Dahi sanat\u00e7\u0131 Michelangelo\u2019ya sormu\u015flar: \u201cBu kaya par\u00e7as\u0131ndan muhte\u015fem Davut heykelini nas\u0131l yapabildin?\u201d O da demi\u015f ki \u201cHayalimde Davut zaten vard\u0131. Mermerin fazlal\u0131klar\u0131n\u0131 ald\u0131m, Davut a\u00e7\u0131\u011fa \u00e7\u0131kt\u0131.\u201d<\/p>\n
\u015eu s\u00f6z\u00fc hep duyar\u0131z: \u201cSanat\u00e7\u0131 muhalif ki\u015fidir.\u201d Bu do\u011fruysa Michelangelo\u2019nun yukar\u0131daki s\u00f6z\u00fcn\u00fc nereye oturtmal\u0131? <\/p>\n
Muhalif olmak reaksiyoner olmak demektir. Yani muhalefet, hali haz\u0131rda s\u00fcregelen sisteme ele\u015ftiri, kurulu d\u00fczene kar\u015f\u0131 tav\u0131r geli\u015ftirmektir. Bu haliyle daha geri planda, iktidar kar\u015f\u0131s\u0131nda daha zay\u0131f bir noktadad\u0131r. Sanat\u0131n kendisini ikincil bir konuma koymas\u0131n\u0131n, hatta bunu kimi zaman \u00f6v\u00fcnerek yapmas\u0131n\u0131n ne anlam\u0131 olabilir? <\/p>\n
Elbette muhalifin de bir i\u015flevi var ve ya\u015famda muhalefet de gerekli. Bug\u00fcnk\u00fc d\u00fcnya d\u00fczeninde ele\u015ftirilecek, kar\u015f\u0131 \u00e7\u0131k\u0131lacak, hatta insan\u0131 isyana te\u015fvik eden o kadar \u00e7ok neden var ki sanat\u00e7\u0131n\u0131n muhalif olmas\u0131n\u0131, \u00e7eli\u015fkilerin \u00fczerine \u00fczerine gitmesini anlamak m\u00fcmk\u00fcn. <\/p>\n
Bir an i\u00e7in hayali bir d\u00fcnya kural\u0131m ve sanat\u00e7\u0131n\u0131n s\u00f6z\u00fcn\u00fc etti\u011fi toplumsal \u00e7eli\u015fkilerin d\u00fczeldi\u011fini varsayal\u0131m. O zaman sanat\u0131n muhalefeti bitecek mi? Sanat\u00e7\u0131 muhalif olan ki\u015fi ise sanat\u00e7\u0131n\u0131n i\u015flevi sona erecek mi? Ya da sanat\u00e7\u0131 kendine yeni i\u015flevler bulmak zorunda m\u0131 kalacak? <\/p>\n
Burada vurgulanmas\u0131 gereken, ya\u015famda \u00e7eli\u015fkilerin hi\u00e7bir zaman bitmeyece\u011fi ger\u00e7e\u011fidir. Sanat\u00e7\u0131 \u00e7eli\u015fkileri g\u00f6ren, farkl\u0131l\u0131klar\u0131 sezen, al\u0131\u015f\u0131lm\u0131\u015f\u0131n d\u0131\u015f\u0131nda bak\u0131\u015f a\u00e7\u0131s\u0131 getiren, bizim g\u00f6rmedi\u011fimiz ya da ya da g\u00f6rmek istemedi\u011fimiz ger\u00e7ekleri su y\u00fcz\u00fcne \u00e7\u0131karan ayk\u0131r\u0131 ki\u015fidir. Buna muhalefet diyorsak, o zaman sanat\u00e7\u0131 hep muhalif olarak kalacakt\u0131r. Asl\u0131nda sanat\u00e7\u0131 en ya\u015famsal sorunlarla ilgilenen yarat\u0131c\u0131 bir ki\u015fidir. Yarat\u0131c\u0131l\u0131k ise iktidar olabilmenin ta kendisidir. Yani sanat\u00e7\u0131 bir y\u00f6n\u00fcyle muhalif gibi g\u00f6r\u00fcnse de, di\u011fer y\u00f6n\u00fcyle, yap\u0131t\u0131yla, yarat\u0131s\u0131yla iktidar olan ki\u015fidir.<\/p>\n
B\u00f6yle olmasayd\u0131 Michelangelo\u2019nun kaya par\u00e7as\u0131n\u0131 y\u00fczy\u0131llar\u0131n \u015faheseri Davut heykeline d\u00f6n\u00fc\u015ft\u00fcrmesi m\u00fcmk\u00fcn olur muydu? Yap\u0131t\u0131n\u0131 daha \u00f6nceki Davut heykellerinden \u00e7ok daha estetik d\u00fczeylere ta\u015f\u0131yan onun farkl\u0131 sezgi, alg\u0131 ve \u00e7abas\u0131, ayk\u0131r\u0131 ki\u015fili\u011fi olmu\u015ftur. Bu \u00f6zelli\u011fi onu yarat\u0131c\u0131l\u0131\u011f\u0131n doru\u011funa \u00e7\u0131karm\u0131\u015ft\u0131r. Bu ayk\u0131r\u0131 ki\u015filik muhalefetse o yarat\u0131c\u0131 bir muhaliftir. <\/p>\n
Ya\u015fam\u0131n \u00e7eli\u015fkileri yaln\u0131zca sermaye-emek, s\u00f6m\u00fcren-s\u00f6m\u00fcr\u00fclen, y\u00f6neten-y\u00f6netilen \u00e7eli\u015fkisi de\u011fildir. Toplumsal \u00e7eli\u015fkilerin yan\u0131 s\u0131ra insan do\u011fas\u0131n\u0131n bizatihi kendisi bir \u00e7eli\u015fkiler yuma\u011f\u0131d\u0131r. \u0130nsano\u011flunun birbiriyle \u00e7eli\u015fkili, a\u015fk-nefret, cesaret-korku, sevin\u00e7-keder, inan\u00e7-\u015f\u00fcphe gibi say\u0131s\u0131z duygular sarmal\u0131 sanat\u00e7\u0131n\u0131n ilmik ilmik i\u015fleyebilece\u011fi engin bir aland\u0131r. \u0130nsan var oldu\u011fu m\u00fcddet\u00e7e \u00e7eli\u015fkileri de olacak ve sanat\u00e7\u0131n\u0131n i\u015flevi azalmadan s\u00fcrecektir.<\/p>\n
Yery\u00fcz\u00fcn\u00fcn belki de en naif yarat\u0131\u011f\u0131 insan yavrusunun, do\u011fumdan ba\u015flayarak ya\u015fama ve toplum d\u00fczenine uyumunun sa\u011flanmas\u0131, bedensel geli\u015fiminin yan\u0131 s\u0131ra, ruhsal d\u00fcnyas\u0131n\u0131n olu\u015fumu, \u00e7eli\u015fkilere birer birer \u00e7\u00f6z\u00fcm bulunurken ayn\u0131 zamanda yeni \u00e7eli\u015fkilerin ortaya \u00e7\u0131k\u0131\u015f s\u00fcrecidir de. Duygular\u0131n \u00e7e\u015fitlilik ve karma\u015f\u0131kl\u0131\u011f\u0131, ak\u0131lla bunlar\u0131 d\u00fczenleme \u00e7abas\u0131, d\u00fc\u015f\u00fcncenin u\u00e7suz bucaks\u0131zl\u0131\u011f\u0131 tam da sanat\u0131n yolunu a\u00e7an unsurlard\u0131r. Sanat\u00e7\u0131 engin duyarl\u0131l\u0131\u011f\u0131 ile ister bireysel, isterse toplumsal olsun, insani \u00e7eli\u015fkileri su y\u00fcz\u00fcne \u00e7\u0131karacakt\u0131r. Bunu yapmak muhalefetse sanat\u00e7\u0131 muhalif olmay\u0131 s\u00fcrd\u00fcrecektir. <\/p>\n
\u00c7eli\u015fkiler kar\u015f\u0131s\u0131nda ele\u015ftirel tavr\u0131n\u0131 sergileyen sanat\u0131n aksine din bunlar\u0131 manevi boyutta d\u00fczene sokma amac\u0131ndad\u0131r; insan beyninin derin labirentlerine ruhani yoldan ula\u015fma \u00e7abas\u0131ndad\u0131r. Sanat, insan \u00e7eli\u015fkilerinin \u00fcst\u00fcne inad\u0131na y\u00fcr\u00fcyen ele\u015ftirel bir muhalif gibi g\u00f6r\u00fcn\u00fcrken, din bunlar\u0131n \u00fcst\u00fcn\u00fc \u00f6rterek ki\u015fiyi huzura kavu\u015fturma hedefinde bir iktidar konumundad\u0131r. <\/p>\n
Dinlerin ve inan\u00e7lar\u0131n ilk ortaya \u00e7\u0131k\u0131\u015f\u0131ndaki safl\u0131k, zaman i\u00e7inde dinin kurumsalla\u015fmas\u0131yla birlikte bozulmu\u015f, kimi zaman salt rit\u00fcellere indirgenmi\u015f, toplumsal tak\u0131nt\u0131 ve saplant\u0131lar \u00e7izgisine kaym\u0131\u015ft\u0131r. <\/p>\n
Marx dinin bir afyon oldu\u011funu s\u00f6ylerken toplumsal \u00e7eli\u015fkilerin \u00fczerinin \u00f6rt\u00fclmesinin kolayla\u015ft\u0131rd\u0131\u011f\u0131 ekonomik s\u00f6m\u00fcr\u00fcye dikkat \u00e7ekmekteydi. Ben bunu \u015f\u00f6yle yorumlamak isterim: Din iki ucu keskin k\u0131l\u0131\u00e7 gibidir. \u0130nsani bir kurumdur, iyi niyetli ve insan mutlulu\u011fu i\u00e7in y\u00fcce ama\u00e7l\u0131d\u0131r, ancak bu insani duygunun birileri taraf\u0131ndan k\u00f6t\u00fcye kullan\u0131lmas\u0131 da m\u00fcmk\u00fcnd\u00fcr. \u0130\u015fte din o zaman kitleleri uyu\u015fturup afyon etkisine neden olabilir. Bu afyondan insanlar\u0131 kurtaracak kurumlardan biri de yine sanatt\u0131r. <\/p>\n","protected":false},"excerpt":{"rendered":"
Dahi sanat\u00e7\u0131 Michelangelo\u2019ya sormu\u015flar: \u201cBu kaya par\u00e7as\u0131ndan muhte\u015fem Davut heykelini nas\u0131l yapabildin?\u201d O da demi\u015f ki \u201cHayalimde Davut zaten vard\u0131. Mermerin fazlal\u0131klar\u0131n\u0131 ald\u0131m, Davut a\u00e7\u0131\u011fa \u00e7\u0131kt\u0131.\u201d \u015eu s\u00f6z\u00fc hep duyar\u0131z: \u201cSanat\u00e7\u0131 muhalif ki\u015fidir.\u201d Bu do\u011fruysa Michelangelo\u2019nun yukar\u0131daki s\u00f6z\u00fcn\u00fc nereye oturtmal\u0131? Muhalif olmak reaksiyoner olmak demektir. Yani muhalefet, hali haz\u0131rda s\u00fcregelen \u2026<\/p>\n