{"id":5356,"date":"2026-09-27T15:32:59","date_gmt":"2026-09-27T12:32:59","guid":{"rendered":"https:\/\/simurgedebiyat.com\/?p=5356"},"modified":"2026-10-01T21:40:10","modified_gmt":"2026-10-01T18:40:10","slug":"endulus-gezimiz-girnata-giranada","status":"publish","type":"post","link":"https:\/\/simurgedebiyat.com\/index.php\/2026\/09\/27\/endulus-gezimiz-girnata-giranada\/","title":{"rendered":"END\u00dcL\u00dcS GEZ\u0130M\u0130Z: GIRNATA\/GIRANADA"},"content":{"rendered":"

End\u00fcl\u00fcs\u2019\u00fcn Son Hat\u0131ralar\u0131 Aras\u0131nda: G\u0131rnata ve Elhamra<\/strong><\/p>\n

\u00c2limlerin d\u00fc\u015f\u00fcnceleri ve \u0130bn Z\u00fcmrek\u2019in \u015fiirleri e\u015fli\u011finde<\/em><\/p>\n

May\u0131s\u0131n hazirana kavu\u015ftu\u011fu g\u00fcnlerde yapt\u0131\u011f\u0131m\u0131z \u0130spanya seyahatinin beni en fazla d\u00fc\u015f\u00fcnd\u00fcren duraklar\u0131ndan biri G\u0131rnata oldu.<\/p>\n

Roma d\u00f6neminde b\u00f6lge Iliberri\/Il\u00edberis ad\u0131yla an\u0131l\u0131yordu. M\u00fcsl\u00fcmanlar\u0131n VIII. y\u00fczy\u0131l ba\u015f\u0131nda End\u00fcl\u00fcs\u2019e geli\u015finden sonra G\u0131rnata, \u00f6nce \u0130lb\u00eere b\u00f6lgesine ba\u011fl\u0131 k\u00fc\u00e7\u00fck bir yerle\u015fimdi. \u015eehir XI. y\u00fczy\u0131lda Berber\u00ee as\u0131ll\u0131 Z\u00eer\u00eeler d\u00f6neminde \u00f6nem kazand\u0131; 1013\u2019te ba\u011f\u0131ms\u0131z bir emirli\u011fin merkezi oldu. Daha sonra Mur\u00e2b\u0131tlar ve Muvahhidler taraf\u0131ndan y\u00f6netildi. 1238\u2019de Muhammed b. Y\u00fbsuf b. Nasr (\u0130bn\u00fc\u2019l-Ahmer) G\u0131rnata\u2019y\u0131 alarak Nasr\u00eeler, yani Ben\u00ee Ahmer Emirli\u011fi d\u00f6nemini ba\u015flatt\u0131. Yakla\u015f\u0131k iki bu\u00e7uk y\u00fczy\u0131l boyunca \u015fehir, End\u00fcl\u00fcs\u2019teki son M\u00fcsl\u00fcman devletin ba\u015fkentiydi. Bug\u00fcn g\u00f6rd\u00fc\u011f\u00fcm\u00fcz Elhamra saraylar toplulu\u011fu bu d\u00f6nemde geli\u015fti; \u015fehir ilim, \u015fiir, mimari ve ticaret bak\u0131m\u0131ndan g\u00fc\u00e7l\u00fc bir merkez h\u00e2line geldi.<\/p>\n

lV.y\u00fczy\u0131lda Kastilya\u2019n\u0131n asker\u00ee bask\u0131s\u0131 ve Nasr\u00ee hanedan\u0131 i\u00e7indeki m\u00fccadeleler emirli\u011fi zay\u0131flatt\u0131. Son h\u00fck\u00fcmdar XII. Muhammed\u2019in (Eb\u00fb Abdullah\/Boabdil) \u015fehri teslim etmesinin ard\u0131ndan Hristiyan kuvvetleri 2 Ocak 1492\u2019de G\u0131rnata\u2019ya girdi. Teslim \u015fartlar\u0131 M\u00fcsl\u00fcmanlar\u0131n can, mal ve din\u00ee hayat\u0131n\u0131 g\u00fcvenceye al\u0131yordu; ancak sonraki y\u0131llarda bu g\u00fcvenceler a\u015f\u0131nd\u0131. \u00d6zellikle 1499\u2019dan itibaren din de\u011fi\u015ftirme bask\u0131lar\u0131 artt\u0131; Moriskolar\u0131n (M\u00fcsl\u00fcman k\u00f6kenli \u0130spanya vatanda\u015flar\u0131, eski End\u00fcl\u00fcs halk\u0131) ya\u015fad\u0131\u011f\u0131 uzun bask\u0131 ve s\u00fcrg\u00fcn d\u00f6nemi ba\u015flad\u0131.<\/p>\n

Elhamra, bir medeniyetin ula\u015ft\u0131\u011f\u0131 sanat y\u00fcksekli\u011fini; 1492 sonras\u0131n\u0131n tarihi ise o sanat\u0131 kuran insanlar\u0131n ya\u015fad\u0131\u011f\u0131 k\u0131r\u0131lmay\u0131 birlikte g\u00f6sterir.<\/p>\n

 G\u0131rnata\u2019ya do\u011fru ilerlerken yan\u0131mda yaln\u0131z bir harita ve birka\u00e7 kitap yoktu. Yolun kenar\u0131nda beliren tepeler, uzakla\u015fan evler ve ak\u015fam\u0131n i\u00e7inden a\u011f\u0131r a\u011f\u0131r y\u00fckselen Elhamra, zihnimde ba\u015fka yolcular\u0131 da uyand\u0131r\u0131yordu. Onlar\u0131 bug\u00fcn\u00fcn sokaklar\u0131nda ger\u00e7ekten y\u00fcr\u00fcyen insanlar gibi de\u011fil, eserlerinin i\u00e7inden bana seslenen eski dostlar gibi ta\u015f\u0131yordum. Birinin c\u00fcmlesi \u00f6tekinin kap\u0131s\u0131n\u0131 a\u00e7\u0131yor, bir \u015fairin m\u0131sra\u0131 bir tarih\u00e7inin yar\u0131m b\u0131rakt\u0131\u011f\u0131 soruya d\u00f6n\u00fc\u015f\u00fcyordu.<\/p>\n

\u015eehre gelirken zihnimde Elhamra vard\u0131. Fakat burada dola\u015fmaya ba\u015flay\u0131nca, y\u0131llard\u0131r kitaplar\u0131ndan tan\u0131d\u0131\u011f\u0131m insanlar\u0131n da benimle birlikte y\u00fcr\u00fcd\u00fc\u011f\u00fcn\u00fc hissettim. \u0130lk \u00f6nce \u0130bn Tufeyl belirdi. \u0130bn T\u00fcfeyl\u2019i ilk okudu\u011fumda lise \u00f6\u011frencisiydim. Bana \u00e7ok ilgin\u00e7 gelmi\u015fti. Zaten lise y\u0131llar\u0131mda t\u00fcm d\u00fcnya klasiklerini okumu\u015f, \u015fark klasiklerine y\u00f6nelmi\u015f ne bulursam okuyordum. Milli E\u011fitim Bakanl\u0131\u011f\u0131\u2019n\u0131n ve Terc\u00fcm Gazetesini\u2019nin 1000 temel eserlerini bulduk\u00e7a okuyordum. Okulun yak\u0131n\u0131nda Halk K\u00fct\u00fcphanesi vard\u0131 oran\u0131n mudavimiydim. Yaz\u0131n \u00f6d\u00fcn\u00e7 al\u0131yor, k\u0131\u015f\u0131n i\u00e7erde oturup kitap okuyordum. <\/p>\n

\u0130bni Tufeyl\u2019in Hayy b. Yakz\u00e2n\u2019\u0131 toplumdan uzak bir adada, yaln\u0131z g\u00f6zlem ve d\u00fc\u015f\u00fcnceyle varl\u0131\u011f\u0131n anlam\u0131n\u0131 ar\u0131yordu. Ben ise kalabal\u0131k bir Avrupa \u015fehrine, duvarlar\u0131 insan eliyle \u00f6r\u00fclm\u00fc\u015f bir medeniyetin i\u00e7ine gidiyordum. Yine de aram\u0131zda bir yak\u0131nl\u0131k vard\u0131: O, d\u0131\u015far\u0131dan verilmi\u015f cevaplarla yetinmiyor; g\u00f6rd\u00fc\u011f\u00fc \u015feyin ard\u0131ndaki hakikate kendi akl\u0131yla ula\u015fmaya \u00e7al\u0131\u015f\u0131yordu. G\u0131rnata\u2019ya da b\u00f6yle bakmak istiyordum. Elhamra\u2019y\u0131 yaln\u0131z bir tur g\u00fczerg\u00e2h\u0131 olarak de\u011fil, insan\u0131n g\u00fczellik, iktidar, inan\u00e7 ve fanilik kar\u015f\u0131s\u0131nda verdi\u011fi cevaplar\u0131n ta\u015fla\u015fm\u0131\u015f bi\u00e7imi olarak g\u00f6rmek.<\/p>\n

\u0130bn Tufeyl sanki bana \u015f\u00f6yle diyordu: \u201cBakmakla yetinme; g\u00f6rd\u00fc\u011f\u00fcn\u00fcn seni hangi soruya g\u00f6t\u00fcrd\u00fc\u011f\u00fcn\u00fc ara.\u201d Bu c\u00fcmleyi onun a\u011fz\u0131ndan tarih\u00ee bir al\u0131nt\u0131 diye yazm\u0131yorum; eserinin bende uyand\u0131rd\u0131\u011f\u0131 d\u00fc\u015f\u00fcnceyi b\u00f6yle duyuyorum. Yolculuk boyunca bu ayr\u0131m\u0131 koruyaca\u011f\u0131m. Bazen bir \u00e2limin ger\u00e7ek s\u00f6z\u00fcn\u00fc aktaracak, bazen onun d\u00fc\u015f\u00fcncesiyle kendi zihnimde konu\u015faca\u011f\u0131m. G\u0131rnata\u2019n\u0131n ta\u015flar\u0131 kadar, bu iki ses aras\u0131ndaki mesafe de yolculu\u011fun bir par\u00e7as\u0131 olacak.<\/p>\n

Don Ki\u015fot da bu yolculu\u011fa uzaktan kat\u0131l\u0131yordu. Don Ki\u015fot\u2019u hep \u00e7ok sevmi\u015fimdir \u00e7\u00fcnk\u00fc onda kendimi buldum. Biz de birer Don Ki\u015fot\u2019tuk bilinmeyen d\u00fc\u015fmanlara kar\u015f\u0131 sava\u015fan\u2026 de\u011fi\u015ftirmek isterken kendimizi t\u00fcketen. Cervantes\u2019in Arap tarih\u00e7i Cide Hamete Benengeli\u2019ye dayand\u0131rd\u0131\u011f\u0131 kurmaca tarih, Toledo\u2019da kar\u015f\u0131ma \u00e7\u0131km\u0131\u015ft\u0131; \u015fimdi G\u0131rnata\u2019da ba\u015fka bir anlam kazan\u0131yordu. Don Ki\u015fot, hakikat ile hayalin aras\u0131ndaki \u00e7izgiyi s\u00fcrekli yerinden oynat\u0131yordu. Ben de burada ge\u00e7mi\u015fi romantik bir masala \u00e7evirmeden, fakat kuru bir kronolojiye de hapsetmeden y\u00fcr\u00fcmek istiyordum. \u015eehir ne yaln\u0131z hayaldi ne yaln\u0131z belge. Onu anlamak i\u00e7in ikisine birden ihtiya\u00e7 vard\u0131.<\/p>\n

Kimi bir h\u00fckm\u00fcn maksad\u0131n\u0131, kimi bir kelimenin anlam\u0131n\u0131, kimi de g\u00f6rd\u00fc\u011f\u00fcm g\u00fczelli\u011fin arkas\u0131ndaki \u00f6l\u00e7\u00fcy\u00fc d\u00fc\u015f\u00fcnd\u00fcr\u00fcyordu.<\/p>\n

Elbette ayn\u0131 \u00e7a\u011f\u0131n insanlar\u0131 de\u011fillerdi. \u0130bn Atiyye, bug\u00fcn gezdi\u011fimiz Nasr\u00ee saraylar\u0131ndan \u00e7ok \u00f6nce ya\u015fam\u0131\u015ft\u0131; Kales\u00e2d\u00ee ise G\u0131rnata\u2019n\u0131n son d\u00f6nemlerinin insan\u0131yd\u0131. Onlar\u0131 ayn\u0131 avluda bulu\u015fturan benim zihnimdi. Kitaplarda ayr\u0131 ayr\u0131 okudu\u011fum bu isimleri, \u015fehrin i\u00e7inde birbirleriyle konu\u015fan d\u00fc\u015f\u00fcncelere d\u00f6n\u00fc\u015ft\u00fcr\u00fcyordum. S\u00f6yledikleri tarih\u00ee s\u00f6zleri i\u015fitiyor de\u011fildim; eserlerinden \u00f6\u011frendiklerim, bakt\u0131\u011f\u0131m yere ba\u015fka t\u00fcrl\u00fc bakmama yard\u0131m ediyordu.<\/p>\n

Bir tarih\u00e7inin seyahati biraz da b\u00f6yledir. \u00d6n\u00fcn\u00fczde bir duvar vard\u0131r ama siz onun gerisindeki hayat\u0131 merak edersiniz. Bir avluya girersiniz; orada kimlerin y\u00fcr\u00fcd\u00fc\u011f\u00fcn\u00fc, nelerin konu\u015fuldu\u011funu, hangi kararlar\u0131n verildi\u011fini d\u00fc\u015f\u00fcn\u00fcrs\u00fcn\u00fcz. G\u0131rnata\u2019da bu merak\u0131n yan\u0131na bir de i\u00e7imde ta\u015f\u0131d\u0131\u011f\u0131m yak\u0131nl\u0131k duygusu eklendi. Okudu\u011fumuz eserlerin co\u011frafyas\u0131nda dola\u015f\u0131yordum.<\/p>\n

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\u015eifreli kap\u0131lardan eski \u015fehre<\/strong><\/p>\n

Bizim G\u0131rnata maceram\u0131z, do\u011frusu, pek d\u00fc\u015f\u00fcnsel ba\u015flamad\u0131. Saray\u0131n kap\u0131s\u0131ndan \u00f6nce kalacak yer ve otopark meselesini \u00e7\u00f6zmek gerekiyordu. \u015eehrin biraz d\u0131\u015f\u0131nda, bah\u00e7e i\u00e7inde, villa tarz\u0131nda bir yerde kal\u0131yorduk. Banyo, tuvalet odan\u0131n i\u00e7inde olsa da mutfak ortakt\u0131. Buray\u0131 tercih etmemin \u00f6nemli sebeplerinden biri, ilanda otopark bulundu\u011funun yaz\u0131lmas\u0131yd\u0131. Kiral\u0131k ara\u00e7la dola\u015fman\u0131n rahatl\u0131\u011f\u0131 vard\u0131, ama her ak\u015fam onu nereye b\u0131rakaca\u011f\u0131n\u0131z\u0131 d\u00fc\u015f\u00fcnmek de yolculu\u011fa dahildi. Hakan\u2019\u0131n g\u00fcvenlik konusundaki uyar\u0131lar\u0131 akl\u0131mdayd\u0131. Bah\u00e7esi olan bir yer bulunca bu meseleyi \u00e7\u00f6zd\u00fc\u011f\u00fcm\u00fc sanm\u0131\u015ft\u0131m.<\/p>\n

Fakat pansiyona vard\u0131\u011f\u0131m\u0131zda otopark\u0131n mevcut olmas\u0131yla \u00fccretsiz olmas\u0131 aras\u0131ndaki fark\u0131 \u00f6\u011frendik. Arac\u0131 bah\u00e7eye koyabilmek i\u00e7in neredeyse oda \u00fccretimiz kadar ayr\u0131ca \u00f6deme yapmam\u0131z gerekti. Demek ki seyahatte kelimeleri dikkatli okumak gerekiyormu\u015f. \u201cOtopark var\u201d ifadesine kendi kendime \u201c\u00fccretsiz\u201d kelimesini de eklemi\u015fim. \u0130nsan End\u00fcl\u00fcs medeniyetinin izini s\u00fcrmeye gelince g\u00fcndelik hesaplar\u0131n geride kalaca\u011f\u0131n\u0131 zannediyor. Oysa seyahat, tarih kadar bug\u00fcn\u00fcn hayat\u0131na da dikkat etmeyi gerektiriyor.<\/p>\n

Bir de kap\u0131lar vard\u0131. Pansiyonda bizi kar\u015f\u0131layan bir resepsiyon g\u00f6revlisi de yoktu. Rezervasyon, kay\u0131t ve \u00f6deme internet \u00fczerinden yap\u0131lm\u0131\u015ft\u0131. Kap\u0131y\u0131 telefonumuza gelen kodlarla a\u00e7\u0131yor, anahtara ba\u015fka bir \u015fifreyle ula\u015f\u0131yorduk. \u0130nsan bir bak\u0131ma bir i\u015fletmeye de\u011fil, bir sisteme misafir oluyordu. Birka\u00e7 saat sonra h\u00fck\u00fcmdarlar\u0131n, vezirlerin ve saray g\u00f6revlilerinin d\u00fcnyas\u0131na gidecek, fakat gecemizi ge\u00e7irdi\u011fimiz yerde kimseyle y\u00fcz y\u00fcze g\u00f6r\u00fc\u015fmeden b\u00fct\u00fcn i\u015flerimizi halledecektik.<\/p>\n

Bu tecr\u00fcbeyi sonradan d\u00fc\u015f\u00fcn\u00fcnce \u015e\u00e2t\u0131b\u00ee\u2019nin eserlerinde \u00fczerinde durdu\u011fu maksat meselesi akl\u0131ma geldi. Bir d\u00fczenin iyi i\u015flemesi kadar, neye hizmet etti\u011fi de \u00f6nemliydi. Bu sistem kap\u0131y\u0131 a\u00e7\u0131yordu; peki insan\u0131n kar\u015f\u0131lanma ve bir muhatap bulma ihtiyac\u0131n\u0131 ne \u00f6l\u00e7\u00fcde kar\u015f\u0131l\u0131yordu? Bu soru \u015e\u00e2t\u0131b\u00ee\u2019nin oteller hakk\u0131nda verdi\u011fi bir h\u00fck\u00fcm de\u011fildi elbette. Onun d\u00fc\u015f\u00fcncesinin bende uyand\u0131rd\u0131\u011f\u0131, bug\u00fcn\u00fcn hayat\u0131na d\u00f6n\u00fck bir soruydu. \u015eimdi bu seyahati yazarken, G\u0131rnata\u2019daki ilk hat\u0131ram\u0131n bir giri\u015f \u015fifresi olmas\u0131 bana anlaml\u0131 geliyor. Bazen bir \u015fehre girmek kolay; onun i\u00e7ine girmek ise daha uzun s\u00fcr\u00fcyor.<\/p>\n

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Kiral\u0131k arac\u0131m\u0131z sayesinde yaln\u0131z tarih\u00ee merkezle Elhamra aras\u0131nda gidip gelmedik. \u015eehrin ba\u015fka mahallelerini de g\u00f6rd\u00fck. Eski G\u0131rnata\u2019n\u0131n yan\u0131nda ya\u015fayan, \u00e7al\u0131\u015fan, g\u00fcndelik meseleleriyle u\u011fra\u015fan modern Granada vard\u0131. Turistik bir \u015fehrin birka\u00e7 me\u015fhur eserini g\u00f6r\u00fcnce tamam\u0131n\u0131 tan\u0131d\u0131\u011f\u0131m\u0131z\u0131 san\u0131yoruz. Oysa saraya \u00e7\u0131kan yolun d\u0131\u015f\u0131nda da hayat devam ediyordu. Ben End\u00fcl\u00fcs\u2019\u00fc ar\u0131yordum; \u015fehir ise benim arad\u0131\u011f\u0131mdan daha geni\u015f bir hayat\u0131 s\u00fcrd\u00fcr\u00fcyordu. Onu yaln\u0131z kaybetti\u011fimiz bir ge\u00e7mi\u015fin g\u00f6r\u00fcnt\u00fcs\u00fcne indirgersem, bug\u00fcn\u00fcn insanlar\u0131n\u0131 g\u00f6rmeden d\u00f6nm\u00fc\u015f olacakt\u0131m.<\/p>\n

Albayz\u0131n\u2019\u0131n dar sokaklar\u0131, beyaz evleri ve k\u00fc\u00e7\u00fck d\u00fckk\u00e2nlar\u0131 aras\u0131nda dola\u015f\u0131rken bu hayat\u0131n eski izlerini arad\u0131m. El sanatlar\u0131nda ve seramiklerde kar\u015f\u0131ma \u00e7\u0131kan motifler, sarayda g\u00f6rece\u011fim bezemelerle zihnimde bulu\u015fuyordu. \u0130bn\u00fc\u2019l-Hat\u00eeb\u2019in G\u0131rnata\u2019y\u0131 anlat\u0131rken insanlara, ya\u015fay\u0131\u015fa ve \u015fehrin haf\u0131zas\u0131na da yer vermesi burada anlam kazan\u0131yordu. Onun el-\u0130h\u00e2ta\u2019s\u0131, bir \u015fehrin tarihinin yaln\u0131z h\u00fck\u00fcmdarlardan ibaret olmad\u0131\u011f\u0131n\u0131 hat\u0131rlat\u0131yordu.<\/p>\n

Bir d\u00f6nem \u0130bn Batt\u00fbta\u2019n\u0131n seyahatnamesini T\u00fcrk\u00e7eye \u00e7evirmeye niyetlenmi\u015ftim. \u0130\u015flerin yo\u011funlu\u011fu i\u00e7inde geciktirmi\u015f, ba\u015fka bir terc\u00fcmenin yay\u0131mland\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcnce vazge\u00e7mi\u015ftim. G\u0131rnata\u2019da \u0130bn C\u00fczey\u2019i hat\u0131rlay\u0131nca bu eski niyetim de akl\u0131ma geldi. \u0130nsan bazen ba\u015fka bir \u015fehri gezerken kendi yar\u0131m kalm\u0131\u015f i\u015flerine rastl\u0131yor.<\/p>\n

Yine de baz\u0131 isimler zihnimden ayr\u0131lm\u0131yordu. \u0130sl\u00e2m medeniyeti \u00fczerine y\u00fcksek lisans yaparken eserleriyle kar\u015f\u0131la\u015ft\u0131\u011f\u0131m \u00e2limler, bu defa bir dersin veya ara\u015ft\u0131rman\u0131n konusu de\u011fildi. \u015e\u00e2t\u0131b\u00ee\u2019nin el-Muv\u00e2fak\u0101t\u2019\u0131ndan istifade etmi\u015ftim. \u0130bn\u00fc\u2019l-Hat\u00eeb\u2019i, Eb\u00fb Hayy\u00e2n\u2019\u0131, Kales\u00e2d\u00ee\u2019yi biliyordum. Bir \u00fclkeye gitmeden \u00f6nce orada ya\u015fam\u0131\u015f \u00e2limleri ara\u015ft\u0131rma al\u0131\u015fkanl\u0131\u011f\u0131m vard\u0131. Fakat ara\u015ft\u0131rmakla o insanlar\u0131n \u015fehrinde bulunmak aras\u0131nda fark oldu\u011funu daha ilk g\u00fcn hissettim. Kitaplar\u0131m\u0131n kenarlar\u0131na not etti\u011fim adlar\u0131n art\u0131k bir havas\u0131, yoku\u015fu, ufku vard\u0131.<\/p>\n

Bu yolculukta onlar benim i\u00e7in hayal\u00ee konu\u015fmalar yapan ki\u015filer olmayacakt\u0131. Yan\u0131mda eserlerinden hat\u0131rlad\u0131\u011f\u0131m d\u00fc\u015f\u00fcnceler bulunuyordu. Bir duvara, bir su yoluna, bir soka\u011fa bakarken o d\u00fc\u015f\u00fcncelerin bende neyi de\u011fi\u015ftirdi\u011fini anlamaya \u00e7al\u0131\u015facakt\u0131m. <\/p>\n

 <\/p>\n

Elhamra\u2019ya Girebilecek miyiz?<\/strong><\/p>\n

\"\"<\/p>\n

Bug\u00fcn Granada ad\u0131yla bilinen bu \u015fehir, daha ad\u0131n\u0131 duydu\u011fum anda zihnimde End\u00fcl\u00fcs\u2019\u00fc, Elhamra\u2019y\u0131, Arap\u00e7a kitabeleri, saraylar\u0131, bah\u00e7eleri ve ge\u00e7mi\u015ften bug\u00fcne ula\u015fan bir medeniyetin hat\u0131ralar\u0131n\u0131 \u00e7a\u011fr\u0131\u015ft\u0131r\u0131yordu.<\/p>\n

Granada bana nar\u0131 hat\u0131rlat\u0131yordu; fakat \u015fehrin ad\u0131n\u0131n k\u00f6keni bile kesin bir cevap vermiyordu. Kimi onu narla, kimi topra\u011f\u0131n ve kalelerin k\u0131z\u0131ll\u0131\u011f\u0131yla ili\u015fkilendiriyordu.<\/p>\n

G\u0131rnata, \u015fehrin Arap\u00e7a \u063a\u0631\u0646\u0627\u0637\u0629 (\u0120arn\u0101\u1e6da) ad\u0131n\u0131n T\u00fcrk\u00e7edeki bi\u00e7imidir; Granada ise bug\u00fcnk\u00fc \u0130spanyolca ad\u0131d\u0131r. End\u00fcl\u00fcs kaynaklar\u0131nda G\u0131rn\u00e2ta, Garn\u00e2ta ve bazen Agarn\u00e2ta bi\u00e7imleri g\u00f6r\u00fcl\u00fcr. \u0130spanyolcada granada \u201cnar\u201d demektir. \u015eehir ad\u0131n\u0131n narla ili\u015fkili eski bir Latince\/Romen ad\u0131ndan geldi\u011fi g\u00f6r\u00fc\u015f\u00fc vard\u0131r; ancak \u201c\u015fehrin ad\u0131 kesin olarak nar demektir\u201d demek do\u011fru olmaz. Yer ad\u0131n\u0131n k\u00f6keni tart\u0131\u015fmal\u0131d\u0131r. Baz\u0131 dilciler, ad\u0131n meyvenin kendisinden \u00e7ok \u201cnar k\u0131rm\u0131z\u0131s\u0131, k\u0131z\u0131l\u201d anlam\u0131yla ilgili olabilece\u011fini ve ilk kalenin rengini anlatabilece\u011fini \u00f6ne s\u00fcrer. Berber\u00ee k\u00f6ken ve ba\u015fka a\u00e7\u0131klamalar da ileri s\u00fcr\u00fclm\u00fc\u015ft\u00fcr. Fakat ilgin\u00e7tir ki ben burada hi\u00e7 nar a\u011fac\u0131 g\u00f6rmedim. Belki de vard\u0131r ama ben g\u00f6rmemi\u015f de olabilirim. G\u00f6zlerim etrafta nar a\u011fac\u0131 ararken ister istemez dilimizdeki \u201cnar a\u011fac\u0131 ile dar a\u011fac\u0131\u201d aras\u0131ndaki kelime oyununu g\u00f6steren dizeler akla geldi. End\u00fcl\u00fcs\u2019\u00fcn yi\u011fit insanlar\u0131na \u201cdar a\u011fac\u0131\u201d d\u00fc\u015ft\u00fc.<\/p>\n

Fakat Elhamra\u2019ya girmek ise ba\u015fl\u0131 ba\u015f\u0131na bir mesele oldu.<\/p>\n

\"\"<\/p>\n

G\u0131rnata\u2019ya geli\u015fimizin as\u0131l sebeplerinden biri hi\u00e7 ku\u015fkusuz Elhamra Saray\u0131\u2019n\u0131 g\u00f6rmekti. Fakat daha \u015fehre gelir gelmez bunun s\u0131radan bir m\u00fcze ziyareti olmad\u0131\u011f\u0131n\u0131 anlad\u0131k. Elhamra\u2019ya, \u00f6zellikle Nasr\u00ee Saraylar\u0131\u2019na giri\u015f belirli saatlere ba\u011fl\u0131yd\u0131 ve biletlerin \u00e7ok \u00f6nceden al\u0131nmas\u0131 gerekiyordu. Biz ise bu kural\u0131 bilmedi\u011fimizden dolay\u0131 G\u0131rnata\u2019ya geldi\u011fimizde bu haz\u0131rl\u0131\u011f\u0131 yapmam\u0131\u015ft\u0131k. Elhamra\u2019y\u0131 g\u00f6rmek i\u00e7in G\u0131rnata\u2019ya kadar gelmi\u015ftik fakat elimizde ertesi g\u00fcn i\u00e7in kesinle\u015fmi\u015f bir bilet yoktu. Binlerce kilometrelik yollardan gelip g\u00f6rmeden gitmek\u2026 demek ki her \u015fey nasiple oluyordu.<\/p>\n

G\u0131rnata\u2019ya gelmemizin as\u0131l sebeplerinden biri saray\u0131 g\u00f6rmekti ama biletlerin \u00e7ok \u00f6nceden t\u00fckenebilece\u011fini yeterince hesaba katmam\u0131\u015ft\u0131k. Resm\u00ee sitede yer bulam\u0131yor, ba\u015fka yerlerde \u00e7ok y\u00fcksek fiyatlarla kar\u015f\u0131la\u015f\u0131yorduk. Binlerce kilometre gelmi\u015fsiniz; g\u00f6rmek istedi\u011finiz saray hemen \u00f6n\u00fcn\u00fczde, fakat i\u00e7eri girip giremeyece\u011finiz belli de\u011fil. Bu kadar yol geldikten sonra aradaki mesafenin bir bilet y\u00fcz\u00fcnden kapanmamas\u0131 insan\u0131n i\u00e7ine oturuyor. Saray yak\u0131nd\u0131; ziyaret ihtimali belirsizdi.<\/p>\n

Hakan\u2019\u0131 arad\u0131k. O bizi sakinle\u015ftirdi\u011fini M\u00fcze m\u00fcd\u00fcr\u00fcn\u00fc tan\u0131d\u0131\u011f\u0131n\u0131 onu aray\u0131p bir bilet ayarlayabilece\u011fini s\u00f6yledi. Bu cevap bizi rahatlatsa da yine de hala biletimizin olmamas\u0131 bizi rahats\u0131z etti\u011fi gibi, gezecek g\u00f6recek \u00e7ok \u015fehirler varken burada belirsiz bir  bekleyi\u015f bizim program\u0131m\u0131z\u0131 bozaca\u011f\u0131n\u0131 da d\u00fc\u015f\u00fcnmeye ba\u015flad\u0131k.<\/p>\n

\u0130bn Tufeyl\u2019in sorusu: G\u00fczellik neye a\u00e7\u0131l\u0131r?<\/h1>\n

\"\"<\/p>\n

En az\u0131ndan \u00e7evresini g\u00f6rmek i\u00e7in bir tura kat\u0131ld\u0131k.<\/p>\n

Elhamra\u2019ya yakla\u015f\u0131rken \u0130bn Tufeyl\u2019le zihnimde y\u00fcr\u00fcmeyi s\u00fcrd\u00fcrd\u00fcm. Hayy b. Yakz\u00e2n, do\u011fay\u0131 okuyarak varl\u0131\u011f\u0131n d\u00fczenine ula\u015fmaya \u00e7al\u0131\u015f\u0131yordu. G\u0131rnata\u2019da ise kar\u015f\u0131ma do\u011fan\u0131n de\u011fil, insan\u0131n d\u00fczenledi\u011fi bir d\u00fcnya \u00e7\u0131k\u0131yordu: suyun kanallara ayr\u0131lmas\u0131, \u0131\u015f\u0131\u011f\u0131n duvarlarda dola\u015fmas\u0131, yaz\u0131n\u0131n ta\u015f\u0131n \u00fczerine yerle\u015fmesi, bah\u00e7enin bir d\u00fc\u015f\u00fcnce gibi kurulmas\u0131. Hayy\u2019\u0131n adas\u0131nda sessizlikten do\u011fan bilgi burada ortak eme\u011fin i\u00e7inden \u00e7\u0131km\u0131\u015ft\u0131.<\/p>\n

\u201cBu kadar g\u00fczellik insan\u0131 hakikate yakla\u015ft\u0131r\u0131r m\u0131?\u201d diye sordum ona. Cevab\u0131 yine benim zihnimde olu\u015ftu: G\u00fczellik, insan\u0131 kendili\u011finden kurtarmaz; fakat do\u011fru bak\u0131ld\u0131\u011f\u0131nda onu daha derin bir soruya g\u00f6t\u00fcr\u00fcr. Elhamra\u2019n\u0131n ihti\u015fam\u0131 da b\u00f6yleydi. Duvarlar\u0131n zenginli\u011fi beni b\u00fcy\u00fcl\u00fcyor, fakat hemen ard\u0131ndan \u015fu soruya itiyordu: Bu ihti\u015fam hangi toplumsal d\u00fczenin, hangi eme\u011fin ve hangi tarih\u00ee \u015fartlar\u0131n \u00fcr\u00fcn\u00fcyd\u00fc?<\/p>\n

Daha yolun ba\u015f\u0131nda, tepelerin ve surlar\u0131n k\u00fc\u00e7\u00fclt\u00fclm\u00fc\u015f bir d\u00fczen i\u00e7inde yan yana durdu\u011fu \u015fehir maketi kar\u015f\u0131ma \u00e7\u0131kt\u0131. Bir an i\u00e7in G\u0131rnata avucumun i\u00e7ine s\u0131\u011fm\u0131\u015f gibiydi. Elhamra\u2019n\u0131n y\u00fckseldi\u011fi tepe, a\u015fa\u011f\u0131da uzanan evler, yollar ve bah\u00e7eler; hepsi yukar\u0131dan bak\u0131lan bir haritan\u0131n sessizli\u011fi i\u00e7indeydi. Fakat makete yakla\u015ft\u0131k\u00e7a bu sessizlik bozuldu. \u015eehrin k\u00fc\u00e7\u00fck \u00e7izgileri zihnimde geni\u015fledi; bir duvar\u0131n g\u00f6lgesi, bir kap\u0131n\u0131n e\u015fi\u011fi, bir insan\u0131n y\u00fcr\u00fcyebilece\u011fi kadar dar bir yol beliriverdi. \u015eehri k\u00fc\u00e7\u00fclterek anlamaya \u00e7al\u0131\u015fman\u0131n ne kadar aldat\u0131c\u0131 oldu\u011funu o anda d\u00fc\u015f\u00fcnd\u00fcm. Tarih kitaplar\u0131 da bazen b\u00f6yle yap\u0131yor: Bir hanedan\u0131n \u00f6mr\u00fcn\u00fc iki tarihin aras\u0131na s\u0131k\u0131\u015ft\u0131r\u0131yor, o iki tarihin aras\u0131ndaki binlerce hayat\u0131 g\u00f6r\u00fcnmez k\u0131l\u0131yor. Oysa G\u0131rnata, bir maket gibi tek bak\u0131\u015fta kavranacak bir \u015fehir de\u011fildi; yakla\u015ft\u0131k\u00e7a \u00e7o\u011falan, uzakla\u015ft\u0131k\u00e7a ba\u015fka bir y\u00fcz\u00fcn\u00fc g\u00f6steren canl\u0131 bir haf\u0131zayd\u0131.<\/p>\n

A\u011fa\u00e7l\u0131kl\u0131 yollar\u0131n aras\u0131ndan ilerlerken Adalet Kap\u0131s\u0131 birden yolun \u00f6n\u00fcne \u00e7\u0131kt\u0131. \u00d6nce uzaktayd\u0131; surlar\u0131n aras\u0131nda koyu bir a\u00e7\u0131kl\u0131k gibi g\u00f6r\u00fcn\u00fcyordu. Birka\u00e7 ad\u0131m sonra ta\u015f\u0131n dokusu, kemerin a\u011f\u0131rl\u0131\u011f\u0131 ve kap\u0131n\u0131n \u00f6n\u00fcnde bekleyen insanlar\u0131n sesleri birbirine kar\u0131\u015ft\u0131. G\u0131rnata\u2019n\u0131n kap\u0131lar\u0131 bana hep iki \u015feyi birlikte d\u00fc\u015f\u00fcnd\u00fcr\u00fcr: \u0130\u00e7eriye al\u0131nan hayat\u0131 ve d\u0131\u015far\u0131da b\u0131rak\u0131lan zaman\u0131. Ayn\u0131 kap\u0131ya farkl\u0131 uzakl\u0131klardan yakla\u015f\u0131rken bak\u0131\u015f\u0131m da de\u011fi\u015fiyordu. \u0130lk anda yaln\u0131z \u015fekli g\u00f6r\u00fcyordum; sonra \u00fczerindeki i\u015fareti, \u00e7evresindeki duvar\u0131, oradan ge\u00e7en insanlar\u0131 fark ediyordum. Bir yeri anlamak i\u00e7in ona ikinci kez bakmak gerekti\u011fini burada \u00f6\u011frendim. Belki de seyahat, ilk bak\u0131\u015f\u0131n yan\u0131lg\u0131s\u0131n\u0131 d\u00fczeltmek i\u00e7in yap\u0131lan uzun bir ikinci bak\u0131\u015ft\u0131r.<\/p>\n

Saray\u0131n \u00e7evresinde ge\u00e7en g\u00fcn<\/h1>\n

\"\"<\/p>\n

Adalet Kap\u0131s\u0131<\/p>\n

V.Karl Saray\u0131\u2019n\u0131n cephesinin \u00f6n\u00fcnde bu ikinci bak\u0131\u015f daha da gerekliydi. Nasr\u00ee yap\u0131lar\u0131n\u0131 g\u00f6rmeye gelmi\u015fken kar\u015f\u0131ma farkl\u0131 oranlar\u0131, g\u00fc\u00e7l\u00fc ta\u015f y\u00fczeyi ve daire bi\u00e7imindeki avlusuyla ba\u015fka bir saray \u00e7\u0131km\u0131\u015ft\u0131. Ta\u015f\u0131n sertli\u011fiyle Elhamra\u2019n\u0131n al\u00e7\u0131 ve suyla kurdu\u011fu hafiflik yan yana duruyordu. Ayn\u0131 tepe \u00fczerinde iki ayr\u0131 iktidar dili konu\u015fuyordu: Biri \u0131\u015f\u0131\u011f\u0131 s\u00fczerek \u00e7o\u011faltan, yaz\u0131y\u0131 duvar\u0131n nefesi haline getiren bir dil; \u00f6teki k\u00fctleyi, a\u011f\u0131rl\u0131\u011f\u0131 ve kal\u0131c\u0131l\u0131k iddias\u0131n\u0131 \u00f6ne \u00e7\u0131karan bir dil. S\u00fctunlar\u0131n aras\u0131ndan avluya bakarken, tarihin bazen bir yap\u0131y\u0131 y\u0131kmadan da de\u011fi\u015ftirebildi\u011fini d\u00fc\u015f\u00fcnd\u00fcm. Bir bina yerinde durur, fakat ona bakanlar\u0131n haf\u0131zas\u0131 de\u011fi\u015fir. Bu kar\u015f\u0131la\u015fma iki g\u00fcn boyunca d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcm bir meseleyi a\u00e7\u0131k\u00e7a g\u00f6steriyordu: Elhamra\u2019da b\u00fct\u00fcn zamanlar ayn\u0131 mimari dili konu\u015fmuyor. Burada 1492\u2019den sonraki h\u00fck\u00fcmdarl\u0131\u011f\u0131n da kendisini g\u00f6r\u00fcn\u00fcr k\u0131lma arzusu var.[1]<\/sup><\/a><\/p>\n

\"\"<\/p>\n

Eski yap\u0131n\u0131n yan\u0131na yenisini koymak, yaln\u0131z ihtiya\u00e7tan do\u011fan bir i\u015f olmayabilir. Yeni iktidar, mek\u00e2n\u0131n i\u00e7inde kendi yerini de tarif eder. Bununla birlikte, g\u00f6rd\u00fc\u011f\u00fcm her Hristiyan d\u00f6nem yap\u0131s\u0131n\u0131 ayn\u0131 h\u00fckm\u00fcn i\u00e7ine yerle\u015ftirmek istemiyorum. Bir \u015fehrin sonraki y\u00fczy\u0131llar\u0131 da kendi i\u00e7inde de\u011fi\u015fir. Binalar ba\u015fka i\u015flevler kazan\u0131r; onar\u0131l\u0131r, unutulur, yeniden \u00f6nemsenir. Bug\u00fcn bu eserleri g\u00f6rebilmemizde onlar\u0131 koruyan insanlar\u0131n eme\u011fi bulunuyor. Ge\u00e7mi\u015fteki k\u0131r\u0131lmay\u0131 anlamakla bug\u00fcnk\u00fc koruma \u00e7abas\u0131n\u0131 teslim etmek birbirini engellemiyor.<\/p>\n

Saray \u00e7evresindeki y\u00fcr\u00fcy\u00fc\u015ften sonra dar sokaklara indik. Tepeden a\u015fa\u011f\u0131ya do\u011fru ilerledik\u00e7e Elhamra\u2019n\u0131n d\u00fczenli sessizli\u011fi yerini \u015fehrin g\u00fcndelik seslerine b\u0131rakt\u0131. Bir k\u00f6\u015feden katedralin cephesi y\u00fckseldi; ba\u015fka bir ge\u00e7itte y\u00fcksek kemerler, i\u00e7eride oturan insanlar ve duvarlarda birbirine eklenen bezemeler kar\u015f\u0131ma \u00e7\u0131kt\u0131. Ta\u015flar\u0131n aras\u0131ndan bug\u00fcn\u00fcn insanlar\u0131 ge\u00e7iyordu. Bir \u00e7ocuk ko\u015fuyor, bir d\u00fckk\u00e2n\u0131n \u00f6n\u00fcnde biri konu\u015fuyor, bir turist ba\u015f\u0131n\u0131 kald\u0131r\u0131p foto\u011fraf \u00e7ekiyordu. Tarih, m\u00fczelerde bekleyen bir ge\u00e7mi\u015f olmaktan \u00e7\u0131k\u0131p soka\u011f\u0131n i\u00e7inde y\u00fcr\u00fcyen bug\u00fcne kar\u0131\u015f\u0131yordu. D\u00fckk\u00e2nlar, meydanlar ve gelip ge\u00e7enler bu eski katmanlar\u0131n \u00fczerinde bug\u00fcn\u00fcn hayat\u0131n\u0131 kuruyordu. G\u0131rnata\u2019n\u0131n Hristiyan d\u00f6nemini yaln\u0131z bir tarih ba\u015fl\u0131\u011f\u0131 olarak d\u00fc\u015f\u00fcnmek m\u00fcmk\u00fcn de\u011fil. Meydan\u0131n \u00f6l\u00e7\u00fcs\u00fcnde, cephenin soka\u011fa yerle\u015fi\u015finde, bir yap\u0131n\u0131n \u00e7evresinde s\u00fcren hayatta kar\u015f\u0131m\u0131za \u00e7\u0131k\u0131yor. Benim arad\u0131\u011f\u0131m End\u00fcl\u00fcs izleri, daha sonraki y\u00fczy\u0131llar\u0131n i\u00e7inde bulunuyor.<\/p>\n

 <\/p>\n

Flamenco ile Bir Gece<\/strong><\/p>\n

\"\"<\/p>\n

Ak\u015fam oldu\u011funda \u015fehrin ba\u015fka bir y\u00fcz\u00fc a\u00e7\u0131ld\u0131. Teatro Flamenco Granada\u2019n\u0131n \u00f6n\u00fcnde k\u0131rm\u0131z\u0131 perdelerin ard\u0131nda bir sahne haz\u0131rlan\u0131yordu.<\/p>\n

\u0130spanya\u2019ya kadar gelmi\u015fken bir flamenco g\u00f6sterisi g\u00f6rmeden gitmeyelim diye d\u00fc\u015f\u00fcnd\u00fck. Ayr\u0131ca vakit de ge\u00e7mi\u015f olurdu. Bu nedenle \u015fehrin en me\u015fhur Flamenco g\u00f6sterisine gittik.<\/p>\n

\u0130\u00e7eri girdi\u011fimizde \u0131\u015f\u0131klar k\u0131s\u0131ld\u0131; bedenin, aya\u011f\u0131n ve avu\u00e7lar\u0131n ritmi salonda birden y\u00fckseldi. G\u00fcnd\u00fcz ta\u015flarda arad\u0131\u011f\u0131m tarih, gece canl\u0131 bir hareketin i\u00e7inde kar\u015f\u0131ma \u00e7\u0131kt\u0131. Sahnedeki sanat\u00e7\u0131lar\u0131n her ad\u0131m\u0131 bana bir ge\u00e7mi\u015fin yeniden canland\u0131r\u0131lmas\u0131 de\u011fil, bug\u00fcn\u00fcn insanlar\u0131n\u0131n kendi sanat\u0131n\u0131 \u015fimdi ve burada kurmas\u0131 gibi g\u00f6r\u00fcnd\u00fc. Foto\u011fraf g\u00f6sterinin sesini geri getirmiyor; fakat o g\u00fcn\u00fc yaln\u0131z ge\u00e7mi\u015fin h\u00fczn\u00fcyle ge\u00e7irmedi\u011fimizi hat\u0131rlat\u0131yor. \u0130nsan ayn\u0131 \u015fehirde bir kayb\u0131 d\u00fc\u015f\u00fcn\u00fcp ak\u015fam bug\u00fcn\u00fcn sanat\u0131na da bakabiliyor. Flamenkoyu tek bir k\u00f6kene ba\u011flay\u0131p hemen bir End\u00fcl\u00fcs devaml\u0131l\u0131\u011f\u0131 ilan etmek istemiyorum. Bu g\u00f6r\u00fcnt\u00fclerin bana s\u00f6yledi\u011fi daha sade: Granada\u2019da sanat, yaln\u0131z eski duvarlar\u0131n \u00fczerinde kalm\u0131\u015f de\u011fil; o ak\u015fam sahnede de yap\u0131l\u0131yordu.<\/p>\n

\"\"<\/p>\n

Ben Flamenco\u2019nun bir oyun oldu\u011funu san\u0131yordum ama kar\u015f\u0131mda bir oyundan \u00e7ok bir g\u00f6steri, tiyatro vard\u0131. Yani bir m\u00fczikal oyun vard\u0131. Anlat\u0131c\u0131 olay\u0131n hikayesini anlat\u0131yor oyuncu olan bir kad\u0131n ve erkek bu hikayeye g\u00f6re oyun oynuyorlard\u0131. Yani orada sahnelenen oyun asl\u0131nda bir hikayenin canland\u0131r\u0131l\u0131\u015f\u0131 idi. Her sahne de\u011fi\u015fiminde seyirciler alk\u0131\u015fl\u0131yordu. Ben de i\u015f olsun ve varl\u0131\u011f\u0131m\u0131z burada belli olsun diye T\u00fcrk\u00e7e \u201cBrovo-ya\u015fa\u201d diye ba\u011f\u0131r\u0131yordum seyirciler ve oyuncular do\u011frudan bana bak\u0131yorlard\u0131. \u00c7\u00fcnk\u00fc bir yabanc\u0131 kelime duyuyorlard\u0131. Flamenco, bir \u015fekilde eski tarihle End\u00fcl\u00fcs\u2019le i\u00e7 i\u00e7eydi kayna\u011f\u0131 ta oraya kadar gidiyordu. B\u00f6lgede dola\u015f\u0131rken de zaten sokak g\u00f6stericileri sokakta turistler i\u00e7in flamenco g\u00f6sterisi yap\u0131yorlard\u0131 ama onlar\u0131nki benim filimlerde g\u00f6rd\u00fc\u011f\u00fcm oyundu. Fakat Flamenco sahnesi olay\u0131n hikayesi ve m\u00fczikalini g\u00f6steriyorlard\u0131.<\/p>\n

Flamenco’yu izlerken akl\u0131ma birden Yahla Kemal’in End\u00fcl\u00fcs’te Raks \u015fiiri geldi. \u015eairin anlatt\u0131\u011f\u0131 raks asl\u0131nda tam da flamenco’yu anlat\u0131yordu demek ki o da G\u0131rnata’da flamenco’yu izlemi\u015f ve bunu \u015fiirinde tasvir etmi\u015fti. \u0130nternetten hemen \u015fiirin tamam\u0131na bakt\u0131m…<\/p>\n

 <\/p>\n

END\u00dcL\u00dcS’DE RAKS<\/strong><\/p>\n

Zil, \u015fal ve g\u00fcl. <\/span><\/p>\n

Bu bah\u00e7ede raks\u0131n b\u00fct\u00fcn h\u0131z\u0131… <\/span><\/p>\n

\u015eevk ak\u015fam\u0131nda End\u00fcl\u00fcs \u00fc\u00e7 defa k\u0131rm\u0131z\u0131… <\/span><\/p>\n

A\u015fk\u0131n sihirli \u015fark\u0131s\u0131 y\u00fczlerce dildedir. <\/span><\/p>\n

\u0130spanya ne\u015f’esiyle bu ak\u015fam bu zildedir. <\/span><\/p>\n

Yelpaze \u00e7evrilir gibi birden d\u00f6n\u00fc\u015fleri,<\/span><\/p>\n

\u0130\u015fveyle devrili\u015f, sa\u00e7\u0131l\u0131\u015f, \u00f6rt\u00fcn\u00fc\u015fleri… <\/span><\/p>\n

Her rengi istemez g\u00f6z\u00fcm\u00fcz \u015fimdi aldad\u0131r; <\/span><\/p>\n

\u0130spanya dalga dalga bu ak\u015fam bu \u015faldad\u0131r. <\/span><\/p>\n

Aln\u0131nda halka halkad\u0131r a\u015f\u00fcfte k\u00e2k\u00fcl\u00fc, <\/span><\/p>\n

G\u00f6\u011fs\u00fcnde yosma G\u0131rnata’n\u0131n en g\u00fczel g\u00fcl\u00fc… <\/span><\/p>\n

Alt\u0131n kadeh her elde, g\u00fcne\u015f her g\u00f6n\u00fcldedir <\/span><\/p>\n

\u0130spanya varl\u0131\u011f\u0131yla bu ak\u015fam bu g\u00fcldedir. <\/span><\/p>\n

Raks ortas\u0131nda bir durup oynar, y\u00fcr\u00fcr gibi; <\/span><\/p>\n

Bir ba\u015f \u00e7evirmesiyle bakar \u00f6ld\u00fcr\u00fcr gibi…<\/span><\/p>\n

G\u00fcl tenli, kor dudakl\u0131, k\u00f6m\u00fcr g\u00f6zl\u00fc, s\u00fcrmeli… <\/span><\/p>\n

\u015eeytan diyor ki, sarmal\u0131, y\u00fcz kerre \u00f6pmeli… <\/span><\/p>\n

G\u00f6zler kama\u015ft\u0131ran \u015fala, meftun eden g\u00fcle, <\/span><\/p>\n

Her kalbi dolduran zile, <\/span><\/p>\n

her sineden: “Ole!” <\/span><\/p>\n

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

\u015fiire bakt\u0131\u011f\u0131mda yalpazeden bahsetmesi k\u0131rm\u0131z\u0131 renkler ve d\u00f6n\u00fc\u015fler ile \u015fal bunlar tamamen flamenco’nun objeleriydi. <\/span><\/p>\n

Ayr\u0131ca m\u00fczik e\u015fli\u011finde ziller ve topuklar\u0131n yere vururak y\u00fcksek ses \u00e7\u0131kart\u0131lmas\u0131 bu dans\u0131n \u00f6zelli\u011fiydi. <\/span><\/p>\n

G\u0131rnata’da bizden bir \u015fairi d\u00fc\u015f\u00fcnmek… End\u00fcl\u00fcs ger\u00e7ekten de \u015fiirsel bir medeniyyetir<\/span><\/p>\n

Elhamra\u2019ya Do\u011fru<\/strong><\/pre>\n
\"\"<\/p>\n
Elhamra, Arap\u00e7a el-\u1e24amr\u00e2 (\u0627\u0644\u062d\u0645\u0631\u0627\u0621) ad\u0131ndan gelir ve \u201ck\u0131z\u0131l olan\u201d demektir. el-Kal\u02bfat\u00fc\u2019l-\u1e24amr\u00e2 ifadesi ise \u201cK\u0131z\u0131l Kale\u201d anlam\u0131ndad\u0131r. Kaynaklarda buras\u0131, Nasr\u00ee saraylar\u0131 yap\u0131lmadan \u00f6nce de \u201cK\u0131z\u0131l Kale\u201d ad\u0131yla an\u0131lan bir tahkimat olarak ge\u00e7er. Ad\u0131n verilmesinin en g\u00fc\u00e7l\u00fc a\u00e7\u0131klamas\u0131, Seb\u00eeke tepesinin k\u0131z\u0131l topra\u011f\u0131 ve bu toprakla yap\u0131lan surlar\u0131n rengidir. Elhamra\u2019y\u0131 y\u00f6neten kurumun yay\u0131mlad\u0131\u011f\u0131 bir mimarl\u0131k ara\u015ft\u0131rmas\u0131 da ad\u0131n k\u00f6keni hakk\u0131nda farkl\u0131 g\u00f6r\u00fc\u015fleri aktard\u0131ktan sonra \u00e7o\u011fu ara\u015ft\u0131rmac\u0131n\u0131n k\u0131z\u0131l kil ve yap\u0131 malzemesi a\u00e7\u0131klamas\u0131n\u0131 benimsedi\u011fini belirtir. Kaleyi gece me\u015falelerle in\u015fa edenlerin \u0131\u015f\u0131\u011f\u0131ndan dolay\u0131 b\u00f6yle adland\u0131r\u0131ld\u0131\u011f\u0131 anlat\u0131s\u0131 da vard\u0131r; bu, tarih\u00ee kesinlik ta\u015f\u0131yan a\u00e7\u0131klama olarak al\u0131nmamal\u0131d\u0131r.<\/em><\/p>\n
G\u00fcn dolmu\u015ftu, fakat benim akl\u0131m saray\u0131n i\u00e7inde kalm\u0131\u015ft\u0131. Gece yeniden bilet sayfas\u0131na bakt\u0131m. Resm\u00ee bilet sitesini kontrol ettik. Son dakika iptalleri ara\u015ft\u0131r\u0131ld\u0131. Gece yar\u0131s\u0131 sisteme yeniden d\u00fc\u015febilecek biletlerden, rehberli turlardan, Granada Card gibi alternatiflerden s\u00f6z ediliyordu. Elhamra\u2019n\u0131n ziyaret sistemi \u00f6ylesine s\u0131k\u0131yd\u0131 ki \u00f6zellikle Nasr\u00ee Saraylar\u0131 i\u00e7in verilen saat ka\u00e7\u0131r\u0131ld\u0131\u011f\u0131nda ayn\u0131 biletle daha sonra i\u00e7eri girmek m\u00fcmk\u00fcn de\u011fildi. Bir m\u00fcddet G\u0131rnata seyahatimizin Elhamra\u2019n\u0131n d\u0131\u015f\u0131ndan bakmakla s\u0131n\u0131rl\u0131 kalabilece\u011fini d\u00fc\u015f\u00fcnd\u00fck.<\/p>\n
\u0130lk anda insan\u0131n i\u00e7ine bir hayal k\u0131r\u0131kl\u0131\u011f\u0131 \u00e7\u00f6k\u00fcyor. Y\u00fczlerce, hatta binlerce kilometre yol geliyorsunuz; g\u00f6rmek istedi\u011finiz eser hemen kar\u015f\u0131n\u0131zda fakat kap\u0131s\u0131ndan girip giremeyece\u011finiz belli de\u011fil.<\/p>\n
Nihayet gece yar\u0131s\u0131 resm\u00ee siteyi yeniden kontrol ederken tek bir bilet buldum ve hemen ald\u0131m. Neyse ki sonunda ertesi g\u00fcn, 1 Haziran sabah\u0131 saat 09.00\u2019da Nasr\u00ee Saraylar\u0131\u2019na giri\u015f yapabilece\u011fimiz bileti temin etmeyi ba\u015fard\u0131k. Bilet meselesi \u00e7\u00f6z\u00fcld\u00fc\u011f\u00fcnde, o k\u00fc\u00e7\u00fck k\u00e2\u011f\u0131d\u0131n veya telefon ekran\u0131ndaki birka\u00e7 sat\u0131rl\u0131k rezervasyon bilgisinin insan\u0131 ne kadar sevindirebilece\u011fini bizzat ya\u015fam\u0131\u015f olduk.<\/p>\n
Fakat biz iki ki\u015fiydik. E\u015fim, benim i\u00e7in bu ziyaretin ne kadar \u00f6nemli oldu\u011funu bildi\u011finden d\u0131\u015far\u0131da beklemeyi kabul etti. Onun bu fedak\u00e2rl\u0131\u011f\u0131 sayesinde saray\u0131 gezebildim. Yine de i\u00e7eride g\u00f6rd\u00fc\u011f\u00fcm her g\u00fczelli\u011fe, bunu birlikte g\u00f6rememi\u015f olman\u0131n buruklu\u011fu kar\u0131\u015ft\u0131. Bir seyahatin hat\u0131ras\u0131nda yaln\u0131z eserler kalm\u0131yor. Bazen o eserin d\u0131\u015f\u0131nda sizi bekleyen insan, b\u00fct\u00fcn yap\u0131n\u0131n hat\u0131ras\u0131na e\u015flik ediyor. Bu nedenle el-Hamray\u0131 huzurlu ve doyas\u0131ya gezemedi\u011fimi hissettim. \u00c7\u00fcnk\u00fc g\u00f6rd\u00fcklerimi e\u015fimle tart\u0131\u015fmak benim d\u00fc\u015f\u00fcncelerimi geli\u015ftiriyordu. Konu\u015ftuk\u00e7a konu\u015famad\u0131\u011f\u0131m d\u00fc\u015f\u00fcnceler geliyordu akl\u0131ma\u2026 ama bunu payla\u015facak ki\u015fi olmay\u0131nca sadece bir g\u00f6zlemci oldum\u2026  i\u00e7eriyi onunla payla\u015fmak i\u00e7in her kareyi kameraya almay\u0131 ihmal etmedim.<\/p>\n
 <\/p>\n
Ertesi sabah erkenden Elhamra\u2019ya do\u011fru yola \u00e7\u0131kt\u0131k.<\/strong><\/p>\n
\"\"<\/p>\n
G\u0131rnata\u2019n\u0131n merkezinden saraya ula\u015fman\u0131n birka\u00e7 yolu vard\u0131. Plaza Nueva ve Isabel la Cat\u00f3lica \u00e7evresinden hareket eden k\u00fc\u00e7\u00fck otob\u00fcslerle yukar\u0131 \u00e7\u0131k\u0131labiliyor, taksi kullan\u0131labiliyor veya Cuesta de Gom\u00e9rez taraf\u0131ndan y\u00fcr\u00fcnebiliyordu. Elhamra y\u00fcksek\u00e7e bir b\u00f6lgede bulundu\u011fu i\u00e7in y\u00fcr\u00fcmeyi tercih edenleri hat\u0131r\u0131 say\u0131l\u0131r bir yoku\u015f bekliyordu.<\/p>\n
Bizim i\u00e7in as\u0131l mesele saat 09.00\u2019daki Nasr\u00ee Saraylar\u0131 randevusunu ka\u00e7\u0131rmamakt\u0131. \u00c7\u00fcnk\u00fc Elhamra\u2019n\u0131n di\u011fer b\u00f6l\u00fcmleri g\u00fcn i\u00e7erisinde gezilebilse de Nasr\u00ee Saraylar\u0131\u2019na giri\u015f saati kesindi.<\/p>\n
Kap\u0131ya yakla\u015ft\u0131k\u00e7a uzun zamand\u0131r kitaplarda, foto\u011fraflarda ve tarih anlat\u0131lar\u0131nda g\u00f6rd\u00fc\u011f\u00fcm bir mek\u00e2n\u0131n art\u0131k \u00f6n\u00fcmde ger\u00e7ek bir yap\u0131 olarak y\u00fckseldi\u011fini hissediyordum.<\/p>\n
Bazen tarih\u00e7i i\u00e7in en tuhaf an budur.<\/p>\n
Y\u0131llarca hakk\u0131nda okudu\u011funuz, ad\u0131n\u0131 defalarca yazd\u0131\u011f\u0131n\u0131z bir yer birdenbire kitap sayfas\u0131ndan \u00e7\u0131kar ve kar\u015f\u0131n\u0131zda ta\u015f, duvar, kap\u0131, bah\u00e7e ve g\u00f6ky\u00fcz\u00fc h\u00e2line gelir.<\/p>\n
Elhamra benim i\u00e7in biraz b\u00f6yleydi.<\/p>\n
\"\"<\/p>\n
Nasr\u00ee Saraylar\u0131\u2019na tek ba\u015f\u0131ma girdim. Fakat zihnim kalabal\u0131kt\u0131. Daha kap\u0131da \u015e\u00e2t\u0131b\u00ee\u2019nin d\u00fc\u015f\u00fcncesiyle kar\u015f\u0131la\u015ft\u0131m: Bir \u015feyin varl\u0131\u011f\u0131n\u0131 ve bi\u00e7imini g\u00f6rmek yetmez; ne i\u00e7in var oldu\u011funu da d\u00fc\u015f\u00fcnmek gerekir diyordu.. \u015e\u00e2t\u0131b\u00ee\u2019nin el-Muv\u00e2fak\u0101t\u2019\u0131nda sistemle\u015ftirdi\u011fi mak\u0101s\u0131d yakla\u015f\u0131m\u0131, din\u00ee h\u00fck\u00fcmlerin insan hayat\u0131nda ger\u00e7ekle\u015ftirmeyi hedefledi\u011fi maslahatlar\u0131 anlamaya y\u00f6nelir. Dinin, can\u0131n, akl\u0131n, neslin ve mal\u0131n korunmas\u0131 bu \u00e7er\u00e7evenin temel unsurlar\u0131 aras\u0131ndad\u0131r. Bunlar, metinlerden ba\u011f\u0131ms\u0131z bi\u00e7imde diledi\u011fimiz sonucu \u00e7\u0131karmam\u0131za izin veren ba\u015f\u0131bo\u015f bir fayda hesab\u0131 de\u011fildir. \u015e\u00e2t\u0131b\u00ee\u2019nin aray\u0131\u015f\u0131, h\u00fck\u00fcmleri kaynaklar\u0131 ve b\u00fct\u00fcnl\u00fc\u011f\u00fc i\u00e7inde anlamakt\u0131r.<\/p>\n
Saray\u0131n i\u00e7ine girerken bu d\u00fc\u015f\u00fcnceyi kendi soruma d\u00f6n\u00fc\u015ft\u00fcrd\u00fcm: Bir devletin maksad\u0131 neydi? Yaln\u0131z h\u00fck\u00fcmdar\u0131na g\u00fczel bir hayat haz\u0131rlamak m\u0131? yoksa insanlar\u0131n hayat\u0131n\u0131 g\u00fcvenceye almak m\u0131? Kar\u015f\u0131mdaki g\u00fczelli\u011fi takdir ediyordum. Fakat bu g\u00fczelli\u011fi meydana getiren d\u00fczenin insanlara nas\u0131l bir hayat sundu\u011funu da merak ediyordum. \u015e\u00e2t\u0131b\u00ee b\u00f6ylece benim i\u00e7in saray\u0131n kap\u0131s\u0131nda kalan bir isim olmad\u0131; ziyaret boyunca hayranl\u0131\u011f\u0131ma sorular ekleyen bir yol arkada\u015f\u0131na d\u00f6n\u00fc\u015ft\u00fc.<\/p>\n
 <\/p>\n
Saray\u0131n i\u00e7inde s\u00f6z\u00fcn ve iktidar\u0131n izinde<\/strong><\/p>\n
\"\"<\/p>\n
\u0130\u00e7eride ilk dikkatimi \u00e7eken \u015fey b\u00fcy\u00fckl\u00fckten \u00e7ok incelikti. Al\u00e7\u0131 s\u00fcslemeler, geometrik \u015fekiller, bitkisel motifler ve Arap\u00e7a yaz\u0131lar birbirine kar\u0131\u015f\u0131yordu. Duvar\u0131n y\u00fczeyi doluydu ama bu yo\u011funluk bana a\u011f\u0131r gelmiyordu. I\u015f\u0131\u011f\u0131n vurdu\u011fu yerde kabaran, g\u00f6lgede derinle\u015fen i\u015flemeler, yap\u0131ya ba\u015fka bir hafiflik veriyordu. Bir duvara yakla\u015f\u0131nca ayr\u0131nt\u0131 \u00e7o\u011fal\u0131yor, geri \u00e7ekilince b\u00fct\u00fcn yeniden kuruluyordu. \u0130nsan\u0131 durduran \u015fey yaln\u0131z s\u00fcslemenin \u00e7oklu\u011fu de\u011fildi. Bunca ayr\u0131nt\u0131n\u0131n bir arada nas\u0131l ta\u015f\u0131nabildi\u011fiydi. Bir de Avrupa\u2019n\u0131n ortas\u0131nda tarihi mekanlarda Arap\u00e7a yaz\u0131lar, ayetler g\u00f6rmek beni \u00e7ok mutlu etmi\u015fti. Yenilgi yenilgi b\u00fcy\u00fcyen bir zafer vard\u0131 demi\u015fti \u00fcstat Sezai Karako\u00e7. Yenilsek de asl\u0131nda kazanm\u0131\u015f oldu\u011fumuz bir zaferimiz vard\u0131. Biz Avrupa\u2019da y\u00fczy\u0131llarca egemenlik kuran bir medeniyet, devlet kurabilmi\u015f, \u0130slam\u2019\u0131 buraya kadar getirmi\u015f ve buran\u0131n duvarlar\u0131na Allah kelam\u0131n\u0131, kelime-i tevhidi yazabilmi\u015ftik\u2026 Bunu d\u00fc\u015f\u00fcn\u00fcnce h\u00fcz\u00fcn yerine \u00f6v\u00fcn\u00e7 ve mutluluk sard\u0131 beni\u2026<\/p>\n
Arap\u00e7a e\u011fitim alm\u0131\u015f olmam\u0131n burada ayr\u0131 bir kar\u015f\u0131l\u0131\u011f\u0131 vard\u0131. Harfler benim i\u00e7in yaln\u0131z s\u00fcs de\u011fildi. Harfi g\u00f6r\u00fcnce kelimeyi, kelimeyi se\u00e7ince c\u00fcmleyi okumak istiyordum. Yine de b\u00fct\u00fcn yaz\u0131lar\u0131 hemen \u00e7\u00f6zd\u00fc\u011f\u00fcm\u00fc s\u00f6yleyemem. S\u00fcslemenin i\u00e7ine yerle\u015fmi\u015f bir metni okumak, kitap sayfas\u0131n\u0131 okumak gibi de\u011fil. G\u00f6r\u00fc\u015f a\u00e7\u0131s\u0131, uzakl\u0131k, \u0131\u015f\u0131k, hatt\u0131n bi\u00e7imi anlam\u0131n \u00f6n\u00fcne ge\u00e7ebiliyor. Baz\u0131 yaz\u0131lar\u0131n kar\u015f\u0131s\u0131nda hemen duramad\u0131m. Harfler g\u00f6z\u00fcm\u00fcn \u00f6n\u00fcnde beliriyor, sonra s\u00fcslemenin k\u0131vr\u0131mlar\u0131 i\u00e7inde yeniden kayboluyordu. Bir kitabenin \u00f6n\u00fcnde durdu\u011fumda, sanki ta\u015f bana \u00f6nce kendi sessizli\u011fini kabul ettiriyor, anlam\u0131 ondan sonra veriyordu. \u0130\u015fte o s\u0131rada Eb\u00fb Hayy\u00e2n el-End\u00fcl\u00fcs\u00ee\u2019nin dil hassasiyetini d\u00fc\u015f\u00fcnd\u00fcm. Onun el-Bahr\u00fc\u2019l-muh\u00eet\u2019inde kelimelerin, gramerin ve k\u0131raatlerin anlam\u0131 dil bilimindeki yeri b\u00fcy\u00fckt\u00fc. Bir ifadeyi anlamak, ona ilk bak\u0131\u015fta yak\u0131\u015ft\u0131rd\u0131\u011f\u0131m\u0131z manay\u0131 kabul etmekten daha fazla emek ister. Eb\u00fb Hayy\u00e2n el-Endel\u00fcs\u00ee G\u0131rnata \u00e7evresinde yeti\u015fmi\u015f, ilim yolculu\u011funun sonunda Kahire\u2019ye yerle\u015fmi\u015f bir dil ve tefsir \u00e2limiydi. Onun el-Bahr\u00fc\u2019l-muh\u00eet\u2019teki tefsir tarifinin ba\u015f\u0131 \u015f\u00f6yleydi:<\/p>\n
\u201cTefsir, Kur\u2019an laf\u0131zlar\u0131n\u0131n nas\u0131l okunaca\u011f\u0131n\u0131 ve neye del\u00e2let etti\u011fini ara\u015ft\u0131ran bir ilimdir\u2026\u201d[2]<\/strong><\/sup><\/a><\/p>\n
Burada beni durduran, laf\u0131zla anlam\u0131n birlikte an\u0131lmas\u0131. Bir yaz\u0131n\u0131n y\u00fczeyini g\u00f6rmek, s\u00f6yledi\u011fini kavramak i\u00e7in yeterli de\u011fil. Elhamra\u2019da bunun maddi kar\u015f\u0131l\u0131\u011f\u0131 kar\u015f\u0131mdayd\u0131. Harfler korunmu\u015ftu; onlar\u0131 her g\u00f6renin ayn\u0131 anlam d\u00fcnyas\u0131na girmesi ise m\u00fcmk\u00fcn de\u011fildi. Ben de Arap\u00e7a bildi\u011fim i\u00e7in b\u00fct\u00fcn kap\u0131lar\u0131n kendili\u011finden a\u00e7\u0131ld\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnemezdim. Bir kitabenin ba\u011flam\u0131n\u0131, kime seslendi\u011fini, dua m\u0131 \u015fiir mi oldu\u011funu ayr\u0131ca \u00f6\u011frenmek gerekiyordu.<\/p>\n
Saray\u0131n duvarlar\u0131na da bu dikkatle bakmak istedim. Her Arap\u00e7a yaz\u0131 \u00e2yet de\u011fildi; her \u015fiir \u0130bn Z\u00fcmrek\u2019e ait de\u011fildi. Dua, h\u00fck\u00fcmdarl\u0131k \u015fiar\u0131, methiye ve Kur\u2019an iktibas\u0131 ayn\u0131 yap\u0131 i\u00e7inde farkl\u0131 i\u015flevler ta\u015f\u0131yordu. Yaz\u0131n\u0131n g\u00fczelli\u011fini g\u00f6rmekle ne s\u00f6yledi\u011fini bilmek aras\u0131ndaki mesafeyi burada daha iyi hissediyordum.<\/p>\n
Eb\u00fb Hayy\u00e2n\u2019\u0131n T\u00fcrk\u00e7e \u00fczerinde \u00e7al\u0131\u015fm\u0131\u015f olmas\u0131 da bana ayr\u0131 bir yak\u0131nl\u0131k verdi. G\u0131rnata \u00e7evresinde do\u011fan, daha sonra do\u011fuya gidip Kahire\u2019de ya\u015fayan bir \u00e2lim, Kit\u00e2b\u00fc\u2019l-\u0130dr\u00e2k li-lis\u00e2ni\u2019l-Etr\u00e2k\u2019i kaleme alm\u0131\u015ft\u0131. G\u0131rnata\u2019dan \u00e7\u0131k\u0131p Kahire\u2019de T\u00fcrk dili \u00fczerine \u00e7al\u0131\u015fan bir \u00e2limin \u015fehrinde, bir T\u00fcrk olarak Arap\u00e7a yaz\u0131lar\u0131 okumaya \u00e7al\u0131\u015f\u0131yordum.[3]<\/sup><\/a> Tarihte birbirinden uzak sand\u0131\u011f\u0131m\u0131z yerler bazen bir insan\u0131n hayat\u0131nda bulu\u015fuyor. Bir kitab\u0131n yolculu\u011fu, devlet s\u0131n\u0131rlar\u0131ndan daha uzun \u00f6m\u00fcrl\u00fc olabiliyor. Ben ise as\u0131rlar sonra T\u00fcrk\u00e7e d\u00fc\u015f\u00fcnen, Arap\u00e7a okuyan bir tarih\u00e7i olarak onun memleketindeki yaz\u0131lara bak\u0131yordum. Kitaplar\u0131n kurdu\u011fu ba\u011flar, devletlerin s\u0131n\u0131rlar\u0131ndan daha uzun \u00f6m\u00fcrl\u00fc olabiliyordu.<\/p>\n
\"\"<\/strong><\/p>\n
Elhamra\u2019n\u0131n yaz\u0131 d\u00fcnyas\u0131 farkl\u0131 metinlerden olu\u015fuyordu. Fakat benim zihnimde en s\u0131k d\u00f6nen s\u00f6z, Nasr\u00eelerin \u015fiar\u0131yd\u0131:<\/p>\n
L\u00e2 g\u0101libe illallah. Allah\u2019tan ba\u015fka galip yoktur.<\/p>\n
H\u00fck\u00fcmdarl\u0131k mek\u00e2n\u0131n\u0131n \u00fczerinde duran bu s\u00f6z\u00fc, devletin sonunu bilerek okuyordum. Onu yazd\u0131ranlar\u0131n siyas\u00ee g\u00fcveniyle benim hissetti\u011fim fanilik ayn\u0131 \u015fey de\u011fildi. Bir s\u00f6z\u00fcn anlam\u0131 de\u011fi\u015fmeden, kar\u015f\u0131s\u0131nda duran insan\u0131n durumu de\u011fi\u015febiliyor. Benim i\u00e7in o duvar, kudretin s\u0131n\u0131r\u0131n\u0131 d\u00fc\u015f\u00fcnmeye a\u00e7\u0131l\u0131yordu.<\/p>\n
Saray\u0131n temsil ve kabul mek\u00e2nlar\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcrken bu defa \u0130bn\u00fc\u2019l-Hat\u00eeb yakla\u015ft\u0131 zihnime. O, saray\u0131 yaln\u0131z d\u0131\u015far\u0131dan seyreden biri de\u011fildi. Devlet hizmetinde bulunmu\u015f, vezirlik yapm\u0131\u015f, siyasetin hem imk\u00e2nlar\u0131n\u0131 hem tehlikelerini ya\u015fam\u0131\u015ft\u0131. Elhamra\u2019ya onun hayat\u0131 \u00fczerinden bak\u0131nca s\u00fctunlar\u0131n aras\u0131na devlet i\u015fleri de giriyordu. Bu zarif duvarlar\u0131n i\u00e7inde yaz\u0131\u015fmalar haz\u0131rlanm\u0131\u015f, ittifaklar aranm\u0131\u015f, insanlar\u0131n gelece\u011fini etkileyen kararlar verilmi\u015fti.<\/p>\n
G\u00fczel bir anlat\u0131n\u0131n insana verdi\u011fi hazla, do\u011fru bir a\u00e7\u0131klaman\u0131n de\u011feri ayn\u0131 \u015fey de\u011fildi. Saray\u0131n ihti\u015fam\u0131na bak\u0131p burada ya\u015fayan herkesin huzurlu oldu\u011funu varsayamazd\u0131m. Duvarlar\u0131n g\u00fczelli\u011fi, toplumun b\u00fct\u00fcn meselelerini \u00e7\u00f6zm\u00fc\u015f de\u011fildi. \u0130bn\u00fc\u2019l-Hat\u00eeb, g\u00f6rd\u00fc\u011f\u00fcm eserin arkas\u0131ndaki hayat\u0131 ara\u015ft\u0131rmam gerekti\u011fini hat\u0131rlat\u0131yordu.<\/p>\n
Bir seyyaha olarak, g\u00f6rd\u00fc\u011f\u00fcm her \u015feyi anlatmak, g\u00f6rd\u00fc\u011f\u00fcm\u00fc do\u011fru anlataca\u011f\u0131m anlam\u0131na gelmiyor. Hayranl\u0131k bazen ayr\u0131nt\u0131lar\u0131 b\u00fcy\u00fctmeye, h\u00fcz\u00fcn ise b\u00fct\u00fcn olaylar\u0131 tek bir felaket an\u0131nda toplamaya sevk ediyor. Oysa burada g\u00f6rd\u00fc\u011f\u00fcm \u015feyle kaynaktan \u00f6\u011frendi\u011fim \u015feyi, ikisinin bende uyand\u0131rd\u0131\u011f\u0131 d\u00fc\u015f\u00fcnceden ay\u0131rabilmeliyim.<\/p>\n
 <\/p>\n
Ta\u015f\u0131n Konu\u015ftu\u011fu Saray<\/strong><\/p>\n
\"\"<\/p>\n
Nasr\u00ee Saraylar\u0131\u2019na girdi\u011fimizde ilk dikkatimi \u00e7eken \u015fey g\u00f6steri\u015ften \u00e7ok incelik oldu.<\/p>\n
Duvarlar \u00e2deta bo\u015f b\u0131rak\u0131lmam\u0131\u015ft\u0131. Al\u00e7\u0131 s\u00fcslemeler, geometrik \u015fekiller, bitkisel motifler ve Arap\u00e7a hatlar birbirinin i\u00e7ine girerek b\u00fct\u00fcn y\u00fczeyi kapl\u0131yordu. Fakat b\u00fct\u00fcn bu yo\u011funluk insana a\u011f\u0131r gelmiyordu. Aksine ta\u015f\u0131n hafifledi\u011fini, duvarlar\u0131n nak\u0131\u015f gibi i\u015flendi\u011fini hissediyordunuz.<\/p>\n
Burada mimari yaln\u0131zca bina yapmak de\u011fildi.<\/p>\n
Yaz\u0131, \u0131\u015f\u0131k, su, g\u00f6lge ve mek\u00e2n birlikte d\u00fc\u015f\u00fcn\u00fclm\u00fc\u015ft\u00fc.<\/p>\n
Bir tarih\u00e7i olarak beni en fazla etkileyen unsurlardan biri de duvarlardaki Arap\u00e7a yaz\u0131lard\u0131. Avrupa\u2019n\u0131n ortas\u0131nda, y\u00fczy\u0131llar \u00f6nce yap\u0131lm\u0131\u015f bir saray\u0131n duvarlar\u0131nda Arap\u00e7a kelimelerin h\u00e2l\u00e2 b\u00fct\u00fcn zarafetiyle duruyor olmas\u0131, insana tarihin asl\u0131nda tamamen ortadan kalkmad\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnd\u00fcr\u00fcyor.<\/p>\n
Devletler y\u0131k\u0131l\u0131yor, h\u00fck\u00fcmdarlar \u00f6l\u00fcyor, s\u0131n\u0131rlar de\u011fi\u015fiyor; fakat bazen bir duvardaki birka\u00e7 kelime b\u00fct\u00fcn bunlardan daha uzun ya\u015fayabiliyor.<\/p>\n
 <\/p>\n
Aslanl\u0131 Avlu<\/strong><\/p>\n
\"\"<\/p>\n
Aslanl\u0131 Avlu\u2019da mermer f\u0131skiye ve \u00e7evresindeki yaz\u0131.<\/p>\n
 <\/strong>Elhamra denilince haf\u0131zalarda kalan mek\u00e2nlardan biri ku\u015fkusuz Aslanl\u0131 Avlu\u2019dur.<\/p>\n
Aslanl\u0131 Avlu\u2019ya do\u011fru ilerlerken \u0130bn Z\u00fcmrek\u2019in sesini, duvar\u0131n \u00fczerinde duran yaz\u0131n\u0131n i\u00e7inden i\u015fitir gibi oldum. \u015eair, saray\u0131n g\u00fczelli\u011fini h\u00fck\u00fcmdarl\u0131\u011f\u0131n diliyle \u00f6v\u00fcyordu; ben ise onun m\u0131sralar\u0131ndan suyun hareketini, mermerin serinli\u011fini ve g\u00f6z\u00fcn ya\u015fad\u0131\u011f\u0131 karars\u0131zl\u0131\u011f\u0131 \u00e7ekip \u00e7\u0131kar\u0131yordum.<\/p>\n
\u201cSen bu saray\u0131 \u00f6verken,\u201d dedim i\u00e7imden, \u201csonunu biliyor muydun?\u201d<\/p>\n
Bu soru tarih\u00ee bir konu\u015fma de\u011fildi; bug\u00fcnden ge\u00e7mi\u015fe uzanan bir soruydu. \u0130bn Z\u00fcmrek\u2019in \u015fiirleri, yaz\u0131ld\u0131klar\u0131 anda bir iktidar\u0131n ihti\u015fam\u0131na hizmet etmi\u015f olabilir. Fakat zaman onlar\u0131 yaln\u0131z o iktidar\u0131n mal\u0131 olarak b\u0131rakmad\u0131. \u015eimdi onun s\u00f6zleri, saray sahibinden ba\u011f\u0131ms\u0131z bi\u00e7imde, suyun ve ta\u015f\u0131n g\u00fczelli\u011fini anlatmaya devam ediyor. \u015eairin kaderi burada g\u00f6r\u00fcn\u00fcr hale geliyordu: S\u00f6z\u00fc, kendisini do\u011furan iktidar\u0131 a\u015fabiliyor; fakat o iktidar\u0131n g\u00f6lgesini de b\u00fct\u00fcn\u00fcyle \u00fczerinden atam\u0131yordu.<\/p>\n
\u0130bn Z\u00fcmrek\u2019in bir beytiyle kar\u015f\u0131la\u015ft\u0131\u011f\u0131mda, \u015fiirin mek\u00e2n\u0131 nas\u0131l de\u011fi\u015ftirdi\u011fini g\u00f6rd\u00fcm. F\u0131skiye art\u0131k yaln\u0131z bir mimari unsur de\u011fildi; su ile ta\u015f\u0131n birbirine benzedi\u011fi, g\u00f6z\u00fcn hangisinin akt\u0131\u011f\u0131n\u0131 ay\u0131ramad\u0131\u011f\u0131 bir \u015fiir sahnesiydi. \u015eair yan\u0131mda y\u00fcr\u00fcyormu\u015f gibi de\u011fil, bak\u0131\u015f\u0131m\u0131n i\u00e7indeki \u00f6l\u00e7\u00fcy\u00fc de\u011fi\u015ftiriyormu\u015f gibi bana e\u015flik ediyordu.<\/p>\n
Buraya ula\u015ft\u0131\u011f\u0131m\u0131zda mimari ile suyun nas\u0131l ayn\u0131 kompozisyonun par\u00e7alar\u0131 h\u00e2line getirildi\u011fini daha a\u00e7\u0131k bi\u00e7imde g\u00f6rd\u00fcm. Avlunun ortas\u0131ndaki d\u00fczenleme, \u00e7evresini ku\u015fatan ince s\u00fctunlar ve bunlar\u0131n meydana getirdi\u011fi ritim, insanda kapal\u0131 bir saraydan \u00e7ok zarif bir bah\u00e7ede bulunuyormu\u015f hissi uyand\u0131r\u0131yor.<\/p>\n
Elhamra\u2019y\u0131 anlat\u0131rken yaln\u0131zca \u201csaray\u201d kelimesini kullanman\u0131n eksik kald\u0131\u011f\u0131n\u0131 burada daha iyi anl\u0131yor insan.<\/p>\n
\u00c7\u00fcnk\u00fc Elhamra\u2019da sarayla bah\u00e7e, i\u00e7erisiyle d\u0131\u015far\u0131s\u0131, ta\u015fla su s\u00fcrekli birbirine kar\u0131\u015f\u0131yor.<\/p>\n
Bir kap\u0131dan ge\u00e7iyorsunuz, \u00f6n\u00fcn\u00fcze bir avlu \u00e7\u0131k\u0131yor.<\/p>\n
Bir koridordan ilerliyorsunuz, kar\u015f\u0131n\u0131zda bir havuz beliriyor.<\/p>\n
Bir pencereden bak\u0131yorsunuz, bu defa G\u0131rnata \u015fehri veya kar\u015f\u0131daki Albayz\u0131n evleri manzaran\u0131n bir par\u00e7as\u0131 h\u00e2line geliyor.<\/p>\n
Sanki mimar, binay\u0131 tamamlad\u0131ktan sonra manzaray\u0131 ona eklememi\u015f; daha en ba\u015f\u0131ndan da\u011f\u0131, \u015fehri, g\u00f6ky\u00fcz\u00fcn\u00fc ve \u0131\u015f\u0131\u011f\u0131 saray\u0131n bir par\u00e7as\u0131 olarak d\u00fc\u015f\u00fcnm\u00fc\u015f.<\/p>\n
 <\/p>\n
Suyun \u00f6n\u00fcnde \u0130bn Z\u00fcmrek<\/h1>\n
\"\"<\/p>\n
Aslanl\u0131 Avlu\u2019ya geldi\u011fimde d\u00fc\u015f\u00fcncelerimin ak\u0131\u015f\u0131 de\u011fi\u015fti. \u0130nce s\u00fctunlar\u0131n aras\u0131nda, on iki aslan\u0131n ta\u015f\u0131d\u0131\u011f\u0131 mermer havuza bakt\u0131m. Foto\u011fraflarda defalarca g\u00f6rd\u00fc\u011f\u00fcm bu g\u00f6r\u00fcnt\u00fcn\u00fcn i\u00e7inde \u015fimdi ben de bulunuyordum. On iki aslan\u0131n ta\u015f\u0131d\u0131\u011f\u0131 mermer \u00e7anak, suyun hareketiyle konu\u015fuyor; ince s\u00fctunlar ve a\u00e7\u0131kl\u0131klar bu konu\u015fmay\u0131 \u00e7evreye da\u011f\u0131t\u0131yordu. G\u00f6r\u00fcnt\u00fc, bilinen bir \u015feyin kar\u015f\u0131ma \u00e7\u0131kmas\u0131 de\u011fildi yaln\u0131zca. Uzaktan tan\u0131nan bir imgenin, yak\u0131na geldi\u011finde ayr\u0131nt\u0131lar\u0131yla beni s\u0131namas\u0131yd\u0131. Ortadaki mermer \u00e7ana\u011f\u0131 on iki aslan ta\u015f\u0131yordu. \u00c7evredeki ince s\u00fctunlar, a\u00e7\u0131kl\u0131klar ve su yollar\u0131, dikkati hem ortaya topluyor hem farkl\u0131 y\u00f6nlere da\u011f\u0131t\u0131yordu. Bir yandan b\u00fct\u00fcn\u00fc g\u00f6rmek, bir yandan \u00e7ana\u011f\u0131n \u00fczerindeki yaz\u0131ya yakla\u015fmak istiyordum.<\/p>\n
 Burada \u0130bn Z\u00fcmrek\u2019i hat\u0131rlamak i\u00e7in kitap a\u00e7maya gerek yoktu. \u015eiir, havuzun \u00fczerindeydi. \u015eairin kelimeleri yap\u0131n\u0131n bir par\u00e7as\u0131 olmu\u015ftu. Aslanl\u0131 Havuz kasidesindeki \u015fu beyti zihnimde T\u00fcrk\u00e7eye \u00e7evirdim:<\/p>\n
\u062a\u0634\u0627\u0628\u0647 \u062c\u0627\u0631 \u0644\u0644\u0639\u064a\u0648\u0646 \u0628\u062c\u0627\u0645\u062f
\n\u0641\u0644\u0645 \u0646\u062f\u0631 \u0623\u064a\u0651\u064b\u0627 \u0645\u0646\u0647\u0645\u0627 \u0643\u0627\u0646 \u062c\u0627\u0631\u064a\u0627<\/p>\n
Akanla kat\u0131 olan g\u00f6zlere \u00f6ylesine benze\u015fti ki,
\nHangisinin akt\u0131\u011f\u0131n\u0131 ay\u0131rt edemedik.<\/em><\/p>\n
Suyla mermerin birbirine benzedi\u011fi bu g\u00f6r\u00fcnt\u00fcde \u015fair, g\u00f6z\u00fcn k\u0131sa bir teredd\u00fcd\u00fcn\u00fc yakalam\u0131\u015ft\u0131. Mermerin parlakl\u0131\u011f\u0131 m\u0131 suya ge\u00e7mi\u015fti, yoksa su mu mermer gibi duruyordu? Havuzun ba\u015f\u0131nda bu benzetme, sayfada okunan bir s\u00f6z olmaktan \u00e7\u0131k\u0131yordu. \u015eairin neden b\u00f6yle s\u00f6yledi\u011fini anlamak i\u00e7in \u00f6n\u00fcn\u00fczdeki suya bakman\u0131z yetiyordu. Elhamra\u2019y\u0131 \u015fiirle d\u00fc\u015f\u00fcnmek benim i\u00e7in tam burada kar\u015f\u0131l\u0131\u011f\u0131n\u0131 buldu. \u015eiir, ba\u015fka yere g\u00f6t\u00fcrmeden \u00f6nce bakmakta oldu\u011fum yeri daha dikkatli g\u00f6rmemi sa\u011fl\u0131yordu.<\/p>\n
Ard\u0131ndan ayn\u0131 \u015fiirdeki bir ba\u015fka beyit geldi:<\/p>\n
\u0643\u0645\u062b\u0644 \u0645\u062d\u0628 \u0641\u0627\u0636 \u0628\u0627\u0644\u062f\u0645\u0639 \u062c\u0641\u0646\u0647
\n\u0648\u063a\u064a\u0636 \u0630\u0627\u0643 \u0627\u0644\u062f\u0645\u0639 \u0625\u0630 \u062e\u0627\u0641 \u0648\u0627\u0634\u064a\u0627<\/p>\n
G\u00f6zleri ya\u015fla dolan bir \u00e2\u015f\u0131k gibi,
\nKendisini ele verecek olandan korkup g\u00f6zya\u015f\u0131n\u0131 gizler.<\/em><\/p>\n
Suyun g\u00f6r\u00fcnmesi ve sonra ak\u0131\u015f yollar\u0131nda g\u00f6zden kaybolmas\u0131, \u015fairde duygusunu saklayan bir \u00e2\u015f\u0131\u011f\u0131n h\u00e2line d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fc. Elhamra\u2019daki suya bundan sonra yaln\u0131z su olarak bakmak g\u00fc\u00e7le\u015fiyordu. M\u00fchendisin y\u00f6nlendirdi\u011fi ak\u0131\u015fa \u015fair, insan\u0131n i\u00e7 d\u00fcnyas\u0131n\u0131 katm\u0131\u015ft\u0131.<\/p>\n
Yaln\u0131z bu \u015fiirin bir h\u00fck\u00fcmdar \u00f6vg\u00fcs\u00fc oldu\u011funu da unutmamak gerekiyordu. \u015eairin g\u00fczellik dili, saray\u0131n siyas\u00ee diliyle i\u00e7 i\u00e7eydi. Havuzun bollu\u011fu ve aslanlar\u0131n kudreti, h\u00fck\u00fcmdar\u0131n c\u00f6mertli\u011fini ve g\u00fcc\u00fcn\u00fc anlatmaya da hizmet ediyordu. \u0130bn\u00fc\u2019l-Hat\u00eeb\u2019i d\u00fc\u015f\u00fcn\u00fcnce bu taraf\u0131 g\u00f6r\u00fcyor, \u015e\u00e2t\u0131b\u00ee\u2019yi hat\u0131rlay\u0131nca bir ad\u0131m daha ileri gidiyordum: \u00d6v\u00fclen adalet, saray\u0131n d\u0131\u015f\u0131ndaki insan\u0131n hayat\u0131nda ne \u00f6l\u00e7\u00fcde kar\u015f\u0131l\u0131k buluyordu? Yine de o d\u00fczenin i\u00e7inden \u00e7\u0131kan bir benzetmenin, y\u00fczy\u0131llar sonra beni suyun kenar\u0131nda durdurmas\u0131 m\u00fcmk\u00fcn. Eserin meydana geldi\u011fi \u015fartlar\u0131 bilmek, onunla kurdu\u011fum ki\u015fisel ili\u015fkiyi azaltm\u0131yor; daha sahici k\u0131l\u0131yor.<\/p>\n
Bu soruyu sormak \u015fiirin g\u00fczelli\u011fini azaltm\u0131yordu. Aksine \u015fiiri, s\u00f6ylendi\u011fi d\u00fcnyan\u0131n i\u00e7inde anlamama yard\u0131m ediyordu. Aslanl\u0131 Avlu\u2019da ayn\u0131 havuza birka\u00e7 ayr\u0131 g\u00f6zle bakmaya ba\u015flam\u0131\u015ft\u0131m. \u0130bn Z\u00fcmrek benzetmeyi, \u0130bn\u00fc\u2019l-Hat\u00eeb siyas\u00ee ba\u011flam\u0131, \u015e\u00e2t\u0131b\u00ee ise insan hayat\u0131na d\u00f6n\u00fck maksad\u0131 d\u00fc\u015f\u00fcnd\u00fcr\u00fcyordu.<\/p>\n
 <\/p>\n
Kubbenin alt\u0131nda dil ve \u00f6l\u00e7\u00fc<\/strong><\/p>\n
\"\"<\/p>\n
\u0130ki K\u0131zkarde\u015fler Salonu\u2019nda ba\u015f\u0131m\u0131 yukar\u0131 kald\u0131rd\u0131m. Mukarnasl\u0131 kubbede \u0131\u015f\u0131\u011f\u0131n da\u011f\u0131l\u0131\u015f\u0131, bak\u0131\u015f\u0131 bir ayr\u0131nt\u0131dan di\u011ferine ta\u015f\u0131yordu. Bir s\u00fcre sonra b\u00fct\u00fcn\u00fc kavramak i\u00e7in yeniden a\u015fa\u011f\u0131ya bakmak, ard\u0131ndan ba\u015f\u0131m\u0131 tekrar kald\u0131rmak ihtiyac\u0131 duydum. \u0130nsan baz\u0131 g\u00fczellikleri bir bak\u0131\u015fta t\u00fcketemiyor.<\/p>\n
\u0130bn Z\u00fcmrek\u2019in bu salonla ili\u015fkili \u015fiiri, mek\u00e2n\u0131 bir bah\u00e7e gibi konu\u015fturur:<\/p>\n
\u0623\u0646\u0627 \u0627\u0644\u0631\u0648\u0636 \u0642\u062f \u0623\u0635\u0628\u062d\u062a \u0628\u0627\u0644\u062d\u0633\u0646 \u062d\u0627\u0644\u064a\u0627
\n\u062a\u0623\u0645\u0644 \u062c\u0645\u0627\u0644\u064a \u062a\u0633\u062a\u0641\u062f \u0634\u0631\u062d \u062d\u0627\u0644\u064a\u0627<\/p>\n
Ben g\u00fczellikle bezenmi\u015f bir bah\u00e7eyim;
\nG\u00fczelli\u011fimi seyret ki h\u00e2limi anlayas\u0131n.<\/em><\/p>\n
Bir salonun kendisini bah\u00e7e diye tan\u0131tmas\u0131 \u00f6nce \u015fa\u015f\u0131rt\u0131c\u0131 g\u00f6r\u00fcn\u00fcyor. Fakat burada \u0131\u015f\u0131k, bitkisel bezeme ve mek\u00e2n\u0131n a\u00e7\u0131kl\u0131\u011f\u0131 bir araya gelince bu benzetmenin uzak olmad\u0131\u011f\u0131 anla\u015f\u0131l\u0131yor. Sonra duvardaki bitkisel bezemeye, pencerenin a\u00e7t\u0131\u011f\u0131 manzaraya, \u0131\u015f\u0131\u011f\u0131n i\u00e7erideki hareketine bak\u0131nca bunun mek\u00e2n\u0131 tarif etmenin ba\u015fka bir yolu oldu\u011funu d\u00fc\u015f\u00fcn\u00fcyorsunuz. Saray, tabiat\u0131 d\u0131\u015far\u0131da b\u0131rakmam\u0131\u015f; kendi i\u00e7ine ba\u015fka bir dille ta\u015f\u0131m\u0131\u015ft\u0131.<\/p>\n
\u015eiirde kubbeye uzanan g\u00f6k tasvirleri de vard\u0131. \u015eair, y\u0131ld\u0131zlar\u0131n ve g\u00f6k cisimlerinin g\u00fczelli\u011fiyle yap\u0131n\u0131n ihti\u015fam\u0131n\u0131 yan yana getiriyordu. Ben yukar\u0131ya bakt\u0131k\u00e7a onun kelimeleri, g\u00f6rd\u00fc\u011f\u00fcm \u015fekillere yeniden y\u00f6n veriyordu. \u015eiir burada yap\u0131y\u0131 tarif etmekle yetinmiyor, ona nas\u0131l bakabilece\u011fimizi de g\u00f6steriyordu.<\/p>\n
\u00d6l\u00e7\u00fc ve insan\u0131n ihtiyac\u0131<\/h1>\n
\"\"<\/p>\n
Geometrik \u00f6rg\u00fclere bakarken Kales\u00e2d\u00ee\u2019yi d\u00fc\u015f\u00fcnd\u00fcm. Onun bu kubbeyi hesaplad\u0131\u011f\u0131n\u0131 veya Elhamra\u2019n\u0131n desenlerini tasarlad\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnm\u00fcyordum. Aralar\u0131nda b\u00f6yle bir ba\u011f kurmak i\u00e7in elimizde bir dayanak yoktu. Fakat geometrik \u015fekillerin kar\u015f\u0131s\u0131nda, End\u00fcl\u00fcs\u2019\u00fcn matematik gelene\u011fini ve onun son temsilcilerinden birini hat\u0131rlamak tabiiydi. G\u00f6rd\u00fc\u011f\u00fcm d\u00fczen, beni G\u0131rnata\u2019da ya\u015fam\u0131\u015f bir matematik\u00e7inin d\u00fcnyas\u0131na g\u00f6t\u00fcr\u00fcyordu. \u0130nsan\u0131n karma\u015f\u0131k olan\u0131 anla\u015f\u0131l\u0131r hale getirme \u00e7abas\u0131, bir hesap kitab\u0131nda ba\u015fka, bu duvarda ba\u015fka bi\u00e7im alm\u0131\u015ft\u0131.<\/p>\n
Kales\u00e2d\u00ee, cebirsel ifadeleri harf ve k\u0131saltmalarla g\u00f6steren \u00e7al\u0131\u015fmalar\u0131yla tan\u0131n\u0131r. Bilinmeyeni, kareyi, k\u00fcp\u00fc ve k\u00f6k\u00fc ifade etmek i\u00e7in kulland\u0131\u011f\u0131 i\u015faretler, uzun anlat\u0131mlar\u0131 daha k\u0131sa ve takip edilebilir h\u00e2le getiriyordu. Bu g\u00f6sterimlerin ilk mucidi oldu\u011funu ileri s\u00fcrmeden de katk\u0131s\u0131n\u0131 takdir edebiliriz. Ayn\u0131 zamanda bir M\u00e2lik\u00ee fakihiydi; hesapla din\u00ee ilimler onun hayat\u0131nda birbirinden kopuk alanlar de\u011fildi.<\/p>\n
Duvarlardaki desenlere yeniden bakt\u0131m. G\u00f6z ilk anda ayr\u0131nt\u0131lar\u0131n \u00e7oklu\u011funu g\u00f6r\u00fcyor; dikkat ettik\u00e7e tekrarlar\u0131 ve ba\u011flant\u0131lar\u0131 se\u00e7meye ba\u015fl\u0131yordu. Kales\u00e2d\u00ee\u2019nin hesapta yapt\u0131\u011f\u0131 a\u00e7\u0131kl\u0131k aray\u0131\u015f\u0131, benim i\u00e7in burada bak\u0131\u015f\u0131m\u0131 d\u00fczenleyen bir benzetmeye d\u00f6n\u00fc\u015ft\u00fc. Karma\u015f\u0131kl\u0131\u011f\u0131n i\u00e7inde bir ili\u015fki bulmak, g\u00fczelli\u011fi azaltm\u0131yor; nas\u0131l meydana geldi\u011fini biraz daha anla\u015f\u0131l\u0131r k\u0131l\u0131yordu. Bir d\u00fczenin g\u00fczelli\u011fini g\u00f6rmekle nas\u0131l kuruldu\u011funu bilmek aras\u0131nda mesafe var. Ben desene hayran olabilirim. Onu meydana getiren ustan\u0131n ise \u00f6l\u00e7\u00fcy\u00fc bilmesi, malzemeye h\u00fckmetmesi, bir par\u00e7ay\u0131 \u00f6tekine uydurmas\u0131 gerekmi\u015fti. Bug\u00fcn adlar\u0131n\u0131 \u00e7o\u011fu zaman bilmedi\u011fimiz ustalar da bu medeniyetin d\u00fc\u015f\u00fcncesine dahildi. Kitaplarda ad\u0131 bulunan \u00e2limleri hat\u0131rlarken, elimizde ad\u0131 kalmayan eme\u011fi unutmamak gerekiyor.<\/p>\n
Kales\u00e2d\u00ee ayn\u0131 zamanda bir rihle yazm\u0131\u015ft\u0131. \u00d6\u011frenmek i\u00e7in \u00e7\u0131kt\u0131\u011f\u0131 uzun yolculukta g\u00f6r\u00fc\u015ft\u00fc\u011f\u00fc \u00e2limleri kayda ge\u00e7irmi\u015f, sonra End\u00fcl\u00fcs\u2019e d\u00f6nerek G\u0131rnata\u2019da \u00e7al\u0131\u015fm\u0131\u015ft\u0131. Hayat\u0131n\u0131n sonunda yeniden ayr\u0131lmak zorunda kalm\u0131\u015f; 1486\u2019da Tunus topraklar\u0131nda, B\u00e2ce\u2019de \u00f6lm\u00fc\u015ft\u00fc. \u015eehrin sonunu g\u00f6rmemi\u015fti ama ayr\u0131l\u0131\u011f\u0131n ne demek oldu\u011funu ya\u015fam\u0131\u015ft\u0131.Bu defaki ayr\u0131l\u0131\u015f\u0131n anlam\u0131 farkl\u0131yd\u0131. \u0130lim i\u00e7in yola \u00e7\u0131kmakla memleketinde kalamamak, ayn\u0131 yollar\u0131 kullansa bile ayn\u0131 seyahat de\u011fil.<\/p>\n
Onun matematik bilgisi, siyas\u00ee \u00e7\u00f6z\u00fclmeyi tek ba\u015f\u0131na durduramazd\u0131. Bir \u015fehirde b\u00fcy\u00fck \u00e2limlerin yeti\u015fmesi, o \u015fehrin devletini kendili\u011finden g\u00fcvenceye alm\u0131yordu. Asker\u00ee g\u00fc\u00e7, iktisad\u00ee imk\u00e2nlar, siyas\u00ee kararlar ve i\u00e7 m\u00fccadeleler de tarihin i\u00e7indeydi. G\u0131rnata\u2019n\u0131n kayb\u0131n\u0131 tek bir ahl\u00e2k c\u00fcmlesiyle a\u00e7\u0131klamak, burada ya\u015fayan insanlar\u0131n karma\u015f\u0131k d\u00fcnyas\u0131n\u0131 fazlas\u0131yla basitle\u015ftirmek olurdu.<\/p>\n
Eb\u00fb Hayy\u00e2n kelimelerin kurulu\u015funu, Kales\u00e2d\u00ee say\u0131lar\u0131n ili\u015fkisini d\u00fc\u015f\u00fcnd\u00fcr\u00fcyordu. \u0130bn Z\u00fcmrek ise ikisinin aras\u0131nda dola\u015f\u0131yor, \u00f6l\u00e7\u00fcl\u00fc bir mek\u00e2n\u0131 hayal g\u00fcc\u00fcyle geni\u015fletiyordu. Bu ba\u011flant\u0131lar onlar\u0131n ortakla\u015fa kurduklar\u0131 bir sanat teorisi de\u011fildi. Benim, eserlerinin a\u00e7t\u0131\u011f\u0131 yollardan y\u00fcr\u00fcyerek Elhamra\u2019y\u0131 anlama \u00e7abamd\u0131.<\/p>\n
 <\/p>\n
Havuzun Ba\u015f\u0131nda<\/strong><\/p>\n
\"\"<\/p>\n
Saray\u0131n g\u00fczelli\u011fi i\u00e7inde y\u00fcr\u00fcrken \u0130bn Sarr\u00e2c ailesiyle ilgili anlat\u0131lar da akl\u0131ma geldi. Bir zamanlar okudu\u011fum \u0130bn-i Sarr\u00e2c\u2019\u0131n Maceralar\u0131 (Son \u0130bni Sirac\u2019\u0131n Maceralar\u0131 (Frans\u0131zca: Les Aventures du dernier Abenc\u00e9rage, Frans\u0131z yazar Fran\u00e7ois-Ren\u00e9 de Chateaubriand taraf\u0131ndan 1807 y\u0131l\u0131nda yaz\u0131lm\u0131\u015f \u00f6nemli bir edeb\u00ee eserdir), bu mek\u00e2n\u0131n hat\u0131ras\u0131na kar\u0131\u015fm\u0131\u015ft\u0131. Ailenin ad\u0131n\u0131 ta\u015f\u0131yan salondaki havuz ve mukarnasl\u0131 tavan, zihnimde edebiyatla tarihi yan yana getiriyordu. Burada aile mensuplar\u0131n\u0131n \u00f6ld\u00fcr\u00fcld\u00fc\u011f\u00fcne dair anlat\u0131lan hik\u00e2ye, mek\u00e2na ba\u015fka bir a\u011f\u0131rl\u0131k veriyordu.<\/p>\n
Bu salonda zihnimde a\u00e7\u0131lan kitap, Fran\u00e7ois-Ren\u00e9 de Chateaubriand\u2019\u0131n Son \u0130bni Sirac\u2019\u0131n Maceralar\u0131 oldu. Frans\u0131z yazar\u0131n 1807\u20131810 aras\u0131nda kaleme ald\u0131\u011f\u0131, 1826\u2019da yay\u0131mlanan bu romantik hik\u00e2ye, G\u0131rnata\u2019n\u0131n kayb\u0131ndan sonra atalar\u0131n\u0131n yurduna gelen Aben-Hamet\u2019i anlat\u0131r.[4]<\/sup><\/a> Burada ba\u015fl\u0131ktaki \u201cson\u201d kelimesi bile insana bir y\u00fck ta\u015f\u0131t\u0131yor. Bir aileyi, bir ge\u00e7mi\u015fi, art\u0131k yerinde bulunmayan bir d\u00fcnyay\u0131 tek ki\u015finin \u00fczerinde toplamaya \u00e7a\u011f\u0131r\u0131yor.<\/p>\n
Aben-Hamet, Hristiyan soylusu Blanca\u2019ya \u00e2\u015f\u0131k olur. Birbirlerini severler; fakat her biri birliktelikleri i\u00e7in \u00f6tekinin kendi dinine ge\u00e7mesini bekler. G\u0131rnata\u2019daki kar\u015f\u0131la\u015fma, bu y\u00fczden yaln\u0131z a\u015fk\u0131n sevinciyle ilerlemez. \u0130nan\u00e7 ve aidiyet, iki ki\u015finin aras\u0131na b\u00fct\u00fcn bir ge\u00e7mi\u015fi getirir. Blanca\u2019n\u0131n karde\u015fi Don Carlos ve Frans\u0131z \u015f\u00f6valye Lautrec de hik\u00e2yeye kat\u0131l\u0131r. Sonunda Aben-Hamet, sevdi\u011fi kad\u0131n\u0131n ailesiyle kendi ailesinin ge\u00e7mi\u015fi aras\u0131ndaki d\u00fc\u015fmanl\u0131\u011f\u0131n a\u011f\u0131rl\u0131\u011f\u0131yla kar\u015f\u0131la\u015f\u0131r; G\u0131rnata\u2019dan ayr\u0131l\u0131r.[5]<\/sup><\/a><\/p>\n
\u0130bn Sarr\u00e2c salonuna girdi\u011fimde Chateaubriand\u2019\u0131n Aben-Hamet\u2019i zihnimde belirdi. G\u0131rnata\u2019ya d\u00f6nen bu son \u0130bn Sarr\u00e2c, kendi ge\u00e7mi\u015finin yurduna ula\u015fm\u0131\u015f; fakat vard\u0131\u011f\u0131 yerde art\u0131k kendisine ait bir d\u00fcnya bulamam\u0131\u015ft\u0131. Bu hik\u00e2yeyi d\u00fc\u015f\u00fcn\u00fcrken Don Ki\u015fot da yan\u0131m\u0131za kat\u0131ld\u0131. O da ger\u00e7ek d\u00fcnyan\u0131n i\u00e7ine kendi kitaplar\u0131ndan ta\u015f\u0131d\u0131\u011f\u0131 \u015f\u00f6valyelik \u00f6l\u00e7\u00fcleriyle giriyor, g\u00f6rd\u00fc\u011f\u00fc her \u015feyi ba\u015fka bir anlamla yeniden kuruyordu. Aben-Hamet\u2019in trajedisi, ge\u00e7mi\u015fin art\u0131k ya\u015fanabilir bir yurt olmamas\u0131ndayd\u0131. Don Ki\u015fot\u2019un trajedisi ise ya\u015fad\u0131\u011f\u0131 d\u00fcnyan\u0131n hakikatini kabul etmek yerine onu kendi idealiyle yeniden adland\u0131rmas\u0131nda. Ben G\u0131rnata\u2019da ikisinin aras\u0131nda y\u00fcr\u00fcyordum. \u015eehri romantik bir kay\u0131p masal\u0131na \u00e7evirmek istemiyor, fakat ta\u015flar\u0131n i\u00e7indeki ac\u0131y\u0131 da yaln\u0131z tarih cetvellerine b\u0131rakmak istemiyordum.<\/p>\n
Chateaubriand\u2019\u0131n roman\u0131 bana ge\u00e7mi\u015fin edebiyat taraf\u0131ndan yeniden kuruldu\u011funu g\u00f6sterdi. Cervantes\u2019in Don Ki\u015fot\u2019u ise her tarih anlat\u0131s\u0131n\u0131n i\u00e7inde bir hayal pay\u0131 bulundu\u011funu hat\u0131rlatt\u0131. Bu iki modern ses, End\u00fcl\u00fcsl\u00fc \u00e2limlerin seslerine kar\u0131\u015f\u0131rken G\u0131rnata\u2019n\u0131n hik\u00e2yesi tek bir d\u00f6neme ait olmaktan \u00e7\u0131kt\u0131. \u015eehir, her \u00e7a\u011f\u0131n kendi sorular\u0131yla yeniden ziyaret etti\u011fi bir metne d\u00f6n\u00fc\u015ft\u00fc.<\/p>\n
Son \u0130bni Sirac\u2019\u0131n ard\u0131ndan<\/h1>\n
\"\"<\/p>\n
Abencerrajes, yani \u0130bn Sarr\u00e2c salonunda yukar\u0131ya bak\u0131nca insan \u00f6nce i\u015f\u00e7ili\u011fi g\u00f6r\u00fcyor. Salonla birlikte anlat\u0131lan \u00f6ld\u00fcr\u00fclme hik\u00e2yesi ise bak\u0131\u015f\u0131 a\u015fa\u011f\u0131ya, havuza ve zemine \u00e7ekiyor. \u0130bn Sarr\u00e2c ailesinden ki\u015filerin burada topluca \u00f6ld\u00fcr\u00fcld\u00fc\u011f\u00fc rivayeti, mek\u00e2n\u0131n edeb\u00ee haf\u0131zas\u0131nda g\u00fc\u00e7l\u00fc bir yer tutuyor. Fakat rivayetin kuvveti, b\u00fct\u00fcn ayr\u0131nt\u0131lar\u0131n\u0131n tarih\u00ee belgeyle do\u011fruland\u0131\u011f\u0131 anlam\u0131na gelmiyor. Bir renk de\u011fi\u015fikli\u011fine bak\u0131p onun as\u0131rlar \u00f6ncesinden kalm\u0131\u015f kan oldu\u011funu s\u00f6yleyemem.[6]<\/sup><\/a><\/p>\n
Fakat bir hik\u00e2yenin sars\u0131c\u0131 olmas\u0131, b\u00fct\u00fcn ayr\u0131nt\u0131lar\u0131n\u0131n do\u011frulanm\u0131\u015f oldu\u011fu anlam\u0131na gelmezdi. \u0130\u015fte burada \u0130bn Atiyye\u2019nin ilm\u00ee tavr\u0131na ihtiya\u00e7 duydum. Onun el-Muharrer\u00fc\u2019l-vec\u00eez\u2019inde rivayetleri aktarman\u0131n yan\u0131nda de\u011ferlendirme ve ele\u015ftiri de vard\u0131r. Dilin imk\u00e2nlar\u0131n\u0131 g\u00f6zetir, nakledilen bilgileri tartar, yorumlar aras\u0131nda tercihler yapar. \u0130bn Atiyye\u2019nin ya\u015fad\u0131\u011f\u0131 G\u0131rnata ile benim dola\u015ft\u0131\u011f\u0131m Nasr\u00ee saray\u0131 ayn\u0131 devre ait de\u011fildi. Onu buraya getiren, rivayetin kar\u015f\u0131s\u0131nda tak\u0131nd\u0131\u011f\u0131 tav\u0131rd\u0131. Ben de havuzun ba\u015f\u0131nda kendi kendime, okudu\u011fum romandan kalan g\u00f6r\u00fcnt\u00fcyle tarih\u00ee bilgiyi ay\u0131rmam gerekti\u011fini hat\u0131rlad\u0131m. Mermerde g\u00f6rd\u00fc\u011f\u00fcm\u00fcz her izi ge\u00e7mi\u015fteki bir cinayetin kan\u0131t\u0131 sayamaz, ku\u015faktan ku\u015fa\u011fa aktar\u0131lan her ayr\u0131nt\u0131y\u0131 olmu\u015f gibi anlatamazd\u0131k.<\/p>\n
Bu dikkat, insan\u0131 duygusuz yapm\u0131yor. H\u00fcz\u00fcn duymak i\u00e7in bilmedi\u011fimiz ayr\u0131nt\u0131lar\u0131 tamamlamam\u0131z gerekmiyor. Saray\u0131n i\u00e7inde g\u00fczellik kadar iktidar m\u00fccadelesinin de bulundu\u011funu anlamak i\u00e7in \u0130bn\u00fc\u2019l-Hat\u00eeb\u2019in hayat\u0131 yeterince d\u00fc\u015f\u00fcnd\u00fcr\u00fcc\u00fcyd\u00fc. \u00d6\u011frencisi \u0130bn Z\u00fcmrek\u2019le aras\u0131n\u0131n a\u00e7\u0131lmas\u0131 ve kendisine y\u00f6neltilen su\u00e7lamalar\u0131n \u00f6l\u00fcm\u00fcne uzanan s\u00fcre\u00e7teki yeri, kaynaklarda anlat\u0131l\u0131r.<\/p>\n
Aslanl\u0131 Avlu\u2019da \u015fiirine hayran oldu\u011fum insan\u0131, bu defa siyasetin i\u00e7inde d\u00fc\u015f\u00fcnmek zorundayd\u0131m. Onlar\u0131 zihnimde yan yana y\u00fcr\u00fctmek, aralar\u0131ndaki \u00e7at\u0131\u015fmay\u0131 ortadan kald\u0131rm\u0131yordu. B\u00fcy\u00fck eserler veren insanlar da ihtiras\u0131n, korkunun ve rekabetin d\u0131\u015f\u0131nda de\u011fildi.<\/p>\n
Bu kitab\u0131 d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcmde, \u015fehre d\u00f6nmekle ge\u00e7mi\u015fe d\u00f6nmenin neden ayn\u0131 \u015fey olmad\u0131\u011f\u0131n\u0131 daha iyi anl\u0131yorum. Bir insan atalar\u0131n\u0131n ya\u015fad\u0131\u011f\u0131 yere ula\u015fabilir. Fakat o evlerin \u00e7evresinde kurulmu\u015f hayat, onlar\u0131n kom\u015fular\u0131 ve d\u00fcnyay\u0131 anlama bi\u00e7imleri geri gelmez. Aben-Hamet\u2019in sorunu yaln\u0131z bir a\u015fk\u0131n \u00f6n\u00fcndeki engel de\u011fildir. Geldi\u011fi yerde kendisine hangi hayat\u0131n a\u00e7\u0131k oldu\u011funu bilememesidir.<\/p>\n
Benim buradaki durumum elbette onunkiyle ayn\u0131 de\u011fil. Ben bir ziyaret\u00e7iyim. Kitab\u0131n kahraman\u0131ysa kendisine ait sayd\u0131\u011f\u0131 fakat art\u0131k ba\u015fka bir hayat\u0131n s\u00fcrd\u00fc\u011f\u00fc yere d\u00f6n\u00fcyor. Hik\u00e2yenin h\u00fczn\u00fc, benim g\u00f6rd\u00fc\u011f\u00fcm kap\u0131lar\u0131 ve avlular\u0131 biraz de\u011fi\u015ftiriyor; onlar\u0131 bir insan\u0131n varabilece\u011fi fakat yerle\u015femeyece\u011fi yerler olarak d\u00fc\u015f\u00fcnd\u00fcr\u00fcyor.<\/p>\n
Yine de Chateaubriand\u2019\u0131n anlatt\u0131\u011f\u0131 End\u00fcl\u00fcs, on alt\u0131nc\u0131 y\u00fczy\u0131ldan tutulmu\u015f bir seyahat defteri de\u011fil. On dokuzuncu y\u00fczy\u0131l\u0131n romantik tahayy\u00fcl\u00fc bu insanlar\u0131 se\u00e7iyor, konu\u015fturuyor, birbirinden ay\u0131r\u0131yor. Yazar\u0131n Hristiyanl\u0131k anlay\u0131\u015f\u0131 ve Do\u011fu\u2019ya bak\u0131\u015f\u0131 da anlat\u0131n\u0131n i\u00e7inde. Bu y\u00fczden Aben-Hamet\u2019i tarih\u00ee el\u00e7ilerin, ger\u00e7ek s\u00fcrg\u00fcnlerin yerine koyamam. Edebiyat\u0131n bana a\u00e7t\u0131\u011f\u0131 duygu alan\u0131n\u0131 kabul ederken, tarihin kan\u0131t istedi\u011fi yerde durmam gerekiyor.<\/p>\n
Washington Irving de bu \u00e7evrede akla gelen ba\u015fka bir isim. 1829\u2019da Elhamra\u2019da kalm\u0131\u015f, 1832\u2019de yay\u0131mlanan Elhamra Hik\u00e2yeleri ile saray\u0131 geni\u015f bir okur d\u00fcnyas\u0131na ta\u015f\u0131m\u0131\u015ft\u0131.[7]<\/sup><\/a> Ben i\u00e7eride birka\u00e7 saat ge\u00e7irebilmek i\u00e7in u\u011fra\u015fm\u0131\u015ft\u0131m; onun burada konaklam\u0131\u015f olmas\u0131n\u0131 d\u00fc\u015f\u00fcnmek seyahatin imk\u00e2nlar\u0131n\u0131n nas\u0131l de\u011fi\u015fti\u011fini hat\u0131rlat\u0131yor. Fakat Irving\u2019in hik\u00e2yeleri de her ayr\u0131nt\u0131s\u0131n\u0131 tarih diye alabilece\u011fimiz bir kay\u0131t de\u011fil. Bu iki yazar\u0131n ard\u0131ndan, yeniden End\u00fcl\u00fcsl\u00fclerin kendi s\u00f6zlerine d\u00f6nmek istiyorum. Ba\u015fkalar\u0131n\u0131n onlar hakk\u0131nda hissettikleri kadar, onlar\u0131n kendileri i\u00e7in ne s\u00f6ylediklerini de duymal\u0131y\u0131m.<\/p>\n
\"\"<\/h1>\n
\u015e\u00e2t\u0131b\u00ee ile bah\u00e7enin i\u00e7inde<\/span><\/h1>\n
Generalife\u2019\u0131n bah\u00e7elerinde suyun sesini izlerken \u015e\u00e2t\u0131b\u00ee ile konu\u015fur gibi oldum. O, suyun yaln\u0131z g\u00fczellik olmad\u0131\u011f\u0131n\u0131; hayat\u0131 m\u00fcmk\u00fcn k\u0131lan bir d\u00fczenin, insan\u0131n ihtiyac\u0131n\u0131 g\u00f6zeten bir \u00f6l\u00e7\u00fcn\u00fcn par\u00e7as\u0131 oldu\u011funu hat\u0131rlat\u0131yordu.<\/p>\n
\u201cBir bah\u00e7e ne zaman medeniyet olur?\u201d diye sordum.<\/p>\n
Cevab\u0131, el-Muv\u00e2fak\u0101t\u2019tan \u00f6\u011frendi\u011fim maslahat d\u00fc\u015f\u00fcncesinin i\u00e7inden geldi: \u0130nsan hayat\u0131n\u0131 koruyan, ona d\u00fczen ve imk\u00e2n sa\u011flayan bir b\u00fct\u00fcn kuruldu\u011funda. Bu cevapla birlikte g\u00f6z\u00fcm bah\u00e7enin d\u0131\u015f\u0131na ta\u015ft\u0131. Saray\u0131n g\u00fczelli\u011fi, onu kuran toplumun hayat\u0131ndan ayr\u0131 d\u00fc\u015f\u00fcn\u00fclemezdi. Ayn\u0131 toplum, y\u00fczy\u0131llar sonra kendi inanc\u0131n\u0131 ve ad\u0131n\u0131 koruyabilmek i\u00e7in yard\u0131m istemek zorunda kalacakt\u0131. \u015e\u00e2t\u0131b\u00ee\u2019nin sesi, estetik hayranl\u0131\u011f\u0131m\u0131 insan\u0131n ger\u00e7ek ihtiya\u00e7lar\u0131yla s\u0131namaya \u00e7a\u011f\u0131r\u0131yordu.<\/p>\n
\u015e\u00e2t\u0131b\u00ee\u2019nin can\u0131n korunmas\u0131na verdi\u011fi \u00f6nem burada yeniden anlam kazand\u0131. Bir hayat\u0131 korumak, g\u00fczel bir yap\u0131y\u0131 korumaktan daha az \u00f6nemli olamazd\u0131. Bu, \u015e\u00e2t\u0131b\u00ee\u2019nin s\u00f6z konusu hadise hakk\u0131nda verdi\u011fi bir karar de\u011fil, onun d\u00fc\u015f\u00fcncesinden hareketle benim vard\u0131\u011f\u0131m bir muhasebeydi. Bir medeniyeti de\u011ferlendirirken yaln\u0131z yapt\u0131klar\u0131na de\u011fil, insan\u0131na nas\u0131l davrand\u0131\u011f\u0131na da bakmak gerekiyordu.<\/p>\n
\"\"<\/p>\n
Suyun Medeniyeti<\/strong><\/p>\n
Elhamra\u2019da beni en fazla d\u00fc\u015f\u00fcnd\u00fcren unsurlardan biri sudur.<\/p>\n
Generalife bah\u00e7elerine do\u011fru ilerledik\u00e7e suyun yaln\u0131zca s\u00fcsleme amac\u0131yla kullan\u0131lmad\u0131\u011f\u0131n\u0131 daha a\u00e7\u0131k g\u00f6r\u00fcyorsunuz. Kanallar, k\u00fc\u00e7\u00fck havuzlar ve \u00e7e\u015fmeler bah\u00e7elerin aras\u0131ndan ilerliyor; suyun sesi y\u00fcr\u00fcd\u00fc\u011f\u00fcn\u00fcz hemen her yerde size e\u015flik ediyor.<\/p>\n
Bazen bir medeniyeti b\u00fcy\u00fck yap\u0131lardan ziyade k\u00fc\u00e7\u00fck ayr\u0131nt\u0131lar anlat\u0131r.<\/p>\n
Burada da bana g\u00f6re o ayr\u0131nt\u0131 suydu.<\/p>\n
Suyu getirmenin, da\u011f\u0131tman\u0131n, bah\u00e7eler aras\u0131nda dola\u015ft\u0131rman\u0131n ve ayn\u0131 zamanda mimarinin estetik unsuruna d\u00f6n\u00fc\u015ft\u00fcrmenin arkas\u0131nda ciddi bir bilgi ve m\u00fchendislik vard\u0131.<\/p>\n
Elhamra\u2019n\u0131n bah\u00e7elerinde dola\u015f\u0131rken \u0130slam medeniyetinde bah\u00e7enin yaln\u0131zca bir ye\u015fillik alan\u0131 olmad\u0131\u011f\u0131n\u0131 yeniden d\u00fc\u015f\u00fcnd\u00fcm. Su, g\u00f6lge, a\u011fa\u00e7, \u00e7i\u00e7ek ve yap\u0131 bir b\u00fct\u00fcn h\u00e2linde ele al\u0131nm\u0131\u015ft\u0131.<\/p>\n
Generalife bunun ya\u015fayan \u00f6rneklerinden biriydi.<\/p>\n
Generalife bah\u00e7elerinde suyun sesi yeniden \u00f6ne \u00e7\u0131kt\u0131. Kanallar, havuzlar, a\u011fa\u00e7lar ve g\u00f6lge birlikte d\u00fc\u015f\u00fcn\u00fclm\u00fc\u015ft\u00fc. Suyu yaln\u0131z seyretmiyordunuz; \u00e7evresinde geli\u015fen hayat\u0131 da g\u00f6r\u00fcyordunuz. Bu d\u00fczenin arkas\u0131nda onu buraya ula\u015ft\u0131ran ve da\u011f\u0131tan bilgi vard\u0131.<\/p>\n
Generalife\u2019\u0131n suyuna ve bah\u00e7elerine d\u00f6nd\u00fc\u011f\u00fcmde \u015e\u00e2t\u0131b\u00ee\u2019yi daha yak\u0131ndan hissettim. Kanallarda akan suyu yaln\u0131z seyretmiyordum. Bu g\u00fczelli\u011fin hangi ihtiya\u00e7larla birlikte d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcn\u00fc merak ediyordum. Bah\u00e7enin sulanmas\u0131, g\u00f6lgenin sa\u011flad\u0131\u011f\u0131 dinlenme, suyun mek\u00e2ndaki yeri\u2026 Bunlardan hukuk teorisi \u00e7\u0131karmak istemiyorum. Fakat okudu\u011fum bir hukuk teorisinin, buraya bak\u0131\u015f\u0131m\u0131 de\u011fi\u015ftirdi\u011fini fark ediyorum.<\/p>\n
\u015e\u00e2t\u0131b\u00ee\u2019nin el-Muv\u00e2fak\u0101t\u2019ta s\u00f6yledi\u011fi, Ahmed er-Reys\u00fbn\u00ee\u2019nin de aktard\u0131\u011f\u0131 c\u00fcmleyi kendi T\u00fcrk\u00e7emle \u015f\u00f6yle kar\u015f\u0131l\u0131yorum:<\/p>\n
\u201c\u015eeriatlar, kullar\u0131n d\u00fcnya ve \u00e2hiret maslahatlar\u0131 i\u00e7in konulmu\u015ftur.\u201d[8]<\/strong><\/sup><\/a><\/p>\n
Bu c\u00fcmlede benim dikkatimi \u00e7eken, h\u00fck\u00fcmle insan\u0131n hayat\u0131 aras\u0131ndaki ba\u011f. \u015e\u00e2t\u0131b\u00ee\u2019nin d\u00fc\u015f\u00fcncesini, ho\u015fumuza giden her \u015feye faydal\u0131 diyebilece\u011fimiz s\u0131n\u0131rs\u0131z bir rahatl\u0131k gibi anlayamay\u0131z. Onun maksad\u0131, \u015fer\u2018\u00ee h\u00fck\u00fcmleri b\u00fct\u00fcnl\u00fckleri i\u00e7inde kavramakt\u0131r. Fakat ben bir seyyah olarak bu eserden edindi\u011fim dikkati \u015fehre ta\u015f\u0131yorum: Meydana getirilen d\u00fczen kimin hayat\u0131n\u0131 kolayla\u015ft\u0131r\u0131yor? Neyi koruyor? \u0130nsana nas\u0131l bir ya\u015fama imk\u00e2n\u0131 sunuyor?<\/p>\n
\u015e\u00e2t\u0131b\u00ee\u2019nin d\u00fc\u015f\u00fcncesini burada bir kez daha hat\u0131rlad\u0131m. \u0130nsan hayat\u0131 i\u00e7in vazge\u00e7ilmez olanla hayat\u0131 kolayla\u015ft\u0131ran ve g\u00fczelle\u015ftiren aras\u0131nda ili\u015fkiler vard\u0131. Su \u00f6nce bir ihtiya\u00e7t\u0131. Sonra bah\u00e7eyi ya\u015fat\u0131yor, bulundu\u011fu mek\u00e2n\u0131 de\u011fi\u015ftiriyor, sesiyle ziyaret\u00e7inin dikkatini kendisine \u00e7ekiyordu. Mak\u0101s\u0131d \u00e7er\u00e7evesindeki ihtiya\u00e7 derecelerini bir bah\u00e7e tasar\u0131m\u0131na do\u011frudan uygulam\u0131yordum; fakat o d\u00fc\u015f\u00fcnce bana faydayla g\u00fczelli\u011fin ili\u015fkisini sorma imk\u00e2n\u0131 veriyordu.<\/p>\n
\u0130bn Z\u00fcmrek\u2019in g\u00f6zya\u015f\u0131n\u0131 gizleyen \u00e2\u015f\u0131\u011f\u0131 da bu suyun i\u00e7indeydi art\u0131k. Saraydan bah\u00e7eye \u00e7\u0131kt\u0131\u011f\u0131mda \u015fiir geride kalmam\u0131\u015ft\u0131. Kales\u00e2d\u00ee\u2019yi d\u00fc\u015f\u00fcn\u00fcnce ak\u0131\u015f\u0131n \u00f6l\u00e7\u00fcs\u00fcne, \u0130bn\u00fc\u2019l-Hat\u00eeb\u2019i d\u00fc\u015f\u00fcn\u00fcnce suyun insan hayat\u0131ndaki ger\u00e7ek kar\u015f\u0131l\u0131\u011f\u0131na y\u00f6neliyordum. Ayn\u0131 manzara, sorum de\u011fi\u015ftik\u00e7e ba\u015fka bir yan\u0131n\u0131 a\u00e7\u0131yordu.<\/p>\n
Kales\u00e2d\u00ee\u2019nin bir rihle kaleme alm\u0131\u015f olmas\u0131 da kendi seyahatime bakmama vesile oldu. Biz otomobil, navigasyon ve telefon ekranlar\u0131yla dola\u015f\u0131yorduk. O, ilim \u00f6\u011frenmek ve hac i\u00e7in uzun yolculuklara \u00e7\u0131km\u0131\u015f, g\u00f6r\u00fc\u015ft\u00fc\u011f\u00fc \u00e2limleri yazm\u0131\u015ft\u0131. Ara\u00e7lar\u0131m\u0131z \u00e7ok farkl\u0131yd\u0131. Yine de g\u00f6rd\u00fcklerini kayda ge\u00e7irme ihtiyac\u0131nda tan\u0131d\u0131k bir taraf buluyordum.<\/p>\n
Seyahatin de\u011feri yaln\u0131z ka\u00e7 yere gidildi\u011fiyle \u00f6l\u00e7\u00fclm\u00fcyordu. G\u00f6rd\u00fc\u011f\u00fcm\u00fcz yerin bize hangi soruyu sordurdu\u011fu da \u00f6nemliydi. G\u0131rnata bana yaln\u0131z ge\u00e7mi\u015fin nas\u0131l g\u00f6r\u00fcnd\u00fc\u011f\u00fcn\u00fc de\u011fil, onu nas\u0131l okuyaca\u011f\u0131m\u0131 d\u00fc\u015f\u00fcnd\u00fcr\u00fcyordu.<\/p>\n
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 <\/p>\n
Partal\u2019da yap\u0131, \u00f6n\u00fcndeki havuza e\u011filmi\u015f bir y\u00fcz gibi duruyordu. Ta\u015f\u0131n as\u0131l \u00e7izgileri suya d\u00fc\u015f\u00fcnce saray\u0131n ikinci bir sureti olu\u015ftu. Bir yap\u0131 yaln\u0131z duvarlar\u0131yla kurulmaz; \u00f6n\u00fcndeki bo\u015fluk, ona yakla\u015fan insan\u0131n mesafesi ve suyun ta\u015f\u0131d\u0131\u011f\u0131 yans\u0131ma da onun anlam\u0131na kat\u0131l\u0131r. Sanki Elhamra kendisini bir kez ta\u015fta, bir kez suda g\u00f6steriyor; ben de iki g\u00f6r\u00fcnt\u00fcn\u00fcn aras\u0131ndaki farkta zaman\u0131n nas\u0131l \u00e7al\u0131\u015ft\u0131\u011f\u0131n\u0131 seziyordum. Suyun \u00fczerindeki g\u00f6r\u00fcnt\u00fcye bakarken, bir binan\u0131n yaln\u0131z duvarlar\u0131yla kurulmad\u0131\u011f\u0131n\u0131 bir kez daha d\u00fc\u015f\u00fcn\u00fcyorum. \u00d6n\u00fcne b\u0131rak\u0131lm\u0131\u015f bo\u015fluk, ona yakla\u015fma mesafem ve yans\u0131mas\u0131 da onu nas\u0131l g\u00f6rd\u00fc\u011f\u00fcm\u00fc etkiliyor.<\/p>\n
Bah\u00e7enin \u00f6n\u00fcnde bu sorular kolayca unutulabilir. G\u00fczel olan, kendi varl\u0131\u011f\u0131n\u0131 a\u00e7\u0131klam\u0131\u015f gibi gelir. \u015e\u00e2t\u0131b\u00ee\u2019yi hat\u0131rlamak, g\u00fczelli\u011fin i\u00e7inde ya\u015fayan insan\u0131 yeniden g\u00f6rmeme yard\u0131m ediyor. Saray\u0131n korunmas\u0131 k\u0131ymetli; fakat bir toplumun korunmas\u0131 bundan daha geni\u015f bir mesele. \u0130nanc\u0131n\u0131 ya\u015fayabilmek, can\u0131ndan emin olmak, d\u00fc\u015f\u00fcnmek, ailesini ve ge\u00e7imini s\u00fcrd\u00fcrebilmek\u2026 \u015eehrin son y\u00fczy\u0131l\u0131n\u0131 d\u00fc\u015f\u00fcnmeye ba\u015flad\u0131\u011f\u0131mda bu ihtiya\u00e7lar, soyut bir tasnif olmaktan \u00e7\u0131kacak.<\/p>\n
 <\/p>\n
Saray\u0131n Penceresinden Albayz\u0131n<\/strong><\/p>\n
\"\"<\/p>\n
Elhamra\u2019n\u0131n baz\u0131 noktalar\u0131ndan kar\u015f\u0131 tarafa bakt\u0131\u011f\u0131m\u0131zda Albayz\u0131n Mahallesi b\u00fct\u00fcn g\u00fczelli\u011fiyle g\u00f6r\u00fcn\u00fcyordu. Beyaz evlerin yama\u00e7 boyunca s\u0131raland\u0131\u011f\u0131 bu eski mahalle, Elhamra\u2019ya kar\u015f\u0131 ayr\u0131 bir manzara olu\u015fturuyordu. Saraydan bak\u0131lan \u015fehir, sokaklar\u0131nda y\u00fcr\u00fcd\u00fc\u011f\u00fcm\u00fcz \u015fehirden farkl\u0131 g\u00f6r\u00fcn\u00fcyordu.<\/p>\n
G\u0131rnata\u2019n\u0131n tarih\u00ee atmosferini yaln\u0131zca saraylar\u0131n i\u00e7inde aramak yanl\u0131\u015f olur. Saray\u0131n tarihini anlamak i\u00e7in a\u015fa\u011f\u0131daki evleri de hesaba katmak gerekiyordu.\u015eehrin dar sokaklar\u0131, yoku\u015flar\u0131, k\u00fc\u00e7\u00fck d\u00fckk\u00e2nlar\u0131 ve eski evleri de ge\u00e7mi\u015fin izlerini ta\u015f\u0131yor. Elhamra\u2019n\u0131n penceresinden Albayz\u0131n\u2019a bakarken insan bir an i\u00e7in kar\u015f\u0131s\u0131ndaki manzaran\u0131n bug\u00fcne mi yoksa birka\u00e7 as\u0131r \u00f6ncesine mi ait oldu\u011funu kestiremiyor.<\/p>\n
Yukar\u0131dan bir b\u00fct\u00fcn h\u00e2linde seyredilen yerde, a\u015fa\u011f\u0131ya inince ayr\u0131 ayr\u0131 hayatlarla kar\u015f\u0131la\u015f\u0131yordunuz. Modern hayat elbette her yerdeydi; fakat \u015fehrin baz\u0131 k\u00f6\u015feleri ge\u00e7mi\u015fle bug\u00fcn aras\u0131ndaki s\u0131n\u0131r\u0131 belirsizle\u015ftiriyordu.<\/p>\n
Elhamra\u2019dan Albayz\u0131n\u2019a bakarken \u0130bn\u00fc\u2019l-Hat\u00eeb\u2019in sesini duydum. O, G\u0131rnata\u2019n\u0131n tarihini yazm\u0131\u015f, sarayda bulunmu\u015f, hekimlik yapm\u0131\u015f, \u015fiir s\u00f6ylemi\u015fti. \u015eehri hem i\u00e7eriden hem d\u0131\u015far\u0131dan g\u00f6rebilen nadir insanlardand\u0131.<\/p>\n
\u201cBir \u015fehir ne zaman d\u00fc\u015fer?\u201d diye sordum.<\/p>\n
\u0130bn\u00fc\u2019l-Hat\u00eeb\u2019in hayat\u0131 bana tek bir tarih vermedi. \u015eehir, yaln\u0131z surlar\u0131 a\u015f\u0131ld\u0131\u011f\u0131nda d\u00fc\u015fm\u00fcyordu. G\u00fcven darald\u0131\u011f\u0131nda, insanlar birbirine ku\u015fkuyla bakt\u0131\u011f\u0131nda, iktidar kendi i\u00e7indeki \u00e7atlaklar\u0131 onaramad\u0131\u011f\u0131nda, ilim ve sanat hayat\u0131n b\u00fct\u00fcn\u00fcn\u00fc koruyamad\u0131\u011f\u0131nda da d\u00fc\u015f\u00fc\u015f ba\u015fl\u0131yordu. 1492, bu uzun s\u00fcrecin g\u00f6r\u00fcn\u00fcr tarihi oldu; fakat G\u0131rnata\u2019n\u0131n insanlar\u0131 i\u00e7in y\u0131k\u0131m, takvimdeki tek bir g\u00fcnle s\u0131n\u0131rl\u0131 de\u011fildi.<\/p>\n
Onun g\u00f6zlemci taraf\u0131, benim de manzaraya yaln\u0131z estetik bir b\u00fct\u00fcn olarak bakmam\u0131 engelliyordu. Beyaz evlerin her biri, teslimden sonra da devam eden bir hayat\u0131n i\u015faretiydi. \u015eehir d\u00fc\u015febilir, fakat insanlar ertesi g\u00fcn evlerine d\u00f6nmek, \u00e7ocuklar\u0131n\u0131 b\u00fcy\u00fctmek ve ge\u00e7imlerini s\u00fcrd\u00fcrmek zorunda kal\u0131r. Tarihin b\u00fcy\u00fck ba\u015fl\u0131klar\u0131, s\u0131radan hayatlar\u0131n \u00fczerinde a\u011f\u0131rla\u015f\u0131r.<\/p>\n
Yine de insan sormadan edemiyordu: Bu kadar bilgi ve g\u00fczellik hangi \u015fartlarda \u00fcretildi; bunlar\u0131 \u00fcreten toplum, varl\u0131\u011f\u0131n\u0131 ni\u00e7in s\u00fcrd\u00fcremedi? Saray\u0131n avlular\u0131nda dola\u015f\u0131rken bu soru bir ara\u015ft\u0131rma ba\u015fl\u0131\u011f\u0131ndan \u00e7\u0131k\u0131p i\u00e7imde duydu\u011fum bir s\u0131k\u0131nt\u0131ya d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fc.<\/p>\n
 <\/p>\n
Alcazaba\u2019dan G\u0131rnata\u2019ya Bakmak<\/strong><\/p>\n
\"\"<\/p>\n
Elhamra kompleksinin \u00f6nemli b\u00f6l\u00fcmlerinden biri de Alcazaba idi.<\/p>\n
Buraya \u00e7\u0131kt\u0131\u011f\u0131m\u0131zda G\u0131rnata \u015fehrini daha geni\u015f bi\u00e7imde g\u00f6rme imk\u00e2n\u0131 bulduk. A\u015fa\u011f\u0131da uzanan \u015fehir ile i\u00e7inde bulundu\u011fumuz tarih\u00ee yap\u0131 aras\u0131ndaki tezat dikkat \u00e7ekiciydi.<\/p>\n
Bir tarafta ya\u015fayan, hareket eden modern Granada; di\u011fer tarafta y\u00fczy\u0131llard\u0131r ayn\u0131 yerde duran Elhamra\u2026<\/p>\n
Fakat dikkatle bak\u0131nca ikisinin asl\u0131nda birbirinden ayr\u0131 olmad\u0131\u011f\u0131n\u0131 anl\u0131yorsunuz. G\u0131rnata bug\u00fcn de b\u00fcy\u00fck \u00f6l\u00e7\u00fcde Elhamra\u2019n\u0131n g\u00f6lgesinde ya\u015f\u0131yor. \u015eehrin kimli\u011finin en g\u00fc\u00e7l\u00fc unsurlar\u0131ndan biri h\u00e2l\u00e2 bu saray.<\/p>\n
 <\/p>\n
Elhamra\u2019n\u0131n Ortas\u0131nda Ba\u015fka Bir Saray: V. KARL SARAYI<\/strong><\/p>\n
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Kompleks i\u00e7erisinde ilerledi\u011fimizde kar\u015f\u0131m\u0131za bu kez \u00e7ok farkl\u0131 mimariye sahip V. Karl Saray\u0131<\/strong> \u00e7\u0131kt\u0131. Nasr\u00ee Saraylar\u0131\u2019n\u0131n zarif, ayr\u0131nt\u0131l\u0131 ve s\u00fcslemeci mimarisinin yan\u0131nda bu yap\u0131 ilk bak\u0131\u015fta farkl\u0131 bir d\u00fcnyaya aitmi\u015f gibi g\u00f6r\u00fcn\u00fcyordu.<\/p>\n
V.Karl Saray\u0131 bak\u0131\u015f\u0131m\u0131 ba\u015fka bir d\u00f6neme ta\u015f\u0131d\u0131. Nasr\u00ee yap\u0131lar\u0131n\u0131n aras\u0131nda farkl\u0131 bir mimari anlay\u0131\u015fla kar\u015f\u0131la\u015fmak, burada zaman\u0131n tek bir noktada durmad\u0131\u011f\u0131n\u0131 g\u00f6steriyordu. Elhamra el de\u011fi\u015ftirmi\u015f, yeni sahipleri buraya kendi izlerini b\u0131rakm\u0131\u015ft\u0131. Benim g\u00f6rd\u00fc\u011f\u00fcm yer, b\u00fct\u00fcn bu de\u011fi\u015fmelerin ard\u0131ndan bug\u00fcne ula\u015fan bir mek\u00e2nd\u0131.<\/p>\n
Ayn\u0131 alan i\u00e7erisinde iki ayr\u0131 tarih anlay\u0131\u015f\u0131n\u0131n ve iki ayr\u0131 estetik d\u00fcnyan\u0131n yan yana bulunmas\u0131, G\u0131rnata\u2019n\u0131n ge\u00e7irdi\u011fi tarih\u00ee d\u00f6n\u00fc\u015f\u00fcm\u00fc adeta ta\u015flar \u00fczerinden okumaya imk\u00e2n veriyordu. Belki Elhamra\u2019y\u0131 ilgin\u00e7 k\u0131lan unsurlardan biri de buydu: Buras\u0131 tek bir d\u00f6nemin dondurulmu\u015f g\u00f6r\u00fcnt\u00fcs\u00fc de\u011fil, farkl\u0131 d\u00f6nemlerin \u00fcst \u00fcste b\u0131rakt\u0131\u011f\u0131 izlerin bulundu\u011fu ya\u015fayan bir tarih kitab\u0131yd\u0131.<\/p>\n
Sonra 1492\u2019yi d\u00fc\u015f\u00fcnd\u00fcm. Fakat bir tarih\u00e7i olarak o tarihin etraf\u0131nda biriken b\u00fct\u00fcn ac\u0131lar\u0131 ayn\u0131 g\u00fcne s\u0131k\u0131\u015ft\u0131ramazd\u0131m. G\u0131rnata\u2019n\u0131n teslim anla\u015fmas\u0131yla el de\u011fi\u015ftirmesiyle, sonradan ya\u015fanan bask\u0131 ve din de\u011fi\u015ftirmeye zorlama s\u00fcre\u00e7leri birbirinden ayr\u0131lmal\u0131yd\u0131. Bu ayr\u0131m, kayb\u0131n a\u011f\u0131rl\u0131\u011f\u0131n\u0131 azaltm\u0131yor; neyin ne zaman ya\u015fand\u0131\u011f\u0131n\u0131 daha iyi anlamam\u0131z\u0131 sa\u011fl\u0131yordu.<\/p>\n
 <\/p>\n
Bir Saraydan Daha Fazlas\u0131<\/strong><\/p>\n
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Elhamra\u2019y\u0131 \u00fc\u00e7 d\u00f6rt saatte gezmek m\u00fcmk\u00fcn olabilir.<\/p>\n
Fakat anlamak i\u00e7in bunun yeterli oldu\u011funu d\u00fc\u015f\u00fcnm\u00fcyorum.<\/p>\n
\u00c7\u00fcnk\u00fc ayr\u0131nt\u0131lara bakt\u0131k\u00e7a s\u00fcre uzuyor. Bir duvar\u0131n \u00f6n\u00fcnde duruyorsunuz; yaz\u0131lar\u0131 inceliyorsunuz. Bir ba\u015fka yerde suyun nereden geldi\u011fini merak ediyorsunuz. Bir kemerin geometrisine, bir tavan\u0131n s\u00fcslemesine veya bir pencereden g\u00f6r\u00fcnen manzaraya dal\u0131p gidiyorsunuz.<\/p>\n
B\u00f6yle mek\u00e2nlarda insan\u0131n \u00f6n\u00fcndeki en b\u00fcy\u00fck tehlike, her \u015feyi h\u0131zl\u0131ca foto\u011fraflay\u0131p bir sonraki salona ge\u00e7mektir.<\/p>\n
Oysa Elhamra biraz durmay\u0131 istiyor.<\/p>\n
Ta\u015fa yakla\u015fmay\u0131\u2026<\/p>\n
Yaz\u0131ya bakmay\u0131\u2026<\/p>\n
Suyun sesini dinlemeyi\u2026<\/p>\n
Pencereden d\u0131\u015far\u0131ya bakmay\u0131\u2026<\/p>\n
\u00c7\u00fcnk\u00fc burada eser yaln\u0131zca g\u00f6z\u00fcn\u00fcz\u00fcn \u00f6n\u00fcndeki duvar de\u011fildir. Mek\u00e2n\u0131n kendisi bir b\u00fct\u00fcnd\u00fcr.<\/p>\n
 <\/p>\n
G\u0131rnata Sokaklar\u0131nda<\/strong><\/p>\n
\"\"<\/p>\n
Elhamra ziyaretinden sonra G\u0131rnata art\u0131k bizim i\u00e7in geldi\u011fimiz zamanki \u015fehir de\u011fildi.<\/p>\n
Bir \u015fehri tan\u0131mak i\u00e7in bazen onun en \u00f6nemli yap\u0131s\u0131n\u0131 g\u00f6rmek gerekir. Elhamra, G\u0131rnata\u2019n\u0131n yaln\u0131zca turistik simgesi de\u011fil; \u015fehri anlamland\u0131ran tarih\u00ee haf\u0131zan\u0131n merkezlerinden biridir.<\/p>\n
Sokaklarda dola\u015f\u0131rken d\u00fckk\u00e2nlara, el sanatlar\u0131na ve mimari ayr\u0131nt\u0131lara daha farkl\u0131 g\u00f6zle bakmaya ba\u015flad\u0131m. \u00d6zellikle geleneksel motifleri ya\u015fatan k\u00fc\u00e7\u00fck zanaatk\u00e2r d\u00fckk\u00e2nlar\u0131, insan\u0131 b\u00fcy\u00fck saraylardan g\u00fcndelik hayata ta\u015f\u0131yordu.<\/p>\n
Tarih yaln\u0131z saraylarda ya\u015fam\u0131yor.<\/p>\n
Bazen k\u00fc\u00e7\u00fck bir d\u00fckk\u00e2ndaki desen, bir kap\u0131n\u0131n bi\u00e7imi veya dar bir soka\u011f\u0131n k\u0131vr\u0131m\u0131 da y\u00fczy\u0131llar\u0131n devam eden hat\u0131ras\u0131n\u0131 ta\u015f\u0131yor.<\/p>\n
G\u00fczelli\u011fin i\u00e7indeki k\u0131r\u0131lma<\/h1>\n
\"\"<\/p>\n
Elhamra\u2019n\u0131n salonlar\u0131nda ilerledik\u00e7e bir soruyu yan\u0131mda ta\u015f\u0131d\u0131m: Bir medeniyetin en parlak eserlerine bakmak, onun neden yenildi\u011fini anlamaya yeter mi? Cevab\u0131n hay\u0131r oldu\u011funu biliyordum. G\u00fczellik, tarih\u00ee g\u00fcc\u00fcn kan\u0131t\u0131 de\u011fildir; fakat g\u00fc\u00e7s\u00fczl\u00fc\u011f\u00fcn de kan\u0131t\u0131 de\u011fildir. Duvarlar\u0131n inceli\u011fi, devletin i\u00e7indeki \u00e7atlaklar\u0131 kapatmaz. Saray\u0131n \u015fiirle konu\u015fmas\u0131, d\u0131\u015far\u0131daki siyas\u00ee tehdidi susturmaz. Yine de eserlerin varl\u0131\u011f\u0131, yenilginin her \u015feyi yok etmedi\u011fini g\u00f6sterir.<\/p>\n
Bana g\u00f6re G\u0131rnata\u2019n\u0131n as\u0131l h\u00fczn\u00fc, yaln\u0131z bir \u015fehrin el de\u011fi\u015ftirmesi de\u011fildir. H\u00fczn\u00fcn derinli\u011fi, insanlar\u0131n kendi kurduklar\u0131 d\u00fcnyay\u0131 korumak i\u00e7in ba\u015fka bir k\u0131y\u0131ya ses g\u00f6ndermek zorunda kalmalar\u0131ndad\u0131r. Elhamra\u2019n\u0131n duvarlar\u0131nda iktidar\u0131n kendinden emin s\u00f6zleri dururken, ayn\u0131 tarihin ba\u015fka bir yerinde isimsiz insanlar yard\u0131m isteyen bir kaside yaz\u0131yordu. \u0130bn Z\u00fcmrek\u2019in saray \u015fiiri ile isti\u011f\u00e2se kasidesi aras\u0131nda yaln\u0131z konu fark\u0131 yoktur; bir toplumun kendisini nas\u0131l g\u00f6rd\u00fc\u011f\u00fc ile nas\u0131l savunmaya \u00e7al\u0131\u015ft\u0131\u011f\u0131 aras\u0131ndaki mesafe vard\u0131r.<\/p>\n
Bu mesafeyi y\u00fcr\u00fcrken, tarih\u00ee olaylar\u0131 zihnimde bir tiyatro sahnesi gibi canland\u0131rmaktan sak\u0131nd\u0131m. Yard\u0131m isteyen el\u00e7inin hangi kap\u0131dan ge\u00e7ti\u011fini bilmiyorum. Onu bir kap\u0131da bekletmek, yolda konu\u015fturmak, \u0130stanbul\u2019a vard\u0131\u011f\u0131nda ne hissetti\u011fini yazmak kolay olurdu; fakat bu kolayl\u0131k ger\u00e7e\u011fin yerine hayali koyard\u0131. Ben o el\u00e7iyi, ta\u015f\u0131d\u0131\u011f\u0131 s\u00f6z\u00fcn a\u011f\u0131rl\u0131\u011f\u0131yla d\u00fc\u015f\u00fcnd\u00fcm. Bir insan\u0131n ad\u0131 bilinmese bile, c\u00fcmlesi y\u00fczy\u0131llar sonra bize ula\u015fabilir. Bazen tarihte kalan en g\u00fc\u00e7l\u00fc iz, onu s\u00f6yleyenin ad\u0131 de\u011fil, s\u00f6ylenmek zorunda kal\u0131nan s\u00f6z\u00fcn kendisidir.<\/p>\n
Elhamra\u2019dan \u0130stanbul\u2019a giden s\u00f6z<\/h1>\n
\"\"<\/p>\n
\u0130bn Z\u00fcmrek\u2019in saray\u0131 \u00f6ven \u015fiiriyle, II. Bayezid\u2019e ula\u015ft\u0131r\u0131lan yard\u0131m kasidesini (isti\u011fase) yan yana d\u00fc\u015f\u00fcn\u00fcnce kelimelerin kullan\u0131l\u0131\u015f\u0131ndaki de\u011fi\u015fim beni sars\u0131yor. Birinde h\u00fck\u00fcmdar\u0131n kudreti ve yap\u0131n\u0131n g\u00fczelli\u011fi dile geliyor. \u00d6tekinde, inanc\u0131n\u0131 ve hayat\u0131n\u0131 korumaya \u00e7al\u0131\u015fan insanlar\u0131n yard\u0131m talebi var. Ayn\u0131 edeb\u00ee gelenek, farkl\u0131 \u015fartlarda bamba\u015fka bir ihtiyac\u0131n dili olmu\u015f.<\/p>\n
G\u0131rnata hen\u00fcz d\u00fc\u015fmeden Osmanl\u0131 saray\u0131na yard\u0131m \u00e7a\u011fr\u0131lar\u0131 ula\u015fm\u0131\u015ft\u0131. Azmi Y\u00fcksel\u2019in aktard\u0131\u011f\u0131na g\u00f6re 1486\u2019da II. Bayezid\u2019e bir el\u00e7i g\u00f6nderilmi\u015fti.[9]<\/sup><\/a> Elhamra\u2019da dola\u015f\u0131rken bu bilgiyi d\u00fc\u015f\u00fcnmek, saray\u0131n duvarlar\u0131n\u0131 ba\u015fka t\u00fcrl\u00fc g\u00f6rmeme yol a\u00e7\u0131yor. H\u00fck\u00fcmdarl\u0131\u011f\u0131n kudretini anlatan yaz\u0131lar\u0131n bulundu\u011fu bir merkez, art\u0131k uzak bir h\u00fck\u00fcmdar\u0131n deste\u011fine ihtiya\u00e7 duyuyordu.<\/p>\n
Bu yard\u0131m aray\u0131\u015f\u0131n\u0131n i\u00e7inde \u0130bn\u00fc\u2019l-Ezrak gibi \u00e2limler de bulunuyordu. Kuzey Afrika\u2019da ve M\u0131s\u0131r\u2019da destek aram\u0131\u015f, Meml\u00fck h\u00fck\u00fcmdar\u0131 Kay\u0131tbay\u2019a ba\u015fvurmu\u015ftu. Onun \u0130stanbul\u2019a gelip II. Bayezid\u2019in huzuruna \u00e7\u0131kt\u0131\u011f\u0131n\u0131 ise ba\u015fvurdu\u011fum biyografik kaynaktan do\u011frulayam\u0131yorum. \u0130ki ayr\u0131 bilgiyi birle\u015ftirerek ad\u0131 bilinen bir \u00e2limi ad\u0131 verilmeyen el\u00e7inin yerine koymamak gerekiyor. \u0130bn\u00fc\u2019l-Ezrak 1491\u2019de Kud\u00fcs\u2019te \u00f6ld\u00fc; G\u0131rnata\u2019n\u0131n teslimini g\u00f6rmedi.[10]<\/sup><\/a><\/p>\n
1492\u2019de \u015fehir, teslim \u015fartlar\u0131 \u00fczerinde anla\u015f\u0131lmas\u0131n\u0131n ard\u0131ndan el de\u011fi\u015ftirdi. M\u00fcsl\u00fcmanlar\u0131n dinlerini ve cemaat hayatlar\u0131n\u0131 korumalar\u0131 bu \u015fartlar\u0131n i\u00e7indeydi. Sonraki y\u0131llarda verilen g\u00fcvencelerin a\u015f\u0131nd\u0131r\u0131lmas\u0131yla bask\u0131 artt\u0131; 1499\u2019da Albayz\u0131n\u2019da ba\u015flayan ayaklanmay\u0131 takip eden s\u00fcre\u00e7, din de\u011fi\u015ftirmeye zorlama ve g\u00f6\u00e7 meselesini a\u011f\u0131rla\u015ft\u0131rd\u0131.[11]<\/sup><\/a> B\u00fct\u00fcn bunlar\u0131 teslim g\u00fcn\u00fcnde ya\u015fanm\u0131\u015f tek bir felaket halinde anlatmak, ger\u00e7ekte insanlar\u0131n y\u0131llar i\u00e7inde daralan hayat alan\u0131n\u0131 g\u00f6r\u00fcnmez k\u0131lar.<\/p>\n
Albayz\u0131n\u2019\u0131n beyaz evlerine bakarken bu zaman aral\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnmek istiyorum. Bir devlet sona erince insanlar\u0131n hayat\u0131 ayn\u0131 g\u00fcn bitmiyor. Evlerine d\u00f6n\u00fcyorlar; \u00e7ocuklar\u0131n\u0131 b\u00fcy\u00fct\u00fcyor, ge\u00e7imlerini s\u00fcrd\u00fcrmeye \u00e7al\u0131\u015f\u0131yorlar. Fakat bir s\u00fcre sonra kendi adlar\u0131n\u0131, ibadetlerini, kitaplar\u0131n\u0131 korumak meselesiyle kar\u015f\u0131la\u015fabiliyorlar. \u015eehrin g\u00f6r\u00fcnt\u00fcs\u00fc devam ederken i\u00e7inde m\u00fcmk\u00fcn olan hayat de\u011fi\u015febiliyor.<\/p>\n
2.Bayezid\u2019e g\u00f6nderilen 105 beyitlik anonim isti\u011f\u00e2se kasidesinde beni en \u00e7ok durduran selam, Azmi Y\u00fcksel\u2019in terc\u00fcmesinde \u015f\u00f6yle:<\/p>\n
\u201cEnd\u00fcl\u00fcs\u2019\u00fcn bat\u0131s\u0131nda gurbette<\/p>\n
geride kalan k\u00f6lelerden size selam.\u201d[12]<\/strong><\/sup><\/a><\/p>\n
Kendi memleketinde gurbet. Buradan ayr\u0131lmadan yurdunu kaybetmek nas\u0131l bir tecr\u00fcbedir? Kar\u015f\u0131mda uzanan evlerin i\u00e7inde o g\u00fcn\u00fcn b\u00fct\u00fcn ayr\u0131nt\u0131lar\u0131n\u0131 bildi\u011fimi s\u00f6yleyemem. Fakat kasidenin bu kelimesi, manzaraya bak\u0131\u015f\u0131m\u0131 de\u011fi\u015ftiriyor. Bir \u015fehrin g\u00fczelli\u011fini g\u00f6rmekle o \u015fehirde g\u00fcven i\u00e7inde ya\u015fayabilmek aras\u0131nda ne kadar b\u00fcy\u00fck bir fark bulundu\u011funu hat\u0131rlat\u0131yor.<\/p>\n
Elhamra\u2019dan Albayz\u0131n\u2019a bak\u0131\u015f. 1 Haziran 2026.<\/p>\n
Kasidede zorla din de\u011fi\u015ftirme, ibadetin engellenmesi, kitaplar\u0131n yak\u0131lmas\u0131 ve adlar\u0131n de\u011fi\u015ftirilmesi anlat\u0131l\u0131yor. Yard\u0131m talebi, sonunda inan\u00e7lar\u0131n\u0131 ya\u015fayabilmek yahut mallar\u0131yla birlikte Kuzey Afrika\u2019ya gidebilmek iste\u011fine kadar uzan\u0131yor. Ramazan Me\u015fe\u2019nin \u00e7al\u0131\u015fmas\u0131 metni 906\/1501\u2019e tarihlendiriyor. Onu burada, on alt\u0131nc\u0131 y\u00fczy\u0131l\u0131n ba\u015f\u0131ndaki bask\u0131 ortam\u0131n\u0131n sesi olarak okuyorum.[13]<\/sup><\/a><\/p>\n
\u015eairin ad\u0131n\u0131 bilmiyoruz. Bu bilinmezli\u011fi, mutlaka can korkusundan ad\u0131n\u0131 saklad\u0131\u011f\u0131 \u015feklinde a\u00e7\u0131klamak da elimizdeki bilgiyi a\u015far. Bildi\u011fimiz, metnin bir toplulu\u011fun ya\u015fad\u0131klar\u0131n\u0131 ve talebini dile getirdi\u011fi. Eb\u00fc\u2019l-Bek\u0101 er-Rund\u00ee\u2019nin \u00e7ok daha \u00f6nce yazd\u0131\u011f\u0131 me\u015fhur End\u00fcl\u00fcs mersiyesiyle de ayn\u0131 \u015fiir de\u011fil. Er-Rund\u00ee\u2019nin d\u00fcnyas\u0131ndan gelen kay\u0131p duygusuyla bu kaside aras\u0131nda yak\u0131nl\u0131k kurulabilir; fakat II. Bayezid\u2019e seslenen \u015fair olarak onun ad\u0131n\u0131 yazamay\u0131z.[14]<\/sup><\/a><\/p>\n
\u0130stanbul\u2019a ula\u015fmaya \u00e7al\u0131\u015fan haberciyi d\u00fc\u015f\u00fcn\u00fcyorum. Hangi limandan hareket etti\u011fini, yol boyunca kimlerle konu\u015ftu\u011funu, saray\u0131n kap\u0131s\u0131nda ne kadar bekledi\u011fini bilmiyorum. Bunlar\u0131 dolduracak bir sahne kurmak yerine, ta\u015f\u0131d\u0131\u011f\u0131 s\u00f6z\u00fcn a\u011f\u0131rl\u0131\u011f\u0131nda durmak istiyorum. Bir insan\u0131n yan\u0131nda g\u00f6t\u00fcrd\u00fc\u011f\u00fc k\u00e2\u011f\u0131tta, geride kalanlar\u0131n hayat\u0131na dair bir ihtimal bulunabilir. Yolculu\u011fun maksad\u0131, bu ihtimali kar\u015f\u0131 k\u0131y\u0131ya ula\u015ft\u0131rmakt\u0131r.<\/p>\n
\u015e\u00e2t\u0131b\u00ee\u2019nin dinin ve insan hayat\u0131n\u0131n korunmas\u0131 \u00fczerinde d\u00fc\u015f\u00fcnd\u00fcren eseri, burada benim i\u00e7in yeniden a\u00e7\u0131l\u0131yor. Bah\u00e7ede suya bakarken hat\u0131rlad\u0131\u011f\u0131m maslahat, \u015fimdi daha sert bir sorunun \u00f6n\u00fcnde: \u0130nsan kendi inanc\u0131yla ya\u015fayamayacaksa, meydana getirdi\u011fi binalar\u0131n ayakta kalmas\u0131 kayb\u0131n\u0131 ne kadar hafifletebilir? Saray\u0131n korunmu\u015f g\u00fczelli\u011fine sevinmekle, onu kuran toplumun u\u011frad\u0131\u011f\u0131 bask\u0131ya \u00fcz\u00fclmek ayn\u0131 anda m\u00fcmk\u00fcn. Birini se\u00e7mek zorunda de\u011filim.<\/p>\n
Peki Osmanl\u0131 neden yard\u0131m g\u00f6ndermedi? Halbuki bu d\u00f6nemde \u0130stanbul\u2019u alm\u0131\u015ft\u0131 ve d\u00f6nemin d\u00fcnyas\u0131n\u0131n en g\u00fc\u00e7l\u00fc devletiydi. Yard\u0131m g\u00f6nderse i\u015fgali durdurabilirdi. Fakat bu s\u0131rada Osmanl\u0131 Devletinde taht m\u00fccadelesi vard\u0131 ve Cem Sultan \u0130talya\u2019da bulunuyordu. E\u011fer Osmanl\u0131 Devleti bir yard\u0131m seferine \u00e7\u0131karsa Papal\u0131\u011f\u0131n Cem Sultan\u2019a tahsis edece\u011fi ordu ile \u0130stanbul \u00fczerine y\u00fcr\u00fcmesi i\u00e7ten bile de\u011fildi. \u00dcstelik Balkan halk\u0131 Cem Sultan\u0131 destekliyordu. Rodos \u015e\u00f6valyeleri, Karamano\u011fullar\u0131 ve Meml\u00fckler de Cem Sultan\u2019\u0131n yan\u0131ndayd\u0131. Yani ll. Bayaz\u0131d yard\u0131m g\u00f6nderse bu ciddi bir ordu olmal\u0131yd\u0131 ama b\u00f6yle bir ordu \u00e7\u0131kard\u0131\u011f\u0131 an kendisini savunmas\u0131z b\u0131rakacak ve karde\u015finin toplad\u0131\u011f\u0131 orduya ma\u011flup olabilecekti. Yani Osmanl\u0131\u2019n\u0131n o d\u00f6nemki konj\u00fckt\u00fcr\u00fc yard\u0131m g\u00f6ndermeye m\u00fcsait de\u011fildi. Fakat yine de Osmanl\u0131 taraf\u0131ndan yard\u0131m te\u015febb\u00fcsleri de vard\u0131. Kemal Reis\u2019in \u0130spanya k\u0131y\u0131lar\u0131ndaki faaliyetleri ve M\u00fcsl\u00fcmanlara y\u00f6nelik destek giri\u015fimleri, farkl\u0131 y\u0131llara yay\u0131lan bir deniz tarihi i\u00e7inde ele al\u0131nmal\u0131.[15]<\/sup><\/a> Kaside geldi, bir donanma yola \u00e7\u0131kt\u0131 ve b\u00fct\u00fcn ma\u011fdurlar kurtar\u0131ld\u0131 diye biten tek bir hik\u00e2ye anlatam\u0131yoruz. Yard\u0131m\u0131n imk\u00e2nlar\u0131 ve s\u0131n\u0131rlar\u0131 vard\u0131; G\u0131rnata geri al\u0131namad\u0131. Akdeniz, haritada iki k\u0131y\u0131 aras\u0131ndaki mesafe olarak g\u00f6r\u00fcn\u00fcyor. O g\u00fcn\u00fcn insan\u0131 i\u00e7in bu mesafe beklenen bir gemi, gelmeyen bir haber veya \u00e7\u0131k\u0131labilecek son yol anlam\u0131na gelebiliyordu.<\/p>\n
Modern edebiyattan Radv\u00e2 \u00c2\u015f\u00fbr\u2019un G\u0131rnata \u00fc\u00e7lemesi burada k\u0131sa bir s\u00fcre zihnime giriyor. Roman, 1492 sonras\u0131nda bir ailenin ku\u015faklar\u0131 \u00fczerinden g\u00fcndelik hayat\u0131n ve k\u00fclt\u00fcrel haf\u0131zan\u0131n bask\u0131 alt\u0131nda s\u00fcrd\u00fcr\u00fclmesine bakar.[16]<\/sup><\/a> Benim i\u00e7in a\u00e7t\u0131\u011f\u0131 soru, bir kayb\u0131n yaln\u0131z h\u00fck\u00fcmdar\u0131n ayr\u0131l\u0131\u015f\u0131yla anlat\u0131l\u0131p anlat\u0131lamayaca\u011f\u0131. Ard\u0131ndan yeniden kasidenin isimsiz sesine d\u00f6n\u00fcyorum. O metinde tarihin sonraki yorumundan \u00f6nce, yard\u0131m isteyen insanlar\u0131n kendi talebi bulunuyor. Tabi ki okudu\u011fum Amin Maluf\u2019un \u201cAfrikal\u0131 Leon\u201d ve Yavuz Bahad\u0131ro\u011flu\u2019nun \u201cEnd\u00fcl\u00fcs\u2019e Veda\u201d romanlar\u0131 da kafamda hafakanlar gibi z\u0131p z\u0131p z\u0131pl\u0131yordu Necip Faz\u0131l\u2019\u0131n tabiriyle\u2026<\/p>\n
Bug\u00fcn\u00fcn \u015fehrinde ge\u00e7mi\u015fin yank\u0131s\u0131<\/h1>\n
\"\"<\/p>\n
G\u0131rnata\u2019da ge\u00e7mi\u015f, bug\u00fcn\u00fcn \u00fcst\u00fcn\u00fc \u00f6rten kal\u0131n bir \u00f6rt\u00fc gibi durmuyordu. Daha \u00e7ok, her ad\u0131mda yer yer g\u00f6r\u00fcnen bir damar gibiydi. Bir evin beyaz duvar\u0131nda, bir sokak ad\u0131nda, bir d\u00fckk\u00e2n\u0131n \u00f6n\u00fcndeki konu\u015fmada, tepeden \u015fehre bakan bir sessizlikte beliriyor; sonra modern hayat\u0131n g\u00fcr\u00fclt\u00fcs\u00fcne kar\u0131\u015f\u0131yordu. \u015eehir, kendisini yaln\u0131z ziyaret\u00e7ilerin bekledi\u011fi bir tarih dekoru olarak sunmuyordu. \u0130nsanlar i\u015fe gidiyor, \u00e7ocuklar okula ko\u015fuyor, kafelerde konu\u015fuyor, ak\u015fam sahneye \u00e7\u0131kan sanat\u00e7\u0131lar kendi zamanlar\u0131n\u0131 kuruyordu.<\/p>\n
Bu y\u00fczden End\u00fcl\u00fcs\u2019\u00fc yaln\u0131zca kaybedilmi\u015f bir medeniyet olarak seyretmek istemedim. Kay\u0131p elbette \u015fehrin i\u00e7inde dola\u015f\u0131yordu; fakat hayat kayb\u0131n i\u00e7inde donup kalmam\u0131\u015ft\u0131. Chateaubriand\u2019\u0131n Aben-Hamet\u2019i, ge\u00e7mi\u015fin yurdunda kendisine yer arayan romantik bir hayal olarak kar\u015f\u0131m\u0131za \u00e7\u0131karken, bug\u00fcn G\u0131rnata\u2019da y\u00fcr\u00fcyen insanlar \u015fehri yeniden ve her g\u00fcn kuruyordu. Washington Irving\u2019in hik\u00e2yeleri saray\u0131 masal\u0131n i\u00e7ine alm\u0131\u015ft\u0131; Radv\u00e2 \u00c2\u015f\u00fbr ise uzun zaman\u0131n i\u00e7inden ge\u00e7en ailelerin g\u00fcndelik direncini anlatm\u0131\u015ft\u0131. Bu farkl\u0131 bak\u0131\u015flar bana ayn\u0131 \u015feyi hat\u0131rlatt\u0131: \u015eehirler, onlar\u0131 anlatanlar\u0131n zihninde \u00e7o\u011fal\u0131r; fakat hi\u00e7bir anlat\u0131 onlar\u0131n ya\u015fayan insanlar\u0131n\u0131 t\u00fcketemez.<\/p>\n
Benim i\u00e7in bu ge\u00e7i\u015f, Elhamra\u2019n\u0131n bir salonundan gece flamenko sahnesine uzanan k\u0131sa bir y\u00fcr\u00fcy\u00fc\u015fte g\u00f6r\u00fcn\u00fcr hale geldi. Flamenko\u2019da End\u00fcl\u00fcs\u2019\u00fcn t\u0131n\u0131s\u0131n\u0131 g\u00f6rd\u00fcm, Arap k\u0131zlar\u0131n ate\u015f dans\u0131n\u0131 g\u00f6rd\u00fcm\u2026 End\u00fcl\u00fcs burada hala etkiliydi ve ya\u015f\u0131yordu.<\/p>\n
\u015eehirde y\u00fcr\u00fcrken bazen kendi \u00fclkemdeki tarih\u00ee mek\u00e2nlar\u0131 d\u00fc\u015f\u00fcnd\u00fcm. Biz de yap\u0131lar\u0131n \u00e7evresinde bug\u00fcn\u00fcn hayat\u0131n\u0131 s\u00fcrd\u00fcr\u00fcyor, ge\u00e7mi\u015fi kimi zaman gururla, kimi zaman ac\u0131yla, kimi zaman da yaln\u0131zca turistik bir g\u00f6r\u00fcnt\u00fc olarak ta\u015f\u0131yoruz. G\u0131rnata bana ge\u00e7mi\u015fi sahiplenmenin onu dondurmak olmad\u0131\u011f\u0131n\u0131 \u00f6\u011fretti. Bir \u015fehri korumak, onun ta\u015flar\u0131n\u0131 korumak kadar, orada ya\u015fayanlar\u0131n kendi hayatlar\u0131n\u0131 kurmas\u0131na izin vermekti. \u015e\u00e2t\u0131b\u00ee\u2019nin maslahat d\u00fc\u015f\u00fcncesi burada yeniden g\u00f6r\u00fcn\u00fcr oldu: G\u00fczelli\u011fin arkas\u0131ndaki insan\u0131 unuttu\u011fumuz anda, g\u00fczellik kendi anlam\u0131n\u0131 kaybediyordu.<\/p>\n
Ak\u015fam \u0131\u015f\u0131\u011f\u0131 tepelerin \u00fczerine \u00e7ekilirken Elhamra uzaktan k\u0131z\u0131l bir \u00e7izgi gibi g\u00f6r\u00fcn\u00fcyordu. Bu g\u00f6r\u00fcnt\u00fcde hem bir devletin ihti\u015fam\u0131 hem bir toplumun k\u0131r\u0131lganl\u0131\u011f\u0131 vard\u0131. Saray\u0131n i\u00e7indeki \u015fiir, su ve yaz\u0131; d\u0131\u015far\u0131daki evlerin sessizli\u011fi ve kasidenin yard\u0131m \u00e7a\u011fr\u0131s\u0131; modern sahnedeki ritim ve sokaktaki s\u0131radan konu\u015fma ayn\u0131 \u015fehrin par\u00e7alar\u0131yd\u0131. G\u0131rnata\u2019y\u0131 tek bir c\u00fcmleyle anlatamayaca\u011f\u0131m\u0131 o ak\u015fam kesin olarak anlad\u0131m. \u015eehir, s\u00f6z\u00fcn beni nereye g\u00f6t\u00fcrece\u011fini bekleyen uzun bir c\u00fcmleydi; ben yaln\u0131zca onun i\u00e7inde y\u00fcr\u00fcyordum.<\/p>\n
\"\"<\/p>\n
Duvarlarda kalan s\u00f6z<\/strong><\/p>\n
Elhamra\u2019n\u0131n duvarlar\u0131nda tekrar tekrar kar\u015f\u0131ma \u00e7\u0131kan \u015fiar\u0131n \u00f6n\u00fcnde d\u00fc\u015f\u00fcncelerim bir araya geldi:<\/p>\n
\u0648\u0644\u0627 \u063a\u0627\u0644\u0628 \u0625\u0644\u0627 \u0627\u0644\u0644\u0647
\nAllah\u2019tan ba\u015fka galip yoktur<\/p>\n
\"\"<\/p>\n
Bu ifadeyi bir Kur\u2019an \u00e2yeti gibi de\u011fil, Nasr\u00eelerin saray\u0131na i\u015flenmi\u015f bir h\u00fck\u00fcmdarl\u0131k \u015fiar\u0131 olarak okuyordum. Eb\u00fb Hayy\u00e2n\u2019\u0131n dil dikkati, \u0130bn Atiyye\u2019nin kayna\u011f\u0131 ve ba\u011flam\u0131 g\u00f6zeten tavr\u0131, burada da bana e\u015flik ediyordu. S\u00f6z\u00fcn tarih\u00ee kullan\u0131m\u0131n\u0131 anlamak ba\u015fka, bug\u00fcn bende uyand\u0131rd\u0131\u011f\u0131 d\u00fc\u015f\u00fcnce ba\u015fka bir \u015feydi.<\/p>\n
Sultanlar gitmi\u015fti. Onlar\u0131 ma\u011flup eden h\u00fck\u00fcmdarlar da art\u0131k yoktu. Saray el de\u011fi\u015ftirmi\u015f, devletlerin s\u0131n\u0131rlar\u0131 de\u011fi\u015fmi\u015fti. Duvar \u00fczerindeki s\u00f6z ise duruyordu. Ben bu s\u00f6z\u00fc okurken insan kudretinin s\u0131n\u0131r\u0131n\u0131 d\u00fc\u015f\u00fcnd\u00fcm. Bir zamanlar zaferin i\u00e7inde s\u00f6ylenen ifade, bug\u00fcn bana fanili\u011fi de hat\u0131rlat\u0131yordu.<\/p>\n
\u015e\u00e2t\u0131b\u00ee\u2019nin kitab\u0131 okunmaya devam ediyordu. \u0130bn\u00fc\u2019l-Hat\u00eeb\u2019in kaydetti\u011fi insanlar ve hadiseler ara\u015ft\u0131r\u0131l\u0131yordu. Eb\u00fb Hayy\u00e2n ile \u0130bn Atiyye\u2019nin tefsirleri, kendi zamanlar\u0131n\u0131n d\u0131\u015f\u0131na ula\u015fm\u0131\u015ft\u0131. Kales\u00e2d\u00ee\u2019nin eserleri matematik tarihindeki yerini koruyor, \u0130bn Z\u00fcmrek\u2019in \u015fiiri ise bulundu\u011fum yap\u0131n\u0131n \u00fczerinde ya\u015famaya devam ediyordu. Siyas\u00ee kayb\u0131n ard\u0131ndan her \u015fey ayn\u0131 bi\u00e7imde kalmam\u0131\u015ft\u0131; fakat her \u015fey yok da olmam\u0131\u015ft\u0131.<\/p>\n
Elhamra\u2019da bana e\u015flik eden bu alt\u0131 isim, g\u00f6rd\u00fc\u011f\u00fcm g\u00fczelli\u011fin \u00fcst\u00fcn\u00fc bilgiyle \u00f6rtmedi. Her biri bir ayr\u0131nt\u0131n\u0131n \u00f6n\u00fcnde biraz daha durmam\u0131 sa\u011flad\u0131. \u015e\u00e2t\u0131b\u00ee ile maksad\u0131 sordum; \u0130bn\u00fc\u2019l-Hat\u00eeb ile insan\u0131 ve siyaseti d\u00fc\u015f\u00fcnd\u00fcm. Eb\u00fb Hayy\u00e2n\u2019\u0131n diline kulak verdim, \u0130bn Atiyye\u2019nin ihtiyat\u0131n\u0131 hat\u0131rlad\u0131m. Kales\u00e2d\u00ee ile d\u00fczeni ararken \u0130bn Z\u00fcmrek\u2019in \u015fiiri bak\u0131\u015f\u0131m\u0131 yeniden suya ve \u0131\u015f\u0131\u011fa \u00e7evirdi.<\/p>\n
G\u0131rnata\u2019dan sonra yolumuz Cebelitar\u0131k, C\u00e1diz ve Tarifa\u2019ya; ard\u0131ndan M\u00e1laga ve Valencia istikametine uzanacakt\u0131. Yeni yerler g\u00f6recektik. Yine de G\u0131rnata\u2019n\u0131n bende b\u0131rakt\u0131\u011f\u0131 duygu kolayca geride kalacak gibi de\u011fildi. \u015eehre gelirken kitaplardan bildi\u011fim bir yeri g\u00f6rmeyi bekliyordum. Ayr\u0131l\u0131rken, bildiklerimi yeniden d\u00fc\u015f\u00fcnmeye ba\u015flam\u0131\u015ft\u0131m.<\/p>\n
\u0130bn Z\u00fcmrek\u2019in bah\u00e7e diye konu\u015fturdu\u011fu salonu, suyla mermerin birbirine benzedi\u011fi havuzu ve duvarlarda okumaya \u00e7al\u0131\u015ft\u0131\u011f\u0131m kelimeleri hat\u0131rl\u0131yordum. G\u0131rnata benim i\u00e7in art\u0131k yaln\u0131z ge\u00e7mi\u015fteki bir devletin son ba\u015f\u015fehri de\u011fildi. Kitaplarda ayr\u0131 ayr\u0131 tan\u0131d\u0131\u011f\u0131m insanlar\u0131n d\u00fc\u015f\u00fcncelerinin, bir sabah ayn\u0131 sarayda bak\u0131\u015f\u0131ma e\u015flik etti\u011fi yerdi.<\/p>\n
 <\/p>\n
G\u0131rnata\u2019dan Ayr\u0131l\u0131rken<\/strong><\/p>\n
\"\"<\/p>\n
G\u0131rnata\u2019dan ayr\u0131lma vakti geldi\u011finde yolumuz M\u00e1laga\u2019ya, oradan da Akdeniz k\u0131y\u0131lar\u0131 boyunca Valencia istikametine uzanacakt\u0131.<\/p>\n
Fakat G\u0131rnata seyahatimizin di\u011fer \u015fehirlerden biraz farkl\u0131 bir yeri oldu.<\/p>\n
\u00c7\u00fcnk\u00fc burada yaln\u0131zca yeni bir \u015fehir g\u00f6rmedim.<\/p>\n
Daha \u00f6nce kitaplardan tan\u0131d\u0131\u011f\u0131m bir tarih co\u011frafyas\u0131n\u0131n i\u00e7ine girdim.<\/p>\n
Elhamra\u2019n\u0131n avlular\u0131nda y\u00fcr\u00fcrken, duvarlardaki Arap\u00e7a yaz\u0131lara bakarken, Generalife\u2019da suyun sesini dinlerken ve saray\u0131n pencerelerinden Albayz\u0131n\u2019a seyrederken End\u00fcl\u00fcs tarihinin yaln\u0131zca ge\u00e7mi\u015fte ya\u015fan\u0131p bitmi\u015f bir hadise olmad\u0131\u011f\u0131n\u0131 hissettim.<\/p>\n
Bir medeniyet siyaseten ortadan kalkabilir.<\/p>\n
Fakat geride b\u0131rakt\u0131\u011f\u0131 dil, mimari, sanat ve \u015fehir haf\u0131zas\u0131 ya\u015famaya devam eder.<\/p>\n
Elhamra bunun belki de en g\u00fc\u00e7l\u00fc \u00f6rneklerinden biridir.<\/p>\n
Biz G\u0131rnata\u2019dan ayr\u0131ld\u0131k.<\/p>\n
Fakat Elhamra\u2019n\u0131n duvarlar\u0131nda g\u00f6rd\u00fc\u011f\u00fcm\u00fcz yaz\u0131lar, avlular\u0131nda i\u015fitti\u011fimiz su sesi ve tepeden seyretti\u011fimiz G\u0131rnata manzaras\u0131 bizimle birlikte yola devam etti.<\/p>\n
 <\/p>\n
Bir \u015fehri yazarken<\/strong><\/p>\n
\"\"<\/p>\n
G\u0131rnata\u2019da \u0130bn C\u00fczey\u2019i hat\u0131rlad\u0131\u011f\u0131mda kendi yar\u0131m kalm\u0131\u015f bir i\u015fim de akl\u0131ma geldi. Bir d\u00f6nem \u0130bn Batt\u00fbta\u2019n\u0131n seyahatnamesini T\u00fcrk\u00e7eye \u00e7evirmeyi d\u00fc\u015f\u00fcnm\u00fc\u015f, i\u015fe te\u015febb\u00fcs etmi\u015ftim. Yo\u011funluk i\u00e7inde gecikmi\u015f; ba\u015fka bir \u00e7evirinin yay\u0131mland\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcnce vazge\u00e7mi\u015ftim. \u0130bn Batt\u00fbta\u2019n\u0131n yolculu\u011funun yaz\u0131ya kavu\u015fmas\u0131nda G\u0131rnatal\u0131 Muhammed \u0130bn C\u00fczey\u2019in pay\u0131 vard\u0131. Burada m\u00fcfessir olan babas\u0131 Eb\u00fc\u2019l-K\u0101s\u0131m \u0130bn C\u00fczey\u2019le o\u011flunu birbirine kar\u0131\u015ft\u0131rmamak gerekir.[17]<\/sup><\/a><\/p>\n
Bu defa bir ba\u015fkas\u0131n\u0131n yolculu\u011funu \u00e7evirmiyordum; \u015fehir, \u00f6n\u00fcmde kendi c\u00fcmlelerini kuruyor, ben onlar\u0131 dinlemeye \u00e7al\u0131\u015f\u0131yordum. G\u00f6rd\u00fc\u011f\u00fcm her \u015fey bir ba\u015fka sesi \u00e7a\u011f\u0131r\u0131yordu. Bir kap\u0131, bir \u00e2limin hayat\u0131n\u0131; bir su yolu, bir \u015fairin m\u0131sra\u0131n\u0131; bir ta\u015f y\u00fczey, kaybolmu\u015f bir toplumun eme\u011fini d\u00fc\u015f\u00fcnd\u00fcr\u00fcyordu. Hat\u0131ray\u0131 korurken ona sahip olmad\u0131\u011f\u0131 bir kesinlik vermemek yine de sorumlulu\u011fumdu. \u00c7\u00fcnk\u00fc zihnimde konu\u015fan seslerin hepsi ayn\u0131 zamana ait de\u011fildi. Onlar\u0131 yan yana getirirken tarih\u00ee mesafeyi korumal\u0131, fakat \u00e7a\u011fr\u0131\u015f\u0131m\u0131n \u00f6zg\u00fcrl\u00fc\u011f\u00fcn\u00fc de bo\u011fmamal\u0131yd\u0131m. Seyahat benim i\u00e7in G\u0131rnata\u2019dan ayr\u0131l\u0131nca bitmedi; s\u00f6z, beni d\u00f6n\u00fcp dola\u015f\u0131p yeniden o kap\u0131lar\u0131n \u00f6n\u00fcne g\u00f6t\u00fcrd\u00fc.<\/p>\n
G\u0131rnata\u2019dan ayr\u0131l\u0131rken b\u00fct\u00fcn sorular\u0131ma cevap bulmu\u015f de\u011fildim. Bir medeniyetin neden yenildi\u011fini birka\u00e7 salonu dola\u015farak a\u00e7\u0131klayamazd\u0131m. Hanedan m\u00fccadeleleri, asker\u00ee g\u00fc\u00e7 dengeleri, d\u0131\u015f bask\u0131lar ve i\u00e7erideki kararlar ayr\u0131 ayr\u0131 ara\u015ft\u0131r\u0131lmay\u0131 gerektiriyordu. G\u00f6rd\u00fc\u011f\u00fcm sanat\u0131n y\u00fcksekli\u011fi, o siyas\u00ee \u015fartlar\u0131 ortadan kald\u0131rm\u0131yordu. Fakat siyas\u00ee yenilgi de ortaya konmu\u015f eserin de\u011ferini yok etmiyordu.<\/p>\n
\u015e\u00e2t\u0131b\u00ee\u2019nin kitab\u0131 okunmaya, Eb\u00fb Hayy\u00e2n\u2019\u0131n eserleri ara\u015ft\u0131r\u0131lmaya devam ediyor. Kales\u00e2d\u00ee\u2019nin \u00e7al\u0131\u015fmalar\u0131 matematik tarihinin i\u00e7inde duruyor. \u0130bn Z\u00fcmrek\u2019in bir beytine ise burada, bir f\u0131skiyenin ba\u015f\u0131nda rastlayabiliyorum. Bunlar\u0131 bir teselli c\u00fcmlesiyle kolayca birle\u015ftirmek istemiyorum. Ya\u015fayan eserler kaybedilmi\u015f hayatlar\u0131n kar\u015f\u0131l\u0131\u011f\u0131 de\u011fil. Yine de ge\u00e7mi\u015fle kurabilece\u011fimiz ili\u015fkinin yaln\u0131z yas tutmaktan ibaret olmad\u0131\u011f\u0131n\u0131 g\u00f6steriyorlar. Okumak, anlamak ve do\u011fru aktarmak da bu ili\u015fkinin i\u00e7inde.<\/p>\n
Yolculu\u011fun ba\u015f\u0131nda telefonuma gelen rakamlarla bir kap\u0131 a\u00e7m\u0131\u015ft\u0131m. Elhamra\u2019da ise bildi\u011fim kelimelerin ba\u015fka kap\u0131lar a\u00e7t\u0131\u011f\u0131n\u0131 g\u00f6rd\u00fcm. Her kap\u0131n\u0131n arkas\u0131nda ba\u015fka bir zaman duruyordu. Bir Arap\u00e7a yaz\u0131 beni bir m\u00fcfessirin masas\u0131ndan saray\u0131n duvar\u0131na getiriyor; bir \u015fairin suyu tarif edi\u015fi, aslanlar\u0131n ta\u015f\u0131d\u0131\u011f\u0131 \u00e7ana\u011f\u0131n ba\u015f\u0131nda durduruyor; yard\u0131m kasidesindeki gurbet kelimesi, Albayz\u0131n\u2019\u0131n beyaz evlerini \u00f6n\u00fcmde yeniden kuruyordu. G\u00f6rd\u00fc\u011f\u00fcm yerleri bu \u00e7a\u011fr\u0131\u015f\u0131mlar zinciriyle yeniden anlamland\u0131rd\u0131m. Ama b\u00fct\u00fcn bu zihinsel yolculu\u011fun sonunda \u00f6n\u00fcmde yine ger\u00e7ek bir \u015fehir ve sokaklarda y\u00fcr\u00fcyen ger\u00e7ek insanlar vard\u0131.<\/p>\n
E\u015fimin d\u0131\u015far\u0131da bekledi\u011fi sabah\u0131 da bunun i\u00e7in unutmuyorum. Saray\u0131n g\u00fczelli\u011fini anlat\u0131rken, benim onu g\u00f6rmemi m\u00fcmk\u00fcn k\u0131lan o k\u00fc\u00e7\u00fck fedak\u00e2rl\u0131\u011f\u0131n metnin d\u0131\u015f\u0131nda kalmas\u0131n\u0131 istemiyorum. Tarihin b\u00fcy\u00fck kay\u0131plar\u0131n\u0131 d\u00fc\u015f\u00fcnmek, yan\u0131m\u0131zdaki insan\u0131n hakk\u0131n\u0131 fark etmeyi unutturmamal\u0131.<\/p>\n
G\u0131rnata\u2019dan g\u00f6t\u00fcrd\u00fc\u011f\u00fcm \u015fey, yaln\u0131z bir \u015fehrin ihti\u015fam\u0131na dair g\u00f6r\u00fcnt\u00fcler olmad\u0131. Art\u0131k \u0130bn Z\u00fcmrek\u2019in suya bakarken neyi se\u00e7ti\u011fini daha iyi anlayabiliyor; \u015e\u00e2t\u0131b\u00ee\u2019nin maksad\u0131n\u0131 d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcmde insan\u0131n ya\u015fayaca\u011f\u0131 hayat\u0131 daha somut g\u00f6rebiliyordum. \u0130stanbul\u2019a g\u00f6nderilen selamdaki gurbet de benim i\u00e7in kitapta ge\u00e7en bir kelime olmaktan \u00e7\u0131km\u0131\u015ft\u0131. Elhamra\u2019n\u0131n kar\u015f\u0131s\u0131ndaki evlere bak\u0131yordum. \u015eimdi o selam\u0131 okudu\u011fumda, \u00f6nce o evler geliyor g\u00f6z\u00fcm\u00fcn \u00f6n\u00fcne.<\/p>\n
Elhamra\u2019n\u0131n duvarlar\u0131na tekrar bakt\u0131\u011f\u0131mda \u0130bn Z\u00fcmrek\u2019in \u015fiirleriyle bu isimsiz \u015fairin feryad\u0131 zihnimde yan yana geliyor. Birinin s\u00f6zleri saray\u0131n g\u00fczelli\u011fini gelece\u011fe ta\u015f\u0131m\u0131\u015ft\u0131. Di\u011ferinin s\u00f6zleri, o g\u00fczelli\u011fi meydana getiren toplumun ya\u015fad\u0131\u011f\u0131 felaketi.<\/p>\n
G\u0131rnata\u2019y\u0131 anlamak i\u00e7in ikisini de duymak gerekti\u011fini d\u00fc\u015f\u00fcn\u00fcyorum.<\/p>\n
Sadece saraya bakarsak burada ya\u015fayanlar\u0131n ak\u0131betini unutabiliriz. Sadece yenilgiyi anlat\u0131rsak onlar\u0131n meydana getirdi\u011fi ilmi, sanat\u0131 ve hayat\u0131 g\u00f6lgede b\u0131rakabiliriz. Oysa benim \u00f6n\u00fcmde ikisi birden duruyordu: \u0130\u015flenmi\u015f ta\u015f\u0131n zarafeti ve kendi yurdunda gurbete d\u00fc\u015fm\u00fc\u015f insanlar\u0131n yard\u0131m \u00e7a\u011fr\u0131s\u0131.<\/p>\n
Duvarlarda yine ayn\u0131 s\u00f6z vard\u0131:<\/p>\n
L\u00e2 g\u0101libe illallah.<\/strong><\/p>\n
Bu defa o s\u00f6z\u00fc okurken akl\u0131mda h\u00fck\u00fcmdarlardan \u00e7ok, \u0130stanbul\u2019a selam g\u00f6nderen isimsiz insanlar vard\u0131.<\/p>\n
\"\"<\/p>\n
[1]<\/sup><\/a> Patronato de la Alhambra y Generalife, \u2018Palacio de Carlos V\u2019. Saray\u0131n yer se\u00e7imi, R\u00f6nesans \u00fcslubu ve dairesel avlusu hakk\u0131nda. Kaynak<\/a><\/p>\n
[2]<\/sup><\/a> Eb\u00fb Hayy\u00e2n, el-Bahr\u00fc\u2019l-muh\u00eet, I, 13\u201314, tefsir tarifinin ba\u015flang\u0131c\u0131. Arap\u00e7a metinden bu taslak i\u00e7in anlam \u00e7evirisi; tarifin devam\u0131 \u00fc\u00e7 noktayla k\u0131salt\u0131lm\u0131\u015ft\u0131r. Kaynak<\/a><\/p>\n
[3]<\/sup><\/a> Mahmut Kafes, \u2018Eb\u00fb Hayy\u00e2n el-Endel\u00fcs\u00ee\u2019, TDV \u0130sl\u00e2m Ansiklopedisi (1994), hayat\u0131 ve T\u00fcrk dili \u00fczerine eserleri. Kaynak<\/a><\/p>\n
[4]<\/sup><\/a> Charles-\u00c9loi Vial, \u2018De la main de Chateaubriand \u2013 Collections\u2019, Biblioth\u00e8que nationale de France, Chroniques 104 (2025). Yazma 1807\u20131810\u2019a, ilk yay\u0131m 1826\u2019ya tarihlendirilir. Kaynak<\/a><\/p>\n
[5]<\/sup><\/a> Fran\u00e7ois-Ren\u00e9 de Chateaubriand, Les Aventures du dernier Abenc\u00e9rage, \u0152uvres compl\u00e8tes, c. XII, Paris: Furne, 1832; Cenevre \u00dcniversitesi ATHENA elektronik metni, \u00f6zellikle PDF s. 8\u201311 ve 19\u201322. Olay \u00f6rg\u00fcs\u00fc bu birincil metne dayan\u0131r; ki\u015filerin d\u00fc\u015f\u00fcncelerini anlatan c\u00fcmleler do\u011frudan al\u0131nt\u0131 de\u011fildir. Kaynak<\/a><\/p>\n
[6]<\/sup><\/a> Patronato de la Alhambra y Generalife, \u2018Sala de los Abencerrajes\u2019. Resm\u00ee tan\u0131t\u0131m, salon ad\u0131n\u0131 XVI. y\u00fczy\u0131ldan itibaren buraya ba\u011flanan ve tarih\u00ee kesinli\u011fi bulunmayan saray \u00e7at\u0131\u015fmas\u0131 rivayetiyle ili\u015fkilendirir. Kaynak<\/a><\/p>\n
[7]<\/sup><\/a> Patronato de la Alhambra y Generalife, \u2018Habitaciones del Emperador\u2019 (2010); Granada Belediyesi, \u2018Washington Irving\u2019. Elhamra\u2019da 1829\u2019daki ikamet ve Tales of the Alhambra\u2019n\u0131n 1832\u2019de yay\u0131mlanmas\u0131 hakk\u0131nda. Kaynak<\/a><\/p>\n
[8]<\/sup><\/a> \u015e\u00e2t\u0131b\u00ee, el-Muv\u00e2fak\u0101t, II, 6\u2019dan aktaran Ahmed er-Reys\u00fbn\u00ee, Nazariyyet\u00fc\u2019l-mak\u0101s\u0131d \u02bfinde\u2019l-\u0130m\u00e2m e\u015f-\u015e\u00e2t\u0131b\u00ee, 2. bs., 1992, s. 319, \u2018Kav\u00e2id\u00fc\u2019l-mak\u0101s\u0131d\u2019, 1. kaide.  Kaynak<\/a><\/p>\n
[9]<\/sup><\/a> Azmi Y\u00fcksel, \u2018End\u00fcl\u00fcs\u2019ten II. Bayez\u0131d\u2019a Yaz\u0131lan Anonim Bir \u015eiir\u2019, Belleten 52\/205 (1988), s. 1575. Buradaki 1486 tarihli yard\u0131m \u00e7a\u011fr\u0131s\u0131, metinde \u0130bn\u00fc\u2019l-Ezrak\u2019\u0131n \u015fahs\u0131yla \u00f6zde\u015fle\u015ftirilmemi\u015ftir. Kaynak<\/a><\/p>\n
[10]<\/sup><\/a> Tahsin G\u00f6rg\u00fcn, \u2018\u0130bn\u00fc\u2019l-Ezrak el-G\u0131rn\u00e2t\u00ee\u2019, TDV \u0130sl\u00e2m Ansiklopedisi (2000). Kuzey Afrika ve M\u0131s\u0131r\u2019daki yard\u0131m aray\u0131\u015f\u0131, Kay\u0131tbay\u2019a ba\u015fvurusu ve 21 Ekim 1491\u2019de Kud\u00fcs\u2019te \u00f6l\u00fcm\u00fc. Bu kaynak \u0130stanbul\u2019a gitti\u011fini belirtmez. Kaynak<\/a><\/p>\n
[11]<\/sup><\/a> Azmi Y\u00fcksel, a.g.m., s. 1575\u20131577. Teslim \u015fartlar\u0131 ile sonradan a\u011f\u0131rla\u015fan bask\u0131 ve 1499\u20131501 ayaklanmalar\u0131 ayr\u0131 a\u015famalar olarak ele al\u0131nm\u0131\u015ft\u0131r. Kaynak<\/a><\/p>\n
[12]<\/sup><\/a> Anonim isti\u011f\u00e2se kasidesi, 9. beyit; Azmi Y\u00fcksel\u2019in T\u00fcrk\u00e7e \u00e7evirisi, a.g.m., s. 1578. Al\u0131nt\u0131n\u0131n terc\u00fcman\u0131 korunmu\u015ftur; di\u011fer klasik metinlerden bu taslak i\u00e7in yap\u0131lan \u00e7evirilerle kar\u0131\u015ft\u0131r\u0131lmamal\u0131d\u0131r. Kaynak<\/a><\/p>\n
[13]<\/sup><\/a> Ramazan Me\u015fe, \u2018End\u00fcl\u00fcs M\u00fcsl\u00fcmanlar\u0131n\u0131n II. Bayezid\u2019e Yazd\u0131\u011f\u0131 \u0130sti\u011f\u00e2se (Feryadname) Kasidesi\u2019, Amasya \u0130lahiyat Dergisi 14 (2020), s. 51\u201379; tarihlendirme i\u00e7in s. 53 ve 57, Arap\u00e7a metin ve terc\u00fcme i\u00e7in kaside b\u00f6l\u00fcm\u00fc. DOI: 10.18498\/amailad.702964. Bask\u0131lar\u0131n \u015fiirdeki anlat\u0131m\u0131, b\u00fct\u00fcn sonraki Morisko tarihini ayn\u0131 y\u0131la yerle\u015ftirecek bi\u00e7imde genelle\u015ftirilmemi\u015ftir. Kaynak<\/a><\/p>\n
[14]<\/sup><\/a> TDV \u0130sl\u00e2m Ansiklopedisi, \u2018Eb\u00fc\u2019l-Bek\u0101 er-Rund\u00ee\u2019. 1285\u2019te \u00f6len \u015fair, II. Bayezid\u2019e ula\u015ft\u0131r\u0131lan XVI. y\u00fczy\u0131l ba\u015f\u0131 kasidesinin m\u00fcellifi olamaz. Anonimlik sebebine ili\u015fkin kesin bir ki\u015fisel g\u00fcvenlik hik\u00e2yesi kurulmam\u0131\u015ft\u0131r. Kaynak<\/a><\/p>\n
[15]<\/sup><\/a> \u0130dris Bostan, \u2018Kemal Reis\u2019, TDV \u0130sl\u00e2m Ansiklopedisi. 1487\u2019deki yard\u0131m faaliyeti, 1495\u2019te Osmanl\u0131 donanmas\u0131na kat\u0131l\u0131\u015f ve sonraki Akdeniz seferleri farkl\u0131 tarihlerdir; \u015fiir ile tek bir kurtarma seferi aras\u0131nda do\u011frulanmam\u0131\u015f do\u011frudan sebep-sonu\u00e7 ba\u011f\u0131 kurulmam\u0131\u015ft\u0131r. Kaynak<\/a><\/p>\n
[16]<\/sup><\/a> Radv\u00e2 \u00c2\u015f\u00fbr, Granada: The Complete Trilogy, \u00e7ev. Kay Heikkinen, AUC Press, 2024. Eserin d\u00f6nem ve ku\u015faklar aras\u0131 anlat\u0131m\u0131na ili\u015fkin bilgi yay\u0131nevinin tan\u0131t\u0131m\u0131ndan al\u0131nm\u0131\u015ft\u0131r; romandan do\u011frudan al\u0131nt\u0131 yap\u0131lmam\u0131\u015ft\u0131r. Kaynak<\/a><\/p>\n
[17]<\/sup><\/a> Ahmet \u00d6zel, \u2018\u0130bn C\u00fczey\u2019, TDV \u0130sl\u00e2m Ansiklopedisi (1999), m\u00fcfessirin o\u011flu Muhammed hakk\u0131ndaki b\u00f6l\u00fcm. \u0130bn Batt\u00fbta\u2019n\u0131n rihlesini d\u00fczenleyen o\u011ful, m\u00fcfessir Eb\u00fc\u2019l-K\u0101s\u0131m \u0130bn C\u00fczey\u2019den ayr\u0131lm\u0131\u015ft\u0131r. Kaynak<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"
End\u00fcl\u00fcs\u2019\u00fcn Son Hat\u0131ralar\u0131 Aras\u0131nda: G\u0131rnata ve Elhamra \u00c2limlerin d\u00fc\u015f\u00fcnceleri ve \u0130bn Z\u00fcmrek\u2019in \u015fiirleri e\u015fli\u011finde May\u0131s\u0131n…<\/p>\n
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<\/div><\/div>","protected":false},"author":2,"featured_media":5357,"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],"tags":[],"ppma_author":[93],"class_list":["post-5356","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-gezi","category-er"],"yoast_head":"\nEND\u00dcL\u00dcS GEZ\u0130M\u0130Z: GIRNATA\/GIRANADA - SimurgEdebiyat<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/simurgedebiyat.com\/index.php\/2026\/09\/27\/endulus-gezimiz-girnata-giranada\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"END\u00dcL\u00dcS GEZ\u0130M\u0130Z: GIRNATA\/GIRANADA - 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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. 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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\/09\/IMG_20260601_094042.jpg",651,869,false],"thumbnail":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042-150x150.jpg",150,150,true],"medium":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042-225x300.jpg",225,300,true],"medium_large":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042.jpg",640,854,false],"large":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042.jpg",640,854,false],"1536x1536":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042.jpg",651,869,false],"2048x2048":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042.jpg",651,869,false],"covernews-slider-full":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042-651x715.jpg",651,715,true],"covernews-slider-center":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042-651x500.jpg",651,500,true],"covernews-featured":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042.jpg",651,869,false],"covernews-medium":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042-540x340.jpg",540,340,true],"covernews-medium-square":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042-400x250.jpg",400,250,true],"sow-carousel-default":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042-272x182.jpg",272,182,true],"sow-blog-portfolio":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042-375x375.jpg",375,375,true],"sow-blog-grid":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042-651x480.jpg",651,480,true],"sow-blog-alternate":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042-651x630.jpg",651,630,true],"sow-recent-post":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042-216x216.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>","tag_info":"\u0130brahim Halil ER","comment_count":"0","jetpack_featured_media_url":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042.jpg","uagb_featured_image_src":{"full":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042.jpg",651,869,false],"thumbnail":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042-150x150.jpg",150,150,true],"medium":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042-225x300.jpg",225,300,true],"medium_large":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042.jpg",640,854,false],"large":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042.jpg",640,854,false],"1536x1536":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042.jpg",651,869,false],"2048x2048":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042.jpg",651,869,false],"covernews-slider-full":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042-651x715.jpg",651,715,true],"covernews-slider-center":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042-651x500.jpg",651,500,true],"covernews-featured":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042.jpg",651,869,false],"covernews-medium":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042-540x340.jpg",540,340,true],"covernews-medium-square":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042-400x250.jpg",400,250,true],"sow-carousel-default":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042-272x182.jpg",272,182,true],"sow-blog-portfolio":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042-375x375.jpg",375,375,true],"sow-blog-grid":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042-651x480.jpg",651,480,true],"sow-blog-alternate":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042-651x630.jpg",651,630,true],"sow-recent-post":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/09\/IMG_20260601_094042-216x216.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":"End\u00fcl\u00fcs\u2019\u00fcn Son Hat\u0131ralar\u0131 Aras\u0131nda: G\u0131rnata ve Elhamra \u00c2limlerin d\u00fc\u015f\u00fcnceleri ve \u0130bn Z\u00fcmrek\u2019in \u015fiirleri e\u015fli\u011finde May\u0131s\u0131n...","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\/5356","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=5356"}],"version-history":[{"count":7,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/5356\/revisions"}],"predecessor-version":[{"id":5462,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/5356\/revisions\/5462"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/media\/5357"}],"wp:attachment":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/media?parent=5356"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/categories?post=5356"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/tags?post=5356"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/ppma_author?post=5356"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}