vard\u0131\u011f\u0131m\u0131zda, zihnimdeki o steril ve ultra-modern Bat\u0131 imaj\u0131 ilk darbesini ald\u0131. Modern bir terminal beklerken, kendimizi vasat bir dura\u011f\u0131 and\u0131ran, soka\u011f\u0131n kenar\u0131ndaki bir istasyonda bulduk. \u0130\u015fte tam burada, Danimarkal\u0131 \u00e7ocuk masalc\u0131s\u0131 Hans Christian Andersen kula\u011f\u0131ma f\u0131s\u0131ldamaya ba\u015flad\u0131. Ben de t\u0131pk\u0131 onun “\u00c7irkin \u00d6rdek Yavrusu” gibiydim; bu yabanc\u0131 co\u011frafyada, bu bak\u0131ms\u0131z peronda kendimi ait olmad\u0131\u011f\u0131m bir yuvada, d\u0131\u015flanm\u0131\u015f ve farkl\u0131 hissediyordum. Ama masal bize ne \u00f6\u011fretmi\u015fti? \u00d6rde\u011fin \u00e7irkinli\u011fi, hen\u00fcz ku\u011fuya d\u00f6n\u00fc\u015fmemi\u015f olmas\u0131ndand\u0131. Belki de bu \u015fehrin as\u0131l g\u00fczelli\u011fi, o vasat kabu\u011fun alt\u0131nda gizliydi.<\/div>\n
Bu terminalsizlik, Bat\u0131\u2019n\u0131n bize pazarlanan o kusursuz vitrininin arkas\u0131ndaki “duymazl\u0131\u011f\u0131n” bir simgesiydi. Sanki \u015fehir bana, “Seni kar\u015f\u0131lamaya ihtiyac\u0131m yok,” diyordu. Bu d\u0131\u015flanm\u0131\u015fl\u0131k hissi, Andersen\u2019in o k\u00fc\u00e7\u00fck kahraman\u0131n\u0131n \u00e7ekti\u011fi sanc\u0131n\u0131n modern bir yans\u0131mas\u0131yd\u0131; ait olmad\u0131\u011f\u0131n bir zarafetin i\u00e7inde, kaba bir ger\u00e7eklikle ba\u015f ba\u015fa kalmak…<\/div>\n<\/div>\n
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Ankara D\u00fcr\u00fcm House ve “Ge\u00e7 Ba\u015flayan Hayat”<\/div>\n
Sabah\u0131n onunda sokaklar \u0131ss\u0131zd\u0131. Kopenhag, sanki bir Paskalya uykusuna yatm\u0131\u015ft\u0131. \u0130ki kapal\u0131 T\u00fcrk lokantas\u0131n\u0131n ard\u0131ndan kap\u0131s\u0131n\u0131 \u00e7ald\u0131\u011f\u0131m\u0131z “Ankara D\u00fcr\u00fcm House”, bize sadece \u00e7ay de\u011fil, bir gurbet s\u0131cakl\u0131\u011f\u0131 sundu. Orada \u00f6\u011frendim ki; bu \u015fehirde hayat ge\u00e7 ba\u015fl\u0131yor, 11\u2019den \u00f6nce kimse yata\u011f\u0131ndan kalkm\u0131yor, d\u00fckkanlar da bu saatten sonra a\u00e7\u0131l\u0131yordu. Bu bilgi \u015fehrin neden kapal\u0131 ve \u0131ss\u0131z oldu\u011funu bize g\u00f6sterdi. Ama di\u011fer yandan kuzey\u2019in so\u011fuk insanlar\u0131n g\u00fcne ge\u00e7 ba\u015flamas\u0131n\u0131 da anlamad\u0131m\u2026 Demek ki kuzeyde ge\u00e7, g\u00fcney\u2019de ise erken ba\u015flard\u0131. Arap \u00fclkelerindeki mesainin erken ba\u015flamas\u0131n\u0131n nedeni de iklimdi.<\/div>\n
Danimarkal\u0131 varolu\u015f\u00e7uluk felsefesinin kurucu babas\u0131 Kierkegaard (Kurgan) olsa buna ne derdi? Belki de bu “tembellik” dedi\u011fimiz \u015fey, asl\u0131nda insan\u0131n kendi i\u00e7ine d\u00f6nmesi i\u00e7in yaratt\u0131\u011f\u0131 bir es idi. Ancak bu esin bir de bedeli vard\u0131: %50 vergi ve 3 kuru\u015fun hesab\u0131n\u0131 yapan bir “cimrilik”. Bat\u0131\u2019n\u0131n refah\u0131, asl\u0131nda b\u00fcy\u00fck bir disiplin ve kat\u0131 bir rasyonalizm \u00fczerine kuruluydu.<\/div>\n<\/div>\n
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Kurger (Kierkegaard) Felsefesi: Varolu\u015fun \u00dc\u00e7 Basama\u011f\u0131<\/div>\n
\u015eehrin bu donuklu\u011funu anlamak i\u00e7in Danimarka\u2019n\u0131n en b\u00fcy\u00fck zihni olan S\u00f8ren Kierkegaard\u2019a (Kurgan) s\u0131\u011f\u0131nmak gerek. Kierkegaard, insan\u0131n varolu\u015funu \u00fc\u00e7 a\u015famaya ay\u0131r\u0131r:<\/div>\n
Estetik A\u015fama: Anl\u0131k hazlar ve g\u00fczellik pe\u015finde ko\u015fmak. Nyhavn\u2019daki o renkli evlerin sundu\u011fu g\u00f6rsel \u015f\u00f6len bu a\u015faman\u0131n bir par\u00e7as\u0131d\u0131r.<\/div>\n
Etik A\u015fama: Toplumsal g\u00f6revler ve kurallar. %50 vergi vermek, kurallara harfiyen uymak ve o “tembel” g\u00f6r\u00fcnen mesai saatlerine ra\u011fmen sistemi i\u015fletmek bu a\u015faman\u0131n tezah\u00fcr\u00fcd\u00fcr. Sabah 11\u2019de ba\u015flayan hayat, asl\u0131nda bireyin sisteme kar\u015f\u0131 en asgari ama en disiplinli borcudur.<\/div>\n
Dini A\u015fama: Mant\u0131\u011f\u0131n bitti\u011fi, inanc\u0131n ba\u015flad\u0131\u011f\u0131 o derin sanc\u0131.<\/div>\n
Kopenhag sokaklar\u0131nda y\u00fcr\u00fcrken kendimi bu \u00fc\u00e7 a\u015fama aras\u0131nda gidip gelirken buldum. Bir yanda lunapark\u0131n (Tivoli) parayla sat\u0131n al\u0131nan “estetik” ne\u015fesi, di\u011fer yanda terminalin “etik” vasatl\u0131\u011f\u0131.<\/div>\n
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Meryem Camii ve Dini S\u0131\u011f\u0131nak<\/div>\n
\u015eehrin kalbinde y\u00fckselen katedrallerin, etekli damatlar\u0131n ve asalet kokan t\u00f6renlerin ortas\u0131nda; bir de ruhumuzun nefes alaca\u011f\u0131 yerleri arad\u0131k. Bu, Kierkegaard\u2019\u0131n o bahsetti\u011fi “dini a\u015fama”ya giden yolda, yabanc\u0131 bir diyarda kendi hakikatini bulma \u00e7abas\u0131yd\u0131.<\/div>\n
Cami ziyareti. \u0130nternetten en yak\u0131n camiyi arad\u0131\u011f\u0131mda Meryem Camisinin yak\u0131n oldu\u011funu g\u00f6rd\u00fcm. Fakat bu cami Danimarkal\u0131 M\u00fcsl\u00fcman kad\u0131nlar taraf\u0131ndan kurulmu\u015ftu. Caminin imam\u0131 da kad\u0131nd\u0131. Bu nedenle gitmek istemedik. Ama bu durum \u00f6zellikle dikkatimizi de \u00e7ekti.<\/div>\n<\/div>\n
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\u0130skandinav Vakar\u0131 ve \u0130lk Temas<\/div>\n
Danimarka topraklar\u0131na ayak bast\u0131\u011f\u0131n\u0131zda sizi kar\u015f\u0131layan ilk duygu, Anadolu\u2019nun o d\u0131\u015fa d\u00f6n\u00fck s\u0131cakl\u0131\u011f\u0131ndan farkl\u0131 olarak, daha i\u00e7e d\u00f6n\u00fck, vakur ve nizam dolu bir atmosferdir. Kopenhag, ilk bak\u0131\u015fta bir yabanc\u0131ya “so\u011fuk” gelebilir; ancak bu so\u011fukluk bir duygu eksikli\u011finden de\u011fil, ba\u015fkas\u0131n\u0131n \u00f6zel alan\u0131na duyulan derin sayg\u0131dan ve \u0130skandinavya\u2019n\u0131n o me\u015fhur “sessiz nezaketinden” kaynaklan\u0131r.<\/div>\n
Havaliman\u0131 yolunda yanl\u0131\u015f trene bindi\u011fimizde bize e\u015flik eden o gen\u00e7 delikanl\u0131y\u0131 hat\u0131rl\u0131yorum. Sadece yolu tarif etmekle kalmay\u0131p, gidece\u011fimiz perona kadar bize refakat etmesi, bu toplumun “mesafeli ama sorumluluk sahibi” karakterini \u00f6zetleyen ilk b\u00fcy\u00fck ipucuydu. Danimarka insan\u0131, siz sormad\u0131k\u00e7a hayat\u0131n\u0131za m\u00fcdahale etmez; ancak bir kez yard\u0131m istedi\u011finizde, nezaket ve disiplini birle\u015ftirerek size kap\u0131lar\u0131n\u0131 a\u00e7ar.<\/div>\n<\/div>\n
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Mimari ve Sanat\u0131n So\u011fuklu\u011fu<\/div>\n
\u015eehrin mimarisi; Prag\u2019\u0131n zarafetinden, Viyana\u2019n\u0131n ihti\u015fam\u0131ndan uzak. Sa\u011flam ama sade. G\u00f6steri\u015ften ka\u00e7an, i\u015flevselli\u011fe adanm\u0131\u015f yap\u0131lar. Sanat\u0131n s\u0131cak memleketlerde daha g\u00fcr akt\u0131\u011f\u0131na dair inanc\u0131m burada peki\u015fti. Kuzey\u2019de sanat, ya\u015fama de\u011fil, hayatta kalmaya hizmet ediyordu. Bu sadelik, Kierkegaard\u2019\u0131n “Etik A\u015fama”s\u0131 gibiydi; s\u00fcs yok, yalan yok, sadece g\u00f6rev ve sa\u011flaml\u0131k var.<\/div>\n<\/div>\n
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Kibrit\u00e7i K\u0131z ve Kapitalizmin Buzdan Elleri<\/div>\n
\u0130nternet bize mutlaka Tivoli Park\u0131n\u0131 ziyaret etmemizi \u00f6\u011f\u00fctledi. Buras\u0131 d\u00fcnyan\u0131n ilk lunapark\u0131yd\u0131. Biz de \u0130nternetin tavsiyesine uyup Tivoli Bah\u00e7eleri\u2019nin kap\u0131s\u0131na kadar geldik. D\u00fcnyan\u0131n en eski lunaparklar\u0131ndan biri olmas\u0131, tarihselli\u011fi, Andersen\u2019in ilham ald\u0131\u011f\u0131 o yer… Ama kap\u0131daki o y\u00fcksek \u00fccret ve ge\u00e7it vermeyen g\u00fcvenlik duvar\u0131 nedeniyle i\u00e7eri girmedik. Zaten park\u0131 d\u0131\u015fardan g\u00f6rebiliyorduk bizim Ankara\u2019n\u0131n Gen\u00e7lik Park\u0131\u2019n\u0131n bir ba\u015fka versiyonuydu. Parkta kaybedecek zaman\u0131m\u0131z olmad\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnerek Kopenagh\u2019\u0131n derinliklerine dald\u0131k.<\/div>\n
Fakat bu durum Bat\u0131\u2019n\u0131n kendi tarihini bile bir meta haline getirdi\u011fini g\u00f6stermekteydi. Kibrit\u00e7i K\u0131z\u2019\u0131n o sokak k\u00f6\u015fesinde donarken camlar\u0131n arkas\u0131ndaki zenginli\u011fi seyretmesi gibiydi. Nyhavn\u2019daki o renkli evlerin g\u00fczelli\u011fi, ancak cebinizdeki Kronlar kadard\u0131. Masallar asl\u0131nda \u00e7ocuklar\u0131 uyutmak i\u00e7in de\u011fil, b\u00fcy\u00fckleri uyand\u0131rmak i\u00e7in yaz\u0131lm\u0131\u015f sosyolojik kay\u0131tlard\u0131r. Kopenhag\u2019\u0131n renkli liman\u0131nda kahvesini yudumlayanlarla, o terminalde titreyenler aras\u0131ndaki u\u00e7urum, Andersen\u2019in kibrit alevinde g\u00f6rd\u00fc\u011f\u00fc o hayaller kadar uzakt\u0131 birbirine.<\/div>\n<\/div>\n
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Pedal Sesleriyle Yank\u0131lanan \u015eehir<\/div>\n
Kopenhag denince zihne d\u00fc\u015fen ilk imge, her ya\u015ftan ve her s\u0131n\u0131ftan insan\u0131n bindi\u011fi o sonsuz bisiklet selidir. Bisiklet, Danimarka\u2019da sadece bir ula\u015f\u0131m tercihi de\u011fil, adeta bir ya\u015fam felsefesiydi. Bizim Adana ve Osmaniye\u2019nin bisiklet sevdas\u0131ndan daha geli\u015fmi\u015fti. \u00c7\u00fcnk\u00fc bu bir ya\u015fam bi\u00e7imiydi ya\u015f, s\u0131n\u0131f ve makam fark etmeden herkes biniyordu. Burada zengin ile fakir, profes\u00f6r ile \u00f6\u011frenci, bakan ile i\u015f\u00e7i ayn\u0131 bisiklet yolunda yan yana pedal \u00e7eviriyordu. Bisiklet, Danimarka\u2019n\u0131n “hi\u00e7 kimsenin kimseden \u00fcst\u00fcn olmad\u0131\u011f\u0131” prensibinin (Janteloven) soka\u011fa yans\u0131m\u0131\u015f halidir.<\/div>\n
\u00d6zellikle dikkatimi \u00e7eken o \u00f6n\u00fc sepetli Christiania bisikletleri oldu. 5-6 ya\u015f\u0131ndaki \u00e7ocuklar\u0131n, hatta bebeklerin o sepetlerin i\u00e7inde, r\u00fczgar\u0131 y\u00fczlerinde hissederek \u015fehri deneyimlemesi, Danimarka\u2019n\u0131n \u00f6zg\u00fcrl\u00fck\u00e7\u00fc e\u011fitim anlay\u0131\u015f\u0131n\u0131n da bir par\u00e7as\u0131. Bir baban\u0131n veya annenin, t\u00fcm maharetiyle o a\u011f\u0131r sepeti s\u00fcrerken sergiledi\u011fi \u00e7eviklik, bisikletin bu toplumun genlerine nas\u0131l i\u015fledi\u011fini kan\u0131tl\u0131yor. Ucuz, ekonomik ve \u00e7evre dostu bu k\u00fclt\u00fcr, modern d\u00fcnyan\u0131n karma\u015fas\u0131na verilmi\u015f en bilgece yan\u0131tt\u0131r.<\/div>\n
\u201c\u00c7ocuk sepetli” bisikletler, Danimarka’da \u00e7ocuk yeti\u015ftirme k\u00fclt\u00fcr\u00fcn\u00fcn bir par\u00e7as\u0131d\u0131r. \u00c7ocuklar r\u00fczgar\u0131, ya\u011fmuru ve \u015fehri daha bebeklikten itibaren o sepetin i\u00e7inde deneyimleyerek b\u00fcy\u00fcrler. Bu, onlar\u0131n do\u011faya ve \u015fehre olan ba\u011fl\u0131l\u0131klar\u0131n\u0131n temelidir. Bisikletlerin markas\u0131z, sade ve bazen paslanm\u0131\u015f halleri; Danimarka’daki “g\u00f6steri\u015f yapmama” (Janteloven) k\u00fclt\u00fcr\u00fcn\u00fcn en somut d\u0131\u015favurumudur. Pahal\u0131l\u0131\u011f\u0131n h\u00fck\u00fcm s\u00fcrd\u00fc\u011f\u00fc bu \u00fclkede, en ucuz ula\u015f\u0131m arac\u0131n\u0131n en y\u00fcksek stat\u00fc simgesi olmas\u0131 m\u00fcthi\u015f bir k\u00fclt\u00fcrel paradokstur.<\/div>\n
Herkes iki tekerlek \u00fczerinde, r\u00fczgara kar\u015f\u0131 pedal \u00e7eviriyor. Bu g\u00f6r\u00fcnt\u00fc, Bat\u0131\u2019n\u0131n bize pazarlad\u0131\u011f\u0131 o muazzam “e\u015fitlik” imgesinin en g\u00fc\u00e7l\u00fc kan\u0131t\u0131 gibi duruyor. Fakat bu e\u015fitlik ne kadar ger\u00e7ek? Herkesin ayn\u0131 peronda beklemesi, herkesin ayn\u0131 f\u0131rt\u0131nada \u00fc\u015f\u00fcmesi, asalet unvanlar\u0131n\u0131n ve saraylar\u0131n varl\u0131\u011f\u0131n\u0131 ortadan kald\u0131r\u0131yor mu? Kierkegaard, kalabal\u0131klar\u0131n i\u00e7indeki insan\u0131n “tekil birey” olma sava\u015f\u0131ndan bahsederdi. Bu bisikletli kalabal\u0131k, asl\u0131nda bireyli\u011fin eridi\u011fi, rasyonel bir sistemin di\u015flileri haline gelmi\u015f bir k\u00fctle miydi yoksa?<\/div>\n
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Nyhavn ve Suyun Masals\u0131 Dokusu<\/div>\n
Nyhavn kanal\u0131n\u0131 g\u00f6rmeden gitmek Kopanagh\u2019\u0131 g\u00f6rmemek gibiydi. Bu nedenle biz de kanal\u0131 ziyaret ettik. Kanal boyunca s\u0131ralanan o me\u015fhur renkli evler; sar\u0131lar, turuncular ve k\u0131rm\u0131z\u0131lar… Nyhavn (Yeni Liman), Kopenhag\u2019\u0131n foto\u011fraf karesine s\u0131\u011fd\u0131r\u0131lm\u0131\u015f kalbidir. 17. y\u00fczy\u0131ldan kalan bu yap\u0131lar, limanda demirli duran devasa ah\u015fap direkli gemilerle birle\u015fti\u011finde, insan kendini bir tarih kitab\u0131n\u0131n sayfalar\u0131 aras\u0131nda y\u00fcr\u00fcr gibi hissediyor.<\/div>\n
Bu evlerin aras\u0131ndan ge\u00e7erken Hans Christian Andersen\u2019i d\u00fc\u015f\u00fcnmemek elde de\u011fil. Bu evlerin pencerelerin birinden bakarak “K\u00fc\u00e7\u00fck Deniz K\u0131z\u0131”n\u0131 veya “Kibrit\u00e7i K\u0131z”\u0131 kurgulayan Andersen, bu binalar\u0131n s\u00fckunetinden ilham alm\u0131\u015ft\u0131. Bug\u00fcn o evler, d\u00fcnyan\u0131n en pahal\u0131 restoranlar\u0131na ev sahipli\u011fi yapsa da, r\u0131ht\u0131mdaki demir halkalar hala o eski denizci ruhunu ve d\u00fcnyan\u0131n d\u00f6rt bir yan\u0131ndan gelen hikayeleri \u015fehre ba\u011flamaya devam ediyor. Kanal kenar\u0131ndaki evleri bizdeki Amasya\u2019n\u0131n Ye\u015fil\u0131rmak k\u0131y\u0131s\u0131ndaki evlere benzettim\u2026<\/div>\n
Nyhavn Kanal\u0131, 1670-1673 y\u0131llar\u0131 aras\u0131nda Kral V. Christian taraf\u0131ndan, denizi do\u011frudan \u015fehir merkezindeki Kongens Nytorv meydan\u0131na ba\u011flamak i\u00e7in in\u015fa ettirilmi\u015f. O d\u00f6nemde buras\u0131 gemicilerin, t\u00fcccarlar\u0131n ve meyhanelerin oldu\u011fu hareketli (ve biraz da tekinsiz) bir b\u00f6lgeydi. \u015eimdi ise Danimarka’n\u0131n en prestijli, pahal\u0131 ve turistik noktas\u0131. Binalar\u0131n \u00e7o\u011fu 300 ya\u015f\u0131ndan b\u00fcy\u00fck. \u00d6zellikle 9 numaral\u0131 bina (en eski olan\u0131), 1681 y\u0131l\u0131ndan beri hi\u00e7 de\u011fi\u015fmeden duruyor.<\/div>\n
Kanalda demirli duran o devasa ah\u015fap gemiler, Danimarka Ulusal M\u00fczesi’ne ait tarihi miraslar. Her biri, Danimarka’n\u0131n bir zamanlar okyanuslara h\u00fckmeden bir deniz g\u00fcc\u00fc oldu\u011funun sanatsal bir kan\u0131t\u0131 gibi.<\/div>\n
Mavi ve grinin hakimiyeti, Kopenhag’\u0131n denizle olan i\u00e7 i\u00e7e ge\u00e7mi\u015fli\u011fini vurguluyor. Kanal turu yapan teknelerdeki o canl\u0131 turuncu ve k\u0131rm\u0131z\u0131 can yelekleri, puslu \u0130skandinav \u0131\u015f\u0131\u011f\u0131nda harika birer kontrast olu\u015fturmu\u015f. Su y\u00fczeyindeki o hafif dalgalanmalar ve k\u0131y\u0131daki modern, cam cepheli binalar\u0131n yans\u0131malar\u0131, \u015fehrin hem k\u00f6kl\u00fc tarihini hem de ileriye d\u00f6n\u00fck modern y\u00fcz\u00fcn\u00fc ayn\u0131 karede birle\u015ftiriyor.<\/div>\n
Kopenhag, ismini bile denizden al\u0131r: K\u00f8benhavn (T\u00fcccar Liman\u0131). Bu kanallar, y\u00fczy\u0131llarca Danimarka ekonomisinin damarlar\u0131 olmu\u015ftur. Eskiden ticaret gemilerinin yana\u015ft\u0131\u011f\u0131 bu r\u0131ht\u0131mlar, g\u00fcn\u00fcm\u00fczde halk\u0131n nefes ald\u0131\u011f\u0131, spor yapt\u0131\u011f\u0131 ve sosyalle\u015fti\u011fi kamusal alanlara d\u00f6n\u00fc\u015fm\u00fc\u015f durumda.<\/div>\n
Su kenar\u0131ndaki eski ambar binalar\u0131n\u0131n (Silo gibi) modern ofis ve konutlara d\u00f6n\u00fc\u015ft\u00fcr\u00fclm\u00fc\u015f. Bu, Danimarka’n\u0131n “y\u0131kmak yerine d\u00f6n\u00fc\u015ft\u00fcrme” k\u00fclt\u00fcr\u00fcn\u00fcn en somut \u00f6rne\u011fidir. Liman boyunca hi\u00e7bir duvar\u0131n, tel \u00f6rg\u00fcn\u00fcn veya “girilmez” tabelas\u0131n\u0131n olmamas\u0131 dikkatimizi \u00e7ekti. Su, herkesindir. En l\u00fcks restoran\u0131n \u00f6n\u00fcnden de en sade vatanda\u015f\u0131n y\u00fcr\u00fcy\u00fc\u015f yolu ge\u00e7er. Bu, Danimarka\u2019n\u0131n sosyal adalet anlay\u0131\u015f\u0131n\u0131n mekana yans\u0131mas\u0131d\u0131r.<\/div>\n
Bu kanallar\u0131n bir k\u00f6\u015fesinde o me\u015fhur K\u00fc\u00e7\u00fck Deniz K\u0131z\u0131 heykeli var. O heykelin hikayesi, sevdi\u011fi prens i\u00e7in sesinden vazge\u00e7en bir fedakarl\u0131\u011f\u0131 anlat\u0131r. Kopenhag’\u0131n bu sessiz ve huzurlu liman manzaralar\u0131 da sanki g\u00fcr\u00fclt\u00fcden ve karma\u015fadan vazge\u00e7ip, s\u00fckuneti tercih etmi\u015f bir toplumun sessiz hikayesini anlat\u0131yor.<\/div>\n
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Vergi, Refah ve Sosyal Devletin Anatomisi<\/div>\n
Danimarka seyahati boyunca \u00fczerinde en \u00e7ok kafa yordu\u011fum ve esnafla yapt\u0131\u011f\u0131m sohbetlerde derinle\u015ftirdi\u011fim konu: Pahal\u0131l\u0131k ve Vergi.<\/div>\n
Kopenhag sokaklar\u0131nda dola\u015f\u0131rken kar\u015f\u0131m\u0131za \u00e7\u0131kan Ankara D\u00fcr\u00fcm House, sadece karn\u0131m\u0131z\u0131 doyurmad\u0131, \u015fehrin ekonomik r\u00f6ntgenini de \u00f6n\u00fcm\u00fcze koydu. T\u00fcrk i\u015fletmecilerle yapt\u0131\u011f\u0131m\u0131z o derin sohbette \u00f6\u011frendim ki, burada hayat\u0131n bedeli sadece para de\u011fil, eme\u011finin yar\u0131s\u0131n\u0131 devlete teslim etti\u011fin o %50\u2019lik vergi y\u00fck\u00fcyd\u00fc.<\/div>\n
Danimarka, bir yabanc\u0131 i\u00e7in, hele ki bizim gibi d\u0131\u015far\u0131dan gelenler i\u00e7in “ate\u015f pahas\u0131” bir yer. Ancak bu pahal\u0131l\u0131\u011f\u0131n arkas\u0131nda devasa bir toplumsal s\u00f6zle\u015fme yat\u0131yor. Esnaf\u0131n belirtti\u011fi o %50’lik vergi oran\u0131, ilk bak\u0131\u015fta “a\u011f\u0131r bir y\u00fck” gibi g\u00f6r\u00fcnse de, asl\u0131nda halk\u0131n kendi huzuru i\u00e7in \u00f6dedi\u011fi bir sigorta primidir.<\/div>\n
Devlet, halktan toplad\u0131\u011f\u0131 bu y\u00fcksek vergileri; tamamen \u00fccretsiz e\u011fitim, y\u00fcksek standartl\u0131 sa\u011fl\u0131k hizmetleri ve yar\u0131n kayg\u0131s\u0131n\u0131 ortadan kald\u0131ran bir sosyal g\u00fcvenlik a\u011f\u0131 olarak geri veriyor. Bir Danimarkal\u0131 i\u00e7in y\u00fcksek fiyatl\u0131 bir kahve almak sorun de\u011fil, \u00e7\u00fcnk\u00fc biliyor ki \u00fcniversiteye giden \u00e7ocu\u011fu i\u00e7in para biriktirmesine veya hastaland\u0131\u011f\u0131nda hastane masraf\u0131 d\u00fc\u015f\u00fcnmesine gerek yok. Bu, “toplumsal bir g\u00fcven” ekonomisidir.<\/div>\n
Neden Euro de\u011fil de Kron? Bu, Danimarka\u2019n\u0131n o “m\u00fcstesna” olma \u00e7abas\u0131n\u0131n bir kan\u0131t\u0131 gibi. Her ne kadar tabelalarda Euro\u2019nun g\u00f6lgesi gezse de, Kron kullanmak onlar i\u00e7in bir ba\u011f\u0131ms\u0131zl\u0131k ve “biz bize yeteriz” demenin finansal yolu. Ancak bu sistem, halk\u0131n karakterine “cimrilik” olarak sirayet etmi\u015f. \u00dc\u00e7 kuru\u015fun hesab\u0131n\u0131 b\u0131rakan bir toplumsal yap\u0131 yok burada; her \u015fey online, her \u015fey dijital, her \u015fey mesafeli. Paran\u0131n fiziksel dokunu\u015fu bile kaybolmu\u015f, yerini rakamlar\u0131n so\u011fuklu\u011funa b\u0131rakm\u0131\u015f.<\/div>\n
Yap\u0131lan bir ara\u015ft\u0131rmaya g\u00f6re d\u00fcnyada en \u0130slami devlet Danimarka \u00e7\u0131km\u0131\u015f. Yani \u0130slam\u2019\u0131n devlet ve sosyal adalet prensipleri ekseninde ara\u015ft\u0131r\u0131l\u0131rken Danimarka bir numara olmu\u015f. Bu da ayr\u0131 bir ironi.<\/div>\n
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Etekli Damat ve Kimlik Gururu<\/div>\n
Yolumuz bir tarihi kiliseye d\u00fc\u015ft\u00fc. Buras\u0131 ayn\u0131 zamanda san\u0131r\u0131m Belediye\u2019nin nikah k\u0131yd\u0131\u011f\u0131 yerdi. \u00c7\u00fcnk\u00fc i\u00e7erden gelin ve damatlar \u00e7\u0131k\u0131yor, ellerinde \u00e7i\u00e7ekler olan insanlar bekliyor, avlusunun bir k\u00f6\u015fesinde de \u015fampanya patlatanlar oluyordu. Avluda halka kurmu\u015f yakla\u015f\u0131k 50 ki\u015filik bir grup dikkatimizi \u00e7ekti. Derken i\u00e7erden bir gelin ve damat alk\u0131\u015flar aras\u0131ndan \u00e7\u0131kt\u0131. Damat, gelini \u00f6p\u00fcp halkan\u0131n ortas\u0131nda dans ettiler ve etraflar\u0131ndaki dost ve akrabalar\u0131 da tempo tuttular. Damat ve gelinin o ne\u015feli kar\u015f\u0131lan\u0131\u015f\u0131, alk\u0131\u015flar\u0131n temposu, birbirlerine olan o i\u00e7ten bak\u0131\u015flar\u0131 ve herkesin \u00f6n\u00fcnde dans edip \u00f6p\u00fc\u015fmeleri… O an, Kopenhag\u2019\u0131n o “so\u011fuk ve cimri” imaj\u0131 da\u011f\u0131ld\u0131. Etraftakilerin tuttu\u011fu tempo, sadece bir ritim de\u011fil, toplumsal bir dayan\u0131\u015fman\u0131n ve ya\u015fama sevincinin d\u0131\u015fa vurumuydu.<\/div>\n
Benim dikkatimi damad\u0131n k\u0131yafeti \u00e7ekti. Damat filimlerden a\u015fina oldu\u011fum etekli bir y\u00f6resel k\u0131yafet giymi\u015fti. Kad\u0131n\u0131n da gelinli\u011fi modern de\u011fil y\u00f6reseldi ama beyaz bir elbiseydi. San\u0131r\u0131m geleneklerine d\u00fc\u015fk\u00fcn bir aileydiler veya burada d\u00fc\u011f\u00fcnler b\u00f6yle oluyordu. Bu durum modern d\u00fcnyan\u0131n tek tiple\u015ftiren modas\u0131na, o her \u015feyi dijitalle\u015ftiren rasyonalizmine kar\u015f\u0131 bir ba\u015fkald\u0131r\u0131 gibiydi.<\/div>\n
Danimarka; ne kadar ileri giderse gitsin, ne kadar bisiklet yollar\u0131 ve y\u00fcksek teknolojiyle donat\u0131l\u0131rsa donat\u0131ls\u0131n, k\u00f6klerinden kopmay\u0131 reddediyordu. Damad\u0131n o etekli yerel k\u0131yafeti, bir Viking torununun modern \u00e7a\u011fda kendi asaletini ve tarihini \u00fczerinde ta\u015f\u0131ma bi\u00e7imiydi. Gelin ise masallardan f\u0131rlam\u0131\u015f\u00e7as\u0131na y\u00f6resel gelinli\u011fiyle ona e\u015flik ediyordu. Bu sadece bir d\u00fc\u011f\u00fcn de\u011fil, bir “kimlik manifestosu”ydu.<\/div>\n
Dikkatimi \u00e7eken bir ba\u015fka detay ise buradaki nikahlar\u0131n o tuhaf ama dengeli yap\u0131s\u0131yd\u0131. Belediye ve kilise birlikteli\u011fiyle k\u0131y\u0131lan bu nikahlar, Avrupa\u2019n\u0131n laiklik ve modernizm iddialar\u0131n\u0131n yan\u0131nda dinin hala toplumsal hayat\u0131n “temel harc\u0131” oldu\u011funu g\u00f6steriyordu. Modern yasalarla tan\u0131nan o birliktelik, yine o kadim katedralin puslu atmosferinde, papaz\u0131n huzurunda m\u00fch\u00fcrleniyordu. Modernizm ile din burada \u00e7at\u0131\u015fm\u0131yor, aksine birbirini tamamlayan iki eski dost gibi el ele veriyordu. Bat\u0131\u2019n\u0131n o “sek\u00fcler” y\u00fcz\u00fcn\u00fcn arkas\u0131nda, hala kilise \u00e7anlar\u0131n\u0131n ve dini geleneklerin kokusu sinmi\u015fti sokaklara.<\/div>\n
K\u00fcrger olsa, bu sahneye bak\u0131p insan\u0131n “Etik A\u015fama”s\u0131n\u0131 g\u00f6r\u00fcrd\u00fc ku\u015fkusuz. Birey, kendi \u00f6zg\u00fcrl\u00fc\u011f\u00fcnden vazge\u00e7ip bir kurumun, bir gelene\u011fin ve toplumun par\u00e7as\u0131 olmay\u0131 se\u00e7iyordu. Ama bu se\u00e7im, katedralin kap\u0131s\u0131nda bir “estetik” \u015f\u00f6lene d\u00f6n\u00fc\u015f\u00fcyordu. Modern Danimarka\u2019n\u0131n o dijital ve mesafeli d\u00fcnyas\u0131nda, insanlar\u0131n hala bir halka olu\u015fturup el \u00e7\u0131rparak bir \u00e7iftin mutlulu\u011funa ortak olmas\u0131, insani \u00f6z\u00fcm\u00fcz\u00fcn hi\u00e7bir sistem taraf\u0131ndan yok edilemeyece\u011finin kan\u0131t\u0131yd\u0131.<\/div>\n
Biz kar\u0131 koca, o r\u00fczgarda birbirimize sar\u0131lm\u0131\u015f “Eskimo”lar gibi onlar\u0131 izlerken, Danimarka\u2019n\u0131n sadece bir rasyonellikler \u00fclkesi de\u011fil, ayn\u0131 zamanda k\u00f6klerine s\u0131ms\u0131k\u0131 ba\u011fl\u0131 bir “modern masal” oldu\u011funu bir kez daha anlad\u0131k. Katedralin kap\u0131s\u0131ndaki o \u00f6p\u00fcc\u00fck, Balt\u0131k\u2019\u0131n t\u00fcm so\u011fu\u011funu k\u0131ran o kadim ate\u015fin kendisiydi.<\/div>\n
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Meydanlardaki Bilgelik ve Mitoloji<\/div>\n
Kopenhag sokaklar\u0131 sadece binalardan ibaret de\u011fildir; her k\u00f6\u015fede bir heykel, her meydanda bir efsane pusuda bekler. Danimarka’da heykeller sadece s\u00fcs de\u011fil, toplumsal haf\u0131zan\u0131n par\u00e7alar\u0131d\u0131r.<\/div>\n
Bo\u011falar\u0131n\u0131 s\u00fcren o devasa kad\u0131n heykeli, Tanr\u0131\u00e7a Gefion… Danimarka adas\u0131n\u0131n denizden nas\u0131l s\u00f6k\u00fcl\u00fcp al\u0131nd\u0131\u011f\u0131n\u0131 anlatan o mitolojik g\u00fc\u00e7, Kopenhag\u2019\u0131n \u00e7al\u0131\u015fkanl\u0131k ve diren\u00e7 k\u00f6klerini simgeler. F\u0131skiyelerden f\u0131\u015fk\u0131ran sular\u0131n o heykellere katt\u0131\u011f\u0131 canl\u0131l\u0131k, \u015fehrin bitmeyen enerjisinin bir resmidir.<\/div>\n
\u015eehri gezerken S\u00f8ren Kierkegaard\u2019\u0131n ad\u0131mlar\u0131yla kar\u015f\u0131la\u015f\u0131rs\u0131n\u0131z. Varolu\u015f\u00e7ulu\u011fun bu ayk\u0131r\u0131 babas\u0131n\u0131n “Hakikat \u00f6znelliktir” felsefesi, \u015fehrin her soka\u011f\u0131nda bireysel \u00f6zg\u00fcrl\u00fc\u011fe verilen de\u011ferle yank\u0131lan\u0131r. Nyhavn\u2019\u0131n renkli binalar\u0131 aras\u0131ndan ge\u00e7erken Hans Christian Andersen\u2019in masals\u0131 d\u00fcnyas\u0131, sadece \u00e7ocuklar i\u00e7in de\u011fil, modern toplumun d\u00f6n\u00fc\u015f\u00fcm\u00fcn\u00fc anlamak isteyen bir sosyolog i\u00e7in de ipu\u00e7lar\u0131 ta\u015f\u0131r. “Kibrit\u00e7i K\u0131z”\u0131n dram\u0131, bug\u00fcn bu refah toplumunun ge\u00e7mi\u015findeki kapitalist sanc\u0131lar\u0131n ve o sanc\u0131lardan do\u011fan vicdani uyan\u0131\u015f\u0131n bir kayd\u0131 gibidir.<\/div>\n
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Monar\u015finin Kalbi ve \u0130nanc\u0131n Heybeti<\/div>\n
Kopenhag\u2019\u0131n bir di\u011fer y\u00fcz\u00fc ise Amalienborg Saray\u0131 ve \u00e7evresindeki o disiplinli ihti\u015famd\u0131r. Bu meydan, d\u00fcnyan\u0131n en eski kesintisiz monar\u015filerinden birinin kalbi.<\/div>\n
O devasa kubbesiyle y\u00fckselen Mermer Kilise (Frederik’s Church), \u015fehrin inan\u00e7 ve azim an\u0131t\u0131d\u0131r. \u0130n\u015fas\u0131 \u00f6denek yoklu\u011fundan dolay\u0131 100 y\u0131l durmu\u015f, ancak sab\u0131rla tamamlanm\u0131\u015ft\u0131r. Roma\u2019daki Aziz Petrus Bazilikas\u0131\u2019n\u0131 and\u0131ran bu heybetli yap\u0131, \u0130skandinavya\u2019n\u0131n g\u00f6ky\u00fcz\u00fcne uzanan en g\u00fc\u00e7l\u00fc parmaklar\u0131ndan biridir.<\/div>\n
Kraliyet ailesinin ikamet etti\u011fi Amalienborg Meydan\u0131\u2019nda dururken, o siyah ay\u0131 postu kalpakl\u0131 n\u00f6bet\u00e7ilerin ciddiyeti ile halk\u0131n saraylar\u0131n aras\u0131ndan hi\u00e7bir engel olmadan ge\u00e7ip gitmesi aras\u0131ndaki tezat b\u00fcy\u00fcleyicidir. Otorite burada halktan ka\u00e7m\u0131yor, halkla ayn\u0131 meydan\u0131 payla\u015f\u0131yor. Bu, Danimarka\u2019daki “y\u00f6neten ile y\u00f6netilen aras\u0131ndaki g\u00fcvenin” mimariye yans\u0131mas\u0131d\u0131r. 1658’den beri var olan bu muhaf\u0131z alay\u0131, Danimarkal\u0131lar i\u00e7in hem bir gurur kayna\u011f\u0131 hem de o me\u015fhur “istikrar\u0131n” simgesidir.<\/div>\n
Amalienborg Saray\u0131’n\u0131n sekizgen avlusu, Barok mimarinin o karakteristik d\u00fczenini yans\u0131t\u0131yor. G\u00f6ky\u00fcz\u00fcndeki beyaz bulutlar ile binalar\u0131n kumta\u015f\u0131 rengi aras\u0131ndaki uyum, foto\u011fraflara klasik bir tablo havas\u0131 katm\u0131\u015f. \u00d6zellikle Mermer Kilise’nin o devasa ye\u015fil kubbesinin binalar\u0131n aras\u0131ndan y\u00fckseldi\u011fi kareler, Kopenhag sil\u00fcetinin en g\u00fc\u00e7l\u00fc imgesini olu\u015fturuyor. N\u00f6bet\u00e7i kul\u00fcbesinin \u00f6n\u00fcndeki asker ise bu statik ihti\u015fama canl\u0131 bir “disiplin” \u00f6\u011fesi ekliyor.<\/div>\n
Amalienborg Saray\u0131: 1750’lerde asl\u0131nda d\u00f6rt soylu aile i\u00e7in yap\u0131lm\u0131\u015f, ancak saray yang\u0131n\u0131ndan sonra kraliyet ailesi buraya ta\u015f\u0131nm\u0131\u015ft\u0131r. Bug\u00fcn hala Krali\u00e7e\/Kral burada ikamet eder (\u00c7at\u0131da bayrak \u00e7ekiliyse i\u00e7eridedirler).<\/div>\n
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Vikinglerin Miras\u0131 ve Siyasi \u0130kiy\u00fczl\u00fcl\u00fck<\/div>\n
Liman b\u00f6lgesinde, o eski tip yelkenli teknelerin \u00f6n\u00fcnde durdu\u011fumuzda; Vikinglerin sadece birer sava\u015f\u00e7\u0131 de\u011fil, usta t\u00fcccarlar ve denizciler oldu\u011funu d\u00fc\u015f\u00fcnd\u00fcm. Onlar bu denizi fethetmi\u015fti, ancak bug\u00fcn\u00fcn Danimarka\u2019s\u0131 o sava\u015f\u00e7\u0131 ruhu bir m\u00fczeye, bir “mazi”ye hapsetmi\u015fti.<\/div>\n
\u00dcstelik bu kadim asalet, bug\u00fcn\u00fcn “me\u015fruti monar\u015fisi” ile birle\u015ferek Bat\u0131\u2019n\u0131n en b\u00fcy\u00fck ikiy\u00fczl\u00fcl\u00fc\u011f\u00fcn\u00fc \u00f6n\u00fcm\u00fcze seriyordu. D\u00fcnyaya demokrasi pazarlayan, Asya ve Ortado\u011fu\u2019ya cumhuriyet\/demokrasi getirmek i\u00e7in silah kullanan Bat\u0131; kendi evinde bir kral\u0131n, bir aristokrasinin g\u00f6lgesinde ya\u015f\u0131yordu. E\u015fitlik dedikleri, sadece herkesin bisiklete binmesi miydi? Yoksa ger\u00e7ek e\u015fitlik, bir kral\u0131n varl\u0131\u011f\u0131yla \u00e7oktan zedelenmi\u015f bir ill\u00fczyon muydu?<\/div>\n
Danimarka, hala bir krall\u0131k. Demokrasiyi d\u00fcnyaya ihra\u00e7 edenlerin, kendi i\u00e7lerinde asalet unvanlar\u0131n\u0131 kutsamas\u0131, Bat\u0131\u2019n\u0131n en b\u00fcy\u00fck paradoksu. Biz bu geziden ne mi \u00f6\u011frendik? \u0130nsan\u0131n her yerde ayn\u0131 oldu\u011funu; korkular\u0131n\u0131n, arzular\u0131n\u0131n ve “anla\u015f\u0131lma” \u00e7abas\u0131n\u0131n co\u011frafya tan\u0131mad\u0131\u011f\u0131n\u0131.<\/div>\n
Kopenhag\u2019dan ayr\u0131l\u0131rken akl\u0131mda kalan; o vapurun g\u00fcvertesindeki r\u00fczgar, katedraldeki o etekli damat ve bir masal\u0131n i\u00e7ine s\u0131\u011fd\u0131r\u0131lmaya \u00e7al\u0131\u015f\u0131lan ama s\u0131\u011fmayan o koca insanl\u0131k ger\u00e7e\u011fiydi. Kuzey\u2019in puslu aynas\u0131nda kendimize bakt\u0131k ve \u015funu g\u00f6rd\u00fck: Her yolculuk asl\u0131nda insan\u0131n kendi i\u00e7ine yapt\u0131\u011f\u0131 bir seferdir. Ve masallar, sadece biz onlara inand\u0131\u011f\u0131m\u0131zda ger\u00e7ektir.<\/div>\n
“\u0130nsan bir kez olsun kendi i\u00e7ine bakmal\u0131; orada hem bir kral\u0131n asaletini hem de bir \u00e7irkin \u00f6rde\u011fin yaln\u0131zl\u0131\u011f\u0131n\u0131 bulacakt\u0131r.”<\/div>\n
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Tasar\u0131m ve Esteti\u011fin G\u00fcndelik Hali<\/div>\n
Danimarka\u2019da estetik bir l\u00fcks de\u011fil, bir ihtiya\u00e7t\u0131r. \u00c7i\u00e7ek\u00e7ilerin soka\u011fa ta\u015fan renkleri, parklardaki banklar\u0131n ergonomik dizilimi, bisiklet yollar\u0131ndaki o milimetrik nizam… \u015eehir, adeta bir sanat galerisi titizli\u011fiyle tasarlanm\u0131\u015f.<\/div>\n
Foto\u011fraflad\u0131\u011f\u0131m o dar sokaklar ve pasajlar, Danimarkal\u0131lar\u0131n me\u015fhur “Hygge” (huzur ve samimiyet) kavram\u0131n\u0131 a\u00e7\u0131klar. \u0130nsanlar\u0131n pahal\u0131 restoranlarda de\u011fil, bir kanal kenar\u0131nda veya parkta s\u00fckunetle oturup an\u0131 ya\u015famalar\u0131, modern d\u00fcnyan\u0131n o y\u0131k\u0131c\u0131 h\u0131z\u0131na kar\u015f\u0131 duran bir “durma” sanat\u0131d\u0131r.<\/div>\n
Cam ve metalin a\u011f\u0131rl\u0131kl\u0131 oldu\u011fu binalar, Danimarka’n\u0131n s\u00fcrd\u00fcr\u00fclebilirlik ve fonksiyonellik odakl\u0131 modern mimari ak\u0131m\u0131n\u0131n \u00f6rnekleridir. Ge\u00e7mi\u015fin ta\u015f binalar\u0131yla gelece\u011fin cam kuleleri aras\u0131ndaki bu uyum, Kopenhag’\u0131 “ya\u015fayan bir zaman makinesi” yapar.<\/div>\n
Gefion \u00c7e\u015fmesi (Gefionspringvandet) ve bo\u011falar\u0131 s\u00fcren g\u00fc\u00e7l\u00fc kad\u0131n fig\u00fcr\u00fc, Danimarka mitolojisinin en \u00f6nemli hikayelerinden biridir. Efsaneye g\u00f6re Tanr\u0131\u00e7a Gefion, \u0130sve\u00e7 kral\u0131ndan bir gecede s\u00fcrebildi\u011fi kadar topra\u011f\u0131 kendisine vermesini ister; o\u011fullar\u0131n\u0131 bo\u011faya d\u00f6n\u00fc\u015ft\u00fcrerek s\u00fcrd\u00fc\u011f\u00fc o toprak par\u00e7as\u0131 bug\u00fcnk\u00fc Sj\u00e6lland (Zelanda) adas\u0131n\u0131, yani Kopenhag’\u0131n bulundu\u011fu yeri olu\u015fturur.<\/div>\n
Kongens Nytorv ve Nyhavn Giri\u015fi: \u015eehrin en b\u00fcy\u00fck ve en zarif meydan\u0131 olan bu b\u00f6lge, monar\u015finin ihti\u015fam\u0131 ile sivil ticaretin (liman\u0131n) birle\u015fti\u011fi noktad\u0131r. Binalar\u0131n cepheleri, 17. y\u00fczy\u0131l Hollanda Barok etkisini net bir \u015fekilde hissettiriyor.<\/div>\n
Danimarka’da sanat, sadece galerilerin i\u00e7inde de\u011fil, do\u011frudan soka\u011f\u0131n ortas\u0131ndad\u0131r.<\/div>\n
 <\/div>\n<\/div>\n
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Sonu\u00e7: Bir Yazar\u0131n Heybesindeki Notlar<\/div>\n
Kopenhag gezimden geri d\u00f6nerken yan\u0131mda sadece foto\u011fraflar getirmedim; ayn\u0131 zamanda bir toplumun nas\u0131l hem bu kadar disiplinli, hem de bu kadar \u00f6zg\u00fcr olabilece\u011fine dair sorular getirdim.<\/div>\n
Danimarka, vergisi a\u011f\u0131r ama huzuru bol; so\u011fu\u011fu sert ama nezaketi s\u0131cak bir \u00fclke olarak haf\u0131zamda yer etti. Bu gezi yaz\u0131s\u0131, o so\u011fuk ama bilge r\u00fczgar\u0131n kalemime b\u0131rakt\u0131\u011f\u0131 bir mirast\u0131r.<\/div>\n
Kopenhag, bir gezgin i\u00e7in sadece yeni yerler g\u00f6rmek de\u011fil, yeni bir “toplum okumas\u0131” yapmakt\u0131r. Bisikletin selesinde ba\u015flayan bu hikaye, r\u0131ht\u0131m\u0131n demir halkalar\u0131nda ve saraylar\u0131n simetrisinde nihayete ererken, kalemim bu d\u00fczenin arkas\u0131ndaki insan ruhunu selaml\u0131yor.<\/div>\n
Kopenhag gezisi, benim i\u00e7in Andersen\u2019in h\u00fcz\u00fcnl\u00fc bir masal\u0131yla, Kierkegaard\u2019\u0131n sert felsefesinin \u00e7arp\u0131\u015ft\u0131\u011f\u0131 bir meydan okumayd\u0131. Sabah 11\u2019de uyanan, ak\u015fam ge\u00e7 kalan, paray\u0131 seven ama harcamaktan korkan bu \u015fehir; bize “ideal Bat\u0131”n\u0131n asl\u0131nda ne kadar insani kusurlarla dolu oldu\u011funu g\u00f6sterdi.<\/div>\n
Bir ara\u015ft\u0131rmada d\u00fcnyadaki en \u0130slami \u00fclkenin Danimarka oldu\u011funu okumu\u015ftum. Yani \u0130slam\u2019\u0131n devlet ve sosyal devlet anlay\u0131\u015f\u0131n\u0131 bilgisayara y\u00fckleyip mevcut devletlerin \u00f6zelliklerini de y\u00fckleyince en \u0130slami devlet Danimarka \u00e7\u0131km\u0131\u015ft\u0131. Do\u011fru mu yanl\u0131\u015f mi bilmiyorum ama g\u00fcn\u00fcm\u00fcz\u00fcn mevcut M\u00fcsl\u00fcman Devletlerin olmayaca\u011f\u0131 malumdu.<\/div>\n
Biz oradan ayr\u0131l\u0131rken, katedraldeki o etekli damatla, terminaldeki o sahipsiz yolcu ayn\u0131 f\u0131rt\u0131nan\u0131n i\u00e7inde titriyordu. Belki de as\u0131l masal, bu z\u0131tl\u0131klar\u0131n i\u00e7inde hala bir umut k\u0131r\u0131nt\u0131s\u0131 arayabilmekti.<\/div>\n
\u0130brahim Halil ER<\/div>\n
5 Nisan 2026 Kopenak\/Danimarka<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Balt\u0131k\u2019ta Varolu\u015f ve Akdeniz\u2019den Kutba Selam G\u00fcneyin g\u00fcne\u015finden, Mezopotamya\u2019n\u0131n kadim topraklar\u0131ndan \u00e7\u0131k\u0131p Avrupa\u2019n\u0131n en u\u00e7…<\/p>\n","protected":false},"author":2,"featured_media":4324,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"om_disable_all_campaigns":false,"_uag_custom_page_level_css":"","ngg_post_thumbnail":0,"footnotes":""},"categories":[18,148,149],"tags":[],"ppma_author":[93],"class_list":["post-4323","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-gezi","category-er","category-yaz"],"yoast_head":"\nKUZEY\u0130N SESS\u0130Z B\u0130LGEL\u0130\u011e\u0130: KOPENHAG \/DAN\u0130MARKA G\u00dcNCES\u0130 - 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Aslen Diyarbak\u0131rl\u0131 bir aileden olup, bu \u015fehrin ve \u00fclkenin me\u015fhur alimlerinden Muhammed Emin Er'in o\u011fludur.Babas\u0131n\u0131n yan\u0131nda dini ve Arabi ilimler okuyup ilmi ve ameli icaze ald\u0131. Gaziantep'te Aliye \u00d6mer Battal \u0130lkokulu (1981) ve Gaziantep \u0130mam Hatip Lisesi (1984)'ni, sonra Ankara Mimar Sinan Lisesini (1988) bitirdikten sonra Marmara \u00dcniversitesi Fen-Edebiyat Fak\u00fcltesi Tarih B\u00f6l\u00fcm\u00fc ve Medine \u0130slam \u00dcniversitesi Arap Dili B\u00f6l\u00fcm\u00fcnde y\u00fcksek \u00f6\u011frenim g\u00f6rd\u00fc. Ankara \u00dcniversitesi Sosyal Bilimler Enstit\u00fcs\u00fcnde \u0130slam Tarihi ve Sanatlar\u0131 b\u00f6l\u00fcm\u00fcnde\\\"\u0130slam Tarihi ve Sanatlar\u0131 \/ Emeviler D\u00f6neminde \u0130lim\\\" konulu teziyle master program\u0131n\u0131 tamamlad\u0131. Y\u00fcksek tahsilinin ard\u0131ndan \u00e7e\u015fitli okullarda \u00f6\u011fretmen ve idareci olarak g\u00f6rev yapt\u0131, \u00f6zel sekt\u00f6rde kendi i\u015fiyle me\u015fgul oldu. \u0130brahim Halil Er'in ilk yaz\u0131s\u0131 1986'da Edebiyat dergisinde yay\u0131mlanan bir kitap tan\u0131t\u0131m\u0131yd\u0131. Sonraki y\u0131llarda makaleleri; Milli Gazete, \u0130stiklal Gazetesi, Milat Gazetesi ile Anadolu Gen\u00e7lik, Gen\u00e7 \u0130stikbal, G\u00fclistan ve Milli \u015euur dergilerinde yer ald\u0131. Hedef Radyo ve Kanal 5 Televizyonunda Programlar yapt\u0131. T\u00fcrkiye Yazarlar Birli\u011fi Ankara \u015eubesi, \u00d6\u011f-Der, \u015euurlu \u00d6\u011fretmenler Derne\u011fi (Y\u00f6netim Kurulu), \u00d6z-Der, \u00d6zel \u00d6\u011fretim Derne\u011fi (Y\u00f6netim Kurulu), Tarih ve Strateji Derne\u011fi (Ba\u015fkan), Muhammed Emin Er \u0130lim K\u00fclt\u00fcr ve Yard\u0131mla\u015fma Derne\u011fi (Ba\u015fkan) \u00fcyesidir. Evli olup; Muhammed Emin ve Erkam Tuna adlar\u0131nda iki o\u011ful babas\u0131d\u0131r. Hayat\u0131n\u0131 ve \u00e7al\u0131\u015fmalar\u0131n\u0131 Ankara'da devam ettirmektedir. ESERLER\u0130: Cennet Do\u011fuda Bir Yerdedir (Ge\u00e7mi\u015ften G\u00fcn\u00fcm\u00fcze Ha\u00e7l\u0131 Seferleri) (2006), Siyasal \u0130slam D\u00fc\u015f\u00fcncesinin Do\u011fu\u015fu (2016), Peygamberimizin E\u011fitim Metodu (2011), \u00c7anakkaleye Can Verenler (2013), \u00dcmmetin Dirili\u015fi \u00c7anakkale (2014), Son Osmanl\u0131 Alimi (2014), Seyda Muhammed Emin Er Hoca ile S\u00f6yle\u015filer (2016), \u00d6yk\u00fclerle Osmanl\u0131 Padi\u015fahlar\u0131 1-2 (2015), Selahaddin Eyyubi (2017), Hz. Muhammed\u2019in Mektuplar\u0131 ve Diplomasi (2017), As\u0131m\u2019\u0131n Nesli (2017), \u0130stiklal Mar\u015f\u0131 ve Mehmet Akif (2015), KAYNAK\u00c7A: \u0130brahim Halil Er (Bilgi teyidi, 2014, 2017), \u0130hsan I\u015f\u0131k \/ Ge\u00e7mi\u015ften G\u00fcn\u00fcm\u00fcze Diyarbak\u0131rl\u0131 \u0130lim Adamlar\u0131 Yazarlar ve Sanat\u00e7\u0131lar (2014) - Resimli ve Metin \u00d6rnekli T\u00fcrkiye Edebiyat\u00e7\u0131lar ve K\u00fclt\u00fcr Adamlar\u0131 Ansiklopedisi (C. 12, 2018).\",\"url\":\"https:\/\/simurgedebiyat.com\/index.php\/author\/ibrahim-halil-er\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"KUZEY\u0130N SESS\u0130Z B\u0130LGEL\u0130\u011e\u0130: KOPENHAG \/DAN\u0130MARKA G\u00dcNCES\u0130 - simurgedebiyat.com","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/simurgedebiyat.com\/index.php\/2026\/04\/16\/4323\/","og_locale":"tr_TR","og_type":"article","og_title":"KUZEY\u0130N SESS\u0130Z B\u0130LGEL\u0130\u011e\u0130: KOPENHAG \/DAN\u0130MARKA G\u00dcNCES\u0130 - 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Aslen Diyarbak\u0131rl\u0131 bir aileden olup, bu \u015fehrin ve \u00fclkenin me\u015fhur alimlerinden Muhammed Emin Er'in o\u011fludur.Babas\u0131n\u0131n yan\u0131nda dini ve Arabi ilimler okuyup ilmi ve ameli icaze ald\u0131. Gaziantep'te Aliye \u00d6mer Battal \u0130lkokulu (1981) ve Gaziantep \u0130mam Hatip Lisesi (1984)'ni, sonra Ankara Mimar Sinan Lisesini (1988) bitirdikten sonra Marmara \u00dcniversitesi Fen-Edebiyat Fak\u00fcltesi Tarih B\u00f6l\u00fcm\u00fc ve Medine \u0130slam \u00dcniversitesi Arap Dili B\u00f6l\u00fcm\u00fcnde y\u00fcksek \u00f6\u011frenim g\u00f6rd\u00fc. Ankara \u00dcniversitesi Sosyal Bilimler Enstit\u00fcs\u00fcnde \u0130slam Tarihi ve Sanatlar\u0131 b\u00f6l\u00fcm\u00fcnde\"\u0130slam Tarihi ve Sanatlar\u0131 \/ Emeviler D\u00f6neminde \u0130lim\" konulu teziyle master program\u0131n\u0131 tamamlad\u0131. Y\u00fcksek tahsilinin ard\u0131ndan \u00e7e\u015fitli okullarda \u00f6\u011fretmen ve idareci olarak g\u00f6rev yapt\u0131, \u00f6zel sekt\u00f6rde kendi i\u015fiyle me\u015fgul oldu. \u0130brahim Halil Er'in ilk yaz\u0131s\u0131 1986'da Edebiyat dergisinde yay\u0131mlanan bir kitap tan\u0131t\u0131m\u0131yd\u0131. Sonraki y\u0131llarda makaleleri; Milli Gazete, \u0130stiklal Gazetesi, Milat Gazetesi ile Anadolu Gen\u00e7lik, Gen\u00e7 \u0130stikbal, G\u00fclistan ve Milli \u015euur dergilerinde yer ald\u0131. Hedef Radyo ve Kanal 5 Televizyonunda Programlar yapt\u0131. T\u00fcrkiye Yazarlar Birli\u011fi Ankara \u015eubesi, \u00d6\u011f-Der, \u015euurlu \u00d6\u011fretmenler Derne\u011fi (Y\u00f6netim Kurulu), \u00d6z-Der, \u00d6zel \u00d6\u011fretim Derne\u011fi (Y\u00f6netim Kurulu), Tarih ve Strateji Derne\u011fi (Ba\u015fkan), Muhammed Emin Er \u0130lim K\u00fclt\u00fcr ve Yard\u0131mla\u015fma Derne\u011fi (Ba\u015fkan) \u00fcyesidir. Evli olup; Muhammed Emin ve Erkam Tuna adlar\u0131nda iki o\u011ful babas\u0131d\u0131r. Hayat\u0131n\u0131 ve \u00e7al\u0131\u015fmalar\u0131n\u0131 Ankara'da devam ettirmektedir. ESERLER\u0130: Cennet Do\u011fuda Bir Yerdedir (Ge\u00e7mi\u015ften G\u00fcn\u00fcm\u00fcze Ha\u00e7l\u0131 Seferleri) (2006), Siyasal \u0130slam D\u00fc\u015f\u00fcncesinin Do\u011fu\u015fu (2016), Peygamberimizin E\u011fitim Metodu (2011), \u00c7anakkaleye Can Verenler (2013), \u00dcmmetin Dirili\u015fi \u00c7anakkale (2014), Son Osmanl\u0131 Alimi (2014), Seyda Muhammed Emin Er Hoca ile S\u00f6yle\u015filer (2016), \u00d6yk\u00fclerle Osmanl\u0131 Padi\u015fahlar\u0131 1-2 (2015), Selahaddin Eyyubi (2017), Hz. Muhammed\u2019in Mektuplar\u0131 ve Diplomasi (2017), As\u0131m\u2019\u0131n Nesli (2017), \u0130stiklal Mar\u015f\u0131 ve Mehmet Akif (2015), KAYNAK\u00c7A: \u0130brahim Halil Er (Bilgi teyidi, 2014, 2017), \u0130hsan I\u015f\u0131k \/ Ge\u00e7mi\u015ften G\u00fcn\u00fcm\u00fcze Diyarbak\u0131rl\u0131 \u0130lim Adamlar\u0131 Yazarlar ve Sanat\u00e7\u0131lar (2014) - Resimli ve Metin \u00d6rnekli T\u00fcrkiye Edebiyat\u00e7\u0131lar ve K\u00fclt\u00fcr Adamlar\u0131 Ansiklopedisi (C. 12, 2018).","url":"https:\/\/simurgedebiyat.com\/index.php\/author\/ibrahim-halil-er\/"}]}},"featured_image_urls":{"full":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n.jpg",1530,2040,false],"thumbnail":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-150x150.jpg",150,150,true],"medium":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-225x300.jpg",225,300,true],"medium_large":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-768x1024.jpg",640,853,true],"large":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-768x1024.jpg",640,853,true],"1536x1536":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-1152x1536.jpg",1152,1536,true],"2048x2048":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n.jpg",1530,2040,false],"covernews-slider-full":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-1115x715.jpg",1115,715,true],"covernews-slider-center":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-800x500.jpg",800,500,true],"covernews-featured":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-1024x1365.jpg",1024,1365,true],"covernews-medium":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-540x340.jpg",540,340,true],"covernews-medium-square":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-400x250.jpg",400,250,true],"sow-carousel-default":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-272x182.jpg",272,182,true],"sow-blog-portfolio":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-375x375.jpg",375,375,true],"sow-blog-grid":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-720x480.jpg",720,480,true],"sow-blog-alternate":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-950x630.jpg",950,630,true],"sow-recent-post":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-216x216.jpg",216,216,true]},"author_info":{"display_name":"\u0130brahim Halil ER","author_link":"https:\/\/simurgedebiyat.com\/index.php\/author\/ibrahim-halil-er\/"},"category_info":"<a href=\"https:\/\/simurgedebiyat.com\/index.php\/category\/gezi\/\" rel=\"category tag\">Gezi<\/a> <a href=\"https:\/\/simurgedebiyat.com\/index.php\/category\/yaz\/er\/\" rel=\"category tag\">\u0130brahim Halil ER<\/a> <a href=\"https:\/\/simurgedebiyat.com\/index.php\/category\/yaz\/\" rel=\"category tag\">Yazarlar<\/a>","tag_info":"Yazarlar","comment_count":"0","jetpack_featured_media_url":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n.jpg","uagb_featured_image_src":{"full":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n.jpg",1530,2040,false],"thumbnail":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-150x150.jpg",150,150,true],"medium":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-225x300.jpg",225,300,true],"medium_large":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-768x1024.jpg",640,853,true],"large":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-768x1024.jpg",640,853,true],"1536x1536":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-1152x1536.jpg",1152,1536,true],"2048x2048":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n.jpg",1530,2040,false],"covernews-slider-full":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-1115x715.jpg",1115,715,true],"covernews-slider-center":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-800x500.jpg",800,500,true],"covernews-featured":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-1024x1365.jpg",1024,1365,true],"covernews-medium":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-540x340.jpg",540,340,true],"covernews-medium-square":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-400x250.jpg",400,250,true],"sow-carousel-default":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-272x182.jpg",272,182,true],"sow-blog-portfolio":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-375x375.jpg",375,375,true],"sow-blog-grid":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-720x480.jpg",720,480,true],"sow-blog-alternate":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-950x630.jpg",950,630,true],"sow-recent-post":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/669513007_10163045084496559_4808920836615150637_n-216x216.jpg",216,216,true]},"uagb_author_info":{"display_name":"\u0130brahim Halil ER","author_link":"https:\/\/simurgedebiyat.com\/index.php\/author\/ibrahim-halil-er\/"},"uagb_comment_info":0,"uagb_excerpt":"Balt\u0131k\u2019ta Varolu\u015f ve Akdeniz\u2019den Kutba Selam G\u00fcneyin g\u00fcne\u015finden, Mezopotamya\u2019n\u0131n kadim topraklar\u0131ndan \u00e7\u0131k\u0131p Avrupa\u2019n\u0131n en u\u00e7...","authors":[{"term_id":93,"user_id":2,"is_guest":0,"slug":"ibrahim-halil-er","display_name":"\u0130brahim Halil ER","avatar_url":{"url":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/03\/indir.jpeg","url2x":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/03\/indir.jpeg"},"first_name":"","last_name":"","user_url":"","job_title":"","description":"Ara\u015ft\u0131rmac\u0131-yazar. 31 Aral\u0131k 1968 tarihinde Gaziantep\u2019in Nizip il\u00e7esinde do\u011fdu. Aslen Diyarbak\u0131rl\u0131 bir aileden olup, bu \u015fehrin ve \u00fclkenin me\u015fhur alimlerinden Muhammed Emin Er'in o\u011fludur.Babas\u0131n\u0131n yan\u0131nda dini ve Arabi ilimler okuyup ilmi ve ameli icaze ald\u0131. Gaziantep'te Aliye \u00d6mer Battal \u0130lkokulu (1981) ve Gaziantep \u0130mam Hatip Lisesi (1984)'ni, sonra Ankara Mimar Sinan Lisesini (1988) bitirdikten sonra Marmara \u00dcniversitesi Fen-Edebiyat Fak\u00fcltesi Tarih B\u00f6l\u00fcm\u00fc ve Medine \u0130slam \u00dcniversitesi Arap Dili B\u00f6l\u00fcm\u00fcnde y\u00fcksek \u00f6\u011frenim g\u00f6rd\u00fc. Ankara \u00dcniversitesi Sosyal Bilimler Enstit\u00fcs\u00fcnde \u0130slam Tarihi ve Sanatlar\u0131 b\u00f6l\u00fcm\u00fcnde\"\u0130slam Tarihi ve Sanatlar\u0131 \/ Emeviler D\u00f6neminde \u0130lim\" konulu teziyle master program\u0131n\u0131 tamamlad\u0131. Y\u00fcksek tahsilinin ard\u0131ndan \u00e7e\u015fitli okullarda \u00f6\u011fretmen ve idareci olarak g\u00f6rev yapt\u0131, \u00f6zel sekt\u00f6rde kendi i\u015fiyle me\u015fgul oldu.\r\n\r\n\u0130brahim Halil Er'in ilk yaz\u0131s\u0131 1986'da Edebiyat dergisinde yay\u0131mlanan bir kitap tan\u0131t\u0131m\u0131yd\u0131. Sonraki y\u0131llarda makaleleri; Milli Gazete, \u0130stiklal Gazetesi, Milat Gazetesi ile Anadolu Gen\u00e7lik, Gen\u00e7 \u0130stikbal, G\u00fclistan ve Milli \u015euur dergilerinde yer ald\u0131. Hedef Radyo ve Kanal 5 Televizyonunda Programlar yapt\u0131.\r\n\r\nT\u00fcrkiye Yazarlar Birli\u011fi Ankara \u015eubesi, \u00d6\u011f-Der, \u015euurlu \u00d6\u011fretmenler Derne\u011fi (Y\u00f6netim Kurulu), \u00d6z-Der, \u00d6zel \u00d6\u011fretim Derne\u011fi (Y\u00f6netim Kurulu), Tarih ve Strateji Derne\u011fi (Ba\u015fkan), Muhammed Emin Er \u0130lim K\u00fclt\u00fcr ve Yard\u0131mla\u015fma Derne\u011fi (Ba\u015fkan) \u00fcyesidir. Evli olup; Muhammed Emin ve Erkam Tuna adlar\u0131nda iki o\u011ful babas\u0131d\u0131r. Hayat\u0131n\u0131 ve \u00e7al\u0131\u015fmalar\u0131n\u0131 Ankara'da devam ettirmektedir.\r\n\r\n \r\n\r\nESERLER\u0130:\r\n\r\n \r\n\r\nCennet Do\u011fuda Bir Yerdedir (Ge\u00e7mi\u015ften G\u00fcn\u00fcm\u00fcze Ha\u00e7l\u0131 Seferleri) (2006), Siyasal \u0130slam D\u00fc\u015f\u00fcncesinin Do\u011fu\u015fu (2016), Peygamberimizin E\u011fitim Metodu (2011), \u00c7anakkaleye Can Verenler (2013), \u00dcmmetin Dirili\u015fi \u00c7anakkale (2014), Son Osmanl\u0131 Alimi (2014), Seyda Muhammed Emin Er Hoca ile S\u00f6yle\u015filer (2016), \u00d6yk\u00fclerle Osmanl\u0131 Padi\u015fahlar\u0131 1-2 (2015), Selahaddin Eyyubi (2017), Hz. Muhammed\u2019in Mektuplar\u0131 ve Diplomasi (2017), As\u0131m\u2019\u0131n Nesli (2017), \u0130stiklal Mar\u015f\u0131 ve Mehmet Akif (2015),\r\n\r\n \r\n\r\n\r\nKAYNAK\u00c7A: \u0130brahim Halil Er (Bilgi teyidi, 2014, 2017), \u0130hsan I\u015f\u0131k \/ Ge\u00e7mi\u015ften G\u00fcn\u00fcm\u00fcze Diyarbak\u0131rl\u0131 \u0130lim Adamlar\u0131 Yazarlar ve Sanat\u00e7\u0131lar (2014) - Resimli ve Metin \u00d6rnekli T\u00fcrkiye Edebiyat\u00e7\u0131lar ve K\u00fclt\u00fcr Adamlar\u0131 Ansiklopedisi (C. 12, 2018)."}],"_links":{"self":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/4323","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/comments?post=4323"}],"version-history":[{"count":2,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/4323\/revisions"}],"predecessor-version":[{"id":4336,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/4323\/revisions\/4336"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/media\/4324"}],"wp:attachment":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/media?parent=4323"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/categories?post=4323"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/tags?post=4323"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/ppma_author?post=4323"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}